Given my ever growing collection of bottle caps it should be of no surprise that one of the first things I picked up to photograph with a macro lens was a cap. Of the ones I had with me I liked the design of this Arrogant Bastard Ale best and chose it.

But what if I decided to photograph every one of my caps at this size, and then wanted a print??

Well, here is where the math gets fun.

All calculations were made while assuming 1600 unique caps in my collection at the moment.

If I were to photograph them as I did this one, I could print each out at 8 x 12 while still remaining above 300+ dpi. When combined together they would cover an area of over 1000 square feet (approximately 100 square meters).

As for the computer file, if each one is 4060 x 2707 pixels, that would give us an image size of a little over 17.5 gigapixels

The Verona Arena (Arena di Verona) is a Roman amphitheatre in Piazza Bra in Verona, Italy, which is internationally famous for the large-scale opera performances given there. It is one of the best preserved ancient structures of its kind. Amphitheatre

The building itself was built in AD 30 on a site which was then beyond the city walls. The ludi (shows and games) staged there were so famous that spectators came from many other places, often far away, to witness them. The amphitheatre could host more than 30,000 spectators in ancient times.

 

The round façade of the building was originally composed of white and pink limestone from Valpolicella, but after a major earthquake in 1117, which almost completely destroyed the structure's outer ring, except for the so-called "ala", the stone was quarried for re-use in other buildings. Nevertheless it impressed medieval visitors to the city, one of whom considered it to have been a labyrinth, without ingress or egress. Ciriaco d'Ancona was filled with admiration for the way it had been built and Giovanni Antonio Panteo's civic panegyric De laudibus veronae, 1483, remarked that it struck the viewer as a construction that was more than human. Musical theatre

The first interventions to recover the arena's function as a theatre began during the Renaissance. Some operatic performances were later mounted in the building during the 1850s, owing to its outstanding acoustics.

 

And in 1913, operatic performances in the arena commenced in earnest due to the zeal and initiative of the Italian opera tenor Giovanni Zenatello and the impresario Ottone Rovato. The first 20th-century operatic production at the arena, a staging of Giuseppe Verdi's Aida, took place on 10 August of that year, to mark the birth of Verdi 100 years before in 1813. Musical luminaries such as Puccini and Mascagni were in attendance. Since then, summer seasons of opera have been mounted continually at the arena, except in 1915â18 and 1940â45, when Europe was convulsed in war.

 

Nowadays, at least four productions (sometimes up to six) are mounted each year between June and August. During the winter months, the local opera and ballet companies perform at the L'Accademia Filarmonica.

 

Modern-day travellers are advised that admission tickets to sit on the arena's stone steps are much cheaper to buy than tickets giving access to the padded chairs available on lower levels. Candles are distributed to the audience and lit after sunset around the arena.

 

Every year over 500,000 people see productions of the popular operas in this arena.[3] Once capable of housing 20,000 patrons per performance (now limited to 15,000 because of safety reasons), the arena has featured many of world's most notable opera singers. In the post-World War II era, they have included Giuseppe Di Stefano, Maria Callas, Tito Gobbi and Renata Tebaldi among other names. A number of conductors have appeared there, too. The official arena shop has historical recordings made by some of them available for sale.

 

The opera productions in the Verona Arena had not used any microphones or loudspeakers until an electronic sound reinforcement system was installed in 2011.

 

In recent times, the arena has also hosted several concerts of international rock and pop bands, among which Laura Pausini, Pink Floyd, Alicia Keys, One Direction, Simple Minds, Duran Duran, Deep Purple, The Who, Dire Straits, Mike Oldfield, Rod Stewart, Sting, Pearl Jam, Radiohead, Peter Gabriel, Björk, Muse, Paul McCartney, Jamiroquai, and Whitney Houston.

 

In 1981, 1984 and 2010 it hosted the podium and presentation of the Giro d'Italia with thousands packing the arena to watch the prizes being handed out.

 

The 2011 Bollywood film Rockstar directed by Imtiaz Ali starring Ranbir Kapoor with music composed by Academy Award winner A.R.Rahman opens and closes with musical concerts shot here.

 

On 26 March 2013, Paul McCartney confirmed a show at the venue as part of his 2013 Tour. The show is scheduled to take place on Tuesday, 25 June 2013.

British-Irish boy band One Direction performed on 19 May 2013 as part of their Take Me Home Tour

Piazza Bra , or simply the Bra (a name derived from a corruption of the term "Braida", which in turn derives from the Lombard breit , or "off"), is the largest square in Verona , located in its center historian .

 

The square of Piazza Bra began to turn into only the first half of the sixteenth century , when the architect Michele San Micheli concluded the palace of Honorij : this building was to delimit the western side of the square of the future, as well as to establish a correct outlook on the ' Arena . The first attempt to transform the clearing dirt road instead of walking, however, was the mayor Alvise Mocenigo, who wanted to create a meeting place for the rising bourgeoisie Verona: he was able to inaugurate the first part of the Liston , a paved sidewalk that lines connecting the Bra Corso Porta Nuova in Via Mazzini , in 1770. La Gran Guardia , begun by the Venetians in the seventeenth century and completed by the Austrians in the ' Nineteenth Century , went to delimit the southern side of the square, while in 1836 the architect Giuseppe Barbieri designed the eastern edge, where a hospital were demolished, some houses and a church, which was built in place of the Gran Guardia Nuova , better known as Palazzo Barbieri. This, initially used as a barracks by the Austrians, became, as a result of ' annexation of Veneto to the Kingdom of Italy , the seat of the municipality of the City of Verona.

 

History

Origins

In Roman times , the place where you would then open the Bra was outside the city and yet away from the main roads. It is only since the first century AD, when it was built the ' amphitheater in the Roman Empire, better known as the Arena of Verona , who came to define the northern edge of what centuries later would become one of the main squares of Verona. In 305 the Emperor Galerius , during a short stay in the city, he opened a door along the walls which was built in 265 by the Emperor Gallienus , which surrounded the Arena went thus creating a first connection between the city and the place where later would be born Bra.

 

The square, however, began to abbozzarsi only in the Middle Ages: the walls of the city was enlarged at that point between 1130 and 1153, going to close so that piece of land that later would become, coming to have the size of a square. Those areas between the walls and the Roman city walls were called braide, from the Lombard breit ; the braida that could match the current Bra in the twelfth century was far more extensive than at the edge of the square today.

 

A door that the Braida along the city walls is already mentioned in a document dated 1257, but later his place was taken by the gates of the Bra , probably due to the Visconti and to the Venetians : the first arch is dated to the late fourteenth century and the second to the second half of the fifteenth century. The clock that is located between the two arches of the gates of the Bra was a gift of Count Antonio Nogarola made ââin 1871: it was installed with the dials is visible from one side on the other walls. The clock was inaugurated on June 2, 1872 and refurbished in 1879 because of its vagueness.

 

Development

Piazza Bra after the arrangement of the central gardens

Piazza Bra in the mid-twentieth century.

The Bra began to be defined as a square only in the first decade of the seventeenth century, when they started on the south side of the factories Gran Guardia and the seat of the ' Accademia Filarmonica of Verona . In conjunction with the factory della Gran Guardia became the leveling the square as possible, and also create some gradients to regulate the flow of stormwater, operation up to that time never practiced because the space was used by stonemasons, that here, as well as work, abandoning the resulting material, and because the clearing was used for the discharge of material from construction in progress in the area.

 

For others, one hundred and fifty years the space was in clay, in fact, only in 1770 the foundations were laid of Liston will of the mayor Alvise Mocenigo. On March 13, 1782 Francis Menegatti presented a project to the final lastricamento of Liston that the City Council approved and, after this surgery, the bra became the favorite place for afternoon walks in place of Piazza dei Signori . Goethe , in his essay Journey to Italy , describes enjoyed the arrival carriage with ladies and gentlemen, and said that the sunset loitered along the rim of the amphitheater enjoying the most beautiful views of the city. I insole and down on the pavement off the Bra 'walked a multitude of people .

 

The square was smoothed more times: in 1808 he was entrusted with the task of remaking the Liston architect Luigi Trezza and in 1820 excavations were carried out along the Arena, in order to bring to light the basis of the same, as it was buried about two feet because of the sediments that were deposited after the numerous floods that had undergone the city. He also opted for a lowering of the average level of Bra about 70 centimeters along a line slightly inclined from the Gran Guardia At Arena, lowering the share of Liston.

 

Plan of Bra in a drawing by Giuseppe Barbieri

As for the lighting, until the eighteenth century the bra at night was totally immersed in the dark; only in the nineteenth century were installed lights in oil and gas lighting in 1845, so that the Liston also became a place for evening strolls. Then important for the conformation of the square today, is the accommodation in the central part of the garden Bra occurred in 1873: the central gardens were created with three circles forming a triangle with a central fountain.

Between 1884 and 1951 the square was affected by the rails of the tramway town .

 

Events

It is interesting to read the description of Liston of an astonished reporter of the magazine Esperia in an article of 1837:

 

" ... the audience is walking the plank of 'Veronesi, extended space, which is located in a few cities: here business people are dining and comforting conversation, idleness is recreated, and the beautiful flock there to get tributes of glances and sighs of their worshipers ... and many cafes offer brilliant and sufficient acceptance to the numerous meetings that there agree. Street musicians and improvisers, unpleasant indeed, but the liveliness of the inhabitants always well received, breaking the monotony of chatter; and the music of the military garrison increase much fun. Very pleasing to the eye is in the summer thousands of people of both sexes, and before sitting under the porch; and a more active crowd by constantly prowling the paths formed by the rows of seats, and now dispense with a bow, and now dwell near some nice, vibrate envious compliments and words of hope and voting ... while the beautiful turn cautious gaze looking at the confused teeming with ill-concealed impatience, greeting or stop most expensive among the happy meeting ... "

In the past, however, the Bra was used for uses other than those described well by this reporter: in particular, after the twelfth century it was included in the city walls it was used for the wood, hay, straw and cattle, so that in ancient documents is called the Bra cattle market. More often is cited as the parade ground, as was the case here the review of the troops from the beginning of the Venetian rule, which is why this was one of the points of conflict between the French and Venetian soldiers during the Veronese Easters in 1797 . Starting from 1633, after the approval of the Venetian Senate for the creation of an exhibition of goods in the city, there were held two annual fairs fifteen days each, which continued to be held until one of them was destroyed by fire October 28, 1712, and then restored in another place, it was established only in 1822, a new exhibition, which would last in Piazza Bra for twenty years.

 

Fair in very old custom is instead to Saint Lucia : it takes place every year from 11 to 13 December, but do not know its origins. Legend has it that, probably in the communal, an epidemic broke out in the city that struck my eyes, it was so that the Veronese decided to make a pilgrimage to the church of Saint Lucia (no longer exists): the children, who did not want to participate , were persuaded to return with the promise that they would find the shoes filled with gifts. The miracle occurred, and since then the fair is held to coincide with the feast of Saint Lucia.

 

The comet of Verona during a night snowfall

During the Christmas season takes place within the Arena arches dell ' Arena, the International Festival of the Nativity , an event born in 1984 from the mind of Alfredo Troisi , along with the comet symbol of the event, from the reservoir from the Arena, go to dive in Bra. Over the years the star has taken on meanings and values ââare independent of the review of the nativity, as to be appreciated by itself. This architecture-sculpture was designed by architect and designer Rinaldo Olivieri : his intuition came to looking at a map of the city, characterized by two large voids, one of the auditorium and that of the square in front of the Arena. It was from this impression that he was born an ideal line, a huge arch that connects the Arena with the urban space, an arc of light and steel from the Temple of the music goes to fall and explode among citizens

In the second century A.D. a temple of Mithras stood on the bank of the Walbrook, a stream running across London from the City Wall near Moorfie1ds to the Thames. In this temple Roman soldiers sought valour and virility in shower-baths of hot blood from slaughtered bulls. After the recall of the legions to Rome in 410 A.D. the building became a quarry; the locals left only the foundations. These were discovered when Bucklersbury House was built in 1953-1957, and they are preserved to this day. However, there were no foundations of the Christian church which stood on the site and was a going concern in 1090 A.D. when it was given to the monastery of St. John by Eudo, Dapifer (cupbearer) to Henry I. It was Saxon, not Norman, and must have been built on the Mithraic foundations to hallow a heathen site. This could have been as early as 700 A.D., or as late as 980.

By 1428 this church and its graveyard were too small for the parish, and licences were obtained to build a larger church on higher ground some twenty metres to the east, the ground having risen about six metres; and Walbrook, no longer a stream, was now a street. The land, 208½ feet by 66 feet, was given by Robert Chicheley, a member of The Worshipful Company of Grocers. The building, of flint and rubble with stone dressings, had a tower at the west and a cloister on the north. It was one of a hundred churches in the square mile of the City of London.

The houses were not so solid: most of them were built on timber frames, infilled with lath and plaster work, and as the population increased roofs were raised and back yards built over. In 1662 the diarist, Samuel Pepys, added a storey to his house elsewhere in the City, taking light from his neighbour. This crowding allowed the rapid spread both of infection and of fire. At the east end of the church was Bearbidder Lane, the source of the Great Plague of 1665. The only doctor who remained with his patients was Nathaniel Hodges, to whom there is a plaque in the present Church.

 

Then, early on Sunday, 2nd September, 1666, a fire in a bakery near London Bridge became out of control and a strong wind fanned the f1ames westward. Not only the wooden houses and their furnishings, but warehouses with their stocks, and public buildings, and churches of brick and stone, were consumed in the fierce heat - molten lead running in the gutters, while stone was burnt to lime. Within twenty-four hours, St. Stephen Walbrook as burnt to the ground.

The Great Fire destroyed over three quarters of the City. The disaster was felt by the whole nation, and King Charles II appointed a commission to plan rebuilding, which had to be done quickly in order to avoid a fresh start in a different place. The old street plan was retained and timber buildings were naturally banned. Many churches were not rebuilt: St. Bene't Sherehog, for example, was united with St. Stephen Walbrook as it could not simply be abolished. Churches had to be the appointed places for the legal recording of baptisms, marriages and burials.

 

The churches, and especially the Cathedral, were symbolic of religious and civic authority. Because it was bound to be complicated to design and costly to rebuild, St. Paul's Cathedral did not have priority in the reconstruction programme: this austere anomaly allowed St. StephenWalbrook, when rebuilt, to be unique.

