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U talking tuh me thru 102.7 da bomb?
-Ray J! August 9, 2008 at Pipeline Cafe
-Broke Ass Mondays @ Red Lion Waikiki
-Bombasstic Tuesdays @ Pipeline Cafe
-Big Wednesdays @ The O-Lounge
-Thirsty Thursdays @ Zanzabar Nightclub
-The New Foreplay Fridays @ Pipeline Cafe
-The Playhouse @ Fashion 45 - Saturdays
-School Girl Sundays @ Scruples
JAGGED EDGE - LETS GET MARRIED (REMARQABLE RMX) lyrics
This right here is a remarkable so so def remix.
J-e yall, RUN DMC to the beat yall. Aha Aha and me yall know my name.
See, first of all
I know these so-called playas wouldn't tell you this
But I'mma be real and say what's on my heart
Let's take this chance and make this love feel relevant
Didn't you know I loved you from the start, yeah
When I think about
All these years we've put in this relationship
Who knew we'd make it this far?
Then I think about
Where would I be if we were to just to fall apart
And I can't stand the thought of losing you
Chorus:
Meet me at the altar in your white dress
We ain't getting no younger, we might as well do it
feeling you all the while girl I must confess
Girl let's just get married
I just wanna get married.
(Repeat)
Said I done it all
But frankly girl, I'm tired of this emptiness
I wanna come home to you and only you
Cause making love to just anyone ain't happening
I just gotta be with you
Hand Clap one time
Do you think about
Us finishing something we started so long ago
I wanna give you my all
Do you think about maybe us having some babies
Come on won't you be my lady forever, yeah
Rev Run
What`s goin on across the sea
It ain`t nuttin I ain`t frontin shorty comin wit me
Now I done already gave you the key to the Range
and your last name about to change,
Now your Ms Simmons got a betta livin what a difference Rev done made.
Used to be the snake type hanging out late night
girl you done made me change my life
ever since you meet me keys to the Bentley now they call you the preachers wife,
I`m the type of guy that take you out and by that
ring with the rock that will break your arms.
Playa won`t try dat
Now you can`t deny that
Triple Dub Rev to the Run.Com
Chorus repeat
Meet me at the altar
In your white dress
We ain't gettin' no younger
We might as well do it
Been feelin' you all the while girl
I must confess
Let's get married
Let's get married baby
Let's get married baby
Face to Face King N Knight N Dweeb Armor Wm Kamapua'a > 2Humu2Nukuapua'a Van Osdull...thanx...heh heh heh
n u still oldah den meh ub suh n...
hope u all had fun at d n b..heh heh heh...sorreh...me dun wit dat stuff...
real oloz yet djz? treye chek?
n owh hannah..watch wut u seh n front ur na keiki kuz deh tell meh erreh tang...heh heh heh...had fun n makaha eye hope....sorreh...eye wuz ill...
owh n so sorreh kuzn jeff n jenn..eye wuz realleh ill...i wud'vd watched lilo Jewelia...such an angel...sum adults can learn A LOT from na keiki...heh heh heh
c u all wen evahz...heh heh heh
owh n its ROYAL BAH LOO DRESS NUTTS WHEYET JUS F WEYE EYE
LUDACRIS - MONEY MAKER lyrics
[Pharrel]
Shake your money maker
Like somebody's bout to pay ya
I see you on my radar
Don't you act like you're a faker
She...
[Luda]
You know I got it
If you wanna come get it
Stand next to this money
Like - ey ey
[Pharrel]
Shake your money maker
Like somebody's bout to pay ya
Don't worry about them haters
Keep your nose up in the air
You know I got it
If you wanna come get it
Stand next to this money
Like - ey ey
[Verse 1]
Shake, shake, shake your money maker
Like you were shaking it for some paper
It took your momma 9 months to make ya
Might as well shake what your momma gave ya
You, you lookin good in them jeans
I bet you'd look even beter with me in between
I keep my mind on my money - money on my mind
But you's a hell of a distraction when you shake your behind
I got *** on my right side pourin' some cups
My whole hood is to my left and they ain't givin a fuck
So feel free to get loose and get carried away
So by tomorrow you forgot what you where saying today
But don't forget about this feeling that I am making you get
And all the calories you burn from me making you sweat
The mile highpoints you earn when we taking my jet and
How everywhere you turn I'll be making you wet
[Chorus]
Shake your money maker
Like somebody's bout to pay ya
I see you on my radar
Don't you act like you're a faker
She...
[Luda]
You know I got it
If you wanna come get it
Stand next to this money
Like - ey ey
[Pharrel]
Shake your money maker
Like somebody's bout to pay ya
Don't worry about them haters
Keep your nose up in the air
You know I got it
If you wanna come get it
Stand next to this money
Like - ey ey
[Verse 2]
Switch, switch, switch it from right to left
And switch it till you running right out of breath
And take a break until you ready again
And you can invite over as many friends as
You want to but I really want you and just
[ Money Maker lyrics found on www.completealbumlyrics.com ]
Be thankfull that Pharrel gave you something to bump to
Luda - I'm at the top of my game
You want my hands from your bottom to the top of your frame
And I - just wanna take a little right on your curves
And get erotic giving your body just what it deserves and
Let me give you some swimming lessons on the penis
Backstroke, breaststroke, stroke of a genius
Yepp call me the renissance man get up and
I stay harder then a cinderblock man
Hey I;m just a bedroom gangster
And I've been meaning to tell that I really mus thank ya when you
[Chorus]
Shake your money maker
Like somebody's bout to pay ya
I see you on my radar
Don't you act like you're a faker
She...
[Luda]
You know I got it
If you wanna come get it
Stand next to this money
Like - ey ey
[Pharrel]
Shake your money maker
Like somebody's bout to pay ya
Don't worry about them haters
Keep your nose up in the air
You know I got it
If you wanna come get it
Stand next to this money
Like - ey ey
[Verse 3]
Rock rock, rock it an make it work, girl
Please don't stop it till it hurts, girl
You - you been looking a little tipsy
So if you could just shake it a little this way
See I'm a member of the BBC
The original breadwinner of DTP
You the center of attention that is distracting the squad
Cause everybody in the campus like - oh my god she can
[Chorus]
Shake your money maker
Like somebody's bout to pay ya
I see you on my radar
Don't you act like you're a faker
She...
[Luda]
You know I got it
If you wanna come get it
Stand next to this money
Like - ey ey
[Pharrel]
Shake your money maker
Like somebody's bout to pay ya
Don't worry about them haters
Keep your nose up in the air
You know I got it
If you wanna come get it
Stand next to this money
Like - ey ey
[Chorus]
(Sg. Buloh Silk Store)
Honestly, this image is neither here nor there – I don’t see anything too special with it. I just want you to enjoy the colors of those silk textiles displayed, what else?
This is actually a handheld night shot taken at a store dedicated to selling silk textiles in Sungai Buloh, not too far from my home. I went right across the street while my wife and kids were still in the middle of their night shopping in the area.
The store is sufficiently lit for my shot and it makes it worked with exposure program of Aperture Priority, locked at f/3.5 in my setting, the biggest aperture my lens can get. And my handheld exercise is still within tolerant limit when the machine chooses to click at 1/6 second.
Have a good day, folks!
Roster Shot! Gah!
Sometimes when you're trespassing in a yard and your wife is driving and freaking out you gotta take what you can get and get out.
My loot for this month
Taking pictures of what I get and writing down the prices is my way of keeping an eye on my spending.
I know there are people who get a kick out of looking at loot (I do!), so that's why I share this with you all ^_^
The weather had been fairly typical for The Lakes but just as the sun was setting the blanket cloud broke and it was a race to get to these boats outside the theatre at Keswick. 10 minutes earlier would have been better photographically speaking but sometimes you have to make do with what you can get and I was grateful for a splash of fading sun on a few days where there had been none.
Berwick-Upon-Tweed is as far north as you can get and still be in England. This place changed hands between the English and the Scots something like 13 times in a 400 year period before the border became stable after the two kingdoms united during the reign of King James in 1603.
This is the lighthouse at the end of the breakwater at the mouth of the River Tweed. The notoriously vicious North Sea was calm and placid on this day.
I heard on the radio a few months back, about places in Britain that sound like they should be elsewhere, I can't remember the examples given. But for me, Luddenham sounds as Norfolk as it is possible to get. And yet it is a parish and small village here in Kent.
Were it not for the sat nav, I don't think I would have found Luddenham, not without someone reading the map anyway. From Burham it was a half hour blast down the M2 to Faversham, then taking roads that got ever narrower, I left Faversham, drove though a wood, then out onto the Oare Marshes.
Out over the marshes down a narrow single-track lane, winding round the edge of fields to a large farm that was once a manor house, and beside it was St Mary.
What warmth there had been in the day was now long gone, and the wind had turned to the north east and increased. As I stood inside the half-empty church, I could hear the wind whistling round the tower outside.
Highlight for me here was a fine collection of Victorian tiles, including a design each for one of the gospel saints, and a wonderful stone coffin lid depicting a face with two hands holding it.
----------------------------------------------
The familiar country scene of Norman church, medieval Court and sprawling farmyard - but the history of Luddenham is far from standard. Here we have a promontory of land which formerly provided wharves off the River Swale some way to the north. Indeed, the place name gets it origin from the Saxon `Lud` meaning a river. The church is now in the care of The Churches Conservation Trust and consists of nave, chancel and south tower. The latter dates from the early nineteenth century and replaced a tower which originally stood to the north of the nave. The west door is a rather weather-beaten twelfth century example. Following redundancy, the church lost most of its furnishings, so its vast spacious interior is something of a surprise to the visitor. There are some medieval tiles in the sanctuary, where graffiti on the glass records those who were probably too poor to have permanent memorials outside. At the back of the church is a fragment of thirteenth century coffin lid brought here from the ruined church at Stone, about a mile to the south west. Rather touchingly it has a heart clasped by two hands in its crisp carving. The church is usually open.
www.kentchurches.info/church.asp?p=Luddenham
LIES the next parish north-westward from Ore, and was, in the reign of the Conqueror, called Cildresham, by which name it is described in the survey of Domesday.
IT is situated about a mile northward of the high London road from Judde-hill, the southern part of it reaching up to Bizing wood, part of which is within it. It lies very low and flat; the arable lands in it, which consist of about three hundred and ninety-six acres, and the upland, meadow, and pasture, of about two hundred acres, are very rich and fertile; near one half of it is marsh land, which reaches to the waters of the Swale, which are its northern boundary.
The church stands nearly in the middle of the upland part of it, and the parsonage-house, which has a mote round it, near half a mile southward of it, close to Bysing-wood. There is no village, and not more than ten houses in the parish, the unhealthiness of its situation occassions its being but very thinly inhabited, those who risk their lives in it seldom attaining any great age.
THERE ARE some parts of this parish which lie at some distance from the rest of it, several other parishes intervening: in Perry-field, almost opposite the 47th mile-stone on the high London road, but on the other or south side of it, there are twenty-two acres of land, and between Goodneston and Boughton under Blean, there are thirty-two acres of land belonging to this parish. There are many instances of the like in different parts of this county, and in this neighbourhood in particular there are several, for a part of the parish of Morton, near Sittingborne, lies within this parish of Luddenham, and entirely surrounded by it, several other parishes intervening between this part of Murston and the rest of it. Part of Preston parish lies near Davington-hill; Upleez farm, the property of lord Romney, which lies westward of Ore, is in Faversham parish; and part of Ospringe parish lies surrounded by the town of Faversham and its liberties.
MR. JACOB among his Plantæ a Favershamienses, has given a list of a number of scarce plants found by him in this parish, to which the reader is referred for an account of them.
THIS PLACE was part of the vast possessions of Odo, bishop of Baieux, under the general title of whose lands it is thus entered in the survey of Domesday:
Anssrid holds of the bishop of Baieux Cildresham. It was taxed at one suling. The arable land is three carucates. In demesne there is one carucate and an half. There are five servants, and two acres of meadow. There is wood, but it pays nothing.
Upon the bishop's disgrace, about four years afterwards, this estate came to the crown, among the rest of this possessions, whence it was granted by the king, among other lands, to Fulbert de Dover, for his assistance, in the defence of Dover castle. These lands were held of the king in capite by barony, the tenant being bound by his tenure to maintain a certain number of soldiers, from time to time, for the defence of the castle.
Of Fulbert de Dover and his heirs, this place was held, as one knight's fee, of the honour of Chilham, which they made the caput baroniæ, or chief seat of their barony.
THE MANOR OF LUDDENHAM came afterwards into the possession of a family who fixed their name on it. William de Luddenham, in the 13th year of king John's reign, held it as one knight's see, of the honor of Chilham, in manner as before mentioned. His heirs, in the next reign of Henry III. sold this manor to the Northwoods, one of whom, Sir Roger de Northwood, in the 41st year of that reign, procured licence to alter the tenure of his lands from gavelkind to that of knight's service, of which there is a recapitulation in the Book of Aid, and among them mention is made of ninety acres of marsh land, which lay partly in his manor of Luddenham, and partly in Iwase.
From the family of Northwood this manor passed into that of Frogenhall; John de Frogenhall, at the latter end of king Edward the IIId.'s reign, died possessed of it, with an appendage called Bishopsbush. After which it at length descended in the beginning of king Edward the IVth.'s reign to Thomas Frogenhall, who married Joane, daughter and heir of William de Apulderfield, and dying in 1576, being the 17th year of that reign, was buried with his wife in Faversham church; their daughter and sole heir Anne, carried this manor in marriage to Mr. Thomas Quadring, of London, and he in like manner leaving one sole daughter and heir Joane. she entitled her husband Richard Dryland, of Cooksditch, in Faversham, to the possession of it. He alenated the appendage of Bishopsbush above-mentioned, to Crispe, who passed it away to Mr. William Hayward, from which name it went in marriage to Mr. Thomas Southhouse, gent. who possessed it at the end of king Charles I.'s reign; but both the name and situation of the estate have been for some time so totally for gotten, that the most diligent enquiries cannot trace out either of them.
But the manor of Luddenham itself went with Katherine, the sole daughter and heir of Richard Dryland, in marriage to Reginald Norton, of Lees-court, in Sheldwich, from which name it passed by sale, in king James I.'s reign, to Francis Cripps, esq. who sold it to Kirton, from which name it passed, in king James II.'s reign, to John Briant, esq. whose heirs passed it away, in king George I.'s reign, to Mr. John Blaxland, and his heirs alienated it, about the year 1753, to Beversham Filmer, esq. of London, a younger son of Sir Robert Filmer, bart. of East Sutton, and of Lincoln's-inn, barrister-at-law. He died ununmarried, and full of years, in 1763, (fn. 1) having by his will given this manor, among the rest of his lands in this county and elsewhere, to his eldest nephew, Sir John Filmer, bart. of East Sutton, who died s. p. in 1797, and by will devised this estate to his next brother, Sir Bevertham Filmer, bart. the present owner of it. A court baron is held for his manor.
At the court held for the manor of Chilham, the tenant of this manor is constantly presented by the jury for default of service, as being held of it under the notion of one knight's fee, and he is always amerced at two shillings, the payment of which is never with-held by him.
HAM is a principal estate, adjoining to the marshes, at the eastern boundary of this parish, and partly in that part of Preston which is separated from the rest of it by Davington and Ospringe intervening, being within that appendage to the manor of Copton, called from hence Hamme marsh. This estate, for several generations, belonged to the family of Roper, lords Teynham, and was sold in 1766 by Henry Roper, lord Teynham, to Mr. William Chamberlain, of London, who sold it to Benjamin Hatley Foote, Esq. and his son George Talbot Hatley Foote, Esq. now owns it.
NASHES is an estate in this parish, which formerly belonged to the Coppingers; Ambrose Coppinger possessed it in the reign of queen Elizabeth, whence it passed to the Brewsters, who were owners of much land at Linsted, Tenham, and other parts of this neighbourhood; from them it was sold to Mr. James Tassell, of Linsted; after which it became the property of Dr. Dravid Jones, and afterwards of Mr. Anthony Ingles, gent. of Ashford, who in 1776 conveyed it be sale to Mr. James Tappenden, gent. of Faversham, the present owner of it, who is descended from those of this name, who were for several generations resident at Sittingborne, where several of them lie buried, and are said to be extracted from the Denne of Tappenden, in Smarden, and bear for their arms, Or, two lions passant, in chief, and one in base, rampant, azure.
Charities.
Thomas Streynsham, gent. of Faversham, was possessed of a farm of 16l. per annum in this parish, Out of the profits of which, by his will in 1585, he devised 3l. per annum for ever, to the use of the poor of that parish.
The poor constantly relieved are about twenty; casually twelve.
Luddenham is within the ECCLESIASTICAL JURISDICTION of the diocese of Canterbury, and deanry of Ospringe.
The church, which is dedicated to St. Mary, is a small building, consisting of one isle and one chancel, having a tower steeple on the north side of it, in which are three bells.
¶This church was formerly an appendage to the manor of Luddenham, and as such came into the possession of William de Luddenham before-men tioned, lord of it, who, as appears by the leiger-book of the abbey of Faversham, gave this church to the abbot and convent there, which he did by placing his knife on the altar in the church of their convent, and this with the consent of his daughter and heir Matilda, and of Gaysle his wife, in the presence of the convent, and many of the clergy and laity, which gift was confirmed afterwards by Sir William de Insula, who married his daughter; notwithstanding which, William de Insula their son, laid claim to it as part of his inheritance, and a suit was commenced in the beginning of king John's reign, by him, against the abbot and convent, to recover the possession of it, which seems to have been determined in his favor, and the religious were forced to be contented with the pension of 66s. 8d. to be paid to them yearly out of it. (fn. 2). This pension they continued to enjoy from it till the time of their dissolution, in the 30th year of Henry VIII. when it came, with the rest of their possessions, into the king's hands, who settled it, among other premises, in his 33d year, on his new-founded dean and chapter of Canterbury, who continue to receive it from the rector at this time.
The determination of the above-mentioned suit against the religious, did not put them out of hopes of, some time or other, recovering the possession of this church, the appropriation of which they got to be inserted in a confirmation of some of their possessions by pope Gregory X. in 1274; but this did not avail them any thing, for this church still continued unappropriated, as it does at this time, being esteemed a rectory, the patronage of which has been for a great length of time in the crown.
The church of Luddenham is valued in the king's books at 12l. 8s. 4d. and the yearly tenths at 1l. 4s. 10d. In 1578, here were communicants fifty-four. The crown patron.
In 1640 there were communicants sixty-eight. The yearly value of it one hundred pounds. It is now esteemed of the same clear yearly value.
There is a modusclaimed for five hundred and thirtyone acres of the marsh lands in this parish, almost all of which are at two-pence, though there are some few at four-pence per acre.
A martial arts education of intelligent curriculum curated by Sensei Dan Rominski at his martial art school located in Rutherford NJ. Visit our website www.thedojo.org Self-Defense for children at (201) 933-3050 or email SenseiDan@TheDOJO.org
Visit our website www.thedojo.org
Children Learn Focus, Discipline, Self-Control, Concentration, Fitness, Confidence, Respect, Have Better Self-Esteem, Healthy Eating and Self-Defense.
Adults Learn How to get and stay in shape, Stress Release, Fitness, Healthy Eating, Slow start program (come as you are), a coach in every class, Confidence, Focus, Self-Discipline, Positive Peer Group and it’s Fun!
Parents, Download your FREE Report The 7 Steps for Parents: Preventing Childhood Sexual Abuse Click HERE to visit our website
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Sensei Dan is available for Scheduled TALKS & PRESENTATIONS.
Get more information about our Martial Arts Education of Intelligent Curriculum involving Everything Self-Defense at TheDOJO located in Rutherford NJ.
Contact Chief Instructor: Owner Sensei Dan Rominski at (201) 933-3050 or email SenseiDan@TheDOJO.org
Visit our website www.TheDOJO.org
TheDOJO - 52 Park Avenue, Rutherford, NJ 07070 - Phone: (201) 933-3050 - Text us for info here: (201) 838-4177
Our e-mail address: SenseiDan@TheDOJO.org - Our Facebook page: Like us at TheDOJO or Friend us DanRominski
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If you live in the Rutherford, NJ area and would like to inquire about our programs, reach out to us at the phone and/or e-mail or text addresses above. -Sensei Dan
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We Teach Children, Teens and Adults from Rutherford, NJ; East Rutherford, NJ; Carlstadt, NJ; Kearny, NJ; Lyndhurst, NJ; Woodridge, NJ; Hackensack, NJ; Belleville, NJ; Bloomfield, NJ; Nutley, NJ; Clifton, NJ; Montclair, NJ; and surrounding areas.
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The Luxury of being yourself
We have selected pictures on our website, but can always add more depending on the requests we do get and the current trend in the world of luxury fine art:
We do once in a while have discounted luxury fine art, please do keep checking:
Fine Art Photography Prints & Luxury Wall Art:
We do come up with merchandises over the years, but at the moment we have sold out and will bring them back depending on the demands of our past customers and those we do take on daily across the globe.
Follow us on Instagram!
Facebook:
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We tend to celebrate light in our pictures. Understanding how light interacts with the camera is paramount to the work we do. The temperature, intensity and source of light can wield different photography effect on the same subject or scene; add ISO, aperture and speed, the camera, the lens type, focal length and filters…the combination is varied ad multi-layered and if you know how to use them all, you will come to appreciate that all lights are useful, even those surrounded by a lot of darkness.