The rebuilding commission's six members, nominated equally by the King and the City, were all concerned with architecture or building, but some of them were by profession occupied in other fields. On the King's side Dr. (later Sir) Christopher Wren (1632-1723), a geometrician, an astronomer and something of an anatomist, was at this time Savilian Professor of Astronomy at Oxford. Wren had already to his credit the design of university buildings, completed or under construction, in both Oxford and Cambridge. He was about to make architecture his life's work and to become, over the ensuing forty years or so, the most important, powerful and influential architect in England. Wren was to design the new St. Paul's Cathedral, Chelsea Hospital and Greenwich Hospital, Trinity College Library at Cambridge, and to improve and extend Hampton Court. He was to be responsible, after the Rebuilding Act of 1670, for the Monument to the Fire still to be seen on Fish Street Hill. He was also entrusted with the building of fifty or so new churches, in which enterprises his colleague, Dr. Robert Hooke, was to be of considerable assistance to him.

 

Wren had come to the notice of Charles II by 1661, soon after the Restoration of the Monarchy. The King tried without success to induce him to travel to Tangier, as a distinguished Oxford scientist, in order to supervise work on the fortifications of this newly acquired outpost. Wren elected to remain in England, perhaps anticipating the reversion of the Surveyorship of the King's Works on the death of the holder of that office. Charles II was a shrewd judge of men and may well have seen better than Wren at that time where the Doctor's true avocation lay. By 1665 Wren was sufficiently committed to architecture to devote to its study much of a long visit to France.

Early in 1669 the King's Surveyor died, and Wren was appointed to succeed him. This made him royal architect, but it was to the Great Fire and not to the Monarch that he owed the opportunity to rebuild St. Paul's and the City churches.

London already used up large amounts of coal from Tyneside. It would have been an ill wind indeed that blew only smoke and soot, and Parliament put a tax on coal arriving in the capital to pay for the rebuilding programme. Separate commissions were set up to deal with the rebuilding of the Cathedral and the churches.

Wren, because of his position as Surveyor, was appointed architect to both, with a special office staffed for each project. His personal control of the design and building of the Cathedral was far more strict than that applied to the churches. The limitations on one man's time and energy meant that a considerable amount of responsibility had to be delegated. This is confirmed by the range of variation in quality, of exactness, finish and decoration between one church and another. Certainly not all the sixteen churches begun in 1670 were entirely his personal work. Yet another four were started in 1671, and thirteen more between 1673 and 1677; but in 1672 only one church was begun, and that was St. Stephen Walbrook. It is probable that the unique character of this Church is connected both with the date of its commencement and with the fact that it was Wren's own parish church (he lived at No. 15 Walbrook). In retrospect we can say that Wren was bound to design a masterpiece in 1672, and it was a fortunate parish that requested him then to proceed.

 

The first stones of the new Church were laid on 17th December, 1672, by the Lord Mayor of London, the Lieutenant of the Tower of London, one of the Chicheley family, six members of the Court of the Grocers' Company (patrons of the Church), the Rector, two churchwardens and four other parishioners. Two months later the Vestry gave Wren 'or his lady' a silk purse with twenty guineas for 'his great care and extraordinary pains taken in contriving the design of the Church' - the usual formula for the person who designed a building, indicating that the design had been finalised. Wren's chief draughtsman was given five guineas; like Wren, he had been working simultaneously on designs for the Church as well as for St. Paul's Cathedral.

The whole London building trade was now working at full capacity, and it was still five years before the roofing of the Church was complete. In 1678 the high box pews were installed; Wren had allowed for their height in the high bases of the sixteen internal columns. The pews and font, like William Newman's font cover, pulpit, reredos and western screen, introduced in 1679, were paid for not out of the coal tax but by private subscriptions.

The portico to the north, which was never built, was intended to have colonnades on either side, continuing down the sides of the market place, at the opposite end of which was placed on 29th May, 1672, a marble equestrian statue of Charles II on a high pedestal, the gift of Sir Robert Viner. The sculpture is now resited at Newby Hall near Ripon. Wren may well have had in his mind that this open space should resemble the Forum of ancient Rome.

On 27th May, 1679, the Vestry planned a dinner for the architect, masons and joiners, as the Church was ready for use. The steeple was not built until 1713-1717; it closely resembles the steeples of St. James Garlickhythe and St. Michael Paternoster Royal.

 

A hundred years later an organ was placed in the western apse, and Benjamin West's huge altarpiece of 'The Burial of St. Stephen' was placed above the reredos, blocking the main east window. Benjamin West, born in Springfield, Pennsylvania, was the first (and so far the only) American painter to become President of the Royal Academy. He is buried in St. Paul's Cathedral. In 1850 the painting was moved to a position on the north wall, where the doorway intended by Wren, with portico, was blocked up because of the stench of the Stocks Market, the principal market at that time (now the site of the Lord Mayor's City residence, the Mansion House). At that time the windows were all filled with Victorian stained glass, which was later destroyed in the Second World War and replaced afterwards with clear glass. In 1963, War damage compensation paid for east windows of stained glass designed by the artist, Keith New, but because the higher buildings around have robbed the Church of much of its light, a return to clear glass is now planned.

In 1888 the box pews were removed and the paving stones replaced by mosaic, which unfortunately contradicts Wren's statement that this is a neo-Classical, not a Gothic, church. This provided for choir stalls and pews arranged to make a 'nave, transepts and chancel'. Neither the liturgical ideas of Wren's time, which called for a pulpit more impressive than the altar, nor the artistic ideas of the nineteenth century, allowed glorious use of the space under the dome for a central altar.

 

There are many burials under the Church and interesting memorials on the walls, unfortunately not including one to Sir John Vanbrugh, dramatist, architect of Blenheim and of Castle Howard, and junior colleague of Wren, whose body lies in the vault beneath the floor. There are memorials to John Dunstable, 'father of English Music', and to rector George Croly, the famous preacher whom the Brontë sisters were taken to hear by Emily's publisher's reader, himself a parishioner. The list of Rectors includes Henry Pendleton, the 'Vicar of Bray'; several divines, one of whom was later sent to the Tower of London; and de Courcey Laffan, who helped Baron Courbetin to revive the Olympic Games.

Because the building was not islanded as it is now, the exterior is roughly finished: 'Never was so rich a jewel in so poor a setting, so sweet a kernel in so rough a husk', wrote Bumpus. By the eighteenth century, the building was famous all over Europe. When Lord Burlington went to Rome to see fine buildings, he was met by the Italian sculptor-architect, Canova, who congratulated him on coming from London to which, he said, he would gladly return to feast his eyes once more on St. Paul's Cathedral, Somerset House, and, most of all, St. Stephen Walbrook. Burlington had to admit that he did not know the last, and Canova sent him back to look at it, saying 'we have nothing to touch it in Rome'. Sir John Sommerson has described the Church as 'the pride of English architecture, and one of the few City churches in which the genius of Wren shines in full splendour'. Sir Nikolaus Pevsner lists it as one of the ten most important buildings in England.

 

A good site, even an important one, is not, however, enough to account for the design of St. Stephen's, and it is here that the commencement date of 1672 becomes significant. Architecture is especially an art in which positive virtues are gained from compromise. One very common compromise must be between the architect's general dream of what his art is all about, and the requirements of each individual commission. In 1672 St. Paul's had occupied Wren's mind for nine years, first as a matter of restoration and modernisation, and later as one of totally replacing the old cathedral.

The first design he presented four years after the Fire, in 1670, was for no more than a large parish church with a nave and side galleries, attached to a large domed vestibule which had as much to do with his enthusiasm for domes as with the needs of ceremonial assembly. The domed churches he had seen in France had excited him - for there were none in England at this time - and must have engaged his emotions as well as appealing to his intellectual appreciation of the geometry of solids and voids. But at this stage he had not yet come to imagine the Cathedral as a building which would differ from parish churches, not merely in size and scale, but also essentially in kind.

This realisation came to him in 1672, when he began working on a sequence of designs that culminated in the 'Great Model' still preserved at St. Paul's. These were designs more radical, more European, and more unified than the ultimate one, in which he was made to compromise by incorporating the nave and transepts of a traditional Latin cross plan. Even so, what we see today inside St. Paul's centres round a large dome carried on eight piers. Both the Great Model and the final solution show a quality of mind, of feeling as well as of intellect, for which St. Stephen's provided a kind of dress rehearsal in visual terms.

The structural problems between the two buildings were quite different, for the dome and vaults of the Cathedral are all of masonry, whereas those of St. Stephen's are, as in all the parish churches, lath and plaster facings on elaborate carpentry frames. Wren could therefore design the Church with much smaller supports, giving an unparalleled feeling of lightness of weight and brightness of illumination. He was able to make the eight arches equal in span and to introduce light through all of them, whereas in St. Paul's the requirements of supporting the enormously tall and heavy landmark of the dome meant that the diagonal arches had to be smaller and windowless. Even so, at St. Paul's a ring of eight equal semicircular arches, coming down to acute points, is marked on the masonry by moulding; it is both a survival and a reminder of the conception Wren had tried out at Walbrook.

 

In many of the City churches Wren was not particular about right angles in the plans, but the geometry of St. Stephen's is perfectly rectangular. What makes this Church so remarkable, however, is not the delicacy of the plasterwork or the accuracy of the geometry, hut the subtlety of the space which that geometry defines. Significantly, the space has never been interrupted by galleries, for there is no place in which galleries could have been acceptably placed.

Wren's churches were intended to be what he called 'auditories', in which everyone present could see, hear and feel themselves part of the congregation. A well-lit interior was imperative, with the minimum of obstruction from internal supports. Wren also provided, as a matter of course, a place for the communion table at the east end, and a principal entrance at the west; the latter is unusually impressive because the slope of the site makes it necessary for a flight of steps up from the street.

From the porch, we pass into a short nave of only two bays with double aisles, to face a chancel of one bay on the far side of the dome; the main focus of the interior becomes immediately clear. But the space can be read in other ways. We seem to be inside a set of pillars arranged on a regular grid plan, except that four have been left out of the centre, under the dome. Or again, we may see a perfectly regular domed church, with four triplets of columns, but extended westwards into a sort of ante-chapel from which we can look into the central symmetrical space. The dome seems to rest on the points between the arches, and on the eight columns under these points; in fact there are walls and window arches behind these points, which share with the columns the function of support. These window arches have become the Church's principal light sources. since the east windows are coloured and the oval side windows are shielded by later buildings.

The worshipper and the agnostic alike may feel at first only that they are in a pleasant interior, but the flooding light, and the arrangement of the interior space, so clear yet capable of several readings, have a cumulative effect. That effect does not depend on decorative richness - the enrichment exists only to give softness and substance to the abstraction of lines; the roses, laurels and palms of the plasterwork are only the most conventional of symbols. Wren considered geometry to be the basis of the whole world and the manifestation of its Creator, while light not only made that geometry visible but also represented the gift of Reason, of which geometry was for him the highest expression. Like the solution to a mathematical problem, everything fits into place with apparent simplicity; yet this simplicity itself is mysterious and magical. Whether one experiences St. Stephen's alone, in stillness and quiet, or in a full congregation resounding with music, the effect is always the same. Life outside is complicated and chaotic. To enter is not to escape into fantasy; rather is it to submit to the strongest positive assertion of the true order of the universe.

Like all great works of art, St. Stephen's is of its time, and our sense of history requires that we recognise its associations with a great age; but again like all great works of art, it has something about it that is timeless, and its message, indeed its very survival, must be the concern of us all.

Professor Kerry Downes

 

ststephenwalbrook.net/index.htm

The Lobkowicz Palace[1] (Czech: Lobkowický palác) is a part of the Prague Castle complex in Prague, Czech Republic. It is the only privately owned building in the Prague Castle complex and houses the Lobkowicz Collections and Museum.

The palace was built in the second half of the 16th century by the Czech nobleman Jaroslav of Pernštejn (1528–1569) and completed by his brother, Vratislav of Pernštejn (1530–1582), the chancellor of the Czech Kingdom. It was opened to the public for the first time on 2 April 2007 as the Lobkowicz Palace Museum. Set in 22 galleries, the museum displays a selection of pieces from the Lobkowicz Collections, including works by artists such as Antonio Canaletto, Pieter Brueghel the Elder, Lucas Cranach the Elder, and Diego Velázquez, as well as decorative art, military paraphernalia, musical instruments, and original scores of composers including Beethoven and Mozart.

  

History

Lobkowicz Palace was built in the second half of the 16th century by the Czech nobleman Jaroslav of Pernštejn (1528-1569) and completed by his brother, Vratislav of Pernštejn (1530–1582), the chancellor of the Czech Kingdom. Vratislav's wife, Maria Maximiliana Manrique de Lara y Mendoza, brought the Infant Jesus of Prague statue, thought to have healing powers, from her homeland of Spain to the Palace. The statue was later given by Vratislav and Maria Maximiliana's daughter, Polyxena (1566-1642), to the Church of Our Lady Victorious in Prague, where it remains on display as a popular tourist attraction. A replica of the Infant Jesus of Prague is on permanent display in the Lobkowicz Palace Museum.

  

Martinic, in the Lobkowicz Palace on 23 May 1618, Rudolf Vejrych after Václav Brožík

The Palace came into the Lobkowicz family through the marriage of Polyxena to Zdeněk Vojtěch, 1st Prince Lobkowicz (1568-1628). In 1618, Protestant rebels threw the Catholic Imperial Ministers from the windows of the Royal Palace at Prague Castle, known as the Second Defenestration of Prague. Surviving the fall, the ministers took refuge in Lobkowicz Palace, where they were protected from further assault by Polyxena.

Following the defeat of the Protestant faction at the Battle of White Mountain in 1620, the Catholic Lobkowicz family grew in influence and power for the next three centuries. Lobkowicz Palace took on a more formal, imperial role and functioned as the Prague residence when the family needed to be present at the seat of Bohemian power for political and ceremonial purposes. With the exception of the 63 years (1939-2002) during which the property was confiscated and held by Nazi and then Communist authorities, the Palace has belonged to the Lobkowicz family.

After World War I, and the abolition of hereditary titles in 1918, Maximilian Lobkowicz (1888-1967), son of Ferdinand Zdenko, 10th Prince Lobkowicz (1858-1938), demonstrated his support for the fledgling First Republic of Czechoslovakia by making several rooms at the palace available to the government headed by Tomas G. Masaryk. In 1939, the occupying Nazi forces confiscated the Palace, along with all other Lobkowicz family properties. The Palace was returned in 1945, only to be seized again after the Communist takeover in 1948. For the next forty years, the Palace was used for a variety of purposes, including State offices and as a museum of Czech history.

After the Velvet Revolution of 1989 and the fall of the Communist government, President Václav Havel enacted a series of laws that allowed for the restitution of confiscated properties. Following a twelve-year restitution process, the palace returned to the ownership of the Lobkowicz family in 2002. On 2 April 2007, after four years of restoration and refurbishment, the palace was opened to the public for the first time as the Lobkowicz Palace Museum, home to one part of The Lobkowicz Collections. The 17th century baroque Concert Hall of the Lobkowicz Palace hosts regular concerts of classical music, and the premises are also used for weddings.

  

Architecture

After the Thirty Years War, the Palace underwent a number of significant changes, particularly under Václav Eusebius, 2nd Prince Lobkowicz. He was responsible for the palace’s significant baroque alterations and some of its more lavishly decorated salons. Václav Eusebius redesigned the palace in the Italianate style. His design influence can be seen today in the Imperial Hall, whose walls are painted in fresco with trompe l'oeil statues of emperors surrounded by geometric designs, floral and other decorative motifs. Additional examples of the Italianate style are the Concert Hall and the Balcony Room, whose ceilings are adorned with elaborate painted stuccowork and frescoes by F.V. Harovník.

In the 18th century, Joseph František Maximilian, 7th Prince Lobkowicz commissioned the reconstruction of the exterior of the Palace in preparation for the coronation at Prague Castle of Emperor Leopold II as King of Bohemia in 1791. The alterations included the addition of the palace's panoramic balconies. Despite the various alterations made through the years, remnants of original 16th-century murals and graffito work can still be seen in both of the interior courtyards.

  

The Lobkowicz Collection

  

Haymaking, Pieter Brueghel the Elder, oil on panel, The Lobkowicz Collections

The oldest and largest privately owned art collection in the Czech Republic, the Lobkowicz Collection draws its significance from its comprehensive nature, reflecting the cultural, social, political and economic life of Central Europe for over seven centuries. In 1907, Max Dvořák, a prominent member of the Vienna School of Art History, created the first complete catalogue of The Collections.[2] After the restitution laws in the early 1990s, the Lobkowicz family was able to reassemble most of the collection, subsequently making it available to the public for the first time.

 

Paintings

The Lobkowicz Collections comprise approximately 1,500 paintings, including famous works by artists including Pieter Brueghel the Elder, Pieter Brueghel the Younger, Jan Brueghel the Elder, Bellotto,[which?] Lucas Cranach the Elder, Lucas Cranach the Younger, Diego Velázquez Peter Paul Rubens, Paolo Veronese and Canaletto. The collections also include: an extensive collection of Spanish portraits; Central European portraits by Hans von Aachen and the School of Prague; Dutch, Flemish and German genre paintings; and over 50 paintings and watercolors of Lobkowicz residences by Carl Robert Croll.

 

The three most prestigious artworks in the collection are Haymaking (1565) by Pieter Brueghel the Elder, and two panoramic views of London by Canaletto. Other notable works include: Hygieia Nourishing the Sacred Serpent (c. 1614) by the Flemish master, Peter Paul Rubens; The Virgin and Child with Saints Barbara and Catherine (c. 1520) by Lucas Cranach the Elder; Christ and the Woman Taken in Adultery (c. 1530) by Lucas Cranach the Younger; Caritas Romana (early-mid 16th century) by Georg Pencz and smaller paintings such as A Village in Winter (c. 1600) by Pieter Brueghel the Younger and St. Martin Dividing his Cloak (1611) by Jan Brueghel the Elder. Venetian painting of the 16th century is represented by Paolo Veronese's David with the Head of Goliath (1575).

The Italian baroque collection includes a prayerful Madonna by Giovanni Battista Salvi, and paintings by Francesco del Cairo, Antonio Zanchi and Giovanni Paolo Pannini. The principal Lobkowicz residences and estates—Roudnice nad Labem, Nelahozeves, Jezeří and Bílina—are depicted in oils and watercolors, commissioned from the 19th-century German painter Carl Robert Croll.

The portraits contained in The Collections reflect the Lobkowicz family's participation in European political and cultural life. The collection includes full-length Spanish portraits of Pernstejns, Lobkowiczes, Rožmberks and related members of European and ruling Habsburg dynasties by painters such as Alonso Sánchez Coello, Juan Pantoja de la Cruz, Jacob Seisenegger and Hans Krell. Among the 17th and the 18th century works in the collection is the Spanish Infanta Margarita Theresa (c. 1655), attributed to Diego Velázquez. Later portraits of members of the Lobkowicz family are by Viennese portraitists of the 19th century such as Franz Schrotzberg and Friedrich von Amerling.

The collection of paintings is accompanied by an extensive collection of graphics and drawings, including a set of engravings of Rome by Giovanni Battista Piranesi.

  

Decorative Arts

While not as well known as the paintings, books and music associated with the Lobkowiczes, decorative and sacred arts objects, dating from the 13th through the 20th centuries, form a significant part of The Collections.

During the Nazi occupation of Czechoslovakia and the later period of Communist rule, the private chapels in the family’s principal residences were desecrated and their contents dispersed. Important artefacts survived, including a 12th-century reliquary cross of rock crystal and gilded copper. The gold reliquary head of a female saint, possibly St. Ursula, dated c. 1300 and known as the Jezeri Bust, was found in a trunk of theatrical props. It is now on display in the Lobkowicz Palace.

Late-Renaissance and early-baroque ceramics from Italy feature prominently in the collections. Several pieces of colorful Deruta ware are considered to be among the earliest Italian ceramics brought back to Bohemia. Ordered during a trip to Italy in 1551, the pieces are colourfully decorated with an image of a bull, which was the Pernstejn family crest.

By the late 17th century, Chinese hard-paste porcelain had become the great obsession of European rulers and aristocrats. The Dutch workshops at Delft created tin-glazed earthenware that was an early European imitation of the expensive Chinese ware. Around 1680 when he was Imperial Envoy to the Netherlands, Wenzel Ferdinand, Count Lobkowicz of Bilina, commissioned a personalized work, designed with intricate overlapping letters of his initials WL. With 150 pieces, the set is the largest surviving Delft dinner service. A selection of pieces are on display at the Lobkowicz Palace Museum. In the spring of 2000, over sixty pieces from this service were lent to the Rijksmuseum, Amsterdam, to be displayed as part of the "Glory of the Golden Age" exhibition.

The Meissen factory outside Dresden discovered how to produce hard-paste porcelain in the first decade of the 18th century, for the first time outside of Asia. As a result of the factory’s proximity to the Lobkowicz landholdings and castles, 18th and 19th century examples of these porcelain works are prevalent in the collections, ranging from the earlier delicate chinoiserie motifs to the more traditional European elements and designs with fruits and flowers.

Some of the cabinetmaking and marquetry in the Collections come from the Eger craftsmen who worked in Western Bohemia in the 17th century. Several Eger jewelry cabinets are considered among the finest ever produced.[citation needed] Other pieces include caskets, tables and games boards, which are lavishly inlaid with ivory, mother-of-pearl and tortoiseshell, depicting landscapes, animals and classical motifs.

  

Music

The Music Archive of the Lobkowicz Collection holds over 5,000 items. Originally housed in The Lobkowicz Library at the principal family seat of Roudnice Castle, the entire archive was confiscated, first by the Nazis in 1941, and again by the Communist regime, which sent it to the Museum of Czech Music. In October 1998, the Music Archive was returned to the family in its entirety and moved to Nelahozeves Castle under the auspices of the Roudnice-Lobkowicz Foundation.

The Music Archive, established by Ferdinand August, 3rd Prince of Lobkowicz, was assembled over three centuries by principal members of the family who were not only enthusiastic collectors, but patrons of the arts and also often talented performers. The Music Archive contains works by over five hundred composers and musicians. These include a rare collection of late 17th- and early 18th-century lute, mandolin and guitar scores. This collection, regarded as the world’s largest private collection of baroque music for plucked instruments, has a particularly extensive collection of works by French composers, including Denis and Ennemond Gaultier, St. Luc, Charles Mouton, and Jacques Gallot. The Music Archive is most noted, however, for its late 18th- and early 19th-century collection, including works by Handel, Mozart, Haydn and Beethoven, including Beethoven’s Third (Eroica), Fourth and Fifth symphonies, and Mozart’s hand written re-orchestration of Handel’s Messiah.

Philip Hyacinth, 4th Prince of Lobkowicz, and his second wife, Anna Wilhelmina Althan, were both distinguished lutenists and the prince an accomplished composer as well. Both were both taught by some of the finest contemporary lutenists, including Sylvius Leopold Weiss and Andreas Bohr, and their fine period instruments remain part of the collections. Their son, Ferdinand Philip, the sixth prince, played the glass harmonica and championed the son of one of the family's foresters, the opera composer Christoph Willibald Gluck.

The family member who had the greatest impact on the history of Western music, however, was the 7th Prince, Joseph Franz Maximilian. A talented singer, violinist and cellist, the 7th Prince was the major patron of Beethoven, who dedicated his Third (Eroica), Fifth, and Sixth (Pastoral) symphonies to the Prince, as well as other works. It was the annual stipend provided by the Prince (and continued by his son until the composer’s death), supplemented by support from the Archduke Rudolf and Prince Kinsky, that allowed Beethoven the freedom to compose without dependence on commissions and time-consuming teaching.[citation needed]

In addition to the manuscripts and printed music, the Collections include musical instruments from house orchestras that performed in the various family residences at Jezeří and Roudnice nad Labem in Northern Bohemia, as well as in Vienna. Also on display are lutes from the 16th and 17th centuries by Maler, Tieffenbrucker and Unverdorben; a 17th-century guitar; violins of Italian, German and Czech origin (Gasparo da Salo, Jacob Stainer, Eberle, Hellmer, Rauch); contrabasses from Edlinger[disambiguation needed] and Jacob Stainer; Guarneri and Kulik violoncelli; 18th-century Viennese wind instruments and a pair of copper martial kettledrums. A rare item in the collection is a suite of six elaborately decorated silver trumpets made in 1716 by Michael Leichamschneider of Vienna – one of only two documented sets in existence.

The Nelahozeves Castle Music Room displays a spinet, a contrabass by Posch[disambiguation needed] and other string instruments as well as two pairs of copper and bronze kettledrums.

 

Military equipment

Hunting was an important activity for Central European nobility from the late Renaissance period onwards, and all of the major Lobkowicz properties served as venues for hunting. Bearing witness to these hunting parties and their participants are hundreds of mounted trophies in the Lobkowicz Collections, dating from the 18th to the early 20th centuries. The social aspects of the hunt are also reflected in the numerous paintings and graphics by local artists in the collection, among them pictures of favourite horses, dogs and trophies. The central part of the hunting-related exhibitions, however, is the firearms themselves, which are displayed in two armoury rooms at Lobkowicz Palace, while further items from the collection are held at Nelahozeves Castle.

The majority of these rifles and pistols were produced locally for the family between 1650 and 1750, by the 17th-century Prague workshops of Adam Brand, Paul Ignatius Poser, the Neireiter family and Leopold Becher, as well as Roudnice craftsmen such as Johannes Lackner and Adel Friedrich during the mid-18th century. These exhibits reflect the patronage of the Lobkowicz family, who provided the gun makers with large orders for guns for many centuries.

The collection features a group of identical flintlock rifles produced for the Lobkowicz Militia in the 18th century, one of the largest collections of such items. Additional weapons came from Silesia, while the most elaborate 18th-century rifles and pistols (some in the Turkish manner) with mother-of-pearl inlay were produced in Vienna. Goldsmiths and silversmiths specializing in inlay were employed to decorate guns, rifles, crossbows and powder flasks of the finest quality.

The palace housed an exhibition of the work Illustrated geography and history of Bohemia by Bavarian cartographer Mauritius Vogt. The exhibition ran until 31 May 2015.

  

Lobkowicz Collections o.p.s.

In 1994, a non-profit organisation, Lobkowicz Collections o.p.s. (previously the Roudnice Lobkowicz Foundation), was established to curate and maintain the Lobkowicz Collection, recently returned to the family after the Velvet Revolution. The organisation also works to provide access to the art, music and literature contained in the collection to academic researchers and the general public. Lobkowicz Collections o.p.s. has co-ordinated the installation of the collections at both Lobkowicz Palace and Nelahozeves Castle.

The organisation's responsibilities include:

•overseeing the preservation and installation of the objects in The Collections

•developing education programs for students

•promoting and facilitating academic research around The Collections

•administering loans to other cultural institutions

•curating exhibitions of works included in the collections for the public

Significant restoration projects include the restoration of Peter Paul Rubens’ Hygieia Nourishing the Sacred Serpent, restored by Hubert von Sonnenburg of the Metropolitan Museum of Art. This project was funded by the American Friends for the Preservation of Czech Culture (AFPCC).

Lobkowicz Collections o.p.s. also administers lending of artworks to exhibitions. Since 1993, over 200 works of art have been lent to museums in the Czech Republic and abroad, including the Metropolitan Museum of Art in New York, the National Gallery of Art in Washington DC, the Royal Academy of Art in London and the Rijksmuseum in Amsterdam.

Given that I seem to be spending most of my time doing woodland walks or gardening I thought I'd go for a green twirl today.

 

Website:

www.museudooriente.pt/

www.museudooriente.pt/?lang=en

 

PORTUGUESE PRESENCE IN ASIA

english

The unifying concept underpinning this wide reaching exhibition was the

construction of an Oriental utopia by the Portuguese, from the 15th century right through to contemporary times based on trade, proselytism and the interchange of cultures. Given the boundaries to the collection theme allusive to the Portuguese presence in Asia, an enormous effort was therefore put into conceptualising and staging a narrative that would serve to maximise its unquestionable values and offset any shortcomings.

The visitor is welcomed into the central area on level 1 dedicated to Macau, a territory formerly under Portuguese administration and where the Fundação Oriente was founded in 1988. The large exhibition area is dominated by the four magnificent Chinese folding screens belonging to the collection. The oldest displays a Portuguese nau sailing the China Sea and flanked by another, essentially decorative in nature, bearing the coat of arms of the Gonçalves Zarco family and another inscribed with “do Coromandel”, with interesting Christian iconography echoing the school of painting founded by the Jesuits in Japan and that later spread to Macau. The fourth highly rare screen, displaying representations of the cities of Canton and Macau, is located next to the section dedicated to the iconography of the Cidade do Nome de Deus de Macau, with exhibits particularly focusing on the 17th and 18th centuries complemented by pieces from the 19th.

A granite statue, a crude depiction of a Dutchman, recalls the failed attempt to conquer Macau by Holland in 1622. This exhibition section also features a number of paintings and engravings from the period known as “China Trade” (18-19th centuries), both by Western and by Chinese artists.

A small set of designs and a charming painted miniature recall the extensive twenty seven year stay in Macau of the famous painter Georges Chinnery (1774-1852). This exponent of romantic Oriental landscapes left a sizeable legacy of urban, natural and human landscapes across the territory just as its final period of splendour as a key trading post between China and the West came to a close. On visits to Praia Grande or the sampans next to the A-Má Temple, the artist captured surprising instants of daily life dominated by the presence of the Chinese population going about their affairs against a backdrop influenced by a nostalgic European presence.