We are guided by three passions, simple but overwhelmingly strong, our longing to capture in print, that which is beautiful, the constant search for the one picture, and constant barrage of new equipment and style of photography. These passions, like great winds, have blown us across the globe in search of the one and we do understand the one we do look for might be this picture right here for someone else out there.
“A concise poem about our work as stated elow
A place without being
a thought without thinking
creatively, two dimensions
suspended animation
possibly a perfect imitation
of what was then to see.
A frozen memory in synthetic colour
or black and white instead,
fantasy dreams in magazines
become imbedded inside my head.
Artistic views
surrealistic hues,
a photographer’s instinctive eye:
for he does as he pleases
up to that point he releases,
then develops a visual high.
- M R Abrahams
Some of the gear we use at William Stone Fine Art are listed here:
Some of our latest work & more!
Embedded galleries within a gallery on various aspects of Photography:
There are other aspects closely related to photography that we do embark on:
All prints though us is put through a rigorous set of quality control standards long before we ever ship it to your front door. We only create gallery-quality images, and you'll receive your print in perfect condition with a lifetime guarantee.
All images on Flickr have been specifically published in a lower grade quality to amber our copyright being infringed. We have 4096x pixel full sized quality on all our photos and any of them could be ordered in high grade museum quality grade and a discount applied if the voucher WS-100 is used. Please contact us:
We do plan future trips and do catalogue our past ones, if you believe there is a beautiful place we have missed, and we are sure there must be many, please do let us know and we will investigate.
In our galleries you will find some amazing fine art photography for sale as limited edition and open edition, gallery quality prints. Only the finest materials and archival methods are used to produce these stunning photographic works of art.
We want to thank you for your interest in our work and thanks for visiting our work on Flickr, we do appreciate you and the contributions you make in furthering our interest in photography and on social media in general, we are mostly out in the field or at an event making people feel luxurious about themselves.
WS-181-4962808-23408342-2801637-3062021230430
The Luxury of being yourself
We have selected pictures on our website, but can always add more depending on the requests we do get and the current trend in the world of luxury fine art:
We do once in a while have discounted luxury fine art, please do keep checking:
Fine Art Photography Prints & Luxury Wall Art:
We do come up with merchandises over the years, but at the moment we have sold out and will bring them back depending on the demands of our past customers and those we do take on daily across the globe.
Follow us on Instagram!
Facebook:
www.facebook.com/william.stone.989/
500px:
500px.com/p/wsimages?view=photos
Twitter:
LinkedIn:
www.linkedin.com/in/william-stone-6bab1a213/
Pinterest:
www.pinterest.co.uk/wsimages_com/
Smugmug:
Instagram:
We tend to celebrate light in our pictures. Understanding how light interacts with the camera is paramount to the work we do. The temperature, intensity and source of light can wield different photography effect on the same subject or scene; add ISO, aperture and speed, the camera, the lens type, focal length and filters…the combination is varied ad multi-layered and if you know how to use them all, you will come to appreciate that all lights are useful, even those surrounded by a lot of darkness.
We are guided by three passions, simple but overwhelmingly strong, our longing to capture in print, that which is beautiful, the constant search for the one picture, and constant barrage of new equipment and style of photography. These passions, like great winds, have blown us across the globe in search of the one and we do understand the one we do look for might be this picture right here for someone else out there.
“A concise poem about our work as stated elow
A place without being
a thought without thinking
creatively, two dimensions
suspended animation
possibly a perfect imitation
of what was then to see.
A frozen memory in synthetic colour
or black and white instead,
fantasy dreams in magazines
become imbedded inside my head.
Artistic views
surrealistic hues,
a photographer’s instinctive eye:
for he does as he pleases
up to that point he releases,
then develops a visual high.
- M R Abrahams
Some of the gear we use at William Stone Fine Art are listed here:
Some of our latest work & more!
Embedded galleries within a gallery on various aspects of Photography:
There are other aspects closely related to photography that we do embark on:
All prints though us is put through a rigorous set of quality control standards long before we ever ship it to your front door. We only create gallery-quality images, and you'll receive your print in perfect condition with a lifetime guarantee.
All images on Flickr have been specifically published in a lower grade quality to amber our copyright being infringed. We have 4096x pixel full sized quality on all our photos and any of them could be ordered in high grade museum quality grade and a discount applied if the voucher WS-100 is used. Please contact us:
We do plan future trips and do catalogue our past ones, if you believe there is a beautiful place we have missed, and we are sure there must be many, please do let us know and we will investigate.
In our galleries you will find some amazing fine art photography for sale as limited edition and open edition, gallery quality prints. Only the finest materials and archival methods are used to produce these stunning photographic works of art.
We want to thank you for your interest in our work and thanks for visiting our work on Flickr, we do appreciate you and the contributions you make in furthering our interest in photography and on social media in general, we are mostly out in the field or at an event making people feel luxurious about themselves.
WS-251-581693473-61840721-2316012-892021065848
The Luxury of being yourself
We have selected pictures on our website, but can always add more depending on the requests we do get and the current trend in the world of luxury fine art:
We do once in a while have discounted luxury fine art, please do keep checking:
Fine Art Photography Prints & Luxury Wall Art:
We do come up with merchandises over the years, but at the moment we have sold out and will bring them back depending on the demands of our past customers and those we do take on daily across the globe.
Follow us on Instagram!
Facebook:
www.facebook.com/william.stone.989/
500px:
500px.com/p/wsimages?view=photos
Twitter:
LinkedIn:
www.linkedin.com/in/william-stone-6bab1a213/
Pinterest:
www.pinterest.co.uk/wsimages_com/
Smugmug:
Instagram:
We tend to celebrate light in our pictures. Understanding how light interacts with the camera is paramount to the work we do. The temperature, intensity and source of light can wield different photography effect on the same subject or scene; add ISO, aperture and speed, the camera, the lens type, focal length and filters…the combination is varied ad multi-layered and if you know how to use them all, you will come to appreciate that all lights are useful, even those surrounded by a lot of darkness.
We are guided by three passions, simple but overwhelmingly strong, our longing to capture in print, that which is beautiful, the constant search for the one picture, and constant barrage of new equipment and style of photography. These passions, like great winds, have blown us across the globe in search of the one and we do understand the one we do look for might be this picture right here for someone else out there.
“A concise poem about our work as stated elow
A place without being
a thought without thinking
creatively, two dimensions
suspended animation
possibly a perfect imitation
of what was then to see.
A frozen memory in synthetic colour
or black and white instead,
fantasy dreams in magazines
become imbedded inside my head.
Artistic views
surrealistic hues,
a photographer’s instinctive eye:
for he does as he pleases
up to that point he releases,
then develops a visual high.
- M R Abrahams
Some of the gear we use at William Stone Fine Art are listed here:
Some of our latest work & more!
Embedded galleries within a gallery on various aspects of Photography:
There are other aspects closely related to photography that we do embark on:
All prints though us is put through a rigorous set of quality control standards long before we ever ship it to your front door. We only create gallery-quality images, and you'll receive your print in perfect condition with a lifetime guarantee.
All images on Flickr have been specifically published in a lower grade quality to amber our copyright being infringed. We have 4096x pixel full sized quality on all our photos and any of them could be ordered in high grade museum quality grade and a discount applied if the voucher WS-100 is used. Please contact us:
We do plan future trips and do catalogue our past ones, if you believe there is a beautiful place we have missed, and we are sure there must be many, please do let us know and we will investigate.
In our galleries you will find some amazing fine art photography for sale as limited edition and open edition, gallery quality prints. Only the finest materials and archival methods are used to produce these stunning photographic works of art.
We want to thank you for your interest in our work and thanks for visiting our work on Flickr, we do appreciate you and the contributions you make in furthering our interest in photography and on social media in general, we are mostly out in the field or at an event making people feel luxurious about themselves.
WS-250-2497144-171019708-1171806-792021172458
This was quite a troublesome shot to get (and I'm still not entirely happy with it). I think it's because the new Dewback, as good as it is, has a longer neck than the prop used in the original Star Wars, so it's difficult to photograph it in the same way.
Descriptions
A martial arts education of intelligent curriculum curated by Sensei Dan Rominski at his martial art school located in Rutherford NJ. Visit our website www.thedojo.org Self-Defense for children at (201) 933-3050 or email SenseiDan@TheDOJO.org
Visit our website www.thedojo.org
Children Learn Focus, Discipline, Self-Control, Concentration, Fitness, Confidence, Respect, Have Better Self-Esteem, Healthy Eating and Self-Defense.
Adults Learn How to get and stay in shape, Stress Release, Fitness, Healthy Eating, Slow start program (come as you are), a coach in every class, Confidence, Focus, Self-Discipline, Positive Peer Group and it’s Fun!
Parents, Download your FREE Report The 7 Steps for Parents: Preventing Childhood Sexual Abuse Click HERE to visit our website
danrominski.squarespace.com/c...|/sexual-abuse-prevention
Sensei Dan is available for Scheduled TALKS & PRESENTATIONS.
Get more information about our Martial Arts Education of Intelligent Curriculum involving Everything Self-Defense at TheDOJO located in Rutherford NJ.
Contact Chief Instructor: Owner Sensei Dan Rominski at (201) 933-3050 or email SenseiDan@TheDOJO.org
Visit our website www.TheDOJO.org
TheDOJO - 52 Park Avenue, Rutherford, NJ 07070 - Phone: (201) 933-3050 - Text us for info here: (201) 838-4177
Our e-mail address: SenseiDan@TheDOJO.org - Our Facebook page: Like us at TheDOJO or Friend us DanRominski
Youtube Channel: www.youtube.com/user/DanRominski - Our Twitter www.twitter.com/danrominski
Instagram: www.instagram.com/danrominski
A link to where our school is on Google Maps: www.google.com/maps/place/TheD......
If you live in the Rutherford, NJ area and would like to inquire about our programs, reach out to us at the phone and/or e-mail or text addresses above. -Sensei Dan
Read our Blog at senseidanromisnki.blogspot.com...
Read our blog at www.DanRominski.Tumblr.com
We Teach Children, Teens and Adults from Rutherford, NJ; East Rutherford, NJ; Carlstadt, NJ; Kearny, NJ; Lyndhurst, NJ; Woodridge, NJ; Hackensack, NJ; Belleville, NJ; Bloomfield, NJ; Nutley, NJ; Clifton, NJ; Montclair, NJ; and surrounding areas.
No Matter The Martial Art we’ll help you accomplish your goals through our expertise or help you find a school that will best suit you.
Karate, Judo, Jujutsu, Juijitsu, Jiu-jitsu, Goju Ryu, Shorin Ryu, Kendo, Iaido, Aikido, Mixed Martial Arts, Grappling, Daito Ryu Aiki Jujutsu, Ryukyu Okinawa Kobudo, Shorin Ryu, TKD, Tae Kwon Do
Holy Trinity, Blythburgh, Suffolk
My favourite church in England.
Ten years earlier, I had written:
Perhaps some counties have a church which sums them up. If there has to be one for Suffolk, it must be the church of the Most Holy Trinity, Blythburgh. Here is the Suffolk imagination writ large, as large as it gets, and not overwritten by the Anglican triumphalism of the 19th century. Blythburgh church is often compared with its near neighbour, St Edmund at Southwold, but this isn't a fair comparison - Southwold church is much grander, and full of urban confidence. Probably a better comparison is with St Margaret, Lowestoft, for there, too, the Reformation intervened before the tower could be rebuilt. The two churches have a lot in common, but Blythburgh has the saving grace. It is so fascinating, so stunningly beautiful, by virtue of a factor that is rare in Anglican parish churches: sheer neglect.
Holy Trinity, Blythburgh, is the church that Suffolk people know and love best, and because of this it has generated some wonderful legends. The first is that Blythburgh, now a tiny village bisected by the fearsome A12 between London and the east coast ports, was once a thriving medieval town. This idea is used to explain the size of the church; in reality, it is almost certainly not the case. Blythburgh has always been small. But it did have an important medieval priory, and thus its church attracted enough wealthy piety on the eve of the Reformation to bankroll a spectacular rebuilding.
It is to Lavenham, Long Melford, Mildenhall, Southwold and here that we come to see the late 15th century Suffolk aesthetic in perfection. But for my money, Holy Trinity, Blythburgh, is the most significant medieval art object in the county, ranking alongside Salle in Norfolk. Look up at the clerestory; it seems impossible, there is so much glass, so little stone; and yet it rides the building with an air of permanence. Beneath, there is a coyness about the aisles that I prefer to the mathematics of Lavenham. Here, it could not have been done otherwise; it distils human architectural experience. If St Peter and St Paul at Lavenham is man talking to God, Holy Trinity at Blythburgh is God talking to man.
At the east end, a curious series of initials in Lombardic script stretch across the outer chancel wall. You can see an image of this in the left hand column. It reads A-N-JS-B-S-T-M-S-A-H-K-R. This probably stands for Ad Nomina JesuS, Beati Sanctae Trinitas, Maria Sanctorem Anne Honorem Katherine Reconstructus ('In the name of the blessed Jesus, the Holy Trinity, and in honour of holy Mary, Anne and Katherine, this was rebuilt'). A fanciful theory is that they are the initials of the wives of the donors. However, note the symbol of the Trinity in the T stone, and I think this is a clue to the whole piece.
High above, an old man sits on the gable end. Incredibly, this is a medieval image of God the Father, and extraordinary survival; we'll come back to this in a moment.
The porch is part of the late 15th century rebuilding, but it was considerably restored in the early 20th century. Interestingly, the angels crowning the battlements look medieval - but they weren't there in 1900, so must have come from somewhere else. Pretty much all the porch's features of interest date from this time. These include the small medieval font pressed into service as a holy water stoup, and image niche above the doors. This has been filled in more recent years by an image if the Holy Trinity; God the Father holds the Son suspended while a dove representing the Holy Spirit alights; you can see medieval versions of this at Framlingham and Little Glemham.
Of all medieval imagery, this was the most frowned upon by puritans. An image of God the Father was thought the most suspicious of all idolatry. As late as the 1870s, when the Reverend White edited the first popular edition of the Diary of William Dowsing, he actually congratulated Dowsing on destroying images of the Holy Trinity in the course of his 1644 progress through the counties of Suffolk and Cambridgeshire.
William Dowsing visited on the morning on April 9th, 1644. It was a Tuesday, and he had spent most of the week in the area. The previous day he'd been at Southwold and Walberswick to the east, but preceded his visit here with one to Blyford, which lies to the west, so he was probably staying overnight at the family home in Laxfield. He found twenty images in stained glass to take to task (a surprisingly small number, given the size of the place) and two hundred more that were inaccessible that morning (probably in the great east window). Three brass inscriptions incurred his wrath (but again, this is curious; there were many more) and he also ordered down the cross on the porch and the cross on the tower. Most significantly of all, he decided the angels in the roof should go.
Lots of Suffolk churches have angels in their roofs. None are like Blythburgh's. You step inside, and there they are, exactly as you've seen them in books and in photographs. They are awesome, breathtaking. There are twelve of them. Perhaps there were once twenty. How would you get them down if ordered to do so? The roof is so high, and the stencilling of IHS symbols would also have to go.
Perhaps this was already indistinct by the time Dowsing visited. Perhaps Tuesday, 9th of April 1644 was a dull day.
Several of the angels are peppered with lead shot. Here is another of those Suffolk legends; that Dowsing and the churchwardens fired muskets at the angels to try and bring them down. But when the angels were restored in the 1970s, the lead shot removed was found to be 18th century; contemporary with them there is a note in the churchwardens accounts that men were paid for shooting jackdaws living inside the building, so that is probably where the shot arises from.
Similarly, the splendid church guide repeats the error that the Holy Trinity symbol in the porch filled a gap that had been 'empty since 1644'. But there was certainly no image in it when Dowsing arrived here, or anywhere else in Suffolk; statues were completely outlawed by injunctions in the early years of the reign of Edward VI, almost a hundred years before the morning of Dowsing's visit.
Another feature used as evidence of puritan destruction is the ring fixed into the most westerly pillar of the north arcade. Cromwell's men stabled their horses here, apparently. Well, it almost certainly is a ring for tying horses to, and the broken bricks at the cleared west end also suggest this; but there is no reason to think that Cromwell and the puritans were responsible. For a full century before Cromwell, and for nearly two hundred years afterwards, a church as big as this would have had a multitude of uses.
Holy Trinity was built for the rituals of the Catholic church; once these were no longer allowed, a village like Blythburgh, which can never have had more than 500 people, would have seen it as an asset in other ways. It was only with the 19th century sacramental revival brought about by the Oxford Movement that we started getting all holy again about our parish churches. Perhaps it was used as an overnight stables for passing travellers on the main road; not an un-Christian use for it to be put to, I think.
In August 1577, a great storm brought down the steeple, which fell into the church and damaged the font. This was at the height of Elizabethan superstition, and the devil was blamed; his hoof marks can still be seen on the church door. Supposedly, a black dog ran through the church, killing two parishioners; he was seen the same day at St Mary, Bungay. Black Shuck is the East Anglian devil dog, the feared hound of the marshes; and Holy Trinity is the self-styled Cathedral of the Marshes, so it is appropriate that he appeared here.
You can see where the font has been broken. You can also see that this was one of the rare, beautiful seven sacrament fonts, similar in style to the one at Westhall; but, like those at neighbouring Wenhaston and Southwold, it has been completely stripped of imagery. Almost certainly, this was in the 1540s, but there is a story that the font at Wenhaston was chiselled clean as part of the 19th century restoration.
More importantly in any case, the storm, or the dog, or the devil, damaged the roof; it would not be properly repaired for more than 400 years. Throughout the 17th and 18th centuries, accounts note that Holy Trinity is not impregnable to the weather. By the 19th century, parishioners attended divine service with umbrellas. By the 1880s, it was a positively dangerous building to be in, and the Bishop of Norwich ordered it closed.
Why had Holy Trinity not been restored? Simply, this is a big church, with a tiny village. There was no rich patron, and in any case the parishioners had a passion for Methodism. Probably, repairs had been mooted, but not a wholesale restoration as we have seen at Lavenham, Long Melford and Southwold. By the 1880s, attention in England had turned to the preservation of medieval detail; in short, restorations were not as ignorant as they had been a quarter of a century earlier. Suggestions that Holy Trinity should be restored in the manner of the other three were blocked by the Society for the Preservation of Ancient Buildings, and this owed a lot to the energy of William Morris, the Society's secretary.
The slow, patient restoration of this building took the best part of a century; indeed, when I first visited in the 1980s I was still aware of a sense of decay.
Nothing could be further from the truth today. You step into a wide, white, open space, one of England's great church interiors. There, high above you, is the glorious roof and the angels of God. The brick floors spread around the scraped font, which still bears its dedicatory inscription and standing places for participants. You turn into the central gangway, and more than twenty empty indents for brasses stretch before you. Dowsing can be blamed for the destruction of hardly any of them. In reality, you see the work of 18th and 19th century thieves and collectors.
The bench-ends are superb. The benches themselves were reconstructed in the late 19th century, supposedly from the main post of Westleton windmill, but the ends are some of the county's finest medieval images. There are basically three series: the seven deadly sins, the seven works of mercy, and the four seasons. There are also angels bearing symbols of the Holy Trinity and the crown. Examples of all of these can be seen below; hover on them to read a description, click on them to see them enlarged.
The rood screen is a disappointment; most of it is modern, and the medieval bits perfunctory and scoured. Having said this, note how tiny the exit from the north aisle rood loft stair is. Also at this end of the church, notice a bare scattering of medieval glass, including some Saints.
But step through the central aisle to see something remarkable. The choir stalls are fronted by exquisite carvings of the 12 apostles, evangelists, and even figures who may be King Anna and his daughter St Etheldreda. She founded the priory that became Ely Cathedral, and there is a local connection because her father was killed at the Battle of Blythburgh. It seems likely that there was a shrine to them here.
Seeing these sixteen carvings is a bit like gobbling up a very large box of chocolates, but it is worth stopping to consider quite how genuine they all are. For a start, there could not have been choir stalls here in medieval times, and in any case we know that these desks and their frontages were in the north aisle chapel until the 19th century. They were used as school benches in the 17th century; they still bear holes for inkpots, and the graffiti of a bored Dutch child (his father was probably working on draining the marshes) is dated 1665 - you can see it in the left-hand column. There is nothing at all like them anywhere else in Suffolk, and although we know that they predate the restoration of Holy Trinity (and therefore almost certainly come from here originally) they seem of too high a quality to come from such a rural outback. In short, they are not medieval, whatever the guidebooks say.
Whatever, the east end of the chancel and aisles are thrillingly modern, wholly devotional. In the north aisle, traditionally the Hopton chantry, extraordinary friezes of skeletons become symbols of the four evangelists behind the altar. Beside them, with a view into the sanctuary, is one of Suffolk's biggest Easter sepulchres, tomb of the Hoptons. In the surviving sedilia of the high altar, we find Peter Ball's beautiful Madonna and Child and a fine Holy Trinity plate, which distract perhaps only slightly from the Jewish imagery above the reredos. It is all just about perfect.
Tucked to one side of the organ is a clockjack; Suffolk has two, and the other is down-river at Southwold. They date from the late 17th century, and presumably once struck the hours; at high church Blythburgh and Southwold today, they are used to announce the entry of the ministers.
You may be reading this entry in a far-off land; or perhaps you are here at home. Whatever, if you have not visited this church, then I urge you to do so. It is the most beautiful church in Suffolk, a wonderful art object, and it is always open in daylight. It remains one of the most significant medieval buildings in England. If you only visit one of Suffolk's churches, then make it this one.
TheDiet Chronicles Documents an example of healthy eating or rather mindful eating. An idea of a way one "could" eat as a means to eat healthy and enjoy the process. As black belts and martial artist we are aware that Heart Disease is the number one cause of death among Americans and 1 out of 3 people will develop Type 2 Diabetes. It only makes sense then to make Healthy Eating a part of any self-defense program. Statistics show more people will be hurt by what's on their plate than they ever will be by a punch, kick, throw, or grappling match. Learning martial art techniques is important but where it stops the self-discipline of eating healthy and mindfully begins. Just an idea we explore and one that I ask my students to explore as well.
A martial arts education of intelligent curriculum curated by Sensei Dan Rominski at his martial art school located in Rutherford NJ. Visit our website www.thedojo.org Self-Defense for children at (201) 933-3050 or email SenseiDan@TheDOJO.org
Visit our website www.thedojo.org
Children Learn Focus, Discipline, Self-Control, Concentration, Fitness, Confidence, Respect, Have Better Self-Esteem, Healthy Eating and Self-Defense.
Adults Learn How to get and stay in shape, Stress Release, Fitness, Healthy Eating, Slow start program (come as you are), a coach in every class, Confidence, Focus, Self-Discipline, Positive Peer Group and it’s Fun!
Parents, Download your FREE Report The 7 Steps for Parents: Preventing Childhood Sexual Abuse Click HERE to visit our website
danrominski.squarespace.com/c...|/sexual-abuse-prevention
Sensei Dan is available for Scheduled TALKS & PRESENTATIONS.
Get more information about our Martial Arts Education of Intelligent Curriculum involving Everything Self-Defense at TheDOJO located in Rutherford NJ.
Contact Chief Instructor: Owner Sensei Dan Rominski at (201) 933-3050 or email SenseiDan@TheDOJO.org
Visit our website www.TheDOJO.org
TheDOJO - 52 Park Avenue, Rutherford, NJ 07070 - Phone: (201) 933-3050 - Text us for info here: (201) 838-4177
Our e-mail address: SenseiDan@TheDOJO.org - Our Facebook page: Like us at TheDOJO or Friend us DanRominski
Youtube Channel: www.youtube.com/user/DanRominski - Our Twitter www.twitter.com/danrominski
Instagram: www.instagram.com/danrominski
A link to where our school is on Google Maps: www.google.com/maps/place/TheD......
If you live in the Rutherford, NJ area and would like to inquire about our programs, reach out to us at the phone and/or e-mail or text addresses above. -Sensei Dan
Read our Blog at senseidanromisnki.blogspot.com...
Read our blog at www.DanRominski.Tumblr.com
We Teach Children, Teens and Adults from Rutherford, NJ; East Rutherford, NJ; Carlstadt, NJ; Kearny, NJ; Lyndhurst, NJ; Woodridge, NJ; Hackensack, NJ; Belleville, NJ; Bloomfield, NJ; Nutley, NJ; Clifton, NJ; Montclair, NJ; and surrounding areas.
No Matter The Martial Art we’ll help you accomplish your goals through our expertise or help you find a school that will best suit you.
Karate, Judo, Jujutsu, Juijitsu, Jiu-jitsu, Goju Ryu, Shorin Ryu, Kendo, Iaido, Aikido, Mixed Martial Arts, Grappling, Daito Ryu Aiki Jujutsu, Ryukyu Okinawa Kobudo, Shorin Ryu, TKD, Tae Kwon Do
The Luxury of being yourself
We have selected pictures on our website, but can always add more depending on the requests we do get and the current trend in the world of luxury fine art:
We do once in a while have discounted luxury fine art, please do keep checking:
Fine Art Photography Prints & Luxury Wall Art:
We do come up with merchandises over the years, but at the moment we have sold out and will bring them back depending on the demands of our past customers and those we do take on daily across the globe.
Follow us on Instagram!
Facebook:
www.facebook.com/william.stone.989/
500px:
500px.com/p/wsimages?view=photos
Twitter:
LinkedIn:
www.linkedin.com/in/william-stone-6bab1a213/
Pinterest:
www.pinterest.co.uk/wsimages_com/
Smugmug:
Instagram:
We tend to celebrate light in our pictures. Understanding how light interacts with the camera is paramount to the work we do. The temperature, intensity and source of light can wield different photography effect on the same subject or scene; add ISO, aperture and speed, the camera, the lens type, focal length and filters…the combination is varied ad multi-layered and if you know how to use them all, you will come to appreciate that all lights are useful, even those surrounded by a lot of darkness.
We are guided by three passions, simple but overwhelmingly strong, our longing to capture in print, that which is beautiful, the constant search for the one picture, and constant barrage of new equipment and style of photography. These passions, like great winds, have blown us across the globe in search of the one and we do understand the one we do look for might be this picture right here for someone else out there.
“A concise poem about our work as stated elow
A place without being
a thought without thinking
creatively, two dimensions
suspended animation
possibly a perfect imitation
of what was then to see.
A frozen memory in synthetic colour
or black and white instead,
fantasy dreams in magazines
become imbedded inside my head.
Artistic views
surrealistic hues,
a photographer’s instinctive eye:
for he does as he pleases
up to that point he releases,
then develops a visual high.
- M R Abrahams
Some of the gear we use at William Stone Fine Art are listed here:
Some of our latest work & more!
Embedded galleries within a gallery on various aspects of Photography:
There are other aspects closely related to photography that we do embark on:
All prints though us is put through a rigorous set of quality control standards long before we ever ship it to your front door. We only create gallery-quality images, and you'll receive your print in perfect condition with a lifetime guarantee.
All images on Flickr have been specifically published in a lower grade quality to amber our copyright being infringed. We have 4096x pixel full sized quality on all our photos and any of them could be ordered in high grade museum quality grade and a discount applied if the voucher WS-100 is used. Please contact us:
We do plan future trips and do catalogue our past ones, if you believe there is a beautiful place we have missed, and we are sure there must be many, please do let us know and we will investigate.
In our galleries you will find some amazing fine art photography for sale as limited edition and open edition, gallery quality prints. Only the finest materials and archival methods are used to produce these stunning photographic works of art.
We want to thank you for your interest in our work and thanks for visiting our work on Flickr, we do appreciate you and the contributions you make in furthering our interest in photography and on social media in general, we are mostly out in the field or at an event making people feel luxurious about themselves.
WS-264-271366331-222426367-1214688-2192021222748
The Luxury of being yourself
We have selected pictures on our website, but can always add more depending on the requests we do get and the current trend in the world of luxury fine art:
We do wedding photography and videography:
We do once in a while have discounted luxury fine art, please do keep checking:
Fine Art Photography Prints & Luxury Wall Art:
We do come up with merchandises over the years, but at the moment we have sold out and will bring them back depending on the demands of our past customers and those we do take on daily across the globe.
Follow us on Instagram!
Facebook:
www.facebook.com/william.stone.989/
500px:
500px.com/p/wsimages?view=photos
Twitter:
LinkedIn:
www.linkedin.com/in/william-stone-6bab1a213/
Pinterest:
www.pinterest.co.uk/wsimages_com/
Smugmug:
Instagram:
We tend to celebrate light in our pictures. Understanding how light interacts with the camera is paramount to the work we do. The temperature, intensity and source of light can wield different photography effect on the same subject or scene; add ISO, aperture and speed, the camera, the lens type, focal length and filters…the combination is varied ad multi-layered and if you know how to use them all, you will come to appreciate that all lights are useful, even those surrounded by a lot of darkness.
We are guided by three passions, simple but overwhelmingly strong, our longing to capture in print, that which is beautiful, the constant search for the one picture, and constant barrage of new equipment and style of photography. These passions, like great winds, have blown us across the globe in search of the one and we do understand the one we do look for might be this picture right here for someone else out there.
“A concise poem about our work as stated elow
A place without being
a thought without thinking
creatively, two dimensions
suspended animation
possibly a perfect imitation
of what was then to see.
A frozen memory in synthetic colour
or black and white instead,
fantasy dreams in magazines
become imbedded inside my head.
Artistic views
surrealistic hues,
a photographer’s instinctive eye:
for he does as he pleases
up to that point he releases,
then develops a visual high.
- M R Abrahams
Some of the gear we use at William Stone Fine Art are listed here:
Some of our latest work & more!
Embedded galleries within a gallery on various aspects of Photography:
There are other aspects closely related to photography that we do embark on:
All prints though us is put through a rigorous set of quality control standards long before we ever ship it to your front door. We only create gallery-quality images, and you'll receive your print in perfect condition with a lifetime guarantee.
All images on Flickr have been specifically published in a lower grade quality to amber our copyright being infringed. We have 4096x pixel full sized quality on all our photos and any of them could be ordered in high grade museum quality grade and a discount applied if the voucher WS-100 is used. Please contact us:
We do plan future trips and do catalogue our past ones, if you believe there is a beautiful place we have missed, and we are sure there must be many, please do let us know and we will investigate.
In our galleries you will find some amazing fine art photography for sale as limited edition and open edition, gallery quality prints. Only the finest materials and archival methods are used to produce these stunning photographic works of art.
We want to thank you for your interest in our work and thanks for visiting our work on Flickr, we do appreciate you and the contributions you make in furthering our interest in photography and on social media in general, we are mostly out in the field or at an event making people feel luxurious about themselves.
WS-138-271192063-61474185-2662406-1852022062706
Normally I don’t upload photos like this on Flickr, but the Exmoor Coaster deserves more attention than it gets, and with the Lands End Coaster sadly using closed tops this year, hopefully it will! This is the view looking West towards Lynmouth from Countisbury Hill. .
Embedded ticks should be removed using fine-tipped tweezers. DO NOT use petroleum jelly, a hot match, nail polish, or other products. With a steady motion, pull the tick's body away from the skin. Cleanse the area with an antiseptic. Learn more about tick removal.
Dogs are very susceptible to tick bites and tickborne diseases. Vaccines are not available for all the tickborne diseases that dogs can get, and they don’t keep the dogs from bringing ticks into your home. For these reasons, it’s important to use a tick preventive product on your dog. Learn more.
The2OfUsPhoto now on Facebook!~ Flickriver ~ Please check out my blog
So, did you want a print of one of my photos? Read and you will find out how!
So, this image was taken on the same day as the last one. I usually do a different crop when shooting portrait. However, on this occasion, things were a bit different, I wanted to get the rising moon. I almost wish we were there an hour earlier for a better moon on the horizon shot! OR, better yet, a few days later and get the almost full moon rising over the snow capped mountains! However, that did not work out for me, as you could imagine, I did not plan this visit. Considering the fact I had no idea Winchester had a lake, let alone, did not know we would be finding the lake! So, a thought for another time in life, for now, this was the best I could get, and this being with the 7D and the 100-400mmL lens. Now, this was a lens I am not use to shooting with! Its my husbands lens, but now that EVERYTHING is community property, I had no choice to shoot with this combo while he shot with the 5D MkII! I made the most of it, despite my recovering shoulder, from the surgery I had back in November! The combo was too heavy for me, so I did have to mount on the tripod. When all is said and done, the pain today was so great, that I had to "inebriate" myself to make dinner tonight! That was fun, cooking in a slight stooper! But hey, I did not hurt so bad! :D
Any way, that brings me to my contest, the moon! Lady Luna! Oh, how I love to photograph my dear friend, Lady Luna! So, she is in the last image posted, but at a NOT so zoomed in range! The first person to go to last image, and put a tag on Lady Luna, where ever she is, i will send them a print of that last image OR send them one of my 2011 calendars that I have been selling. Their choice! So, act quick! Also, important to note, that ONLY contacts of mine can tag my photos, so you have to be a contact to "enter" and you have to be willing to give me you address to send the print or calendar!
Good luck and I will put the last image in the comments so that you can just click there to get to the last image. Remember, click, find the moon and tag it! Thats all! The first to do so will be contacted by me! AND, if you did not win, and want a print or calendar, drop me a message, ALL is for sale!
No geek talk, no filters! Just a point at the scene and shoot kind of shot!
Holy Trinity, Blythburgh, Suffolk
My favourite church in England.
Ten years earlier, I had written:
Perhaps some counties have a church which sums them up. If there has to be one for Suffolk, it must be the church of the Most Holy Trinity, Blythburgh. Here is the Suffolk imagination writ large, as large as it gets, and not overwritten by the Anglican triumphalism of the 19th century. Blythburgh church is often compared with its near neighbour, St Edmund at Southwold, but this isn't a fair comparison - Southwold church is much grander, and full of urban confidence. Probably a better comparison is with St Margaret, Lowestoft, for there, too, the Reformation intervened before the tower could be rebuilt. The two churches have a lot in common, but Blythburgh has the saving grace. It is so fascinating, so stunningly beautiful, by virtue of a factor that is rare in Anglican parish churches: sheer neglect.
Holy Trinity, Blythburgh, is the church that Suffolk people know and love best, and because of this it has generated some wonderful legends. The first is that Blythburgh, now a tiny village bisected by the fearsome A12 between London and the east coast ports, was once a thriving medieval town. This idea is used to explain the size of the church; in reality, it is almost certainly not the case. Blythburgh has always been small. But it did have an important medieval priory, and thus its church attracted enough wealthy piety on the eve of the Reformation to bankroll a spectacular rebuilding.
It is to Lavenham, Long Melford, Mildenhall, Southwold and here that we come to see the late 15th century Suffolk aesthetic in perfection. But for my money, Holy Trinity, Blythburgh, is the most significant medieval art object in the county, ranking alongside Salle in Norfolk. Look up at the clerestory; it seems impossible, there is so much glass, so little stone; and yet it rides the building with an air of permanence. Beneath, there is a coyness about the aisles that I prefer to the mathematics of Lavenham. Here, it could not have been done otherwise; it distils human architectural experience. If St Peter and St Paul at Lavenham is man talking to God, Holy Trinity at Blythburgh is God talking to man.
At the east end, a curious series of initials in Lombardic script stretch across the outer chancel wall. You can see an image of this in the left hand column. It reads A-N-JS-B-S-T-M-S-A-H-K-R. This probably stands for Ad Nomina JesuS, Beati Sanctae Trinitas, Maria Sanctorem Anne Honorem Katherine Reconstructus ('In the name of the blessed Jesus, the Holy Trinity, and in honour of holy Mary, Anne and Katherine, this was rebuilt'). A fanciful theory is that they are the initials of the wives of the donors. However, note the symbol of the Trinity in the T stone, and I think this is a clue to the whole piece.
High above, an old man sits on the gable end. Incredibly, this is a medieval image of God the Father, and extraordinary survival; we'll come back to this in a moment.
The porch is part of the late 15th century rebuilding, but it was considerably restored in the early 20th century. Interestingly, the angels crowning the battlements look medieval - but they weren't there in 1900, so must have come from somewhere else. Pretty much all the porch's features of interest date from this time. These include the small medieval font pressed into service as a holy water stoup, and image niche above the doors. This has been filled in more recent years by an image if the Holy Trinity; God the Father holds the Son suspended while a dove representing the Holy Spirit alights; you can see medieval versions of this at Framlingham and Little Glemham.
Of all medieval imagery, this was the most frowned upon by puritans. An image of God the Father was thought the most suspicious of all idolatry. As late as the 1870s, when the Reverend White edited the first popular edition of the Diary of William Dowsing, he actually congratulated Dowsing on destroying images of the Holy Trinity in the course of his 1644 progress through the counties of Suffolk and Cambridgeshire.
William Dowsing visited on the morning on April 9th, 1644. It was a Tuesday, and he had spent most of the week in the area. The previous day he'd been at Southwold and Walberswick to the east, but preceded his visit here with one to Blyford, which lies to the west, so he was probably staying overnight at the family home in Laxfield. He found twenty images in stained glass to take to task (a surprisingly small number, given the size of the place) and two hundred more that were inaccessible that morning (probably in the great east window). Three brass inscriptions incurred his wrath (but again, this is curious; there were many more) and he also ordered down the cross on the porch and the cross on the tower. Most significantly of all, he decided the angels in the roof should go.
Lots of Suffolk churches have angels in their roofs. None are like Blythburgh's. You step inside, and there they are, exactly as you've seen them in books and in photographs. They are awesome, breathtaking. There are twelve of them. Perhaps there were once twenty. How would you get them down if ordered to do so? The roof is so high, and the stencilling of IHS symbols would also have to go.
Perhaps this was already indistinct by the time Dowsing visited. Perhaps Tuesday, 9th of April 1644 was a dull day.
Several of the angels are peppered with lead shot. Here is another of those Suffolk legends; that Dowsing and the churchwardens fired muskets at the angels to try and bring them down. But when the angels were restored in the 1970s, the lead shot removed was found to be 18th century; contemporary with them there is a note in the churchwardens accounts that men were paid for shooting jackdaws living inside the building, so that is probably where the shot arises from.
Similarly, the splendid church guide repeats the error that the Holy Trinity symbol in the porch filled a gap that had been 'empty since 1644'. But there was certainly no image in it when Dowsing arrived here, or anywhere else in Suffolk; statues were completely outlawed by injunctions in the early years of the reign of Edward VI, almost a hundred years before the morning of Dowsing's visit.
Another feature used as evidence of puritan destruction is the ring fixed into the most westerly pillar of the north arcade. Cromwell's men stabled their horses here, apparently. Well, it almost certainly is a ring for tying horses to, and the broken bricks at the cleared west end also suggest this; but there is no reason to think that Cromwell and the puritans were responsible. For a full century before Cromwell, and for nearly two hundred years afterwards, a church as big as this would have had a multitude of uses.
Holy Trinity was built for the rituals of the Catholic church; once these were no longer allowed, a village like Blythburgh, which can never have had more than 500 people, would have seen it as an asset in other ways. It was only with the 19th century sacramental revival brought about by the Oxford Movement that we started getting all holy again about our parish churches. Perhaps it was used as an overnight stables for passing travellers on the main road; not an un-Christian use for it to be put to, I think.
In August 1577, a great storm brought down the steeple, which fell into the church and damaged the font. This was at the height of Elizabethan superstition, and the devil was blamed; his hoof marks can still be seen on the church door. Supposedly, a black dog ran through the church, killing two parishioners; he was seen the same day at St Mary, Bungay. Black Shuck is the East Anglian devil dog, the feared hound of the marshes; and Holy Trinity is the self-styled Cathedral of the Marshes, so it is appropriate that he appeared here.
You can see where the font has been broken. You can also see that this was one of the rare, beautiful seven sacrament fonts, similar in style to the one at Westhall; but, like those at neighbouring Wenhaston and Southwold, it has been completely stripped of imagery. Almost certainly, this was in the 1540s, but there is a story that the font at Wenhaston was chiselled clean as part of the 19th century restoration.
More importantly in any case, the storm, or the dog, or the devil, damaged the roof; it would not be properly repaired for more than 400 years. Throughout the 17th and 18th centuries, accounts note that Holy Trinity is not impregnable to the weather. By the 19th century, parishioners attended divine service with umbrellas. By the 1880s, it was a positively dangerous building to be in, and the Bishop of Norwich ordered it closed.
Why had Holy Trinity not been restored? Simply, this is a big church, with a tiny village. There was no rich patron, and in any case the parishioners had a passion for Methodism. Probably, repairs had been mooted, but not a wholesale restoration as we have seen at Lavenham, Long Melford and Southwold. By the 1880s, attention in England had turned to the preservation of medieval detail; in short, restorations were not as ignorant as they had been a quarter of a century earlier. Suggestions that Holy Trinity should be restored in the manner of the other three were blocked by the Society for the Preservation of Ancient Buildings, and this owed a lot to the energy of William Morris, the Society's secretary.
The slow, patient restoration of this building took the best part of a century; indeed, when I first visited in the 1980s I was still aware of a sense of decay.
Nothing could be further from the truth today. You step into a wide, white, open space, one of England's great church interiors. There, high above you, is the glorious roof and the angels of God. The brick floors spread around the scraped font, which still bears its dedicatory inscription and standing places for participants. You turn into the central gangway, and more than twenty empty indents for brasses stretch before you. Dowsing can be blamed for the destruction of hardly any of them. In reality, you see the work of 18th and 19th century thieves and collectors.
The bench-ends are superb. The benches themselves were reconstructed in the late 19th century, supposedly from the main post of Westleton windmill, but the ends are some of the county's finest medieval images. There are basically three series: the seven deadly sins, the seven works of mercy, and the four seasons. There are also angels bearing symbols of the Holy Trinity and the crown. Examples of all of these can be seen below; hover on them to read a description, click on them to see them enlarged.
The rood screen is a disappointment; most of it is modern, and the medieval bits perfunctory and scoured. Having said this, note how tiny the exit from the north aisle rood loft stair is. Also at this end of the church, notice a bare scattering of medieval glass, including some Saints.
But step through the central aisle to see something remarkable. The choir stalls are fronted by exquisite carvings of the 12 apostles, evangelists, and even figures who may be King Anna and his daughter St Etheldreda. She founded the priory that became Ely Cathedral, and there is a local connection because her father was killed at the Battle of Blythburgh. It seems likely that there was a shrine to them here.