The role of Macau in international trade is extensively documented in the opposite section with highlights including the collection of porcelain bearing coats of arms laid out with the plates, dishes, terrines or jugs forming a dragon. Furthermore, there is a significant selection of examples of “China Trade” gouaches portraying the production and trade in tea and porcelain as well as Chinese fans so highly appreciated in the West.

Moving onto the eastern sector of level 1, leading onto the staircase, we encounter the following sections:

• And among remote people was founded/ A new kingdom held in great exaltation. Portuguese presence in Asia, in which, “guided” by the words of Camões in his epic Os Lusíadas in addition to those of Fernão Mendes Pinto in Peregrinação and based on a carefully selected range of objects (furniture, textiles, gold jewellery, painting and ivory pieces), complemented by maps and scale models, the establishment and expansion of the Portuguese Empire in the Orient is set out. Centred around Goa, this section features cities and strongholds, the social and cultural interchange resulting from the dialogue and confrontation between cultures and religions. Within this scope, of particular importance are an 18th century treatise written by a Goan on Hindu gentiles along with a set of watercolours making up an album portraying the traditional characters, professions and military authorities in India,

• The Far East, which testifies to the Portuguese discovery of the culture of the Middle Empire and the lucrative trade in luxury products that came about while also incorporating the role of the missionaries that would accompany the traders and soldiers and who first founded the Christian Church in China, as well as those martyred for their faith. The profitable interchange with Japan throughout the 16th and 17th centuries is brilliantly encapsulated by two folding screens and the Namban lacquered pieces, among the most significant pieces in the entire collection,

• The mother of pearl route: from the Holy Land to Oriental Asia, a collection made up of devotional pieces and “remembrances”, of small and medium size, destined either for export or the local Christian community with crucifixes and fixed crosses to the fore in a collection built up over decades by the sculptor Domingos Soares Branco and acquired by the Fundação Oriente.

With this section over, the visitor again returns to the central area of the Macau section and enters the western wing given over to the following:

• East Timor, peoples and cultures, a very rich collection that documents, through pieces related either to the daily reality and the genealogic traditions or to the sacred, the unity and diversity of the cultures presented in addition to the close ties these peoples held and still hold with Portugal. The seed remover and the bench are located in the daily world of working instruments while the bracelets, necklaces, insignias of power or circumcision knives project us into the worlds of ceremony and ritual and developed through the various types of mask present. The various types of cloth woven by Timorese women illustrate the genealogical traditions within community while the decorative doors and panels of homes or votive statues takes us into the microcosm of Timorese homes with their succession of storeys — from ground level, home to animals and lesser spirits, up to the quarters of the living before rising to the area given over to the worship of ancestors.

• Collecting the Art of East Asia contains a collection of terracotta and other antique Chinese, Japanese and Korean pieces acquired by the Fundação Oriente complemented by loans from Machado de Castro National Museum in Coimbra, enriched by the bequests of the poet Camilo Pessanha and the politician and writer Manuel Teixeira Gomes.

Given the extent of the Chinese ceramics collection, covering the most diverse period and techniques, the exhibition documents the typological evolution of funereal terracotta works, with examples dating back to the Neolithic period and running through to the Ming dynasty, as well as ceramics and porcelain both for practical daily purposes and pieces made for export.

The display further contains a small but significant set of bronzes in the majority deriving from the Camilo Pessanha Collection, some of them highly rare either due to their age or their artistic quality. A set of images, of various origins, and paintings in the Pessanha Collection provide a point of reference to the most erudite of Buddhist and Taoist artistic expression.

Courtesy of the painting and costumes in the Pessanha Collection, it is possible to evoke the office and artistic tastes of a 19th century Chinese man of letters with all his “cherished items”, libation recipients, screens and folding screens, objects of devotion and the roles and albums of traditional Chinese painting and calligraphy in addition to their respective means of execution.

From the notable collection of Chinese snuff flasks built up by Manuel Teixeira Gomes, the second largest in Europe, there is a representative selection of existing different types. The same level is reached with the Japanese collection of the same type: inrô (small and portable personal containers), netzuke (to close the inrô and mask shaped mostly with depictions of the leading characters from Nô Theatre) and tsuba (sword hand guards), covering a broad chronological period and which in the case of Japan are complemented by three monumental sets of armour and other ceramics, bronzes, painting and furniture.

Concluding this section, there is a display of Korean pieces: a lacquered wooden box set with mother of pearl incrustations and an interesting set of watercolours from the late 19th century by the Korean artist Kim Jun-geun, known by his artistic name of Kisan, depicting the clothing, costumes and festivals of Korea and produced for European and American markets.

 

português

 

O conceito gerador deste grande módulo expositivo foi a construção de uma utopia oriental pelos Portugueses, desde o século XV até aos nossos dias, baseada no comércio, na missionação e no encontro de culturas. Dados os referidos condicionalismos da colecção alusiva à presença portuguesa na Ásia, houve que fazer um enorme esforço de conceptualização e de encenação narrativa para de algum modo potenciar os seus indiscutíveis valores e minorar as suas fraquezas.

O visitante é acolhido no espaço central do piso 1, que é dedicado a Macau, território outrora sob administração portuguesa onde foi fundada a Fundação Oriente, em 1988. Este amplo espaço é dominado pela exposição de quatro magníficos biombos chineses da colecção: o mais antigo representa uma nau portuguesa nos mares da China e encontra-se ladeado por outros dois, um de carácter essencialmente decorativo, decorado com as armas da família Gonçalves Zarco, e um outro, dito “do Coromandel”, com interessante iconografia cristã, eco da escola de pintura criada no Japão pelos Jesuítas, que mais tarde se estenderia a Macau. O quarto biombo, raríssimo exemplar decorado com as representações das cidades de Cantão e de Macau, encontra-se junto à secção dedicada à iconografia da Cidade do Nome de Deus de Macau, com exemplares que remontam aos séculos XVII e XVIII e se estendem pelo século XIX.

Uma estátua em granito, representando toscamente um holandês, evoca a tentativa frustrada de conquista de Macau pelos Holandeses, em 1622. Neste módulo expositivo destacam-se ainda várias pinturas e gravuras do chamado período “China Trade” (séculos XVIII-XIX), tanto de autores ocidentais como de autores chineses.

Um pequeno conjunto de desenhos e uma encantadora pinturinha lembram a prolongada presença de vinte e sete anos em Macau do famoso pintor britânico Georges Chinnery (1774-1852), expoente do paisagismo romântico no Oriente, que deixou um notável registo das paisagens urbana, natural e humana do território no derradeiro período do seu esplendor como entreposto entre a China e o Ocidente. Nas vistas da Praia Grande ou das sampanas junto ao Templo de A-Má surpreendem-se instantâneos do quotidiano que envolvem dominantemente a presença da população chinesa nas suas tarefas, em cenários marcados por uma nostálgica presença europeia.

O papel de Macau no comércio internacional está extensivamente documentado na secção oposta, salientando-se a colecção de porcelana brasonada, formando, na disposição de pratos, travessas, terrinas ou jarras, um dragão. Contudo, não deixam de ser significativas as séries de gouaches “China Trade” que representam o fabrico e o comércio do chá e da porcelana, assim como os leques chineses, muito apreciados no Ocidente.

Passando ao sector nascente do piso 1, fronteiro ao acesso por escada, sucedem-se os seguintes módulos:

 

• E entre gente remota edificaram/Novo reino que tanto sublimaram. Presença portuguesa na Ásia, em que, “guiados” pelas palavras de Camões n’ Os Lusíadas mas também pelas de Fernão Mendes Pinto na Peregrinação, se procura documentar, a partir de uma criteriosa selecção de objectos (mobiliário, têxteis, ourivesaria, pintura e marfins), complementada por mapas e maquetas, o estabelecimento e a construção do Império Português do Oriente, centrado em Goa, com as suas cidades e praças-fortes, as suas sociedade e cultura miscigenadas, em que se deu o diálogo e o confronto entre culturas e religiões. Neste particular destacam-se um exemplar setecentista de um tratado escrito por um goês sobre o gentilismo hindu, assim como as aguarelas de um álbum que representa tipos populares, profissões e autoridades militares da Índia;

• Ásia Extrema, em que se evidencia a descoberta, pelos Portugueses, da cultura do Império do Meio e do lucrativo comércio de produtos de luxo que com ele poderiam realizar, não esquecendo o papel dos missionários que acompanhavam os comerciantes e os soldados e deram início à Igreja Católica na China, inclusive os que sofreram o martírio pela Fé. O frutuoso encontro com o Japão nos séculos XVI e XVII é brilhantemente ilustrado por dois biombos e por lacas namban que estão entre as mais relevantes peças de toda a colecção;

Findo este sector, o visitante atravessa, de novo, o espaço central dedicado a Macau e entra no sector poente, em que se desenvolvem outros dois módulos:

• Timor-Leste, povos e culturas, colecção muito rica que documenta, através de peças relacionadas quer com as vivências quotidianas e as tradições linhagísticas quer com o sagrado, a unidade e a diversidade das culturas em presença, assim como os estreitos laços que esses povos souberam manter com Portugal. O descaroçador e o banco situam-nos no mundo quotidiano dos instrumentos de trabalho, enquanto as pulseiras, os colares, as insígnias de poder ou as facas de circuncisão nos projectam no universo cerimonial e ritual, tal como acontece com as diversas máscaras presentes. Os vários tipos de panos tecidos pelas mulheres timorenses ilustram os patrimónios linhagísticos das comunidades, enquanto as portas e os painéis decorativos das casas ou a estatuária votiva nos projectam no microcosmo da casa timorense com a sua sucessão de andares — do nível térreo, morada dos animais e dos espíritos inferiores, passando pela residência dos vivos, até ao lugar de culto dos antepassados.

• O coleccionismo de arte do Extremo Oriente, constituído pela colecção de terracotas e de outras antiguidades chinesas, japonesas e coreanas que foi adquirida pela Fundação Oriente, a que se acrescentaram os acervos em depósito provenientes do Museu Nacional de Machado de Castro, em Coimbra, em que se destacam os legados do poeta Camilo Pessanha e do político e escritor Manuel Teixeira Gomes.

Atendendo ao elevado número de exemplares de cerâmica chinesa dos mais diversos períodos e técnicas, é possível documentar a evolução tipológica das terracotas funerárias, com exemplares que remontam ao Neolítico e se estendem até à dinastia Ming, assim como da cerâmica e da porcelana de uso quotidiano, nela incluindo alguma de exportação.

Expõe-se também um pequeno mas significativo conjunto de bronzes provenientes, na sua maioria, da Colecção Camilo Pessanha, alguns deles de grande raridade pela sua antiguidade e pela qualidade artística. Um grupo de imagens de vária proveniência e algumas pinturas da Colecção Pessanha permitem referenciar a expressão artística mais erudita do budismo e do taoísmo.

Graças à pintura e ao traje da Colecção Pessanha, evoca-se o ambiente do gabinete e o gosto artístico de um letrado chinês de oitocentos, com as “preciosidades”, as taças de libação, os ecrãs e os biombos, os objectos devocionais ou os rolos e álbuns de pintura tradicional chinesa e de caligrafia, bem como os respectivos apetrechos de execução.

Da notável colecção de frascos de rapé de fabrico chinês de Manuel Teixeira Gomes, a segunda maior da Europa, apresenta-se uma significativa selecção das diferentes tipologias que a constituem. O mesmo se passa com as peças japonesas da mesma proveniência: os inrô (pequenos contentores portáteis pessoais), as netzuke (fechos dos inrô em forma de máscara, com personagens, na sua maioria, do Teatro Nô) e as tsuba (guarda-mãos de espada), peças de cronologia alargada, a que se acrescentam, ainda no âmbito do Japão, as três monumentais armaduras e outros objectos de cerâmica, bronze, pintura e mobiliário.

Concluindo este módulo, expõem-se também peças coreanas: uma caixa em madeira lacada com incrustações de madrepérola e uma curiosa série de aguarelas de finais de oitocentos da autoria do pintor coreano Kim Jun-geun, conhecido pelo nome artístico de Kisan, sobre trajos, costumes e festas da Coreia, realizadas para o mercado europeu e americano.

 

_______________________________________________________-

english

The Museum of the Orient (Portuguese: Museu do Oriente) in Lisbon, Portugal celebrates the history of Portuguese exploration with a collection of Asian artifacts. The museum opened in May, 2008, and is located in a refurbished industrial building on the Alcântara waterfront. The collection includes Indonesian textiles, Japanese screens, antique snuff bottles, crucifixes made in Asia for Western export, and the Kwok On Collection of masks, costumes, and accessories.

português

O Museu do Oriente está instalado no edifício Pedro Álvares Cabral, antigos armazéns da Comissão Reguladora do Comércio do Bacalhau em Alcântara, Lisboa.

O museu reúne colecções que têm o Oriente como temática principal, nas vertentes histórica, religiosa, antropológica e artística.

A exposição permanente engloba 1400 peças alusivas à presença portuguesa na Ásia e 650 peças pertencentes à colecção Kwok On.

O museu é da responsabilidade da Fundação Oriente e foi inaugurado no dia 8 de Maio de 2008.

A actual directora é Maria Manuela d'Oliveira Martins.

Foi classificado como Monumento de interesse público (MIP) pelo IGESPAR em 15 de junho de 2010.

 

Caedwalla of Wessex

 

In 685 it was invaded by Caedwalla of Wessex. The Jutish king of the Isle of Wight, Arwald, died in action and his nephews were betrayed to Caedwalla, who subsequently died of wounds received in the battle. The two boys were converted to Christianity and immediately executed. Their names are unknown, but are called collectively "St.Arwald"- after their pagan uncle (who died fighting Christianity).

 

The West Saxon invasion was by all accounts prolonged and bloody.

 

St.Bede states that "...After Caedwalla had obtained possession of the kingdom of the Gewissae, he took also the Isle of Wight, which till then was entirely given over to idolatry, and by merciless slaughter, endeavoured to destroy all the inhabitants thereof, and to place their stead people from his own province; binding himself by a vow, though it is said that he was not yet regenerated in Christ, to give the fourth part of the land and of the spoil to the Lord, if he took the Island. He fulfilled this vow by giving the same for the service of the Lord to Bishop Wilfrid..."

 

It is reported in the Anglo Saxon Chronicle that during Caedwalla's attempts to subdue the population he was gravely wounded - wounds from which he would die within a couple of years. Before final subjugation most of the Jutish population of the island were killed and the remnant forced to accept Christianity as their religion and the West Saxon dialect as their language. Bede states that Caedwalla endeavoured to "mercilessly" destroy the population, but that 300 "hides" were given to the Church in the person of St Wilfrid. A "hide" was the amount of land required to support a family, and the Island was rated at 1200 hides. Caedwalla was a Christian sympathiser under the tutelage of St Wilfrid and St Aldhelm and had promised Wilfrid a quarter of the land in return for his assistance in claiming the Wessex throne. Unfortunately for them, the Jutish Islanders were not only heathens, but apostates, and the mass conversion of the Island probably did not occur as smoothly as had been planned.