Seeing these sixteen carvings is a bit like gobbling up a very large box of chocolates, but it is worth stopping to consider quite how genuine they all are. For a start, there could not have been choir stalls here in medieval times, and in any case we know that these desks and their frontages were in the north aisle chapel until the 19th century. They were used as school benches in the 17th century; they still bear holes for inkpots, and the graffiti of a bored Dutch child (his father was probably working on draining the marshes) is dated 1665 - you can see it in the left-hand column. There is nothing at all like them anywhere else in Suffolk, and although we know that they predate the restoration of Holy Trinity (and therefore almost certainly come from here originally) they seem of too high a quality to come from such a rural outback. In short, they are not medieval, whatever the guidebooks say.
Whatever, the east end of the chancel and aisles are thrillingly modern, wholly devotional. In the north aisle, traditionally the Hopton chantry, extraordinary friezes of skeletons become symbols of the four evangelists behind the altar. Beside them, with a view into the sanctuary, is one of Suffolk's biggest Easter sepulchres, tomb of the Hoptons. In the surviving sedilia of the high altar, we find Peter Ball's beautiful Madonna and Child and a fine Holy Trinity plate, which distract perhaps only slightly from the Jewish imagery above the reredos. It is all just about perfect.
Tucked to one side of the organ is a clockjack; Suffolk has two, and the other is down-river at Southwold. They date from the late 17th century, and presumably once struck the hours; at high church Blythburgh and Southwold today, they are used to announce the entry of the ministers.
You may be reading this entry in a far-off land; or perhaps you are here at home. Whatever, if you have not visited this church, then I urge you to do so. It is the most beautiful church in Suffolk, a wonderful art object, and it is always open in daylight. It remains one of the most significant medieval buildings in England. If you only visit one of Suffolk's churches, then make it this one.
The Luxury of being yourself
We have selected pictures on our website, but can always add more depending on the requests we do get and the current trend in the world of luxury fine art:
We do once in a while have discounted luxury fine art, please do keep checking:
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We tend to celebrate light in our pictures. Understanding how light interacts with the camera is paramount to the work we do. The temperature, intensity and source of light can wield different photography effect on the same subject or scene; add ISO, aperture and speed, the camera, the lens type, focal length and filters…the combination is varied ad multi-layered and if you know how to use them all, you will come to appreciate that all lights are useful, even those surrounded by a lot of darkness.
We are guided by three passions, simple but overwhelmingly strong, our longing to capture in print, that which is beautiful, the constant search for the one picture, and constant barrage of new equipment and style of photography. These passions, like great winds, have blown us across the globe in search of the one and we do understand the one we do look for might be this picture right here for someone else out there.
“A concise poem about our work as stated elow
A place without being
a thought without thinking
creatively, two dimensions
suspended animation
possibly a perfect imitation
of what was then to see.
A frozen memory in synthetic colour
or black and white instead,
fantasy dreams in magazines
become imbedded inside my head.
Artistic views
surrealistic hues,
a photographer’s instinctive eye:
for he does as he pleases
up to that point he releases,
then develops a visual high.
- M R Abrahams
Some of the gear we use at William Stone Fine Art are listed here:
Some of our latest work & more!
Embedded galleries within a gallery on various aspects of Photography:
There are other aspects closely related to photography that we do embark on:
All prints though us is put through a rigorous set of quality control standards long before we ever ship it to your front door. We only create gallery-quality images, and you'll receive your print in perfect condition with a lifetime guarantee.
All images on Flickr have been specifically published in a lower grade quality to amber our copyright being infringed. We have 4096x pixel full sized quality on all our photos and any of them could be ordered in high grade museum quality grade and a discount applied if the voucher WS-100 is used. Please contact us:
We do plan future trips and do catalogue our past ones, if you believe there is a beautiful place we have missed, and we are sure there must be many, please do let us know and we will investigate.
In our galleries you will find some amazing fine art photography for sale as limited edition and open edition, gallery quality prints. Only the finest materials and archival methods are used to produce these stunning photographic works of art.
We want to thank you for your interest in our work and thanks for visiting our work on Flickr, we do appreciate you and the contributions you make in furthering our interest in photography and on social media in general, we are mostly out in the field or at an event making people feel luxurious about themselves.
WS-181-51153115-91053073-2109292-3062021090517
The Luxury of being yourself
We have selected pictures on our website, but can always add more depending on the requests we do get and the current trend in the world of luxury fine art:
We do once in a while have discounted luxury fine art, please do keep checking:
Fine Art Photography Prints & Luxury Wall Art:
We do come up with merchandises over the years, but at the moment we have sold out and will bring them back depending on the demands of our past customers and those we do take on daily across the globe.
Follow us on Instagram!
Facebook:
www.facebook.com/william.stone.989/
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We tend to celebrate light in our pictures. Understanding how light interacts with the camera is paramount to the work we do. The temperature, intensity and source of light can wield different photography effect on the same subject or scene; add ISO, aperture and speed, the camera, the lens type, focal length and filters…the combination is varied ad multi-layered and if you know how to use them all, you will come to appreciate that all lights are useful, even those surrounded by a lot of darkness.
We are guided by three passions, simple but overwhelmingly strong, our longing to capture in print, that which is beautiful, the constant search for the one picture, and constant barrage of new equipment and style of photography. These passions, like great winds, have blown us across the globe in search of the one and we do understand the one we do look for might be this picture right here for someone else out there.
“A concise poem about our work as stated elow
A place without being
a thought without thinking
creatively, two dimensions
suspended animation
possibly a perfect imitation
of what was then to see.
A frozen memory in synthetic colour
or black and white instead,
fantasy dreams in magazines
become imbedded inside my head.
Artistic views
surrealistic hues,
a photographer’s instinctive eye:
for he does as he pleases
up to that point he releases,
then develops a visual high.
- M R Abrahams
Some of the gear we use at William Stone Fine Art are listed here:
Some of our latest work & more!
Embedded galleries within a gallery on various aspects of Photography:
There are other aspects closely related to photography that we do embark on:
All prints though us is put through a rigorous set of quality control standards long before we ever ship it to your front door. We only create gallery-quality images, and you'll receive your print in perfect condition with a lifetime guarantee.
All images on Flickr have been specifically published in a lower grade quality to amber our copyright being infringed. We have 4096x pixel full sized quality on all our photos and any of them could be ordered in high grade museum quality grade and a discount applied if the voucher WS-100 is used. Please contact us:
We do plan future trips and do catalogue our past ones, if you believe there is a beautiful place we have missed, and we are sure there must be many, please do let us know and we will investigate.
In our galleries you will find some amazing fine art photography for sale as limited edition and open edition, gallery quality prints. Only the finest materials and archival methods are used to produce these stunning photographic works of art.
We want to thank you for your interest in our work and thanks for visiting our work on Flickr, we do appreciate you and the contributions you make in furthering our interest in photography and on social media in general, we are mostly out in the field or at an event making people feel luxurious about themselves.
WS-285-311813365-161454632-1563280-12102021163128
The Luxury of being yourself
We have selected pictures on our website, but can always add more depending on the requests we do get and the current trend in the world of luxury fine art:
We do wedding photography and videography:
We do once in a while have discounted luxury fine art, please do keep checking:
Fine Art Photography Prints & Luxury Wall Art:
We do come up with merchandises over the years, but at the moment we have sold out and will bring them back depending on the demands of our past customers and those we do take on daily across the globe.
Follow us on Instagram!
Facebook:
www.facebook.com/william.stone.989/
500px:
500px.com/p/wsimages?view=photos
Twitter:
LinkedIn:
www.linkedin.com/in/william-stone-6bab1a213/
Pinterest:
www.pinterest.co.uk/wsimages_com/
Smugmug:
Instagram:
We tend to celebrate light in our pictures. Understanding how light interacts with the camera is paramount to the work we do. The temperature, intensity and source of light can wield different photography effect on the same subject or scene; add ISO, aperture and speed, the camera, the lens type, focal length and filters…the combination is varied ad multi-layered and if you know how to use them all, you will come to appreciate that all lights are useful, even those surrounded by a lot of darkness.
We are guided by three passions, simple but overwhelmingly strong, our longing to capture in print, that which is beautiful, the constant search for the one picture, and constant barrage of new equipment and style of photography. These passions, like great winds, have blown us across the globe in search of the one and we do understand the one we do look for might be this picture right here for someone else out there.
“A concise poem about our work as stated elow
A place without being
a thought without thinking
creatively, two dimensions
suspended animation
possibly a perfect imitation
of what was then to see.
A frozen memory in synthetic colour
or black and white instead,
fantasy dreams in magazines
become imbedded inside my head.
Artistic views
surrealistic hues,
a photographer’s instinctive eye:
for he does as he pleases
up to that point he releases,
then develops a visual high.
- M R Abrahams
Some of the gear we use at William Stone Fine Art are listed here:
Some of our latest work & more!
Embedded galleries within a gallery on various aspects of Photography:
There are other aspects closely related to photography that we do embark on:
All prints though us is put through a rigorous set of quality control standards long before we ever ship it to your front door. We only create gallery-quality images, and you'll receive your print in perfect condition with a lifetime guarantee.
All images on Flickr have been specifically published in a lower grade quality to amber our copyright being infringed. We have 4096x pixel full sized quality on all our photos and any of them could be ordered in high grade museum quality grade and a discount applied if the voucher WS-100 is used. Please contact us:
We do plan future trips and do catalogue our past ones, if you believe there is a beautiful place we have missed, and we are sure there must be many, please do let us know and we will investigate.
In our galleries you will find some amazing fine art photography for sale as limited edition and open edition, gallery quality prints. Only the finest materials and archival methods are used to produce these stunning photographic works of art.
We want to thank you for your interest in our work and thanks for visiting our work on Flickr, we do appreciate you and the contributions you make in furthering our interest in photography and on social media in general, we are mostly out in the field or at an event making people feel luxurious about themselves.
WS-140-9518132-12770161-4570092-2052022010931
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Holy Trinity, Blythburgh, Suffolk
My favourite church in England.
Ten years earlier, I had written:
Perhaps some counties have a church which sums them up. If there has to be one for Suffolk, it must be the church of the Most Holy Trinity, Blythburgh. Here is the Suffolk imagination writ large, as large as it gets, and not overwritten by the Anglican triumphalism of the 19th century. Blythburgh church is often compared with its near neighbour, St Edmund at Southwold, but this isn't a fair comparison - Southwold church is much grander, and full of urban confidence. Probably a better comparison is with St Margaret, Lowestoft, for there, too, the Reformation intervened before the tower could be rebuilt. The two churches have a lot in common, but Blythburgh has the saving grace. It is so fascinating, so stunningly beautiful, by virtue of a factor that is rare in Anglican parish churches: sheer neglect.
Holy Trinity, Blythburgh, is the church that Suffolk people know and love best, and because of this it has generated some wonderful legends. The first is that Blythburgh, now a tiny village bisected by the fearsome A12 between London and the east coast ports, was once a thriving medieval town. This idea is used to explain the size of the church; in reality, it is almost certainly not the case. Blythburgh has always been small. But it did have an important medieval priory, and thus its church attracted enough wealthy piety on the eve of the Reformation to bankroll a spectacular rebuilding.
It is to Lavenham, Long Melford, Mildenhall, Southwold and here that we come to see the late 15th century Suffolk aesthetic in perfection. But for my money, Holy Trinity, Blythburgh, is the most significant medieval art object in the county, ranking alongside Salle in Norfolk. Look up at the clerestory; it seems impossible, there is so much glass, so little stone; and yet it rides the building with an air of permanence. Beneath, there is a coyness about the aisles that I prefer to the mathematics of Lavenham. Here, it could not have been done otherwise; it distils human architectural experience. If St Peter and St Paul at Lavenham is man talking to God, Holy Trinity at Blythburgh is God talking to man.
At the east end, a curious series of initials in Lombardic script stretch across the outer chancel wall. You can see an image of this in the left hand column. It reads A-N-JS-B-S-T-M-S-A-H-K-R. This probably stands for Ad Nomina JesuS, Beati Sanctae Trinitas, Maria Sanctorem Anne Honorem Katherine Reconstructus ('In the name of the blessed Jesus, the Holy Trinity, and in honour of holy Mary, Anne and Katherine, this was rebuilt'). A fanciful theory is that they are the initials of the wives of the donors. However, note the symbol of the Trinity in the T stone, and I think this is a clue to the whole piece.
High above, an old man sits on the gable end. Incredibly, this is a medieval image of God the Father, and extraordinary survival; we'll come back to this in a moment.
The porch is part of the late 15th century rebuilding, but it was considerably restored in the early 20th century. Interestingly, the angels crowning the battlements look medieval - but they weren't there in 1900, so must have come from somewhere else. Pretty much all the porch's features of interest date from this time. These include the small medieval font pressed into service as a holy water stoup, and image niche above the doors. This has been filled in more recent years by an image if the Holy Trinity; God the Father holds the Son suspended while a dove representing the Holy Spirit alights; you can see medieval versions of this at Framlingham and Little Glemham.
Of all medieval imagery, this was the most frowned upon by puritans. An image of God the Father was thought the most suspicious of all idolatry. As late as the 1870s, when the Reverend White edited the first popular edition of the Diary of William Dowsing, he actually congratulated Dowsing on destroying images of the Holy Trinity in the course of his 1644 progress through the counties of Suffolk and Cambridgeshire.
William Dowsing visited on the morning on April 9th, 1644. It was a Tuesday, and he had spent most of the week in the area. The previous day he'd been at Southwold and Walberswick to the east, but preceded his visit here with one to Blyford, which lies to the west, so he was probably staying overnight at the family home in Laxfield. He found twenty images in stained glass to take to task (a surprisingly small number, given the size of the place) and two hundred more that were inaccessible that morning (probably in the great east window). Three brass inscriptions incurred his wrath (but again, this is curious; there were many more) and he also ordered down the cross on the porch and the cross on the tower. Most significantly of all, he decided the angels in the roof should go.
Lots of Suffolk churches have angels in their roofs. None are like Blythburgh's. You step inside, and there they are, exactly as you've seen them in books and in photographs. They are awesome, breathtaking. There are twelve of them. Perhaps there were once twenty. How would you get them down if ordered to do so? The roof is so high, and the stencilling of IHS symbols would also have to go.
Perhaps this was already indistinct by the time Dowsing visited. Perhaps Tuesday, 9th of April 1644 was a dull day.
Several of the angels are peppered with lead shot. Here is another of those Suffolk legends; that Dowsing and the churchwardens fired muskets at the angels to try and bring them down. But when the angels were restored in the 1970s, the lead shot removed was found to be 18th century; contemporary with them there is a note in the churchwardens accounts that men were paid for shooting jackdaws living inside the building, so that is probably where the shot arises from.
Similarly, the splendid church guide repeats the error that the Holy Trinity symbol in the porch filled a gap that had been 'empty since 1644'. But there was certainly no image in it when Dowsing arrived here, or anywhere else in Suffolk; statues were completely outlawed by injunctions in the early years of the reign of Edward VI, almost a hundred years before the morning of Dowsing's visit.
Another feature used as evidence of puritan destruction is the ring fixed into the most westerly pillar of the north arcade. Cromwell's men stabled their horses here, apparently. Well, it almost certainly is a ring for tying horses to, and the broken bricks at the cleared west end also suggest this; but there is no reason to think that Cromwell and the puritans were responsible. For a full century before Cromwell, and for nearly two hundred years afterwards, a church as big as this would have had a multitude of uses.
Holy Trinity was built for the rituals of the Catholic church; once these were no longer allowed, a village like Blythburgh, which can never have had more than 500 people, would have seen it as an asset in other ways. It was only with the 19th century sacramental revival brought about by the Oxford Movement that we started getting all holy again about our parish churches. Perhaps it was used as an overnight stables for passing travellers on the main road; not an un-Christian use for it to be put to, I think.
In August 1577, a great storm brought down the steeple, which fell into the church and damaged the font. This was at the height of Elizabethan superstition, and the devil was blamed; his hoof marks can still be seen on the church door. Supposedly, a black dog ran through the church, killing two parishioners; he was seen the same day at St Mary, Bungay. Black Shuck is the East Anglian devil dog, the feared hound of the marshes; and Holy Trinity is the self-styled Cathedral of the Marshes, so it is appropriate that he appeared here.
You can see where the font has been broken. You can also see that this was one of the rare, beautiful seven sacrament fonts, similar in style to the one at Westhall; but, like those at neighbouring Wenhaston and Southwold, it has been completely stripped of imagery. Almost certainly, this was in the 1540s, but there is a story that the font at Wenhaston was chiselled clean as part of the 19th century restoration.
More importantly in any case, the storm, or the dog, or the devil, damaged the roof; it would not be properly repaired for more than 400 years. Throughout the 17th and 18th centuries, accounts note that Holy Trinity is not impregnable to the weather. By the 19th century, parishioners attended divine service with umbrellas. By the 1880s, it was a positively dangerous building to be in, and the Bishop of Norwich ordered it closed.
Why had Holy Trinity not been restored? Simply, this is a big church, with a tiny village. There was no rich patron, and in any case the parishioners had a passion for Methodism. Probably, repairs had been mooted, but not a wholesale restoration as we have seen at Lavenham, Long Melford and Southwold. By the 1880s, attention in England had turned to the preservation of medieval detail; in short, restorations were not as ignorant as they had been a quarter of a century earlier. Suggestions that Holy Trinity should be restored in the manner of the other three were blocked by the Society for the Preservation of Ancient Buildings, and this owed a lot to the energy of William Morris, the Society's secretary.
The slow, patient restoration of this building took the best part of a century; indeed, when I first visited in the 1980s I was still aware of a sense of decay.
Nothing could be further from the truth today. You step into a wide, white, open space, one of England's great church interiors. There, high above you, is the glorious roof and the angels of God. The brick floors spread around the scraped font, which still bears its dedicatory inscription and standing places for participants. You turn into the central gangway, and more than twenty empty indents for brasses stretch before you. Dowsing can be blamed for the destruction of hardly any of them. In reality, you see the work of 18th and 19th century thieves and collectors.
The bench-ends are superb. The benches themselves were reconstructed in the late 19th century, supposedly from the main post of Westleton windmill, but the ends are some of the county's finest medieval images. There are basically three series: the seven deadly sins, the seven works of mercy, and the four seasons. There are also angels bearing symbols of the Holy Trinity and the crown. Examples of all of these can be seen below; hover on them to read a description, click on them to see them enlarged.
The rood screen is a disappointment; most of it is modern, and the medieval bits perfunctory and scoured. Having said this, note how tiny the exit from the north aisle rood loft stair is. Also at this end of the church, notice a bare scattering of medieval glass, including some Saints.
But step through the central aisle to see something remarkable. The choir stalls are fronted by exquisite carvings of the 12 apostles, evangelists, and even figures who may be King Anna and his daughter St Etheldreda. She founded the priory that became Ely Cathedral, and there is a local connection because her father was killed at the Battle of Blythburgh. It seems likely that there was a shrine to them here.
Seeing these sixteen carvings is a bit like gobbling up a very large box of chocolates, but it is worth stopping to consider quite how genuine they all are. For a start, there could not have been choir stalls here in medieval times, and in any case we know that these desks and their frontages were in the north aisle chapel until the 19th century. They were used as school benches in the 17th century; they still bear holes for inkpots, and the graffiti of a bored Dutch child (his father was probably working on draining the marshes) is dated 1665 - you can see it in the left-hand column. There is nothing at all like them anywhere else in Suffolk, and although we know that they predate the restoration of Holy Trinity (and therefore almost certainly come from here originally) they seem of too high a quality to come from such a rural outback. In short, they are not medieval, whatever the guidebooks say.
Whatever, the east end of the chancel and aisles are thrillingly modern, wholly devotional. In the north aisle, traditionally the Hopton chantry, extraordinary friezes of skeletons become symbols of the four evangelists behind the altar. Beside them, with a view into the sanctuary, is one of Suffolk's biggest Easter sepulchres, tomb of the Hoptons. In the surviving sedilia of the high altar, we find Peter Ball's beautiful Madonna and Child and a fine Holy Trinity plate, which distract perhaps only slightly from the Jewish imagery above the reredos. It is all just about perfect.
Tucked to one side of the organ is a clockjack; Suffolk has two, and the other is down-river at Southwold. They date from the late 17th century, and presumably once struck the hours; at high church Blythburgh and Southwold today, they are used to announce the entry of the ministers.
You may be reading this entry in a far-off land; or perhaps you are here at home. Whatever, if you have not visited this church, then I urge you to do so. It is the most beautiful church in Suffolk, a wonderful art object, and it is always open in daylight. It remains one of the most significant medieval buildings in England. If you only visit one of Suffolk's churches, then make it this one.
Story by Mary B. Grimes
mary.b.grimes@us.army.mil
DAEGU GARRISON — During his recent visit to Daegu, Trevor Romain, author of a number of children’s books aimed at topics ranging from bullying to grief and separation, met with community leaders and representatives to share his thoughts on these critical issues and more.
U.S. Army Garrison Daegu Exceptional Family Member Program Manager Mirian Houston, took the opportunity in a one-on-one session to ask a few rather poignant questions regarding bullying. An issue that continues to make national headlines, Houston said she felt addressing the topic was something the USAG Daegu community needed to be brought up to speed on.
“Bullying is a problem, and one that we won’t tolerate in our USAG Daegu community,” she said. “There is no other way to put it accept to say that bullies are mean, and they are scary. From my experience in dealing with children who have been confronted with this issue, I can’t put it any other way.”
Houston said that Romain agreed with her assessment.
“Mr. Romain reassures kids that they’re not alone and it’s not their fault if a bully decides to pick on them. He also stresses this point in all of his literature. During our conversation, he explained that some people are bullies, and described realistic ways to become ‘Bully-Proof.’ That is, how to stop bullies from hurting others-- as well as how a child can get help when they find themselves in dangerous situations.”
During his visit to Daegu American School on Camp George, Houston, along with other USAG Daegu and DAS officials, sat in on the exchange between the students and the noted author.
“If you are a bully, do you really want people to think of you as unkind, abusive and mean?” he queried the very attentive children. “It’s never too late to change, although changing a pattern of bullying might seem difficult at first. Ask an adult you respect for some mentoring or coaching on how you could change?”
According to Lee Seung-bin, an intern at USAG Daegu, the sincerity expressed by Romain toward the DAS students was matched only by the emotions unleashed by the children themselves.
“Sometimes we think children don’t understand what’s going on with issues like separation, deployment, and even bullying,” Lee said. “It was clear, however, that this is not always the case. The children asked questions that were difficult and painful. They do have thoughts about these issues, and they do tend to keep them to themselves and that hurt and pain at some point, is too much for them to handle. Mr. Romain gave them a chance to let go of some of that hurt. It was truly a necessary and an unforgettable session.”
Houston said that during her discussion with Romain, the two reviewed some survival tips to teach children to recognize if they are being bullied.
“There are a number of tips and suggestions we felt children should be aware of,” Houston said. “For starters, ignore the bully and walk away. This is definitely not a coward’s response. Sometimes doing this can be harder than losing your temper. Bullies thrive on the reaction they get, and if you walk away or ignore hurtful emails or instant messages, you’re telling the bully that you just don’t care. Sooner or later the bully will probably get bored with trying to bother you. Walk tall and hold your head high. Using this type of body language sends a message that you’re not vulnerable.”
“Solving this problem really requires that the parents are involved,” said USAG Daegu Commander Col Kathleen Gavle. “I want to also add, as it relates to deployment and separation that some of things we are requiring Soldiers to now learn about is resiliency. My impression of some of the Soldiers is that they may not have the necessary coping skills. There are times when they may not know how to handle the stress themselves. But they have a family. So, this is a huge task, and the important thing is the kids know that the parents love them. It is important to help them to understand that.”
Closing out the discussion, Houston dedicated herself to doing her best to help reduce or eliminate the problem of bullying.
“Here in USAG Daegu, we’re not going to ease up on the issue of bullying –not until the problem no longer is a problem.”
This horned lark is at Rocky Mountain Arsenal - National Wildlife Refuge, Commerce City, Colorado, on the North side of the Wildlife Loop, 200-yards past the "bunker."
He played hard to get and it took several minutes to get a shot of him in the clear.
Holy Trinity, Blythburgh, Suffolk
My favourite church in England.
Ten years earlier, I had written:
Perhaps some counties have a church which sums them up. If there has to be one for Suffolk, it must be the church of the Most Holy Trinity, Blythburgh. Here is the Suffolk imagination writ large, as large as it gets, and not overwritten by the Anglican triumphalism of the 19th century. Blythburgh church is often compared with its near neighbour, St Edmund at Southwold, but this isn't a fair comparison - Southwold church is much grander, and full of urban confidence. Probably a better comparison is with St Margaret, Lowestoft, for there, too, the Reformation intervened before the tower could be rebuilt. The two churches have a lot in common, but Blythburgh has the saving grace. It is so fascinating, so stunningly beautiful, by virtue of a factor that is rare in Anglican parish churches: sheer neglect.
Holy Trinity, Blythburgh, is the church that Suffolk people know and love best, and because of this it has generated some wonderful legends. The first is that Blythburgh, now a tiny village bisected by the fearsome A12 between London and the east coast ports, was once a thriving medieval town. This idea is used to explain the size of the church; in reality, it is almost certainly not the case. Blythburgh has always been small. But it did have an important medieval priory, and thus its church attracted enough wealthy piety on the eve of the Reformation to bankroll a spectacular rebuilding.
It is to Lavenham, Long Melford, Mildenhall, Southwold and here that we come to see the late 15th century Suffolk aesthetic in perfection. But for my money, Holy Trinity, Blythburgh, is the most significant medieval art object in the county, ranking alongside Salle in Norfolk. Look up at the clerestory; it seems impossible, there is so much glass, so little stone; and yet it rides the building with an air of permanence. Beneath, there is a coyness about the aisles that I prefer to the mathematics of Lavenham. Here, it could not have been done otherwise; it distils human architectural experience. If St Peter and St Paul at Lavenham is man talking to God, Holy Trinity at Blythburgh is God talking to man.
At the east end, a curious series of initials in Lombardic script stretch across the outer chancel wall. You can see an image of this in the left hand column. It reads A-N-JS-B-S-T-M-S-A-H-K-R. This probably stands for Ad Nomina JesuS, Beati Sanctae Trinitas, Maria Sanctorem Anne Honorem Katherine Reconstructus ('In the name of the blessed Jesus, the Holy Trinity, and in honour of holy Mary, Anne and Katherine, this was rebuilt'). A fanciful theory is that they are the initials of the wives of the donors. However, note the symbol of the Trinity in the T stone, and I think this is a clue to the whole piece.
High above, an old man sits on the gable end. Incredibly, this is a medieval image of God the Father, and extraordinary survival; we'll come back to this in a moment.
The porch is part of the late 15th century rebuilding, but it was considerably restored in the early 20th century. Interestingly, the angels crowning the battlements look medieval - but they weren't there in 1900, so must have come from somewhere else. Pretty much all the porch's features of interest date from this time. These include the small medieval font pressed into service as a holy water stoup, and image niche above the doors. This has been filled in more recent years by an image if the Holy Trinity; God the Father holds the Son suspended while a dove representing the Holy Spirit alights; you can see medieval versions of this at Framlingham and Little Glemham.
Of all medieval imagery, this was the most frowned upon by puritans. An image of God the Father was thought the most suspicious of all idolatry. As late as the 1870s, when the Reverend White edited the first popular edition of the Diary of William Dowsing, he actually congratulated Dowsing on destroying images of the Holy Trinity in the course of his 1644 progress through the counties of Suffolk and Cambridgeshire.
William Dowsing visited on the morning on April 9th, 1644. It was a Tuesday, and he had spent most of the week in the area. The previous day he'd been at Southwold and Walberswick to the east, but preceded his visit here with one to Blyford, which lies to the west, so he was probably staying overnight at the family home in Laxfield. He found twenty images in stained glass to take to task (a surprisingly small number, given the size of the place) and two hundred more that were inaccessible that morning (probably in the great east window). Three brass inscriptions incurred his wrath (but again, this is curious; there were many more) and he also ordered down the cross on the porch and the cross on the tower. Most significantly of all, he decided the angels in the roof should go.
Lots of Suffolk churches have angels in their roofs. None are like Blythburgh's. You step inside, and there they are, exactly as you've seen them in books and in photographs. They are awesome, breathtaking. There are twelve of them. Perhaps there were once twenty. How would you get them down if ordered to do so? The roof is so high, and the stencilling of IHS symbols would also have to go.
Perhaps this was already indistinct by the time Dowsing visited. Perhaps Tuesday, 9th of April 1644 was a dull day.
Several of the angels are peppered with lead shot. Here is another of those Suffolk legends; that Dowsing and the churchwardens fired muskets at the angels to try and bring them down. But when the angels were restored in the 1970s, the lead shot removed was found to be 18th century; contemporary with them there is a note in the churchwardens accounts that men were paid for shooting jackdaws living inside the building, so that is probably where the shot arises from.
Similarly, the splendid church guide repeats the error that the Holy Trinity symbol in the porch filled a gap that had been 'empty since 1644'. But there was certainly no image in it when Dowsing arrived here, or anywhere else in Suffolk; statues were completely outlawed by injunctions in the early years of the reign of Edward VI, almost a hundred years before the morning of Dowsing's visit.
Another feature used as evidence of puritan destruction is the ring fixed into the most westerly pillar of the north arcade. Cromwell's men stabled their horses here, apparently. Well, it almost certainly is a ring for tying horses to, and the broken bricks at the cleared west end also suggest this; but there is no reason to think that Cromwell and the puritans were responsible. For a full century before Cromwell, and for nearly two hundred years afterwards, a church as big as this would have had a multitude of uses.
Holy Trinity was built for the rituals of the Catholic church; once these were no longer allowed, a village like Blythburgh, which can never have had more than 500 people, would have seen it as an asset in other ways. It was only with the 19th century sacramental revival brought about by the Oxford Movement that we started getting all holy again about our parish churches. Perhaps it was used as an overnight stables for passing travellers on the main road; not an un-Christian use for it to be put to, I think.
In August 1577, a great storm brought down the steeple, which fell into the church and damaged the font. This was at the height of Elizabethan superstition, and the devil was blamed; his hoof marks can still be seen on the church door. Supposedly, a black dog ran through the church, killing two parishioners; he was seen the same day at St Mary, Bungay. Black Shuck is the East Anglian devil dog, the feared hound of the marshes; and Holy Trinity is the self-styled Cathedral of the Marshes, so it is appropriate that he appeared here.
You can see where the font has been broken. You can also see that this was one of the rare, beautiful seven sacrament fonts, similar in style to the one at Westhall; but, like those at neighbouring Wenhaston and Southwold, it has been completely stripped of imagery. Almost certainly, this was in the 1540s, but there is a story that the font at Wenhaston was chiselled clean as part of the 19th century restoration.
More importantly in any case, the storm, or the dog, or the devil, damaged the roof; it would not be properly repaired for more than 400 years. Throughout the 17th and 18th centuries, accounts note that Holy Trinity is not impregnable to the weather. By the 19th century, parishioners attended divine service with umbrellas. By the 1880s, it was a positively dangerous building to be in, and the Bishop of Norwich ordered it closed.
Why had Holy Trinity not been restored? Simply, this is a big church, with a tiny village. There was no rich patron, and in any case the parishioners had a passion for Methodism. Probably, repairs had been mooted, but not a wholesale restoration as we have seen at Lavenham, Long Melford and Southwold. By the 1880s, attention in England had turned to the preservation of medieval detail; in short, restorations were not as ignorant as they had been a quarter of a century earlier. Suggestions that Holy Trinity should be restored in the manner of the other three were blocked by the Society for the Preservation of Ancient Buildings, and this owed a lot to the energy of William Morris, the Society's secretary.
The slow, patient restoration of this building took the best part of a century; indeed, when I first visited in the 1980s I was still aware of a sense of decay.
Nothing could be further from the truth today. You step into a wide, white, open space, one of England's great church interiors. There, high above you, is the glorious roof and the angels of God. The brick floors spread around the scraped font, which still bears its dedicatory inscription and standing places for participants. You turn into the central gangway, and more than twenty empty indents for brasses stretch before you. Dowsing can be blamed for the destruction of hardly any of them. In reality, you see the work of 18th and 19th century thieves and collectors.
The bench-ends are superb. The benches themselves were reconstructed in the late 19th century, supposedly from the main post of Westleton windmill, but the ends are some of the county's finest medieval images. There are basically three series: the seven deadly sins, the seven works of mercy, and the four seasons. There are also angels bearing symbols of the Holy Trinity and the crown. Examples of all of these can be seen below; hover on them to read a description, click on them to see them enlarged.
The rood screen is a disappointment; most of it is modern, and the medieval bits perfunctory and scoured. Having said this, note how tiny the exit from the north aisle rood loft stair is. Also at this end of the church, notice a bare scattering of medieval glass, including some Saints.
But step through the central aisle to see something remarkable. The choir stalls are fronted by exquisite carvings of the 12 apostles, evangelists, and even figures who may be King Anna and his daughter St Etheldreda. She founded the priory that became Ely Cathedral, and there is a local connection because her father was killed at the Battle of Blythburgh. It seems likely that there was a shrine to them here.
Seeing these sixteen carvings is a bit like gobbling up a very large box of chocolates, but it is worth stopping to consider quite how genuine they all are. For a start, there could not have been choir stalls here in medieval times, and in any case we know that these desks and their frontages were in the north aisle chapel until the 19th century. They were used as school benches in the 17th century; they still bear holes for inkpots, and the graffiti of a bored Dutch child (his father was probably working on draining the marshes) is dated 1665 - you can see it in the left-hand column. There is nothing at all like them anywhere else in Suffolk, and although we know that they predate the restoration of Holy Trinity (and therefore almost certainly come from here originally) they seem of too high a quality to come from such a rural outback. In short, they are not medieval, whatever the guidebooks say.
Whatever, the east end of the chancel and aisles are thrillingly modern, wholly devotional. In the north aisle, traditionally the Hopton chantry, extraordinary friezes of skeletons become symbols of the four evangelists behind the altar. Beside them, with a view into the sanctuary, is one of Suffolk's biggest Easter sepulchres, tomb of the Hoptons. In the surviving sedilia of the high altar, we find Peter Ball's beautiful Madonna and Child and a fine Holy Trinity plate, which distract perhaps only slightly from the Jewish imagery above the reredos. It is all just about perfect.
Tucked to one side of the organ is a clockjack; Suffolk has two, and the other is down-river at Southwold. They date from the late 17th century, and presumably once struck the hours; at high church Blythburgh and Southwold today, they are used to announce the entry of the ministers.
You may be reading this entry in a far-off land; or perhaps you are here at home. Whatever, if you have not visited this church, then I urge you to do so. It is the most beautiful church in Suffolk, a wonderful art object, and it is always open in daylight. It remains one of the most significant medieval buildings in England. If you only visit one of Suffolk's churches, then make it this one.
Museumsinsel Berlin
architect David Chipperfield,
completed 2009
incredibel and unexpectedly rich interiors, delicate detailing and lavish textures in stark (some would say grim) contrast to the exteriors dating back to 1855
as good as it gets....and the exhibits are not bad either
Holy Trinity, Blythburgh, Suffolk
My favourite church in England.
Ten years earlier, I had written:
Perhaps some counties have a church which sums them up. If there has to be one for Suffolk, it must be the church of the Most Holy Trinity, Blythburgh. Here is the Suffolk imagination writ large, as large as it gets, and not overwritten by the Anglican triumphalism of the 19th century. Blythburgh church is often compared with its near neighbour, St Edmund at Southwold, but this isn't a fair comparison - Southwold church is much grander, and full of urban confidence. Probably a better comparison is with St Margaret, Lowestoft, for there, too, the Reformation intervened before the tower could be rebuilt. The two churches have a lot in common, but Blythburgh has the saving grace. It is so fascinating, so stunningly beautiful, by virtue of a factor that is rare in Anglican parish churches: sheer neglect.
Holy Trinity, Blythburgh, is the church that Suffolk people know and love best, and because of this it has generated some wonderful legends. The first is that Blythburgh, now a tiny village bisected by the fearsome A12 between London and the east coast ports, was once a thriving medieval town. This idea is used to explain the size of the church; in reality, it is almost certainly not the case. Blythburgh has always been small. But it did have an important medieval priory, and thus its church attracted enough wealthy piety on the eve of the Reformation to bankroll a spectacular rebuilding.
It is to Lavenham, Long Melford, Mildenhall, Southwold and here that we come to see the late 15th century Suffolk aesthetic in perfection. But for my money, Holy Trinity, Blythburgh, is the most significant medieval art object in the county, ranking alongside Salle in Norfolk. Look up at the clerestory; it seems impossible, there is so much glass, so little stone; and yet it rides the building with an air of permanence. Beneath, there is a coyness about the aisles that I prefer to the mathematics of Lavenham. Here, it could not have been done otherwise; it distils human architectural experience. If St Peter and St Paul at Lavenham is man talking to God, Holy Trinity at Blythburgh is God talking to man.
At the east end, a curious series of initials in Lombardic script stretch across the outer chancel wall. You can see an image of this in the left hand column. It reads A-N-JS-B-S-T-M-S-A-H-K-R. This probably stands for Ad Nomina JesuS, Beati Sanctae Trinitas, Maria Sanctorem Anne Honorem Katherine Reconstructus ('In the name of the blessed Jesus, the Holy Trinity, and in honour of holy Mary, Anne and Katherine, this was rebuilt'). A fanciful theory is that they are the initials of the wives of the donors. However, note the symbol of the Trinity in the T stone, and I think this is a clue to the whole piece.
High above, an old man sits on the gable end. Incredibly, this is a medieval image of God the Father, and extraordinary survival; we'll come back to this in a moment.
The porch is part of the late 15th century rebuilding, but it was considerably restored in the early 20th century. Interestingly, the angels crowning the battlements look medieval - but they weren't there in 1900, so must have come from somewhere else. Pretty much all the porch's features of interest date from this time. These include the small medieval font pressed into service as a holy water stoup, and image niche above the doors. This has been filled in more recent years by an image if the Holy Trinity; God the Father holds the Son suspended while a dove representing the Holy Spirit alights; you can see medieval versions of this at Framlingham and Little Glemham.
Of all medieval imagery, this was the most frowned upon by puritans. An image of God the Father was thought the most suspicious of all idolatry. As late as the 1870s, when the Reverend White edited the first popular edition of the Diary of William Dowsing, he actually congratulated Dowsing on destroying images of the Holy Trinity in the course of his 1644 progress through the counties of Suffolk and Cambridgeshire.
William Dowsing visited on the morning on April 9th, 1644. It was a Tuesday, and he had spent most of the week in the area. The previous day he'd been at Southwold and Walberswick to the east, but preceded his visit here with one to Blyford, which lies to the west, so he was probably staying overnight at the family home in Laxfield. He found twenty images in stained glass to take to task (a surprisingly small number, given the size of the place) and two hundred more that were inaccessible that morning (probably in the great east window). Three brass inscriptions incurred his wrath (but again, this is curious; there were many more) and he also ordered down the cross on the porch and the cross on the tower. Most significantly of all, he decided the angels in the roof should go.
Lots of Suffolk churches have angels in their roofs. None are like Blythburgh's. You step inside, and there they are, exactly as you've seen them in books and in photographs. They are awesome, breathtaking. There are twelve of them. Perhaps there were once twenty. How would you get them down if ordered to do so? The roof is so high, and the stencilling of IHS symbols would also have to go.
Perhaps this was already indistinct by the time Dowsing visited. Perhaps Tuesday, 9th of April 1644 was a dull day.
Several of the angels are peppered with lead shot. Here is another of those Suffolk legends; that Dowsing and the churchwardens fired muskets at the angels to try and bring them down. But when the angels were restored in the 1970s, the lead shot removed was found to be 18th century; contemporary with them there is a note in the churchwardens accounts that men were paid for shooting jackdaws living inside the building, so that is probably where the shot arises from.
Similarly, the splendid church guide repeats the error that the Holy Trinity symbol in the porch filled a gap that had been 'empty since 1644'. But there was certainly no image in it when Dowsing arrived here, or anywhere else in Suffolk; statues were completely outlawed by injunctions in the early years of the reign of Edward VI, almost a hundred years before the morning of Dowsing's visit.
Another feature used as evidence of puritan destruction is the ring fixed into the most westerly pillar of the north arcade. Cromwell's men stabled their horses here, apparently. Well, it almost certainly is a ring for tying horses to, and the broken bricks at the cleared west end also suggest this; but there is no reason to think that Cromwell and the puritans were responsible. For a full century before Cromwell, and for nearly two hundred years afterwards, a church as big as this would have had a multitude of uses.
Holy Trinity was built for the rituals of the Catholic church; once these were no longer allowed, a village like Blythburgh, which can never have had more than 500 people, would have seen it as an asset in other ways. It was only with the 19th century sacramental revival brought about by the Oxford Movement that we started getting all holy again about our parish churches. Perhaps it was used as an overnight stables for passing travellers on the main road; not an un-Christian use for it to be put to, I think.
In August 1577, a great storm brought down the steeple, which fell into the church and damaged the font. This was at the height of Elizabethan superstition, and the devil was blamed; his hoof marks can still be seen on the church door. Supposedly, a black dog ran through the church, killing two parishioners; he was seen the same day at St Mary, Bungay. Black Shuck is the East Anglian devil dog, the feared hound of the marshes; and Holy Trinity is the self-styled Cathedral of the Marshes, so it is appropriate that he appeared here.
You can see where the font has been broken. You can also see that this was one of the rare, beautiful seven sacrament fonts, similar in style to the one at Westhall; but, like those at neighbouring Wenhaston and Southwold, it has been completely stripped of imagery. Almost certainly, this was in the 1540s, but there is a story that the font at Wenhaston was chiselled clean as part of the 19th century restoration.
More importantly in any case, the storm, or the dog, or the devil, damaged the roof; it would not be properly repaired for more than 400 years. Throughout the 17th and 18th centuries, accounts note that Holy Trinity is not impregnable to the weather. By the 19th century, parishioners attended divine service with umbrellas. By the 1880s, it was a positively dangerous building to be in, and the Bishop of Norwich ordered it closed.