 

From 685 therefore the island can be considered to have become part of Wessex and following the accession of West Saxon kings as kings of all England then part of England. The island became part of the shire of Hampshire and was divided into hundreds as was the norm.

[edit] The Saxons

 

The Anglo Saxon Chronicle tells how Wiht-land suffered particularly from Viking predations. Alfred the Great's navy defeated the Danes in 871 after they had "ravaged Devon and the Isle of Wight". During the second wave of Viking attacks in the reign of Ethelred the Unready (975-1014) the Isle of Wight was taken over by the Danes as a base to harry Southern England, referred to as their "frith-stool". The inlet on the west of the River Medina at Werrar Copse seems to have been their main base. In 1002 Ethelred ordered the killing of all the Danes in England in the St. Brice's Day Massacre but the Danish Army remained intact, based on the Isle of Wight. In 1012 Sweyn Forkbeard revenged the Danish defeat. Ethelred was forced to flee England: he spent Christmas on the Isle of Wight en route to refuge in Normandy.

 

The Island again played a critical role in English history as the base for Harold Godwinson and his brothers in their revolt against Edward the Confessor and yet again in 1066, when Tostig Godwinson arrived to collect supplies - but very little other support - en route to his defeat by Harold at the Battle of Stamford Bridge. Both men had manors on the Isle of Wight - Harold at Kern and Tostig at Nunwell.

[edit] The Norman Conquest

 

In the Domesday book (1086) the Island's name is Wit. The Norman Conquest of 1066 transferred the overall manorial rights of the Island to William FitzOsbern as Lord of the Isle of Wight. Carisbrooke Priory and the fort of Carisbrooke Castle were founded. The Island did not come under full control of the Crown until it was sold by the dying last Norman Lord, Lady Isabella de Fortibus, to Edward I in 1293.

 

The Lordship thereafter became a Royal appointment, with a brief interruption when Henry de Beauchamp, 1st Duke of Warwick was crowned King of the Isle of Wight, King Henry VI assisting in person at the ceremony, placing the crown on his head. He died in 1445, aged 22. With no male heir, his regal title expired with him.

[edit] Medieval

 

After the Norman Conquest, the title of Lord of the Isle of Wight was created and William Fitz-Osborne who subsequently founded Carisbrooke Priory and the fortifications on what was to become Carisbrooke Castle became the first to hold the title. (It is possible that the site of Carisbrooke Castle had previously been fortified originally by Romans and subsequently by Jutes or Saxons; there still remains a late Saxon burgh, or defensive wall, built to defend the site from Viking raiders.) The Island did not come under the full control of the crown until the Countess Isabella De Fortibus sold it to Edward I in 1293 for six thousand marks.

 

The Lordship thereafter became a Royal appointment with a brief interruption when Henry de Beauchamp, 1st Duke of Warwick, was crowned King of the Isle of Wight, King Henry VI assisting in person at the ceremony, placing the crown on his head. He died in 1445, aged 22. With no male heir, his regal title expired with him. The title of Lord of the Isle of Wight expired in the reign of Henry VII with the title of Governor or Captain being used for sometime thereafter. During the English Civil War King Charles fled to the Isle of Wight believing he would receive sympathy from the governor Robert Hammond. Hammond was appalled, and incarcerated the king in Carisbrooke Castle. Charles was later tried and executed in London.

 

Henry VIII who developed the Royal Navy and its permanent base at Portsmouth, fortifications at Yarmouth, East & West Cowes and Sandown, sometimes re-using stone from dissolved monasteries as building material. Sir Richard Worsley, Captain of the Island at this time, successfully commanded the resistance to the last of the French attacks in 1545. In July 1545; French troops had landed on the southern coast of the Isle of Wight. Their aim was to seize important areas of the island; allowing the French to gain overall control of the Isle of Wight; giving the French a valuable jumping-off point for further operations against the mainland. However, the French advance was decisively defeated, when the local Isle of Wight militia defeated the French troops in the Battle of Bonchurch. Much later on after the Spanish Armada in 1588 the threat of Spanish attacks remained, and the outer fortifications of Carisbrooke Castle were built between 1597 and 1602.

 

In 1587 two Roman Catholic missionaries Anderton and Marsden, originally from Lancashire, but trained in France, were returned to England in disguise on the ferry to Dover, but due to a severe gale landed in Cowes in the Isle of Wight. Unfortunately for them, such was the danger they were in that they loudly prayed to God to "save the first of your seminarians to returm=n to England" which was overheard by fellow passengers who reported them to Governor Carey. They were taken to London for trial, but executed by hanging, drawing and quartering in Cowes, although the exact site is unknown. They were declared "Venerable" by Pope Pius XI.

[edit] Early Modern and Modern

 

Charles I evaded custody under the Army at Hampton Court by riding to Southampton in order to escape to Jersey. However,he and his companion became lost in the New Forest and missed their intended ship, and fled to the Isle of Wight instead. The Governor Colonel Robert Hammond had declared for Parliament and Charles was imprisoned in Carisbrooke Castle. Since an extensive bowling green was built for his use this was initially in some comfort, but this was made closer after an abortive escape attempt, when he failed to get through the window to where Royalist sympathisers under John Oglander were waiting with a horse.

 

Charles was approached by the Presbyterian faction of Parliament and concluded the Treaty of Newport, offering him a constitutional monarchy. However Charles had no intention of accepting its restrictions upon Royal power and also concluded the Engagement with the Scots to invade on his behalf. As a result of his perceived faithlessness, the moderate faction at Parliament were discredited and Charles was moved to more prison-like conditions at Hurst Castle and thence to execution on 30 January 1649.

 

Later Cromwell was to use Carisbrooke Castle as a place of imprisonment for Fifth Monarchists opposed to his Protectorate including Thomas Harrison and Christopher Feake.

 

Queen Victoria made the Isle of Wight her home for many years, and as a result it become a major holiday resort for members of European royalty, whose many houses could later claim descent from her through the widely flung marriages of her offspring. During her reign in 1897 the World's first radio station was set up by Marconi at the Needles battery at the western tip of the Island.

 

The famous boat-building firm of J. Samuel White was established on the Island in 1802. Other noteworthy marine manufacturers followed over the nineteenth and twentieth centuries including Saunders-Roe a key manufacturer of the Flying-boats and the world's first hovercraft. The tradition of maritime industry continues on the Island today.

 

In the mid- to late-nineteenth century, a sizeable network of railways was built on the island, notable for its punishing gradients and numerous tunnels, particularly to reach the town of Ventnor. Since the early twentieth century, these lines were often linked to plans for a tunnel under the Solent, an idea still talked of today. Most of the rail network closed between 1956 and 1966, and is now a series of cyclepaths.

 

The first Governor to hold the crown representative title used now of Lord-Lieutenant was Lord Mountbatten of Burma until his murder in 1979. Lord Mottistone was the last Lord Lieutenant to also hold the title Governor (from 1992 to 1995). Since 1995 there has been no Governor appointed and Mr Christopher Bland has been the Lord Lieutenant.

[edit] Caulkheads and other Island terms

 

Historically, inhabitants of the Isle of Wight have been known as Vectensians or Vectians (pronounced Vec-tee-ans). These terms derive from the Latin name for the Island, Vectis. Vectian is a word used more formally to describe certain geological features which are typical of the Island. As with many other small island communities the term Islander has long been used, and is commonly heard today. The term Overner is used for people originating from mainland Great Britain. This is an abbreviated form of Overlander; which is an archaic English term for an outsider still found in a few other places such as parts of Australia.[5]

 

People born on the island are colloquially known as Caulkheads (sometimes erroneously written as it is spoken, Corkheads), a word comparable with the name Cockney for those born in the East End of London. Some argue that the term should only apply those who can also claim they are of established Isle of Wight stock either by proven historical roots or, for example, being third generation inhabitants from both parents' lineage.[6]

 

One theory about the term 'caulkhead' is that it comes from the once prevalent local industry of caulking boats; a process of sealing the seams of wooden boats with oakum. It is said that the shipyard at Bucklers Hard in the New Forest employed labourers from the Isle of Wight , mainly as caulkers, in the building of early warships. Islanders may have been called "Caulkheads" during this time either because they were indeed so employed, or merely as a derisory term for perceived unintelligent labourers from another place. Another more fanciful story is that a group of armoured Island horsemen were chased into the sea by the marauding French, and took refuge on a sandbank when the tide came in, thus appearing to float in the sea despite their heavy armour, hence the name Cork- i.e. Caulk-, -heads When this supposed event happened is not clear, since the Island was frequently attacked in the Middle Ages, however in the last instance in 1546 Sandown Castle was under construction some way offshore and a battle was fought on site, resulting in the French being driven off and this could fit this particular tale.[7] In local folklore it is said that a test can be conducted on a baby by throwing it into the sea from the end of Ryde Pier whereupon a true caulkhead baby will float unharmed. Thankfully there is no record of the test ever being carried out.

[edit] Political History

 

The island's most ancient borough was Newtown on the large natural harbour on the island's north-western coast. A French raid in 1377, that destroyed much of the town as well as other Island settlements, sealed its permanent decline. By the middle of the sixteenth century it was a small settlement long eclipsed by the more easily defended town of Newport. Elizabeth I breathed some life into the town by awarding two parliamentary seats but this ultimately made it one of the most notorious of the Rotten Boroughs. By the time of the Great Reform Act that abolished the seats, it had just fourteen houses and twenty-three voters. The Act also disenfranchised the borough of Yarmouth and replaced the four lost seats with the first MP for the whole Isle of Wight; Newport also retained its two MPs, though these were reduced to one in 1868 and eventually abolished completely in 1885.

 

Often thought of as part of Hampshire, the Isle of Wight was briefly included in that county when the first county councils were created in 1888. However, a "Home Rule" campaign led to a separate county council being established for the Isle of Wight in 1890, and it has remained separate ever since. Like inhabitants of many islands, Islanders are fiercely jealous of their real (or perceived) independence, and confusion over the Island's separate status is a perennial source of friction.

 

It was planned to merge the county back into Hampshire as a district in the 1974 local government reform, but a last minute change led to it retaining its county council. However, since there was no provision made in the Local Government Act 1972 for unitary authorities, the Island had to retain a two-tier structure, with a county council and two boroughs, Medina and South Wight.

 

The borough councils were merged with the county council on April 1, 1995, to form a single unitary authority, the Isle of Wight Council. The only significant present-day administrative link with Hampshire is the police service, the Hampshire Constabulary, which is joint between Hampshire and the Isle of Wight.

 

From the closing decades of the 20th century onwards, there has been considerable debate on the Island over whether or not a bridge or tunnel should connect the island with mainland England. The Isle of Wight Party campaigned from a positive position, although extensive public debate on the subject revealed a strong body of opinion amongst islanders against such a proposal. In 2002 the Isle of Wight Council debated the issue and made a policy statement against the proposal.

[edit] Autonomy and Political Recognition

 

A number of discussions about the status of the island have taken place over many years, with standpoints from the extreme of wanting full sovereignty for the Isle of Wight, to perhaps the opposite extreme of merging with Hampshire. The pro-independence lobby had a formal voice in the early 1970s with the Vectis National Party. Their main claim was that the sale of the island to the Crown in 1293 was unconstitutional. However, this movement now has little serious support. Since the 1990s the debate has largely taken the form of a campaign to have the Isle of Wight recognized as a distinct region by organizations such as the EU, due to its relative poverty within the south-east of England. One argument in favour of special treatment is that this poverty is not acknowledged by such organizations as it is distorted statistically by retired and wealthy (but less economically active) immigrants from the mainland.

 

In more recent times, the regionalist movement has been represented by the Isle of Wight Party.

[edit] Isle of Wight Disease

 

In 1904 a mysterious illness began to kill honeybee colonies on the island, and had nearly wiped out all hives by 1907 when the disease jumped to the mainland, and decimated beekeeping in the British Isles. Called the Isle of Wight Disease, the cause of the mystery ailment was not identified until 1921 when a tiny parasitic mite, Acarapis woodi was first described by J. Rennie. The mite inhabited the tracheae of individual bees, and greatly shortened their lifespan, causing eventual death of the colony. The disease (now called Acarine Disease) frightened many other nations because of the importance of bees in pollination. Laws against importation of honeybees were passed, but this merely delayed the eventual spread of the parasite to the rest of the world.

[edit] The Isle of Wight Festival

Main article: Isle of Wight Festival

 

A large rock festival took place near Tennyson Down, West Wight in 1970, following two smaller concerts in 1968 and 1969. The 1970 show was notable for being the last public performance by Jimi Hendrix before his death. The festival was revived in 2002 and is now an annual event,[8] with other, smaller musical events of many different genres across the Island becoming associated with it.

 

The first of the modern festivals was a one day affair termed Rock Island,[9] which expanded to two days in 2003,[9] then three days by 2004.[10]

Speech given by Mr. Alain Simard

President and CEO of Équipe Spectra

(as delivered)

   

December 10, 2002

   

LA CULTURE ET LES COMMUNICATIONS COMME AXE DE DÉVELOPPEMENT POUR MONTRÉAL

    

Oui, le monde a changé depuis 25 ans, et il va continuer de changer, pour le meilleur ou pour le pire…

 

Chez Spectra, même si ça peut sembler naïf, nous avons toujours eu comme motivation première, le désir de partager notre passion pour la culture, d'élargir les horizons du monde, de leur faire découvrir de nouveaux artistes venus de partout, en offrant au grand public des contenus culturels novateurs et de grande qualité. Et on croit encore que ça vaut la peine de faire notre petite part pour faire évoluer le monde.

 

Vous savez, il y a 25 ans, quand j'organisais des spectacles «underground» depuis ma «commune hippie», j'étais loin de me douter que je développais de nouvelles approches marketing pour rejoindre une clientèle qui deviendrait bientôt très convoitée : «les babyboomers». Puis quand nous nous sommes diversifiés, un peu instinctivement, dans le disque, la télévision, les produits dérivés et les salles de spectacles, c'était d'abord et avant tout pour contrôler la qualité artistique de nos projets et leur distribution... on n'avait jamais entendu le mot «convergence» ! Mais ce dont je suis le plus fier, c'est d'avoir contribué à bâtir une nouvelle industrie du divertissement et de l'événementiel en développant de nouveaux créneaux inexploités, en inventant souvent de nouvelles formules, plutôt que de concurrencer ce qui existait déjà, et en partageant le fruit de nos succès avec nos partenaires et employés.