Why had Holy Trinity not been restored? Simply, this is a big church, with a tiny village. There was no rich patron, and in any case the parishioners had a passion for Methodism. Probably, repairs had been mooted, but not a wholesale restoration as we have seen at Lavenham, Long Melford and Southwold. By the 1880s, attention in England had turned to the preservation of medieval detail; in short, restorations were not as ignorant as they had been a quarter of a century earlier. Suggestions that Holy Trinity should be restored in the manner of the other three were blocked by the Society for the Preservation of Ancient Buildings, and this owed a lot to the energy of William Morris, the Society's secretary.
The slow, patient restoration of this building took the best part of a century; indeed, when I first visited in the 1980s I was still aware of a sense of decay.
Nothing could be further from the truth today. You step into a wide, white, open space, one of England's great church interiors. There, high above you, is the glorious roof and the angels of God. The brick floors spread around the scraped font, which still bears its dedicatory inscription and standing places for participants. You turn into the central gangway, and more than twenty empty indents for brasses stretch before you. Dowsing can be blamed for the destruction of hardly any of them. In reality, you see the work of 18th and 19th century thieves and collectors.
The bench-ends are superb. The benches themselves were reconstructed in the late 19th century, supposedly from the main post of Westleton windmill, but the ends are some of the county's finest medieval images. There are basically three series: the seven deadly sins, the seven works of mercy, and the four seasons. There are also angels bearing symbols of the Holy Trinity and the crown. Examples of all of these can be seen below; hover on them to read a description, click on them to see them enlarged.
The rood screen is a disappointment; most of it is modern, and the medieval bits perfunctory and scoured. Having said this, note how tiny the exit from the north aisle rood loft stair is. Also at this end of the church, notice a bare scattering of medieval glass, including some Saints.
But step through the central aisle to see something remarkable. The choir stalls are fronted by exquisite carvings of the 12 apostles, evangelists, and even figures who may be King Anna and his daughter St Etheldreda. She founded the priory that became Ely Cathedral, and there is a local connection because her father was killed at the Battle of Blythburgh. It seems likely that there was a shrine to them here.
Seeing these sixteen carvings is a bit like gobbling up a very large box of chocolates, but it is worth stopping to consider quite how genuine they all are. For a start, there could not have been choir stalls here in medieval times, and in any case we know that these desks and their frontages were in the north aisle chapel until the 19th century. They were used as school benches in the 17th century; they still bear holes for inkpots, and the graffiti of a bored Dutch child (his father was probably working on draining the marshes) is dated 1665 - you can see it in the left-hand column. There is nothing at all like them anywhere else in Suffolk, and although we know that they predate the restoration of Holy Trinity (and therefore almost certainly come from here originally) they seem of too high a quality to come from such a rural outback. In short, they are not medieval, whatever the guidebooks say.
Whatever, the east end of the chancel and aisles are thrillingly modern, wholly devotional. In the north aisle, traditionally the Hopton chantry, extraordinary friezes of skeletons become symbols of the four evangelists behind the altar. Beside them, with a view into the sanctuary, is one of Suffolk's biggest Easter sepulchres, tomb of the Hoptons. In the surviving sedilia of the high altar, we find Peter Ball's beautiful Madonna and Child and a fine Holy Trinity plate, which distract perhaps only slightly from the Jewish imagery above the reredos. It is all just about perfect.
Tucked to one side of the organ is a clockjack; Suffolk has two, and the other is down-river at Southwold. They date from the late 17th century, and presumably once struck the hours; at high church Blythburgh and Southwold today, they are used to announce the entry of the ministers.
You may be reading this entry in a far-off land; or perhaps you are here at home. Whatever, if you have not visited this church, then I urge you to do so. It is the most beautiful church in Suffolk, a wonderful art object, and it is always open in daylight. It remains one of the most significant medieval buildings in England. If you only visit one of Suffolk's churches, then make it this one.
When I started this particular menu back in 2020, it wasn’t because of the pandemic since I decided to do it shortly after 2019’s Easter as a break of-sorts after finally getting my more traditional Easter menu where I want it. The covid-19 coronavirus pandemic, however, was the reason I continued it as I decided it was going to continue as long as the pandemic continued. The pandemic will officially be declared over on May 11th of 2023. Now, there are other issues going on in the world that could be a justifiable reason for continuing a menu such as this but I’m not going to commit to that just yet.
So, this is likely the last time I do this particular menu in this form, with this name:
THE LOW CLASS, NO-CLASS, HILLBILLY, TRAILER TRASH, PANDEMIC EASTER MENU
Spicy Dill Pickled Eggs
Chips & Dips
Mystery JELLO Dessert
Baloney & Cheese Sandwiches
Sloppy Joe-Tater Tot Casserole
Fish Sticks
Franks & Beans
Mac & Cheese with Cheetos
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SPICY DILL PICKLED EGGS
It's that time of year folks, time to make some dill pickled eggs. Maybe a bit ironic, I started doing these and the rest of my 'low class, no-class, hillbilly, trailer trash pandemic Easter menu' as the pandemic began (which is how the word 'pandemic' made it into the title, it's important to note this was planned one year BEFORE the pandemic) and NOW eggs are a bit of an issue. Paying over $8.00 for eggs is nothing new at this time of year and wanting to fill this jar. However, that was for four dozen white-shell eggs; this year for roughly the same price I only got three dozen brown-shell eggs. It is true, brown eggs do usually cost more, that wasn't the issue - the issue was that there were no cartons of two dozen, which I usually get, and the cartons of one dozen were over $3.00 each. Strangely enough, three dozen white eggs would have cost more than three dozen brown eggs. Strange times, indeed.
Even though this will likely be the last time I do this incarnation of the low class, no-class, hillbilly, trailer trash pandemic Easter menu' due to the pandemic officially ending on May 11th of this year, the odds are high that pickled eggs will continue to be part of my Easter holiday food plans. If one does not have small children who like dying their eggs, this is the way to go to give eggs their just due and rightful place on the Easter menu while remaining in step with the order of the season and the day.
Special Tool: 48 ounce, clamplock mason jar
If you want to store the eggs for the long term you would want to use a vacuum sealed pickling jar, but I would strongly recommend checking the specifications for storing pickled eggs for the long term.
32-36 Eggs
* Boil eggs to medium or hard boiled
I'm not going to tell you how to boil three dozen eggs... just make sure they aren't soft boiled.
* Peel eggs and allow to cool
10 g. fresh Dill Weed
1 halved Chili Pepper
10 g. Black Peppercorns
They had no red chili peppers so I had to use the green one, no big difference, red just looks better. What is a difference is that I cut some of these peppers this time so the capsacin is more absorbed by the pickling solution.
* Place dill, peppercorns and chili pepper in bottom of jar
* Add 2/3rds (20-24) of eggs to jar
50 g. Dill Pickling Mix
790 ml. cold water
450 ml. White Vinegar
10 g. Kosher Salt
* Combine water, vinegar, pickling mix, and salt and stir until pickling mix dissolves
* Pour pickling solution into jar, enough to cover eggs, set rest aside
10 g. fresh Dill Weed
2 Chili Peppers
* Place dill into jar atop eggs
* Cut slits into one of the chili peppers, place both into jar atop aggs
* Add remaining eggs to jar
5 g. fresh Dill Weed
remaining Pickling Solution
* Add dill over the eggs
* Pour in remaining pickling solution
* Close and seal with clamp
* Give it a good shake and put it in the refrigerator for at least a week.
Bring these to your Easter festivities and there'll still be enough leftover to have for breakfast for a week or two. Make some toast and have a couple of these and you're good to go.
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CHIPS & DIP
Did two dips again this year, went extra easy with them this time... which, for this menu, is what I should have done in the first place. I still could have gone even easier and just bought the dips pre-made.
FRENCH ONION DIP
360 g. Sour Cream
30 ml. Half & Half
1 packet Onion Soup Mix
* Mix soup mix into half & half and allow to absorb and soften
* Mix in sour cream until consistent
* Cover & refrigerate til ready for use
RANCH DIP
360 g. Sour Cream
30 ml. Half & Half
10 g. Ranch Seasoning
* Mix seasoning into half & half until dissolved
* Mix in sour cream until consistent
* Cover & refrigerate til ready for use
Potato Chips
* Stick your chip in the dip.
Chips and dips... hard to keep off the menu in future years but potato salad beckons.
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MYSTERY JELLO DESSERT (STRAWBERRY JELLO & PRETZEL DESSERT)
JELLO inspired desserts come in many shapes, colors, and sizes. One thing is certain, a JELLO dessert of some kind is what belongs on my 'Low Class, No-Class, Hillbilly, Trailer Trash, Pandemic Easter Menu.' There are well established recipes for this particular dessert, you can find them on some boxes of JELLO, maybe the container of whipped topping, or on the JELLO website. I did none of those and just made it up from 3-4 of my other dessert recipes. Last year I made the mistake of using whipped cream cheese for the cream cheese base and, needless to say, things got interesting with it. This year I'm going back to regular cream cheese. Also, I'm going to include my recipe since it turned out as expected this time. The mystery JELLO dessert is... Strawberry JELLO & Pretzel Dessert... or is it?
CRUST
160 g. crushed Pretzels (about two cups)
113 g. Unsalted Butter (one stick)
* Melt butter
* Combine pretzels and butter in 8" x 8" or 9" x 9" pan or baking dish, evenly press into bottom
* Bake @ 350 degrees 10-12 minutes
* Refrigerate until cool and firm
FILLING
225 g. Cream Cheese (softened)
50 g. Sugar
140 g. Whipped Topping
* Beat cream cheese and sugar til smooth
* Evenly mix in whipped topping
* Spread evenly over top of crust and refrigerate til firm
JELLO TOPPING
Usually for pies or things like this, the amount of water used is reduced. I wasn't using a recipe so I reduced it by a full cup, a half cup less of boiling and cold, and used the quick set method on the box.
170 g. Strawberry JELLO Mix
360 ml. Boiling Water
240 ml. Cold Water
120 g. Ice
By reducing the water you get a much firmer JELLO that is easier to slice cleanly.
* In a mixing bowl, pour boiling water into JELLO Mix and stir to dissolve
* Add water and ice and stir until ice is melted, refrigerate about 45 minutes or until it begins setting
The reason for refrigerating it beforehand is so you're not pouring a liquid straight over the cream cheese filling and crust. It is JELLO, it will still set, but it may not turn out exactly how you want if you pour a liquid straight into the pan... I know it does not turn out how you want it if using whipped cream cheese. If you allow it to set for too long before adding, that's fine, whipped topping is going over the top anyways and will cover up an uneven JELLO surface.
* Pour over cream cheese and allow to fully set
150 g. Whipped Topping
Crushed Pretzels
The crushed pretzels are more of a marker here so people know what they are getting their self into with this whipped topping covered dessert in a container with no see-through sides and crushed pretzels on top. A savvy home cook will see the pretzels atop the whipped topping and know it's likely one of a couple things. I left the edges showing so it'd be fairly easy for someone to guess what it is.
* Top with whipped topping and crushed pretzels
* Cover until ready to serve.
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BALONEY & CHEESE SANDWICHES
Sadly, this will probably be the last time I include baloney & cheese sandwiches in my Easter menu unless another pandemic or something worse occurs. It will likely be back to ham as the main course after this year.... though I might keep it as sandwich form with my 'stone cold truth mustard dressing' like I did in 2021 with this menu. I guess I'll have to find another day of the year to eat baloney.
450 g. Baloney
450 g. Yellow American Cheese
1 loaf pre-sliced Bread
Mayo
Yellow Mustard
I'm going to leave the quality of your baloney and cheese entirely up to you.
* Make a sandwich
All the fancy and edgy ways of doing things... but this hits the spot.
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SLOPPY JOE-TATER TOT CASSEROLE
Once again, I had to get a five pound bag of tater tots when making this because all the smaller bags were sold out. That's fine, I'm not complaining about that, I like tater tots but don't look at me as some goddamned gluttonous sinner for taking the five pound bag of tater tots because there were no smaller bags available.
I did do one thing different, using processed cheese food instead of shredded cheddar. I should have done it all along because it makes sense in a casserole such as this on a menu such as this, but I didn't. Processed cheese food or not, other than the pickled eggs, this is probably the most likely menu item from the 'low class, no-class, hillbilly, trailer trash, pandemic Easter menu' to stick around the Easter menu after the pandemic... though it will probably go back to shredded cheddar for future Easter menus, I just had to try it once with the processed cheese product.
450 g. 80/20 Ground Beef
85/15 is what I use for this sloppy joe sandwiches normally, and for most things, but it is sloppy joes and I almost did get the 85/15 but then I thought - look at the rest of the menu, 80/20 totally makes most sense here.
* Brown and drain access grease
35 g. diced White Onion
70 g. diced Green Pepper
3 g. Dried Onion
1/2 tsp. Ranch Seasoning
10 ml. Worcestershire Sauce
* Add onions, peppers, dried onion, seasoning, and Worcestershire to meat
* Cover and reduce to low-medium until onions and peppers are tender
(about 10 minutes)
140 g. Ketchup
140 g. Chili Sauce
10 g. Honey Mustard
This casserole aside, my Sloppy Joes meat recipe is legit.
* Mix in ketchup, chili sauce, and honey mustard
* Spread evenly into bottom of a 8" x 8" or 9' x 9” baking dish and allow to cool
240 g. Sour Cream
270-360 g. sliced Processed Cheese Food (about 9 slices, enough to cover surface)
One problem you may run into if slicing your own slices off a block of processed cheese food, is that you aren't able to slice it because it sticks to the knife. Knowing how to slice this is one of the greatest cooking tricks there is, one I learned many years ago. The trick is... dental floss or fishing line. Obviously you want the unflavored floss and definitely don't use the fishing line that's been sitting in the old tackle box in the garage, and you also want to be sure the processed cheese food is well refrigerated and firm enough to slice. That is how you slice processed cheese food.
* Evenly spread sour cream atop meat
* Lay processed cheese food evenly top sour cream
Tater Tots (frozen)
* Line frozen tater tots across top so no spaces remain and top is completely covered in tots
* Bake uncovered @ 450 degrees for 25-30 minutes.
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FISH STICKS and HOMEMADE TARTAR SAUCE
Easter should have seafood in some form, I've come to that conclusion, and what seafood goes with the rest of this menu... who doesn't like fish sticks?
Now that the pandemic is over, parts of this Easter menu will cross with what it was beforehand while others will not. This is likely the last time fish sticks will appear on my Easter menu but never say never.
Frozen Fish Sticks
* Bake per instructions, about 450 degrees for 18-20 minutes
180 g. Olive Oil Mayo
15 g. Capers(chopped)
30 g. Sweet Relish
5 ml. Lemon Juice
5 g. Lemongrass Paste
1/2 tsp. Dry Mustard
* Combine ingredients until smooth and consistent.
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FRANKS & BEANS
While franks & beans aren't likely to remain on my Easter menu going forward, homemade baked beans are always a possibility, and likely for next years menu and menus to come.
45 oz. can Baked Beans
4 Hot Dogs (sliced)
I increased the amount of baked beans this year by one can. It was kinda shallow in the pan last year so I figured I'd add one more. Surprisingly, four hot dogs was still plenty for three cans of baked beans. They were bun length hot dogs but if using deli franks then four would be more than enough, three may even be sufficient.
I also added an extra touch this year:
1 strip Thick Cut Bacon (cut into 6-8 pieces)
* Mix beans and hot dogs in 8" x 8" or 9" x 9" baking dish and cover
* Add bacon on top
* Bake at 450 degrees for 20-25 minutes
* Stir bacon throughout before serving.
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MAC & CHEESE with CHEETOS
Had to change the name of this since Cheetos came out with their own brand of Cheetos Mac & Cheese.
Boxed mac & cheese with Cheetos is not going to continue being part of this menu after this year. Pasta in some form will likely be a part of future menus, in some form, maybe as a pasta salad.
2 340 g. boxes of Shells & Cheese
Went back to two boxes instead of one because I really wanted the pan full this time, for the last incarnation of 'The Low Class, No-Class, Hillbilly, Trailer Trash, Pandemic Easter Menu.'
* Prepare per instructions
120 g. Cheetos
270-360 g. sliced Processed Cheese Food (6-9 slices)
Again, adding some extra processed cheese food to one of the dishes for the first time.
* Hand crush into bits & pieces
* Evenly layer 60 grams of Cheetos on bottom of 8" x 8" or 8" or 9" x 9" pan
* Add prepared shells & cheese into pan atop Cheetos and mix throughout
* Top with processed cheese food
* Top with remaining 60 grams of Cheetos
* Place in warm oven, uncovered for 10-15 minutes
* Cover til ready to serve.
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This may be the last time I do 'The Low Class, No-Class, Hillbilly, Trailer Trash, Pandemic Easter Menu' but there is a chance... there is a way... it is possible that it could continue under a different name, and that name would be - The Curse. 'The Curse' because children of all ages, and many adults too, would rather have this than whatever fancy ham dinner someone cooks up, and THEY WILL NEVER hear the end of 'The Low Class, No-Class, Hillbilly, Trailer Trash, Pandemic Easter Menu' and will be powerless to do anything except give it 'The Curse.'
I like this menu, it is vastly underrated. Okay, the fish sticks are weird for anyone over the age of 10 but the homemade tartar sauce makes it work, for the most part this just hits all the spots which is why it probably won’t disappear completely. The Sloppy Joe-Tater Tot Casserole is going to be hard to kick to the curb, even for a Colcannon & Swiss Cottage Pie. What will likely happen is a cross-blend with what my Easter menu was before 2020:
Apricot-Russian Dressing Glazed Ham
Colcannon & Swiss Cottage Pie
Shrimp-Antipasto & Pesto Stuffed Shells
Apricot-Brown Butter Potato Salad
Mediterranean Corn Salad
Deviled Egg Penne Salad
Pita Bread
German Chocolate Cake Trifle with Coconut Cream and Mandarin Oranges
And if there is no crossover, 'The Low Class, No-Class, Hillbilly, Trailer Trash, Pandemic Easter Menu' will simply be renamed as 'The Curse' and continue indefinitely.
Sandwell Leisure Trust and Grasshoppers netball club are launching new netball sessions at Haden Hill Leisure Centre...
The netball sessions take place on a Tuesday evening from 6.00pm – 7.00pm and are a great way to get fit and in shape for summer.
To kick off the sessions the first 15 places each Tuesday are FREE for 6 weeks from Tuesday 7 June until Tuesday 12 July. After the free places are taken, each session costs just £3.20 or £1.60 for concessions.
The sessions are designed for people who perhaps used to play and have not played for a while or those who have always wanted to try netball. The sessions provide lots of playing time together with some coaching and skills practices.
Netball is a great way to get and stay fit and get in shape for summer with like minded people.
Just turn up at Haden Hill Leisure Centre on a Tuesday evening at 6.00pm to take part.
Holy Trinity, Blythburgh, Suffolk
My favourite church in England.
Ten years earlier, I had written:
Perhaps some counties have a church which sums them up. If there has to be one for Suffolk, it must be the church of the Most Holy Trinity, Blythburgh. Here is the Suffolk imagination writ large, as large as it gets, and not overwritten by the Anglican triumphalism of the 19th century. Blythburgh church is often compared with its near neighbour, St Edmund at Southwold, but this isn't a fair comparison - Southwold church is much grander, and full of urban confidence. Probably a better comparison is with St Margaret, Lowestoft, for there, too, the Reformation intervened before the tower could be rebuilt. The two churches have a lot in common, but Blythburgh has the saving grace. It is so fascinating, so stunningly beautiful, by virtue of a factor that is rare in Anglican parish churches: sheer neglect.
Holy Trinity, Blythburgh, is the church that Suffolk people know and love best, and because of this it has generated some wonderful legends. The first is that Blythburgh, now a tiny village bisected by the fearsome A12 between London and the east coast ports, was once a thriving medieval town. This idea is used to explain the size of the church; in reality, it is almost certainly not the case. Blythburgh has always been small. But it did have an important medieval priory, and thus its church attracted enough wealthy piety on the eve of the Reformation to bankroll a spectacular rebuilding.
It is to Lavenham, Long Melford, Mildenhall, Southwold and here that we come to see the late 15th century Suffolk aesthetic in perfection. But for my money, Holy Trinity, Blythburgh, is the most significant medieval art object in the county, ranking alongside Salle in Norfolk. Look up at the clerestory; it seems impossible, there is so much glass, so little stone; and yet it rides the building with an air of permanence. Beneath, there is a coyness about the aisles that I prefer to the mathematics of Lavenham. Here, it could not have been done otherwise; it distils human architectural experience. If St Peter and St Paul at Lavenham is man talking to God, Holy Trinity at Blythburgh is God talking to man.
At the east end, a curious series of initials in Lombardic script stretch across the outer chancel wall. You can see an image of this in the left hand column. It reads A-N-JS-B-S-T-M-S-A-H-K-R. This probably stands for Ad Nomina JesuS, Beati Sanctae Trinitas, Maria Sanctorem Anne Honorem Katherine Reconstructus ('In the name of the blessed Jesus, the Holy Trinity, and in honour of holy Mary, Anne and Katherine, this was rebuilt'). A fanciful theory is that they are the initials of the wives of the donors. However, note the symbol of the Trinity in the T stone, and I think this is a clue to the whole piece.
High above, an old man sits on the gable end. Incredibly, this is a medieval image of God the Father, and extraordinary survival; we'll come back to this in a moment.