 

Il faut savoir que L'Équipe Spectra amène de l'eau au moulin à toute l'industrie culturelle avec qui elle fonctionne en complémentarité avec une éthique irréprochable : nous louons nos salles aux autres producteurs qui seraient normalement nos compétiteurs; nous engageons leurs artistes dans nos festivals ou nos émissions télé, et jamais, en 25 ans nous n'avons été accusés de maraudage, de favoritisme ou de conflit d'intérêt. Nous avons d'ailleurs depuis nos débuts un code d'éthique rigoureux, dont l'application est vérifiée par la SODEC, et qui régit toutes les transactions de l'Équipe Spectra avec les festivals qui sont des organismes à but non lucratif. Et j'aimerais en profiter pour remercier aujourd'hui tous les partenaires qui nous ont appuyés depuis 25 ans car on n'aurait pas pu bâtir ça tout seul : on avait peut être la foi qui transporte les montagnes, mais pas le porte-monnaie…C'est sans doute grâce à cette passion authentique que nous avons pu développer une vision et une crédibilité qui nous ont mérité l'appui des médias, des pouvoirs publics et des commanditaires sans qui nous n'aurions jamais pu réaliser nos rêves les plus fous.

 

Je dois dire qu'on n'était quand même pas les seuls à rêver il y a 25 ans ! Combien d'autres lançaient à cette époque soit une troupe de danse ou une troupe de théâtre, (ou même un cirque !), soit une compagnie de production télévisuelle ou de cinéma, soit un magazine, une nouvelle station FM, une maison de disques ou d'édition, un projet multimédia, un atelier de décors, une galerie d'art, un studio de son, une petite agence de publicité, un cinéma parallèle, un café d'artistes ou un restaurant nouvelle cuisine.

 

Il y a 25 ans, alors que tous ces jeunes profitaient des loyers modiques d'un centre-ville au marché immobilier à tout le moins morose, qui aurait pu imaginer que l'effervescence culturelle qui en découlerait deviendrait un jour un avantage stratégique dans le positionnement international de Montréal et que sa personnalité festive deviendrait le symbole de sa qualité de vie, à tel point que d'autres grandes villes, comme Toronto, deviendraient jalouses de son «indice bohémien» !

 

Depuis trois ans, presque tous les grands magazines internationaux, de National Geographic Traveler à Wallpaper Magazine en passant par Condé Nast et Travel & Leisure, ont classé Montréal dans leur palmarès des villes les plus «trendy» de la planète, à cause de sa qualité de vie, de ses festivals et de son activité culturelle. On compare son dynamisme à celui de Barcelone ou de San Francisco…

 

C'est un fait que le centre-ville de Montréal bouillonne aujourd'hui d'activités diverses, démultipliées grâce à son bilinguisme et son multiculturalisme : nous avons ainsi accès à un choix inouï de productions aussi bien locales qu'américaines ou européennes de même qu'à une foule de lieux et d'activités pour agrémenter nos sorties.

 

Lors d'un récent sondage auprès de ses clients, Destination Centre-Ville, l'association des marchands de l'artère commerciale la plus achalandée au Canada, la rue Sainte-Catherine, découvrait que le divertissement est la motivation première de cet achalandage, et ce, dans 51 % des cas. Ce sont donc les spectacles, les cinémas, les festivals, les restaurants et les bars qui attirent la majorité des gens qui en profitent pour magasiner…

 

Si l'on veut préserver et maintenir cette effervescence propre à l'expérience montréalaise, il faut aujourd'hui prendre des mesures pour protéger et stimuler le milieu de la création culturelle qui est à l'origine de cette personnalité distinctive. Pour ce faire, il faut bien sûr augmenter significativement le budget du Conseil des arts de Montréal, tel que promis par l'administration municipale, ce qui lui permettrait de s'impliquer davantage dans la création d'œuvres originales dans les institutions du centre-ville, notamment dans le cadre des grands festivals qui doivent constamment offrir des contenus culturels crédibles pour conserver leur couverture de presse internationale et ce n'est pas le rôle des subventions de développement économique ou des commandites privées de leur donner la marge de manœuvre pour le faire.

 

Il faudra aussi trouver la façon de compenser pour la «gentrification» croissante de l'arrondissement Ville Marie et la hausse de sa valeur locative, histoire de ne pas évincer les artistes et créateurs qui auront contribué à son succès… Il importe donc de prévoir des mesures incitatives pour favoriser l'accueil ou la relocalisation des petits organismes culturels et des créateurs pour retenir et favoriser leur concentration dans le secteur.

 

C'est pour cette raison que je proposais, lors du récent Sommet de Montréal, de prioriser le domaine de la culture et des communications comme axe de développement pour l'est du centre-ville, en y incluant la «Cité des Ondes» (SRC, TVA, TQ), le quartier Latin et ses institutions du savoir, le futur «quartier des spectacles» et le Vieux Montréal avec sa vocation patrimoniale, muséale et touristique.

 

Voilà une avenue naturelle pour le développement du centre-ville de Montréal où sont déjà concentrés 80 % des emplois du domaine de la culture et des communications au Québec, soit plus de 100 000 personnes qui en façonnent la personnalité, d'autant plus que la plupart des autres grands secteurs économiques comme l'industrie pharmaceutique, les biotechnologies ou le secteur de l'aérospatiale sont généralement localisés en périphérie. En outre, cette stratégie est des plus structurantes pour l'industrie touristique qui crée, ne l'oublions pas, plus de 64 000 emplois principalement concentrés dans le centre-ville. Il faut savoir qu'à Montréal, les hôteliers paient annuellement près de 200 millions de dollars en taxes foncières et 100 millions de dollars en TPS et TVQ. N'oublions pas qu'il s'agit d'argent neuf dans notre économie, parce qu'il provient des touristes venus d'ailleurs….Tout ça pour dire que ces secteurs économiques constituent certainement la base sur laquelle peut se construire l'avenir de l'arrondissement Ville Marie et de Montréal.

 

Pourtant, il y a 25 ans, la culture, le divertissement et le tourisme étaient souvent considérés comme les parents pauvres de la «grande industrie» et du monde de la finance, avec des emplois jugés précaires et sans avenir…Qui aurait cru que ces secteurs deviendraient des locomotives de l'économie de l'an 2000, selon l'Organisation mondiale du commerce.

 

Lors du colloque «Tourisme et divertissement» organisé le mois dernier par la Chaire de tourisme, on apprenait que la tendance touristique en plus forte croissance dans le monde sont les séjours urbains de courte durée et qu'ils sont intimement liés à l'expérience culturelle et à l'ambiance que peut offrir une grande ville. On y démontrait que les festivals et événements de même que les complexes thématiques de divertissement, les casinos et les musées contribuent à positionner une ville sur l'échiquier international, «favorisant la venue d'investisseurs, la tenue de congrès, l'arrivée de nouveaux citoyens et enfin la revitalisation et la prospérité de la cité». Selon Robert Sprazzichino, expert européen en matière d'aménagement urbain, «la culture, le tourisme et les loisirs sont aujourd'hui considérés comme des facteurs essentiels et même comme des moteurs de régénération et de redynamisation urbaine».

 

Montréal n'a peut-être pas de Statue de la Liberté, de tour Eiffel ou de Disneyworld, mais elle jouit maintenant d'une réputation enviable, celle d'être la «Ville des festivals». Et cette «marque de commerce», cette personnalité distinctive exploitée avec succès par Tourisme Montréal depuis quelques années, a permis cet été à Montréal de «surclasser» pour la première fois Toronto et Vancouver, à la fois pour le nombre de touristes étrangers et pour le tarif moyen des chambres d'hôtel. Après les événements du 11 septembre, nous étions la seule ville canadienne à connaître une augmentation du taux d'occupation des hôtels !

 

Il y a 25 ans, quand j'écrivais, dans une demande de subvention pour la création du Festival International de Jazz de Montréal «qu'un jour, cet événement attirera des milliers de touristes américains», je peux vous dire que j'ai sérieusement fait rire de moi… et ça a pris 5 ans avant de finalement toucher une première subvention de 10 000 $ !

 

Même moi, je n'aurais jamais cru que ce projet quelque peu utopique puisse devenir un jour l'un des plus importants festivals au monde avec 1,7 million de participants, et même être choisi par Attractions Canada comme l'une des 8 principales attractions touristiques au pays, avec les chutes Niagara et les Rocheuses !

 

Depuis plusieurs années, un participant sur cinq au Festival de Jazz vient de l'extérieur de Montréal, la moitié en provenance des États Unis, soit une personne sur dix. Le plus remarquable, c'est que 86 % des visiteurs du Québec et 80 % des touristes étrangers sont venus à Montréal spécifiquement à cause du Festival de Jazz! Et, selon l'étude effectuée par KPMG en 2001, ces seuls touristes venus au Festival de Jazz ont dépensé à Montréal 44,5 millions de dollars, générant 10 millions de dollars de recettes fiscales pour le gouvernement du Québec et 7,2 millions de dollars au fédéral - toujours de l'argent NEUF dans notre économie et près de 10 fois ce que le Festival a reçu en fonds publics !

 

Même les FrancoFolies, un événement en croissance qui touche principalement les jeunes et les communautés culturelles, à qui nous voulons donner le goût de la musique francophone, rejoignent maintenant 18 % de touristes dont les 2/3 proviennent de l'extérieur du Québec, avec un total de 700 000 visiteurs en dix jours. Quand on y ajoute le Grand Prix de Formule Un qui démarre la saison d'été en lion, La Feria du Vélo, Juste Pour Rire, Le Mondial SAQ, les Internationaux de Tennis du Canada et le Festival des Films du Monde qui vient clôturer «l'été des festivals», on obtient une masse critique d'événements qui assurent un rayonnement international ininterrompu pour Montréal pendant trois mois, avec des télédiffusions multiples dans des dizaines de pays à longueur d'année.

 

Et souvent, les événements montréalais ont ceci d'unique au monde qu'ils ont la capacité d'accueillir des centaines de milliers de spectateurs avec des activités d'animation urbaine gratuites, dans les rues du centre-ville fermées à la circulation automobile, alors qu'ailleurs ils se limitent à des sites fermés et souvent payants.

 

Il faut savoir qu'en conséquence les organisateurs sont souvent seuls à couvrir tous les coûts d'aménagement, de programmation, de sécurité, de nettoyage et de publicité pour des activités qui rapportent à tous sauf à eux. De là le besoin d'un apport indispensable des commandites privées et des aides gouvernementales pour assurer la survie de cette jeune industrie typiquement québécoise, souvent subventionnée à moins de 20 % de son budget alors que ses concurrents internationaux le sont souvent de 40 % à 60 %, grâce à des taxes dédiées à l'hébergement, comme à la Nouvelle Orléans, Chicago ou Edimbourg.

 

Une récente étude de KPMG pour le compte du REMI (Regroupement des Événements Majeurs Internationaux) démontre que ces dix-neuf événements représentent globalement une activité économique de 300 millions de dollars, créant plus de 7000 emplois annualisés au Québec qui génèrent directement plus de 58 millions de dollars de recettes fiscales pour le gouvernement du Québec, et ce, sur les seules dépenses des touristes, en plus des 10 millions de dollars encaissés à même les dépenses des événements eux-mêmes!

 

C'est pourquoi il faut saluer la vision du gouvernement du Québec pour avoir créé, il y a trois ans, un fonds de 10 millions de dollars par année pour soutenir cette industrie et l'aider à développer son produit, un investissement qui a donc profité à toute la société, ayant provoqué une croissance des retombées touristiques de 23 % en seulement deux ans! De plus, chaque dollar investi dans les événements a été multiplié par cinq grâce à l'effet de levier qu'il a donné aux organisateurs pour aller chercher plus de commandites et de revenus du grand public!

 

C'est pourquoi il est indispensable pour les événements que soit renouvelé ce fonds triennal qui échoit cette année, histoire d'en conserver leurs acquis et maintenir leur potentiel de croissance. Il est de plus impératif que le gouvernement fédéral (qui touche lui aussi près de 40 000 000 $ d'argent neuf chaque année) reconnaisse enfin cette activité économique et touristique florissante, même si elle est surtout concentrée au Québec. Les événements souhaitent évidemment qu'Ottawa crée un programme normé pour aider à financer leurs infrastructures temporaires, en remplacement du programme quelque peu controversé des commandites…

 

Il faut se rappeler que si d'aucuns ont questionné les modalités d'attribution de ces programmes gouvernementaux, personne n'a jamais remis en question la pertinence d'investir des fonds publics dans les grands événements populaires et touristiques. Il faudrait donc faire attention de ne pas jeter le bébé avec l'eau du bain…

 

Fort de ce succès, nous avons devant nous un défi pour maximiser l'impact des événements à longueur d'année pour Montréal : la désaisonnalisation. C'est donc pour consolider l'image de la «Ville des festivals» comme destination culturelle et gastronomique, même dans la saison creuse d'hiver, que nous avons créé en collaboration avec Tourisme Montréal et les trois paliers de gouvernement, le Festival MONTRÉAL EN LUMIÈRE.

 

Ce projet, retenu comme une des priorités du Sommet économique de 1996, regroupe au sein de son conseil d'administration les représentants des milieux économique, touristique et culturel, dont la Chambre de commerce, l'Association des Hôteliers et la Place des Arts.

 

Après seulement trois ans, déjà près d'un demi-million de visiteurs, dont 15 % venus de l'extérieur de Montréal, étaient comptés l'hiver dernier aux différentes activités des trois volets de l'événement : la Fête de la lumière Hydro Québec, les Plaisirs de la table SAQ et les Arts La Financière Sun Life.

 

En association avec les Productions l'Entracte (à qui l'on doit le récent défilé du Père Noël), nous nous attaquons maintenant à la saison automnale en collaboration avec les marchands du Vieux Montréal et le Vieux Port : dès octobre prochain, «La Grande Mascarade, la fête de l'Halloween» transformera ces sites historiques en des lieux magiques et mystérieux qui pourront accueillir de grandes foules avec de multiples activités gratuites aussi amusantes qu'épeurantes…

 

Cette nouvelle fête populaire possède un énorme potentiel de croissance et vise à moyen terme à devenir l'un des événements majeurs entourant l'Halloween et la fête des Morts en Amérique du Nord, une autre façon de confirmer la réputation festive et ludique de Montréal à longueur d'année.

 

Dans la foulée de cet objectif qui fait largement consensus, il faut retenir deux grandes tendances qui se sont imposées au colloque Divertissement et tourisme (où je prenais d'ailleurs la parole, en compagnie de Normand Legault, du Grand Prix de Formule Un, et Daniel Lamarre, du Cirque du Soleil) : la création de mégacomplexes culturels et de divertissement, de même que la «thématisation» comme stratégie de «branding» pour consolider le positionnement d'une ville comme destination internationale. Comme ils répondent à ces critères déterminants, j'ai choisi pour terminer mon exposé de vous parler brièvement de projets qui me tiennent particulièrement à cœur : le Complexe Spectrum, la future Place des festivals et le Quartier des spectacles.