The porch is part of the late 15th century rebuilding, but it was considerably restored in the early 20th century. Interestingly, the angels crowning the battlements look medieval - but they weren't there in 1900, so must have come from somewhere else. Pretty much all the porch's features of interest date from this time. These include the small medieval font pressed into service as a holy water stoup, and image niche above the doors. This has been filled in more recent years by an image if the Holy Trinity; God the Father holds the Son suspended while a dove representing the Holy Spirit alights; you can see medieval versions of this at Framlingham and Little Glemham.
Of all medieval imagery, this was the most frowned upon by puritans. An image of God the Father was thought the most suspicious of all idolatry. As late as the 1870s, when the Reverend White edited the first popular edition of the Diary of William Dowsing, he actually congratulated Dowsing on destroying images of the Holy Trinity in the course of his 1644 progress through the counties of Suffolk and Cambridgeshire.
William Dowsing visited on the morning on April 9th, 1644. It was a Tuesday, and he had spent most of the week in the area. The previous day he'd been at Southwold and Walberswick to the east, but preceded his visit here with one to Blyford, which lies to the west, so he was probably staying overnight at the family home in Laxfield. He found twenty images in stained glass to take to task (a surprisingly small number, given the size of the place) and two hundred more that were inaccessible that morning (probably in the great east window). Three brass inscriptions incurred his wrath (but again, this is curious; there were many more) and he also ordered down the cross on the porch and the cross on the tower. Most significantly of all, he decided the angels in the roof should go.
Lots of Suffolk churches have angels in their roofs. None are like Blythburgh's. You step inside, and there they are, exactly as you've seen them in books and in photographs. They are awesome, breathtaking. There are twelve of them. Perhaps there were once twenty. How would you get them down if ordered to do so? The roof is so high, and the stencilling of IHS symbols would also have to go.
Perhaps this was already indistinct by the time Dowsing visited. Perhaps Tuesday, 9th of April 1644 was a dull day.
Several of the angels are peppered with lead shot. Here is another of those Suffolk legends; that Dowsing and the churchwardens fired muskets at the angels to try and bring them down. But when the angels were restored in the 1970s, the lead shot removed was found to be 18th century; contemporary with them there is a note in the churchwardens accounts that men were paid for shooting jackdaws living inside the building, so that is probably where the shot arises from.
Similarly, the splendid church guide repeats the error that the Holy Trinity symbol in the porch filled a gap that had been 'empty since 1644'. But there was certainly no image in it when Dowsing arrived here, or anywhere else in Suffolk; statues were completely outlawed by injunctions in the early years of the reign of Edward VI, almost a hundred years before the morning of Dowsing's visit.
Another feature used as evidence of puritan destruction is the ring fixed into the most westerly pillar of the north arcade. Cromwell's men stabled their horses here, apparently. Well, it almost certainly is a ring for tying horses to, and the broken bricks at the cleared west end also suggest this; but there is no reason to think that Cromwell and the puritans were responsible. For a full century before Cromwell, and for nearly two hundred years afterwards, a church as big as this would have had a multitude of uses.
Holy Trinity was built for the rituals of the Catholic church; once these were no longer allowed, a village like Blythburgh, which can never have had more than 500 people, would have seen it as an asset in other ways. It was only with the 19th century sacramental revival brought about by the Oxford Movement that we started getting all holy again about our parish churches. Perhaps it was used as an overnight stables for passing travellers on the main road; not an un-Christian use for it to be put to, I think.
In August 1577, a great storm brought down the steeple, which fell into the church and damaged the font. This was at the height of Elizabethan superstition, and the devil was blamed; his hoof marks can still be seen on the church door. Supposedly, a black dog ran through the church, killing two parishioners; he was seen the same day at St Mary, Bungay. Black Shuck is the East Anglian devil dog, the feared hound of the marshes; and Holy Trinity is the self-styled Cathedral of the Marshes, so it is appropriate that he appeared here.
You can see where the font has been broken. You can also see that this was one of the rare, beautiful seven sacrament fonts, similar in style to the one at Westhall; but, like those at neighbouring Wenhaston and Southwold, it has been completely stripped of imagery. Almost certainly, this was in the 1540s, but there is a story that the font at Wenhaston was chiselled clean as part of the 19th century restoration.
More importantly in any case, the storm, or the dog, or the devil, damaged the roof; it would not be properly repaired for more than 400 years. Throughout the 17th and 18th centuries, accounts note that Holy Trinity is not impregnable to the weather. By the 19th century, parishioners attended divine service with umbrellas. By the 1880s, it was a positively dangerous building to be in, and the Bishop of Norwich ordered it closed.
Why had Holy Trinity not been restored? Simply, this is a big church, with a tiny village. There was no rich patron, and in any case the parishioners had a passion for Methodism. Probably, repairs had been mooted, but not a wholesale restoration as we have seen at Lavenham, Long Melford and Southwold. By the 1880s, attention in England had turned to the preservation of medieval detail; in short, restorations were not as ignorant as they had been a quarter of a century earlier. Suggestions that Holy Trinity should be restored in the manner of the other three were blocked by the Society for the Preservation of Ancient Buildings, and this owed a lot to the energy of William Morris, the Society's secretary.
The slow, patient restoration of this building took the best part of a century; indeed, when I first visited in the 1980s I was still aware of a sense of decay.
Nothing could be further from the truth today. You step into a wide, white, open space, one of England's great church interiors. There, high above you, is the glorious roof and the angels of God. The brick floors spread around the scraped font, which still bears its dedicatory inscription and standing places for participants. You turn into the central gangway, and more than twenty empty indents for brasses stretch before you. Dowsing can be blamed for the destruction of hardly any of them. In reality, you see the work of 18th and 19th century thieves and collectors.
The bench-ends are superb. The benches themselves were reconstructed in the late 19th century, supposedly from the main post of Westleton windmill, but the ends are some of the county's finest medieval images. There are basically three series: the seven deadly sins, the seven works of mercy, and the four seasons. There are also angels bearing symbols of the Holy Trinity and the crown. Examples of all of these can be seen below; hover on them to read a description, click on them to see them enlarged.
The rood screen is a disappointment; most of it is modern, and the medieval bits perfunctory and scoured. Having said this, note how tiny the exit from the north aisle rood loft stair is. Also at this end of the church, notice a bare scattering of medieval glass, including some Saints.
But step through the central aisle to see something remarkable. The choir stalls are fronted by exquisite carvings of the 12 apostles, evangelists, and even figures who may be King Anna and his daughter St Etheldreda. She founded the priory that became Ely Cathedral, and there is a local connection because her father was killed at the Battle of Blythburgh. It seems likely that there was a shrine to them here.
Seeing these sixteen carvings is a bit like gobbling up a very large box of chocolates, but it is worth stopping to consider quite how genuine they all are. For a start, there could not have been choir stalls here in medieval times, and in any case we know that these desks and their frontages were in the north aisle chapel until the 19th century. They were used as school benches in the 17th century; they still bear holes for inkpots, and the graffiti of a bored Dutch child (his father was probably working on draining the marshes) is dated 1665 - you can see it in the left-hand column. There is nothing at all like them anywhere else in Suffolk, and although we know that they predate the restoration of Holy Trinity (and therefore almost certainly come from here originally) they seem of too high a quality to come from such a rural outback. In short, they are not medieval, whatever the guidebooks say.
Whatever, the east end of the chancel and aisles are thrillingly modern, wholly devotional. In the north aisle, traditionally the Hopton chantry, extraordinary friezes of skeletons become symbols of the four evangelists behind the altar. Beside them, with a view into the sanctuary, is one of Suffolk's biggest Easter sepulchres, tomb of the Hoptons. In the surviving sedilia of the high altar, we find Peter Ball's beautiful Madonna and Child and a fine Holy Trinity plate, which distract perhaps only slightly from the Jewish imagery above the reredos. It is all just about perfect.
Tucked to one side of the organ is a clockjack; Suffolk has two, and the other is down-river at Southwold. They date from the late 17th century, and presumably once struck the hours; at high church Blythburgh and Southwold today, they are used to announce the entry of the ministers.
You may be reading this entry in a far-off land; or perhaps you are here at home. Whatever, if you have not visited this church, then I urge you to do so. It is the most beautiful church in Suffolk, a wonderful art object, and it is always open in daylight. It remains one of the most significant medieval buildings in England. If you only visit one of Suffolk's churches, then make it this one.
The Luxury of being yourself
We have selected pictures on our website, but can always add more depending on the requests we do get and the current trend in the world of luxury fine art:
We do wedding photography and videography:
We do once in a while have discounted luxury fine art, please do keep checking:
Fine Art Photography Prints & Luxury Wall Art:
We do come up with merchandises over the years, but at the moment we have sold out and will bring them back depending on the demands of our past customers and those we do take on daily across the globe.
Follow us on Instagram!
Facebook:
www.facebook.com/william.stone.989/
500px:
500px.com/p/wsimages?view=photos
Twitter:
LinkedIn:
www.linkedin.com/in/william-stone-6bab1a213/
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We tend to celebrate light in our pictures. Understanding how light interacts with the camera is paramount to the work we do. The temperature, intensity and source of light can wield different photography effect on the same subject or scene; add ISO, aperture and speed, the camera, the lens type, focal length and filters…the combination is varied ad multi-layered and if you know how to use them all, you will come to appreciate that all lights are useful, even those surrounded by a lot of darkness.
We are guided by three passions, simple but overwhelmingly strong, our longing to capture in print, that which is beautiful, the constant search for the one picture, and constant barrage of new equipment and style of photography. These passions, like great winds, have blown us across the globe in search of the one and we do understand the one we do look for might be this picture right here for someone else out there.
“A concise poem about our work as stated elow
A place without being
a thought without thinking
creatively, two dimensions
suspended animation
possibly a perfect imitation
of what was then to see.
A frozen memory in synthetic colour
or black and white instead,
fantasy dreams in magazines
become imbedded inside my head.
Artistic views
surrealistic hues,
a photographer’s instinctive eye:
for he does as he pleases
up to that point he releases,
then develops a visual high.
- M R Abrahams
Some of the gear we use at William Stone Fine Art are listed here:
Some of our latest work & more!
Embedded galleries within a gallery on various aspects of Photography:
There are other aspects closely related to photography that we do embark on:
All prints though us is put through a rigorous set of quality control standards long before we ever ship it to your front door. We only create gallery-quality images, and you'll receive your print in perfect condition with a lifetime guarantee.
All images on Flickr have been specifically published in a lower grade quality to amber our copyright being infringed. We have 4096x pixel full sized quality on all our photos and any of them could be ordered in high grade museum quality grade and a discount applied if the voucher WS-100 is used. Please contact us:
We do plan future trips and do catalogue our past ones, if you believe there is a beautiful place we have missed, and we are sure there must be many, please do let us know and we will investigate.
In our galleries you will find some amazing fine art photography for sale as limited edition and open edition, gallery quality prints. Only the finest materials and archival methods are used to produce these stunning photographic works of art.
We want to thank you for your interest in our work and thanks for visiting our work on Flickr, we do appreciate you and the contributions you make in furthering our interest in photography and on social media in general, we are mostly out in the field or at an event making people feel luxurious about themselves.
WS-163-301559152-21268812-6786727-1262022213015
"You are not required to set yourself on fire to keep other people warm" -Unknown. I looked forever and couldn't find an author to the quote, so I hope I'm not mistaken!
I've been feeling so discouraged with my artwork lately, I'm not even sure art school is the place I should be going. The more I try to push my creative boundaries, the more bored I get and the more boring my photos become. Maybe I'll get over it.
The Luxury of being yourself
We have selected pictures on our website, but can always add more depending on the requests we do get and the current trend in the world of luxury fine art:
We do wedding photography and videography:
We do once in a while have discounted luxury fine art, please do keep checking:
Fine Art Photography Prints & Luxury Wall Art:
We do come up with merchandises over the years, but at the moment we have sold out and will bring them back depending on the demands of our past customers and those we do take on daily across the globe.
Follow us on Instagram!
Facebook:
www.facebook.com/william.stone.989/
500px:
500px.com/p/wsimages?view=photos
Twitter:
LinkedIn:
www.linkedin.com/in/william-stone-6bab1a213/
Pinterest:
www.pinterest.co.uk/wsimages_com/
Smugmug:
Instagram:
We tend to celebrate light in our pictures. Understanding how light interacts with the camera is paramount to the work we do. The temperature, intensity and source of light can wield different photography effect on the same subject or scene; add ISO, aperture and speed, the camera, the lens type, focal length and filters…the combination is varied ad multi-layered and if you know how to use them all, you will come to appreciate that all lights are useful, even those surrounded by a lot of darkness.
We are guided by three passions, simple but overwhelmingly strong, our longing to capture in print, that which is beautiful, the constant search for the one picture, and constant barrage of new equipment and style of photography. These passions, like great winds, have blown us across the globe in search of the one and we do understand the one we do look for might be this picture right here for someone else out there.
“A concise poem about our work as stated elow
A place without being
a thought without thinking
creatively, two dimensions
suspended animation
possibly a perfect imitation
of what was then to see.
A frozen memory in synthetic colour
or black and white instead,
fantasy dreams in magazines
become imbedded inside my head.
Artistic views
surrealistic hues,
a photographer’s instinctive eye:
for he does as he pleases
up to that point he releases,
then develops a visual high.
- M R Abrahams
Some of the gear we use at William Stone Fine Art are listed here:
Some of our latest work & more!
Embedded galleries within a gallery on various aspects of Photography:
There are other aspects closely related to photography that we do embark on:
All prints though us is put through a rigorous set of quality control standards long before we ever ship it to your front door. We only create gallery-quality images, and you'll receive your print in perfect condition with a lifetime guarantee.
All images on Flickr have been specifically published in a lower grade quality to amber our copyright being infringed. We have 4096x pixel full sized quality on all our photos and any of them could be ordered in high grade museum quality grade and a discount applied if the voucher WS-100 is used. Please contact us:
We do plan future trips and do catalogue our past ones, if you believe there is a beautiful place we have missed, and we are sure there must be many, please do let us know and we will investigate.
In our galleries you will find some amazing fine art photography for sale as limited edition and open edition, gallery quality prints. Only the finest materials and archival methods are used to produce these stunning photographic works of art.
We want to thank you for your interest in our work and thanks for visiting our work on Flickr, we do appreciate you and the contributions you make in furthering our interest in photography and on social media in general, we are mostly out in the field or at an event making people feel luxurious about themselves.
WS-132-481742419-101344732-3202643-1252022104847
Wheeler Reef Cyclone Yasi Destruction
I’ve just paid a visit to my favourite GBR destination. Wheeler reef is 75km east of TOWNSVILLE and is on the inner side of the GBR belt. Its bathed in nutrient rich tidal currents and has escaped the ravages of C.O.T. ( crown of thorns starfish) and large tropical storms for several decades at least.
On wheelers NW side it boasted a most intricate and delicate hard coral gardens that could only be described with superlatives like “ this is as good as it gets “ and you wouldn’t be exaggerating!
A sand cay that sticks its head out of the water for about 3 hours either side if low tide and some great deep water reef diving down to 35 meters and it was easy to see why Wheeler was listed as one of the GBR premium snorkelling and dive sites.
Cyclone Yasi hit wheeler from the NE & it no doubt copped turbulent 10me+ waves and a tidal surge that ripped thru it cracks and crevasses with enormous destructive power. In the shallows my beloved pristine coral garden is no more! A pile of broken bones covered in slimy green algae litter the once pure white sand floor.
For a start it was heart breaking to snorkel thru the shallow barren gullies in company with my hungry fishy friends. Then on closer inspection I noticed small live coral remnants almost everywhere so I guess in the scheme of natures ebbs and flows its no big deal and no doubt given a little time my beautiful coral gardens will rebound .
The news was better when I dived the deep water with not a lot of noticeable damage below depths of 15 meters .Strangely the marine life in the deep seemed even more prolific than normal with plenty of browsing reef munchers and lots of predicator trout and cod hanging around walls and gullies. My personal favourites, the magnificent jet propelled Trevally, Mackerel and Barracouta were cruising thru the plentiful bait fish…no change there.
Away from the edge of the main reef structure the sand was clean and still home to the normal sandy cellar dwellers . It was also heart-warming to find the usual blue spotted eagle rays , gliding green turtles and reef sharks still as per normal..
The southern side of the reef suffered comparatively less . I guess the coral is accustomed to the battering of the south east trades and being stronger and less prolific fared much better.
I think GBR divers and explorers are a hardy breed and whilst there is no denying the extensive under water damage inflicted by Yasi all the way up the north coast there remains plenty of amazing and even new locations to explore :).
The Luxury of being yourself
We have selected pictures on our website, but can always add more depending on the requests we do get and the current trend in the world of luxury fine art:
We do wedding photography and videography:
We do once in a while have discounted luxury fine art, please do keep checking:
Fine Art Photography Prints & Luxury Wall Art:
We do come up with merchandises over the years, but at the moment we have sold out and will bring them back depending on the demands of our past customers and those we do take on daily across the globe.
Follow us on Instagram!
Facebook:
www.facebook.com/william.stone.989/
500px:
500px.com/p/wsimages?view=photos
Twitter:
LinkedIn:
www.linkedin.com/in/william-stone-6bab1a213/
Pinterest:
www.pinterest.co.uk/wsimages_com/
Smugmug:
Instagram:
We tend to celebrate light in our pictures. Understanding how light interacts with the camera is paramount to the work we do. The temperature, intensity and source of light can wield different photography effect on the same subject or scene; add ISO, aperture and speed, the camera, the lens type, focal length and filters…the combination is varied ad multi-layered and if you know how to use them all, you will come to appreciate that all lights are useful, even those surrounded by a lot of darkness.
We are guided by three passions, simple but overwhelmingly strong, our longing to capture in print, that which is beautiful, the constant search for the one picture, and constant barrage of new equipment and style of photography. These passions, like great winds, have blown us across the globe in search of the one and we do understand the one we do look for might be this picture right here for someone else out there.
“A concise poem about our work as stated elow
A place without being
a thought without thinking
creatively, two dimensions
suspended animation
possibly a perfect imitation
of what was then to see.
A frozen memory in synthetic colour
or black and white instead,
fantasy dreams in magazines
become imbedded inside my head.
Artistic views
surrealistic hues,
a photographer’s instinctive eye:
for he does as he pleases
up to that point he releases,
then develops a visual high.
- M R Abrahams
Some of the gear we use at William Stone Fine Art are listed here:
Some of our latest work & more!
Embedded galleries within a gallery on various aspects of Photography:
There are other aspects closely related to photography that we do embark on:
All prints though us is put through a rigorous set of quality control standards long before we ever ship it to your front door. We only create gallery-quality images, and you'll receive your print in perfect condition with a lifetime guarantee.
All images on Flickr have been specifically published in a lower grade quality to amber our copyright being infringed. We have 4096x pixel full sized quality on all our photos and any of them could be ordered in high grade museum quality grade and a discount applied if the voucher WS-100 is used. Please contact us:
We do plan future trips and do catalogue our past ones, if you believe there is a beautiful place we have missed, and we are sure there must be many, please do let us know and we will investigate.
In our galleries you will find some amazing fine art photography for sale as limited edition and open edition, gallery quality prints. Only the finest materials and archival methods are used to produce these stunning photographic works of art.
We want to thank you for your interest in our work and thanks for visiting our work on Flickr, we do appreciate you and the contributions you make in furthering our interest in photography and on social media in general, we are mostly out in the field or at an event making people feel luxurious about themselves.
WS-140-281008941-121481706-4907731-2052022122837
Moderator Agnieszka Urbanowska gets and IMF pin before the Analytical Corner titled Wage Dynamics Post-COVID-19 and Wage-Price Spiral Risks during the 2022 Annual Meetings at the International Monetary Fund.
IMF Photo/Ariana Lindquist
11 October 2022
Washington, DC, United States
Photo ref: _V0A4991.JPG
Well... After a thinking it over a little, I decided to go ahead and add two additional features to the unit. I have now added an Intervalometer and a Lightning Detector to it's capabilities! :-)
The Intervalometer is a bit more capable than the standard ones out there and certainly the one I have built into my camera. It has the ability to set intervals down to the milliseconds! The ones have used in the past only allowed me to set intervals in seconds and not fractions of a second. I am sure there are other uses for it but I know for sure it would have been handy in doing some time lapses while doing higher speeds in a vehicle. The Lightning detection circuit is about as simple as it can get and will work with any camera having a shutter lag of less than 90 milliseconds (just to be on the safe side).
I also spent a lot of time re-writing the code for the update routines to make it easier to navigate through the system parameters, make changes to them, and then added the ability to save them to non-volatile memory so that the saved parameters will be reloaded on power up of the system. All in all, I think this unit will work very nicely in what I want it to do! :-)
All of this has taken up pretty much every moment of the last two days, but most of that time was spent fighting a bug that I ran across in the Arduino compiler in dealing with complex OR comparisons. That was bit frustrating to figure out, but I finally worked my way around it. :-)
So... now I can get back to work on finishing the tutorial and getting the wiring diagram drawn up!
The Luxury of being yourself
We have selected pictures on our website, but can always add more depending on the requests we do get and the current trend in the world of luxury fine art:
We do wedding photography and videography:
We do once in a while have discounted luxury fine art, please do keep checking:
Fine Art Photography Prints & Luxury Wall Art:
We do come up with merchandises over the years, but at the moment we have sold out and will bring them back depending on the demands of our past customers and those we do take on daily across the globe.