 

Il y a 20 ans exactement, quand nous avons lancé le Spectrum dans l'ancien cinéma Alouette (là-même où mon père m'avait amené voir Bambi pour ma première sortie au cinéma), jamais nous n'aurions imaginé que cette salle pourrait devenir ce lieu mythique du spectacle montréalais, encore moins qu'elle serait un jour au cœur de la revitalisation de la rue Sainte Catherine.

 

Après avoir déménagé le Festival International de Jazz de Montréal dans ce secteur pour profiter de ses nombreux terrains vacants et de la proximité d'une dizaine de salles de spectacles, je peux vous dire que je connais ce quadrilatère situé entre Bleury et Jeanne Mance comme le fond de ma poche. Depuis 20 ans, je rêve de voir revitalisé ce no man's land, avec ses quatre stationnements à ciel ouvert et ses deux terrains vagues qui coupent encore la Place des Arts et le Complexe Desjardins du reste du centre-ville. C'est d'ailleurs là que se situe la véritable démarcation entre l'Est et l'Ouest de Montréal : aussi bien les anglophones que les francophones s'y sentent chez eux, que ce soit au Spectrum ou au Festival de Jazz.

 

Construit sur un terrain d'un acre situé angle Bleury et Sainte Catherine, le Complexe Spectrum comprendra l'actuelle salle de spectacles ainsi qu'un club de jazz, quatre nouvelles salles de cinéma Ex Centris et neuf salles de cinéma Alliance Atlantis, des restaurants, une librairie / disquaire ainsi qu'une billetterie centrale, ouverts tous les soirs. Jouxtant la future Place des festivals et en face du nouveau Complexe de 280 millions de dollars annoncé par le gouvernement du Québec (comprenant les Conservatoires de Musique et de Théâtre ainsi que la future salle de l'OSM), nous voulons faire du Complexe Spectrum le vaisseau-amiral du Quartier des spectacles, un haut lieu de la culture populaire montréalaise, toujours dans la mire des caméras de Musique Plus et de Musimax, situés de l'autre côté de la rue Bleury.

 

Incidemment, cet investissement de 40 millions de dollars, réalisé par l'Équipe Spectra en partenariat avec Daniel Langlois d'Ex Centris et la SGF, générera suffisamment de nouvelles taxes foncières pour permettre à la Ville de Montréal de recouvrer son investissement de six millions dans la Place des festivals en seulement quatre ou cinq ans. Ce projet d'agora publique, annoncé par le maire de Montréal et le premier ministre Bernard Landry le printemps dernier viendra compléter cette revitalisation du centre-ville tout en assurant la pérennité du plus beau site d'animation urbaine au monde. Ce nouveau lieu public, qui pourra être utilisé comme patinoire l'hiver, servira à tous les Montréalais à longueur d'année et deviendra une attraction touristique à la façon du Rockfeller Plaza, à New York, ou encore de la Place d'Youville, à Québec.

 

Il faut se réjouir de voir tous ces projets qui vont transfigurer le centre-ville de Montréal d'ici cinq ans, avec des investissements évalués à 350 millions de dollars. Mais on est loin du milliard déjà engagé par Toronto pour en faire la «capitale culturelle du Canada».

 

Pour garder un de nos rares avantages stratégiques de Montréal, je crois qu'il faut se retrousser les manches et se donner en priorité comme objectif commun de concrétiser l'aménagement du Quartier des spectacles, une des pistes d'action principales issues du Sommet de Montréal. La beauté de ce projet de l'ADISQ, c'est qu'il vise d'abord à consolider des acquis et des équipements culturels qui n'ont jamais été mis en valeur comme un tout : il existe dans l'axe de la rue Sainte Catherine, entre Bleury et Saint Denis (et sur Saint Laurent), une masse critique de 25 salles de spectacles et théâtres qui totalisent (avec la nouvelle salle de l'OSM) 28 000 sièges, alors que Broadway en compte 46 000 à New York. Il s'agit donc de structurer, de revitaliser et d'embellir ce quartier aussi connu comme le site des grands festivals, en le «thématisant» officiellement comme «quartier des spectacles» pour maximiser son pouvoir d'attraction au moyen d'une intervention urbanistique prévoyant une signalisation propre, un mobilier urbain et un plan d'éclairage spécifique, ainsi que des services d'entretien et de sécurité accrus.

 

Pour en exploiter tout son potentiel de développement touristique, il faudra relier le Quartier des spectacles par des axes piétonniers invitants avec le Palais des Congrès, le Vieux Montréal, la Cité internationale et le Quartier des affaires. Tourisme Montréal et les organismes culturels travaillent déjà à créer une billetterie centrale accessible aux touristes et congressistes séjournant dans les grands hôtels pour prolonger leur séjour et avoir un impact à long terme dans la forfaitisation de la destination.

 

Le momentum est mûr pour une action collective et concertée, à l'heure où d'autres projets structurants sont à l'horizon, dont l'agrandissement du Musée Pointe à Callières, la revitalisation de La Ronde par Six Flags et surtout l'investissement de 470 000 000 $ dans le Casino pour en faire un équipement de classe internationale afin d'en augmenter la vocation touristique.

 

De la même façon que nous avons réussi la revitalisation du Vieux Montréal et du Vieux Port depuis 10 ans, puis du Quartier international qui s'apprête à voir le jour avec un Palais des congrès agrandi (qui nous permettra de garder notre titre de 4e ville de congrès dans le monde - encore de l'argent neuf !), nous devons concrétiser aujourd'hui nos énergies dans l'aménagement et la mise en valeur de ce Quartier des spectacles, investir encore plus dans la création culturelle pour renforcer la personnalité festive et ludique du centre-ville, locomotive du développement économique, social et culturel de la région métropolitaine.

 

C'est un investissement à la fois pour la qualité de vie de tous les citoyens, et un acte de foi dans l'avenir de Montréal comme métropole culturelle internationale et l'une des grandes destinations de la planète.

      

Central Park South, Midtown Manhattan, New York City, New York, United States of America

 

If you want to know more about my walks and photos, check out my blog.

 

Summary

 

The Gainsborough Studios is a rare surviving example of artists' cooperative housing, a building type popular in Manhattan for a brief period in the early twentieth century.- Built during the heyday of its type, in 1907-08, the Gainsborough provided both living and working spaces.

 

The handsome, distinctive design of the building reflects its unusual purpose. Large, double-height windows provide an abundance of northern light to the artists' studios. Designed , managed and inhabited by artists, the building was given artistic connotations via its name and the proliferation of exterior ornament.

 

The latter includes a bust of the artist Thomas Gainsborough in an ornate setting, multi-colored tile embedded in the brick facade, and an inpressive frieze entitled "A Festival Procession of the Arts" by the successful sculptor Isidore Konti. The building was designed by architect Charles Buckham, a promoter of and innovator in apartment design utilizing the duplex plan.

 

Cooperative Apartments

 

Cooperatively owned apartment buildings existed in various European cities frcra the early nineteenth century. Among the earliest examples were those in Edinburgh; by the mid-century others were found in Vienna.1 New York, however, was much slower to accept the idea of apartment living at all, while cooperative apartments came even later. It was not until late in the nineteenth century that apartments became acceptable for the middle and upper income groups. By this time, the advent of spacious, well-designed apartments, together with the rising cost of land for individual hones in the city and a shortage of capable domestic help, brought a wealthier clientele to apartment life.

 

At the the end of the nineteenth century, housing conditions in New York City were undergoing rapid and drastic change. Residential areas were being taken over by businesses, with housing beccming increasingly expensive and single-family home construction being forced into more distant, northern locations. Thus apartments were, by necessity, becoming a more acceptable living solution for those who wanted to remain in the heart of the city.

 

Cooperatively-owned apartments became one way of making this new type of living arrangement more attractive to a wealthy clientele. The idea of being able to choose one's neighbors and thus achieve a certain degree of exclusivity was appealing. In addition, cooperative ownership inspired better architecture than had generally been seen in New York apartments, since the owners would be living in the buildings and not just investing in them in hopes of a large profit.

 

Cooperative owners turned to well-qualified architects and required that they create large spaces with luxurious details.

 

The cooperative idea quickly became accepted for midle class housing as well. Developers, were attracted to the idea because they could realize a quick return on their investment.

 

In 1907 cooperative apartments were declared "a prominent feature of the realty situation in New York." Two years later The Nev York Times reported that fifteen to twenty cooperative apartments had been erected in New York during the last few years.

 

Early New York Co-Operative Ventures

 

The first cooperative apartment house in New York was the Knickerbocker, located on Fifth Avenue at 28th Street; and built in 1882. The Gramercy Park Apartments at 34 Gramercy Park followed the next year.8 The Gramercy Park, developed and promoted by Charles A. Gerlach, was quite successful, returning a large profit for its original investors.

 

At the same time, Hubert, Pirssen & Company, architects and "builders, were developing a similar type of apartment, called the Hubert Home Clubs. One of these, built in 1883, was located at 121 Madison Avenue. In this building each two floors accommodated five duplex apartments.10 Another Hubert Home Club was the Chelsea Apartments (now the Chelsea Hotel, a New York City Landmark) at 222 West 23rd Street, built in 1883.

 

The next cooperative venture, the Navarre Apartments of 1883, (also designed by Hubert, Pirssen & Company) located between 58th and 5Sth Streets, on Seventh Avenue, was a financial disaster. Unlike the usual cooperative organization, the apartment cwners did not have sole control of the building, thus creating a difficult and ultimately unworkable arrangement.

 

Despite this difference, the failure of the Navarre Apartments effectively put a stop to the further developiaant of cooperative apartments until the twentieth century.

 

Artists' Housing and Studios

 

"People have no conception of how difficult it is for one to find a suitable studio in New York," the artist V.V. Sewell was quoted in a 1903 article.12 Artists could find little space adequate for creating and displaying their works, and even less space that supplied the desirable northern light.

 

The possibility of living and working in the same quarters was rare indeed. In 1857 Richard Morris Hunt designed the first New York building specifically for artists. The Tenth Street Studios, located at 15 West 10th Street, was privately owned by art oollector James B. Johnson.

 

It contained twenty-five studios, some with bedrocsns attached. later in the century, sorue artists found working space at the few studios which existed: the Bryant Park Studios (80 West 40th Street), the Sherwood, the Rembrartit or the Carnegie Studios, all on 57th Street. These studios were always fully occupied and did not begin to meet the demand for such spaces.

 

These two factors — the growing need for artists' working and living space, and the increasing popularity of cooperative apartment ownership first came together in the 67th Street Studio Building at 27 West 67th Street, built in 1901-03, to the designs of architects Sturgis & Simonson.

 

It was designed to meet the specific needs of artists, with double-height studios lit by northern light and attached living quarters. When no speculative builder could be interested in this project, the landscape artist Henry W. Ranger organized a group of artists to irate subscriptions to finance the new building.

 

The artists' initial investment provided construction money and entitled each investor to a permanent lease on an apartment, and shares in the corporation which controlled the building. Seme of the apartments were retained as rental units, and the income thus produced provided the capital for the building's maintenance.

 

The venture at 27 West 67th Street proved so successful that as soon as it was completed, Ranger organized another group of artist-investors to build the Atelier Building at 33 West 67th Street, on a similar plan. A third studio building, called the Central Park Studios, followed in 1904-05 at 15 West 67th Street. In 1906, a fourth studio building was built on the same street, the Colonial Studios, at 39 West 67th Street, also containing duplex studio spaces.

 

Thus a secluded and prosperous artists' living and working colony was established on this short block off Central Park.

 

The success of the 67th Street studio buildings led to the development of other similar arrangements in different parts of the city, designed to appeal to both the artist and the layman. The large spaces produced by the duplex arrangements meant that residents could enjoy living spaces comparable to those in a private house, but at much less expense.

 

The double-height rooms, when not used as artists' studio space (and thus restricted to the north side of the building), could be placed anywhere in the plan, creating interesting spaces which were highly prized for entertaining. Examples of this type, intended for general use included, on the east side, 777 Madison Avenue, 863 Park Avenue, 901 Lexington Avenue, 471 Park Avenue, and the Apthorp and the Belnord (both New York City larrimarks) on upper Broadway.

 

Other cooperatives had spaces designed specifically for use by artists, with large working areas lit by northern light. Examples of this type were the National Arts Club Studio Building (19 Gramercy Park West, within the

 

Gramercy Park Historic District), the Rodin Studios (200 West 57th Street), and the building at 131-135 East 66th Street (a New York City Landmark, designed by Charles A. Piatt). The Gainsborough Studies were part of this latter group.

 

The Gainsborough Studios

 

Probably in response to the success of the studio buildings on 67th Street, and a need for more living and working arrangements of a similar type, a corporation was organized in 1907 to plan and oversee the construction of another artists' studio building, on 59th Street.14 Ihus the Gainsborough Studios were begun and the officers for the corporation included three prominent artists, August Franzen, Elliott Dair.gerfield, and Colin C. Cooper, ard a businessman, Barron G. Collier.

 

Planned as a cooperative venture, to include studios, offices and apartments, the Gainsborough's address at 222 Central Park South was an ideal location for such a structure. Central Park South (or 59th Street) was a wide boulevard, with Central Park to the north.

 

Thus the studios which overlooked the street could be assured of a continuous supply of northern light, with no fear that tall buildings might block this important amenity. With the completion, in 1907, of the Plaza Hotel on 59th Street, off Fifth Avenue, and other similar, elegant buildings, the area was a prestigious one also. In addition, located just two blocks south, on 57th Street, was New York's artistic center, including the American Fine Arts Society building (a New York City Landmark) and ether studio buildings mentioned above, the Osborne Apartments (205 West 57th Street) and Carnegie Hall (a New York City landmark).

 

August Franzen, the president of the Gainsborough Corporation, was a portrait painter whose work today is in the collections of the Brooklvn Museum, Yale University and the National* Gallery cf Art, among others. Horn in Sweden in 1863, Franzen studied there and in Paris before coming to the United States in 1890. By February 1891 he had his first exhibition in America, at the Ortgies Gallery on Fifth'Avenue.

 

A member of the National Academy of Art, as well as the Century, Players and lotos Clubs, Franzen became a well-established member of New York's art world. He won numerous prizes and honors for his work including nedals at the Columbian Exposition in Chicago in 1893, at the Paris Exposition in 1900 and another at the Pan-Arrerican Exposition in Buffalo in 1901.