Follow us on Instagram!
Facebook:
www.facebook.com/william.stone.989/
500px:
500px.com/p/wsimages?view=photos
Twitter:
LinkedIn:
www.linkedin.com/in/william-stone-6bab1a213/
Pinterest:
www.pinterest.co.uk/wsimages_com/
Smugmug:
Instagram:
We tend to celebrate light in our pictures. Understanding how light interacts with the camera is paramount to the work we do. The temperature, intensity and source of light can wield different photography effect on the same subject or scene; add ISO, aperture and speed, the camera, the lens type, focal length and filters…the combination is varied ad multi-layered and if you know how to use them all, you will come to appreciate that all lights are useful, even those surrounded by a lot of darkness.
We are guided by three passions, simple but overwhelmingly strong, our longing to capture in print, that which is beautiful, the constant search for the one picture, and constant barrage of new equipment and style of photography. These passions, like great winds, have blown us across the globe in search of the one and we do understand the one we do look for might be this picture right here for someone else out there.
“A concise poem about our work as stated elow
A place without being
a thought without thinking
creatively, two dimensions
suspended animation
possibly a perfect imitation
of what was then to see.
A frozen memory in synthetic colour
or black and white instead,
fantasy dreams in magazines
become imbedded inside my head.
Artistic views
surrealistic hues,
a photographer’s instinctive eye:
for he does as he pleases
up to that point he releases,
then develops a visual high.
- M R Abrahams
Some of the gear we use at William Stone Fine Art are listed here:
Some of our latest work & more!
Embedded galleries within a gallery on various aspects of Photography:
There are other aspects closely related to photography that we do embark on:
All prints though us is put through a rigorous set of quality control standards long before we ever ship it to your front door. We only create gallery-quality images, and you'll receive your print in perfect condition with a lifetime guarantee.
All images on Flickr have been specifically published in a lower grade quality to amber our copyright being infringed. We have 4096x pixel full sized quality on all our photos and any of them could be ordered in high grade museum quality grade and a discount applied if the voucher WS-100 is used. Please contact us:
We do plan future trips and do catalogue our past ones, if you believe there is a beautiful place we have missed, and we are sure there must be many, please do let us know and we will investigate.
In our galleries you will find some amazing fine art photography for sale as limited edition and open edition, gallery quality prints. Only the finest materials and archival methods are used to produce these stunning photographic works of art.
We want to thank you for your interest in our work and thanks for visiting our work on Flickr, we do appreciate you and the contributions you make in furthering our interest in photography and on social media in general, we are mostly out in the field or at an event making people feel luxurious about themselves.
WS-126-22513367-0515736-4493931-652022002254
The Luxury of being yourself
We have selected pictures on our website, but can always add more depending on the requests we do get and the current trend in the world of luxury fine art:
We do once in a while have discounted luxury fine art, please do keep checking:
Fine Art Photography Prints & Luxury Wall Art:
We do come up with merchandises over the years, but at the moment we have sold out and will bring them back depending on the demands of our past customers and those we do take on daily across the globe.
Follow us on Instagram!
Facebook:
www.facebook.com/william.stone.989/
500px:
500px.com/p/wsimages?view=photos
Twitter:
LinkedIn:
www.linkedin.com/in/william-stone-6bab1a213/
Pinterest:
www.pinterest.co.uk/wsimages_com/
We tend to celebrate light in our pictures. Understanding how light interacts with the camera is paramount to the work we do. The temperature, intensity and source of light can wield different photography effect on the same subject or scene; add ISO, aperture and speed, the camera, the lens type, focal length and filters…the combination is varied ad multi-layered and if you know how to use them all, you will come to appreciate that all lights are useful, even those surrounded by a lot of darkness.
We are guided by three passions, simple but overwhelmingly strong, our longing to capture in print, that which is beautiful, the constant search for the one picture, and constant barrage of new equipment and style of photography. These passions, like great winds, have blown us across the globe in search of the one and we do understand the one we do look for might be this picture right here for someone else out there.
“A concise poem about our work as stated elow
A place without being
a thought without thinking
creatively, two dimensions
suspended animation
possibly a perfect imitation
of what was then to see.
A frozen memory in synthetic colour
or black and white instead,
fantasy dreams in magazines
become imbedded inside my head.
Artistic views
surrealistic hues,
a photographer’s instinctive eye:
for he does as he pleases
up to that point he releases,
then develops a visual high.
- M R Abrahams
Some of the gear we use at William Stone Fine Art are listed here:
Some of our latest work & more!
Embedded galleries within a gallery on various aspects of Photography:
There are other aspects closely related to photography that we do embark on:
All prints though us is put through a rigorous set of quality control standards long before we ever ship it to your front door. We only create gallery-quality images, and you'll receive your print in perfect condition with a lifetime guarantee.
All images on Flickr have been specifically published in a lower grade quality to amber our copyright being infringed. We have 4096x pixel full sized quality on all our photos and any of them could be ordered in high grade museum quality grade and a discount applied if the voucher WS-100 is used. Please contact us:
We do plan future trips and do catalogue our past ones, if you believe there is a beautiful place we have missed, and we are sure there must be many, please do let us know and we will investigate.
In our galleries you will find some amazing fine art photography for sale as limited edition and open edition, gallery quality prints. Only the finest materials and archival methods are used to produce these stunning photographic works of art.
We want to thank you for your interest in our work and thanks for visiting our work on Flickr, we do appreciate you and the contributions you make in furthering our interest in photography and on social media in general, we are mostly out in the field or at an event making people feel luxurious about themselves.
HOLIDAY TIPS FOR WORRY-FREE GETTING AND GIVING
By Leah Garchik in the San Francisco Chronicle
DATEBOOK Wednesday, December 10, 2014
•ADDA DADA reports — with a certain amount of glee, it must be said — that Justin Bieber Christmas gift-wrapping paper is on sale at the Goodwill on Fillmore Street for 99 cents a roll.
www.sfgate.com/entertainment/garchik/article/Holiday-tips...
Sunrise at the Cave Point County Park offers some great landscape photo opportunities. The wave-worn limestones can create some great foreground elements especially when the light is low and angle pretty low. as, I was scouting for some good foreground elements I found the ripples in the sand which stands out from the rest of the rock formations. I liked as the orange glow of the low-lying sun hit those ripples and made for a very subtle landscape shot. I wished there were some interesting clouds, but sometimes thats all you get and be content with it.
This is created from a single RAW file and and I used Luminosity Masking and several curves adjustment to get to where I like.
Two young horse riders who had abuse hurled at them by a driving instructor as they rode through Wigan were given a special treat by GMP’s Mounted Unit today.
Fourteen year old Megan Lockett and 12 year old Callum Mullock, both from Wigan, were riding their horses along Beech Hill in Wigan on Friday 31st March, when a driving instructor stopped his car and verbally abused them for riding their horses on the road.
Megan, who has been riding for 11 years and Callum, who has been riding for many years, were taking their horses, Bruno and Picasso back to their stables.
The driving instructor started shouting at Megan and Callum about how they shouldn’t be on the road and that it’s illegal.
Megan and Callum quickly tried to teach him the rules of the road and said if he needed to check, he should call the police.
Megan was concerned by how angry the man was getting and decided to film the driving instructor on her phone. The incident left Megan and Callum shaken and apprehensive about riding their horses in that area again.
Chief Inspector Tariq Butt said: “It’s worrying that a driving instructor is behaving in this way and also getting the rules of the road incorrect. I know the driving school he has a franchise with are investigating the matter.
“It can be a very scary and intimidating place riding a horse or pony on a road but they have every right to be there and to be treated with equal respect by other road users. That’s why I wanted to invite them to visit our Mounted Unit, see behind the scenes, meet our horses and spend some time with us. We are really looking forward to their visit.”
Megan’s Mum said: “I was very shocked when Megan showed me the video, they were enjoying their time with their horses and the next minute this, it’s just not acceptable.
“It’s a shame because it’s made them worried about going out in that area again but I am sure this visit will help.”
To find out more about Greater Manchester Police please visit our website. www.gmp.police.uk
You should call 101, the national non-emergency number, to report crime and other concerns that do not require an emergency response.
Always call 999 in an emergency, such as when a crime is in progress, violence is being used or threatened or where there is danger to life.
You can also call anonymously with information about crime to Crimestoppers on 0800 555 111.
Crimestoppers is an independent charity who will not want your name, just your information.
Your call will not be traced or recorded and you do not have to go to court or give a statement.
I recently got back from hunting Blacktail Deer on Prince of Wales Island, about as far south as you can get and still be in Alaska. It was a good time, got my first Blacktail Deer (rounding out my trifecta of Whitetail Deer, Mule Deer, and Blacktail), got to spend some times with friends, and got to hang out in some beautiful country.
I've been horrible about posting stuff to Flickr lately. Part of it is being too busy, part of it is a lack of enthusiasm. I still keep a camera handy, but I'm not as motivated to seek out stuff to photograph as I used to be, and posting it... Well, it's a way to let folks see what I'm up to, and that's about it. I no longer have any need to try to drive up views or make Explore. At some point I might "get into" Flickr again, but for now, I'll just wander through occasionally.
A martial arts education of intelligent curriculum curated by Sensei Dan Rominski at his martial art school located in Rutherford NJ. Visit our website www.thedojo.org Self-Defense for children at (201) 933-3050 or email SenseiDan@TheDOJO.org
Visit our website www.thedojo.org
Children Learn Focus, Discipline, Self-Control, Concentration, Fitness, Confidence, Respect, Have Better Self-Esteem, Healthy Eating and Self-Defense.
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Parents, Download your FREE Report The 7 Steps for Parents: Preventing Childhood Sexual Abuse Click HERE to visit our website
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Get more information about our Martial Arts Education of Intelligent Curriculum involving Everything Self-Defense at TheDOJO located in Rutherford NJ.
Contact Chief Instructor: Owner Sensei Dan Rominski at (201) 933-3050 or email SenseiDan@TheDOJO.org
Visit our website www.TheDOJO.org
TheDOJO - 52 Park Avenue, Rutherford, NJ 07070 - Phone: (201) 933-3050 - Text us for info here: (201) 838-4177
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We Teach Children, Teens and Adults from Rutherford, NJ; East Rutherford, NJ; Carlstadt, NJ; Kearny, NJ; Lyndhurst, NJ; Woodridge, NJ; Hackensack, NJ; Belleville, NJ; Bloomfield, NJ; Nutley, NJ; Clifton, NJ; Montclair, NJ; and surrounding areas.
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I really need to get some curtains! I really like the street light coming at night though. it gives my room a real cosy feel. love the shadows i get
And i really should stop doing hand prints on the window!
I heard on the radio a few months back, about places in Britain that sound like they should be elsewhere, I can't remember the examples given. But for me, Luddenham sounds as Norfolk as it is possible to get. And yet it is a parish and small village here in Kent.
Were it not for the sat nav, I don't think I would have found Luddenham, not without someone reading the map anyway. From Burham it was a half hour blast down the M2 to Faversham, then taking roads that got ever narrower, I left Faversham, drove though a wood, then out onto the Oare Marshes.
Out over the marshes down a narrow single-track lane, winding round the edge of fields to a large farm that was once a manor house, and beside it was St Mary.
What warmth there had been in the day was now long gone, and the wind had turned to the north east and increased. As I stood inside the half-empty church, I could hear the wind whistling round the tower outside.
Highlight for me here was a fine collection of Victorian tiles, including a design each for one of the gospel saints, and a wonderful stone coffin lid depicting a face with two hands holding it.
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The familiar country scene of Norman church, medieval Court and sprawling farmyard - but the history of Luddenham is far from standard. Here we have a promontory of land which formerly provided wharves off the River Swale some way to the north. Indeed, the place name gets it origin from the Saxon `Lud` meaning a river. The church is now in the care of The Churches Conservation Trust and consists of nave, chancel and south tower. The latter dates from the early nineteenth century and replaced a tower which originally stood to the north of the nave. The west door is a rather weather-beaten twelfth century example. Following redundancy, the church lost most of its furnishings, so its vast spacious interior is something of a surprise to the visitor. There are some medieval tiles in the sanctuary, where graffiti on the glass records those who were probably too poor to have permanent memorials outside. At the back of the church is a fragment of thirteenth century coffin lid brought here from the ruined church at Stone, about a mile to the south west. Rather touchingly it has a heart clasped by two hands in its crisp carving. The church is usually open.
www.kentchurches.info/church.asp?p=Luddenham
LIES the next parish north-westward from Ore, and was, in the reign of the Conqueror, called Cildresham, by which name it is described in the survey of Domesday.
IT is situated about a mile northward of the high London road from Judde-hill, the southern part of it reaching up to Bizing wood, part of which is within it. It lies very low and flat; the arable lands in it, which consist of about three hundred and ninety-six acres, and the upland, meadow, and pasture, of about two hundred acres, are very rich and fertile; near one half of it is marsh land, which reaches to the waters of the Swale, which are its northern boundary.
The church stands nearly in the middle of the upland part of it, and the parsonage-house, which has a mote round it, near half a mile southward of it, close to Bysing-wood. There is no village, and not more than ten houses in the parish, the unhealthiness of its situation occassions its being but very thinly inhabited, those who risk their lives in it seldom attaining any great age.
THERE ARE some parts of this parish which lie at some distance from the rest of it, several other parishes intervening: in Perry-field, almost opposite the 47th mile-stone on the high London road, but on the other or south side of it, there are twenty-two acres of land, and between Goodneston and Boughton under Blean, there are thirty-two acres of land belonging to this parish. There are many instances of the like in different parts of this county, and in this neighbourhood in particular there are several, for a part of the parish of Morton, near Sittingborne, lies within this parish of Luddenham, and entirely surrounded by it, several other parishes intervening between this part of Murston and the rest of it. Part of Preston parish lies near Davington-hill; Upleez farm, the property of lord Romney, which lies westward of Ore, is in Faversham parish; and part of Ospringe parish lies surrounded by the town of Faversham and its liberties.
MR. JACOB among his Plantæ a Favershamienses, has given a list of a number of scarce plants found by him in this parish, to which the reader is referred for an account of them.
THIS PLACE was part of the vast possessions of Odo, bishop of Baieux, under the general title of whose lands it is thus entered in the survey of Domesday:
Anssrid holds of the bishop of Baieux Cildresham. It was taxed at one suling. The arable land is three carucates. In demesne there is one carucate and an half. There are five servants, and two acres of meadow. There is wood, but it pays nothing.
Upon the bishop's disgrace, about four years afterwards, this estate came to the crown, among the rest of this possessions, whence it was granted by the king, among other lands, to Fulbert de Dover, for his assistance, in the defence of Dover castle. These lands were held of the king in capite by barony, the tenant being bound by his tenure to maintain a certain number of soldiers, from time to time, for the defence of the castle.
Of Fulbert de Dover and his heirs, this place was held, as one knight's fee, of the honour of Chilham, which they made the caput baroniæ, or chief seat of their barony.
THE MANOR OF LUDDENHAM came afterwards into the possession of a family who fixed their name on it. William de Luddenham, in the 13th year of king John's reign, held it as one knight's see, of the honor of Chilham, in manner as before mentioned. His heirs, in the next reign of Henry III. sold this manor to the Northwoods, one of whom, Sir Roger de Northwood, in the 41st year of that reign, procured licence to alter the tenure of his lands from gavelkind to that of knight's service, of which there is a recapitulation in the Book of Aid, and among them mention is made of ninety acres of marsh land, which lay partly in his manor of Luddenham, and partly in Iwase.
From the family of Northwood this manor passed into that of Frogenhall; John de Frogenhall, at the latter end of king Edward the IIId.'s reign, died possessed of it, with an appendage called Bishopsbush. After which it at length descended in the beginning of king Edward the IVth.'s reign to Thomas Frogenhall, who married Joane, daughter and heir of William de Apulderfield, and dying in 1576, being the 17th year of that reign, was buried with his wife in Faversham church; their daughter and sole heir Anne, carried this manor in marriage to Mr. Thomas Quadring, of London, and he in like manner leaving one sole daughter and heir Joane. she entitled her husband Richard Dryland, of Cooksditch, in Faversham, to the possession of it. He alenated the appendage of Bishopsbush above-mentioned, to Crispe, who passed it away to Mr. William Hayward, from which name it went in marriage to Mr. Thomas Southhouse, gent. who possessed it at the end of king Charles I.'s reign; but both the name and situation of the estate have been for some time so totally for gotten, that the most diligent enquiries cannot trace out either of them.
But the manor of Luddenham itself went with Katherine, the sole daughter and heir of Richard Dryland, in marriage to Reginald Norton, of Lees-court, in Sheldwich, from which name it passed by sale, in king James I.'s reign, to Francis Cripps, esq. who sold it to Kirton, from which name it passed, in king James II.'s reign, to John Briant, esq. whose heirs passed it away, in king George I.'s reign, to Mr. John Blaxland, and his heirs alienated it, about the year 1753, to Beversham Filmer, esq. of London, a younger son of Sir Robert Filmer, bart. of East Sutton, and of Lincoln's-inn, barrister-at-law. He died ununmarried, and full of years, in 1763, (fn. 1) having by his will given this manor, among the rest of his lands in this county and elsewhere, to his eldest nephew, Sir John Filmer, bart. of East Sutton, who died s. p. in 1797, and by will devised this estate to his next brother, Sir Bevertham Filmer, bart. the present owner of it. A court baron is held for his manor.
At the court held for the manor of Chilham, the tenant of this manor is constantly presented by the jury for default of service, as being held of it under the notion of one knight's fee, and he is always amerced at two shillings, the payment of which is never with-held by him.
HAM is a principal estate, adjoining to the marshes, at the eastern boundary of this parish, and partly in that part of Preston which is separated from the rest of it by Davington and Ospringe intervening, being within that appendage to the manor of Copton, called from hence Hamme marsh. This estate, for several generations, belonged to the family of Roper, lords Teynham, and was sold in 1766 by Henry Roper, lord Teynham, to Mr. William Chamberlain, of London, who sold it to Benjamin Hatley Foote, Esq. and his son George Talbot Hatley Foote, Esq. now owns it.
NASHES is an estate in this parish, which formerly belonged to the Coppingers; Ambrose Coppinger possessed it in the reign of queen Elizabeth, whence it passed to the Brewsters, who were owners of much land at Linsted, Tenham, and other parts of this neighbourhood; from them it was sold to Mr. James Tassell, of Linsted; after which it became the property of Dr. Dravid Jones, and afterwards of Mr. Anthony Ingles, gent. of Ashford, who in 1776 conveyed it be sale to Mr. James Tappenden, gent. of Faversham, the present owner of it, who is descended from those of this name, who were for several generations resident at Sittingborne, where several of them lie buried, and are said to be extracted from the Denne of Tappenden, in Smarden, and bear for their arms, Or, two lions passant, in chief, and one in base, rampant, azure.
Charities.
Thomas Streynsham, gent. of Faversham, was possessed of a farm of 16l. per annum in this parish, Out of the profits of which, by his will in 1585, he devised 3l. per annum for ever, to the use of the poor of that parish.
The poor constantly relieved are about twenty; casually twelve.
Luddenham is within the ECCLESIASTICAL JURISDICTION of the diocese of Canterbury, and deanry of Ospringe.
The church, which is dedicated to St. Mary, is a small building, consisting of one isle and one chancel, having a tower steeple on the north side of it, in which are three bells.
¶This church was formerly an appendage to the manor of Luddenham, and as such came into the possession of William de Luddenham before-men tioned, lord of it, who, as appears by the leiger-book of the abbey of Faversham, gave this church to the abbot and convent there, which he did by placing his knife on the altar in the church of their convent, and this with the consent of his daughter and heir Matilda, and of Gaysle his wife, in the presence of the convent, and many of the clergy and laity, which gift was confirmed afterwards by Sir William de Insula, who married his daughter; notwithstanding which, William de Insula their son, laid claim to it as part of his inheritance, and a suit was commenced in the beginning of king John's reign, by him, against the abbot and convent, to recover the possession of it, which seems to have been determined in his favor, and the religious were forced to be contented with the pension of 66s. 8d. to be paid to them yearly out of it. (fn. 2). This pension they continued to enjoy from it till the time of their dissolution, in the 30th year of Henry VIII. when it came, with the rest of their possessions, into the king's hands, who settled it, among other premises, in his 33d year, on his new-founded dean and chapter of Canterbury, who continue to receive it from the rector at this time.
The determination of the above-mentioned suit against the religious, did not put them out of hopes of, some time or other, recovering the possession of this church, the appropriation of which they got to be inserted in a confirmation of some of their possessions by pope Gregory X. in 1274; but this did not avail them any thing, for this church still continued unappropriated, as it does at this time, being esteemed a rectory, the patronage of which has been for a great length of time in the crown.
The church of Luddenham is valued in the king's books at 12l. 8s. 4d. and the yearly tenths at 1l. 4s. 10d. In 1578, here were communicants fifty-four. The crown patron.
In 1640 there were communicants sixty-eight. The yearly value of it one hundred pounds. It is now esteemed of the same clear yearly value.
There is a modusclaimed for five hundred and thirtyone acres of the marsh lands in this parish, almost all of which are at two-pence, though there are some few at four-pence per acre.