 

In New York, Franzen lived and worked in a variety of locations. Upon his arrival in the city, he took a studio in the Holbein Building at 146 West 55th Street. By 1894, Franzen had a studio and apartment built atop 1 West 30th Street. In 1900, he moved to a studio in Carnegie Hall. His involvement in the Gainsborough Studios seems to stem, at least in part, from a desire for a more suitable location for his own work space, for he "was one of the first to occupy a studio there."

 

Franzen was deeply involved in the planning of the Gainsborough.18 It is also possible that Franzen was responsible for the name of this building. He admired Thomas Gainsborough's portraits immensely and, in a magazine interview cited the English artist's work as a inooel for his own.^

 

Elliott Daingerfield, the vice-president of the Gainsborough Corporation, was a painter best known for his poetic, mystical landscapes.2 Born in West Virginia in 1859, Daingerfield came to New York to study art while still young.

 

His first exhibition at the National Academy of Design occurred in 1880. In 1902 he painted the murals of the lady Chapel of the Church of Mary the Virgin on West 46th Street in New York. Other works of his are represented in the collections of the Metropolitan Museum of Art, the National Gallery of Art, the Brooklyn Museum, and the Los Angeles Museum.

 

The winner of numerous prizes and awards, Daingerfield was also a member of the many clubs and associations which corprised the New York art world: the National Academy of Design, the Society of American Artists, the New York Water Color Club, and the Lotos Club.

 

From the Gainsborough Studios' opening until his death in 1932, Daingerfield maintained his studio and living quarters there.

 

Colin Campbell Cooper, who served as the Gainsborough Corporation treasurer, was a painter of landscapes, figures and portraits. After early training in his native city of Philadelphia, Cooper studied in Paris. His work won prizes at the Atlanta Exposition in 1895, the Pennsylvania Academy of Fine Arts in 1904, and the Buenos Aires Exposition in 1910, among many others.

 

His work forms part of the collection of the Dallas Art Association, the St. Louis Museum of Fine Arts and the Boston Arts Club. Cooper was also a member of the Lotos and Salmagundi Clubs, the New York Water Color Club and the National Academy of Design.

 

The fourth officer of the original corporation was Barron Collier, who served as secretary. Unlike the others in this organization, Collier was a businessman, involved in numerous ventures throughout the east coast.

 

As head of Barron G. Collier, Inc., he was responsible for placing the first advertising placards in subway cars, and also served as head of numerous hotel, railroad, and real estate development companies in Florida and elsewhere. Collier's public service contribution was also substantial. It may be supposed that Collier supplied" the financial expertise for the Gainsborough Studios building, although the precise link which brought him into this endeavor has not yet been uncovered.

 

The artists of the Gainsborough Corporation had all achieved a certain level of success in their professions and travelled in the sane social and professional circles. They were likely to encounter each other in any number of settings throughout New York and even exhibited their works at the same gallery - the MacBeth Gallery at 450 Fifth Avenue.

 

The building they were planning was meant to house artists of the same stature, those who could afford the spaciousness and status of a location on 59th Street.

 

The Gainsborough Studio Corporation purchased the lot on 59th Street in April 1907 and, after the demolition of an existing building, the studio building was begun November 3, 1907, and completed a year later, on October 31, 1908.24 To design this special type of structure, the members of the corporation chose architect Charles W. Buckham (1869-1951).25 Buckham was educated at the University of Vermont, and later studied architecture at the National Academy of Design and at Columbia University. Further studies were undertaken at the Ecole des Beaux-Arts in Paris.

 

Buckham's early work consisted of residences and public buildings in Vermont, including the Pathological Building in Waterbury and the State Office Building in Montpelier- In 1900, Buckham moved to New York and joined the firm of

 

Warren & Wetmore. Later he worked for Carrere & Hastings, serving as superintendent of construction of several Camegie Branch Libraries- Other examples of his work include the Hicmas Scott Buckham Memorial Library in Faribault, Minnesota, named for his uncle, and the redesign of the Salmagureii Club in New York-

 

Buckham was a very appropriate choice for the Gainsborough Studios- His interest in duplex apartments is reflected in magazine articles which he wrote promoting the type. While the Gainsborough was his first such project, he later designed another duplex cooperative building at 471 Park Avenue (1909), and two other apartment-hotels on Central Park South, including the Plaza Home Club Apartments (1911).

 

Interested in the structural aspect of this building type, Buckham patented (in 1928) an interlocking floor type of construction- He also developed and patented an inclined ramp as a substitute for stairs in school buildings, and a multilevel garage for parking cars.

 

The Gainsborough's Design

 

Buckham's design for the Gainsborough studios incorporated many of the ideas used so successfully in the 67th Street studios, but he also introduced certain changes. Because the only available northern light shone cn the 59th Street facade, only those roars fronting on 59th Street were made double-height and labeled studios, with smaller apartments located to the rear of the building. Thus, each pair of floors contained two duplex and four single apartments.

 

Another change also resulted from the experiences of the earlier 67th Street studios. Those buildings had faced legal problems because they were too tall for the street they faced- According to the tenement house law, such apartment buildings could be no more than one and one-half times as high as the width of the street. Hie Gainsborough organization, in order to forestall such problems, had its building classified as a hotel, with communal kitchen and dining room on the gound floor and minimal kitchen facilities in each of the apartments.

 

On the exterior, Buckham's design and the use of ornament were not only reflective of the building's interior design, but of the building's purpose as well. A contemporary source called the building's exterior "unique" and "a credit to the ingenuity of the designer."

 

The large expanses of glass (included in the design to bring in as much light as possible) indicated the double-height rooms of the artist's studios The use of the name Gainsborough, the bust and artist's palette over the entranceway, ard the frieze with its artistic theme further indicated the artistic leanings of those who lived in the building.

 

The grouping of colorful, glazed tiles inlaid near the top of the building was a motif Buckham also used on other buildings. Buckham, as well as numerous other contemporary designers, used tiles produced by the Moravian Tile Works of Doylestown, Pennsylvannia.

 

This decorative trend was noted in a 1907 newspaper article in which the author remarked upon the increased use of glazed terra cotta, tiles and faience in New York buildings of many types, including the Madison Square Church, buildings at the Bronx Zoo, Manhattan subway stations, and a Bronx police station.

 

All of these examples were favorably regarded by the author for the color and texture they added to the streetscape. The Gainsborough, with its profusion of exterior ornament and multi-colored tiles, fits into this group.

 

The author of the article attributed the presence of this colorful, clay-based ornament to the influence of the fifteenth century artist, Luca Delia Eobbia and his followers, and saw the trend toward this type of decoration to be also on the increase in Europe.

 

The Frieze

 

Perhaps the most striking feature of the building's exterior is the frieze which separates the first story from those above it. This bas-relief was designed by the Austrian-bom artist Isidore Konti, Konti was active in New. York artistic circles, showing his work at the same gallery (the Macbeth) as the other artists involved in planning the Gainsborough. Letters still extant in the Archives of American Art shew that Konti was a friend of August Franzen and of Elliot Daingerfield, who are likely to have been responsible for bringing the the sculptor into this project.

 

Konti was born in 1862 in Vienna but passed most of his childhood in Hungary. His artistic training took place at the Imperial Academy in Vienna, under the tutelage of Edmond Von Hellmer.

 

Two years of study in Rome sharpened his talents so that when he returned to Vienna in 1838, Konti received numerous important sculptual commissions. This prosperity was short lived however, and in 1892, Konti left for America where he hoped to find more abundant work in architectural sculpture. For the 1893 World's Columbian Exposition in Chicago, Konti modelled many sculptural pieces and worked with several established sculptors who helped him get started in this country.

 

After the fair, Konti lived in New York where, in 1896, he was elected to the National Sculpture Society. Kbnti's submission of two small pieces to the Society's-1898 exhibition established his reputation as a creator of small ideal figures, while his large-scale work for the Pan American Exposition in Buffalo in 1901 reinforced his standing as a sculptor of strong, monumental figures.

 

For the rest of his long career, Konti continued to produce both types of work. Included in his oeuvre are several memorial statues, as well as fountain and garden figures, such as 'The Brook," a nude figure which embodied Konti's ideal of womanhood, the fountains of the Atlantic and the Pacific for the Louisiana Purchase Exposition in 1904, and a pair of monumental figures for the court house in Cleveland, Ohio, as well as more intimate works such as his "Genius of Immortality," a quiet study of a seated youth which was shown at the International Exposition of Art and History in Rome in 1911.

 

Today, examples of his art can be seen in the collections of the Metropolitan Museum of Art, The Detroit Institute of Arts, and the National Museum of Art, as well as in Trinity Church and in the Cathedral of St. John the Divine in New York. During his long career, Konti was a member of the National Arts Club, the Architectural league of New York, the Salmagundi Club, a director of the Municipal Arts Society, and an academician of the National Academy of Design.

 

Konti's "Festival Procession" terra-cotta frieze for the Gainsborough Studios shews people of all ages carrying gifts to the altar of the arts, an appropriate theme for a building for artists. His delicacy of line ard graceful forms add much to the distinctiveness of this building.

 

Description

 

The Gainsborough Studios is a narrow building, fifty feet wide on 59th Street, arri rising eight double-height stories. Its limestone-faced base is enhanced by numerous carved decorative features including the bas-relief at the second story. Above this the facade is divided into two bays by narrow brick piers which rise continuously to the cornice.

 

Between the piers are two series of large window openings subdivided by narrow mull ions and decorative panels. A slight distinction is made between the top and mid-section of the building by a shallow' arch above the sixth story windows. Above this level the decorated brick piers and carved stone cornice terminate the composition.

 

At the ground floor level, two area ways flanking the entrance are marked off by low, curving ceiraent fences topped by wooden planters with hedges. A decorative, wrought-iron lantern crowned by a white glass globe is mounted on each of the fences, near the doorway. The westernmost hedge shields a stairway which leads to the basement of the building.

 

The first floor of the building, faced with ashlar limestone, is three bays wide, with a central entrance flanked by a group of windows to each side.

 

Each set of windows is divided vertically by deep stone mullions into three narrow openings, while the top third of each opening is also set off by a stone muntin. The squared entrance-way is partially enframed by a garlard carved in the stone. The doorway is set within a deep reveal which is adorned by panels of carved foliate designs. Enclosing the entrance is an iron door which replaced the original in a very sympathetic manner.

 

A portico supported on two polished granite Ionic columns extends in front of the entrance. The columns support a lintel on which are engraved the words "Gainsborough Studios." A full entablature with dentils and a Greek key divides the facade at this level, separating the' ground floor from these above.

 

Centered above the portico is a paneled plinth, which is further embellished by a carved painter's palette. This, in turn, is surmounted by a bust of Thomas Gainsborough, the eighteenth century painter for whom the building is named. The bust is set within an aedicular shell niche which rises to the third story level.

 

To either side of the plinth, a wide bas-relief extends across the building, interrupted only by a small wirdew, centered in each half of the building. The frieze, carved in a classical style, is entitled "A Festival Procession of the Arts" ard portrays youths, maidens, children, and old people bringing gifts to the altar of the arts.

 

Both the bust and the frieze were executed by the well-known sculptor, Isidore Konti.

 

Above the level of the bas-relief, the facade is divided into two bays by three narrow brick piers which rise continuously to the top of the building. A narrow frieze in a Greek key motif forms a small base for the two outer piers while the Gainsborough bust ard its surround are located at the bottom of the middle, slightly wider pier. Between the piers at this level are two large windows, recently changed to a single expanse of glass in each.

 

From this level to the top of the building, large window openings are arranged in broad vertical columns between the piers.

 

A narrow stone reveal runs continuously along each side of the windows from the second through the sixth story, joining together in a shallow arch above the sixth floor windows. Above the sixth floor, stone reveals continue until the cornice level. Each double-height story is ccjnposed of a variety of window shapes.

 

Centrally located in the lower half of each window space, is a vertical panel which is filled with stone quatrefoils set in circles. A shallow pediment carried on narrow brackets surmounts each of these panels. Plain, single pane windows have recently been installed to each side of these panels and each is topped by a narrow cornice which separates the two sections of the window.

 

The entire windcw opening above this is subdivided into narrow vertical lights by metal mull ions. A narrow, metal spandrel, subdivided into three sections, fills the lowest part of each floor level, serving as a clear visual break between the floors.

 

The top section of the building starts above the sixth story. Here the piers are enhanced by a variety of multi-colored tiles set in geometric patterns, including diamonds and rectangles, within the brick. The tiles are in shades of red, yellow, green and grey with the more elaborate designs occurring in the central pier. Between the piers, the window arrangement is similar to that on the floors below, with the following diffferences.

 

The central decorative panels are not topped by pediments, and the seventh floor has narrow balconies fronting full length windows to either side of these central panels.

 

Above the eighth floor, the building is finished by a corbel table inset with a series of shells. Three decorative acroteria are placed above the three piers and serve as a finishing element to the facade composition.

 

Conclusion

 

The Gainsborough Studios is an unusual building, well-adapted ard suitably decorated for its specific purpose — cooperatively-owned working and living spaces for artists. Designed by architect Charles W. Buckham, who had a special interest in duplex apartments, the Gainsborough has been a desirable address and an attractive neighbor on Central Park South since its opening in 1908. Its elaborate decorative scheme, with the bust of Gainsborough, the distinctive bas-relief and colorful tiles, distinguishes this building as a fine example of its type.

 

- From the 1988 NYCLPC Landmark Designation Report

I was given a Mint CANON EOS 1000F outfit that the lady had not used for 30 years so of course the 2CR5 BATTERY was well dead ! There was a Fuji Superia 400 FILM in there still, which on processing I found some very FAINT images -- the 'Latent Image# had FADED over the years. On next upload I will show a couple of that film . Here I used a cut length of 'Chromogenic Kodak B&W 400' rated at 200 ASA and home-processed in C41. CANON EF 35-80mm f4-5.6 MkII

It am the weekend again, but after a week off, so one belnds smoothly into the other.

 

And next week I have a four day trip to the Isle of Wight for work, which will do me good too.

 

Not much planned for the day, once shopping was done. And I do that as Jools is still coughing and so did not want to go round the supermarket coughing like that.

 

So, I d the week's shop, though not much needed as I will be away four days, so I am back with three bags of shopping, and we have the usual Saturday breakfast of fruit followed by bacon sandwiches.

 

Posting shots on other social media showed me many churches had to be revisited. Just about the last one to be thus revisited was Minster-in-Thanet, as the album had 55 shots from two previous visits, and I thought such a large and imposing church deserved more.

 

So, it was a quiet drive over to Sandwich, taking the bypass round Stonar, then turning off at the delightfully named Sevenscore for the drive along the back lanes into Minster, passing by the Abbey, outside of which was an actual nun, all dressed in cowl and long black gown.

 

A little further on is St Mary, and parking is easy just outside the churchyard, and although it looked locked, the west door under the tower was unlocked, and inside there were no others inside, so I had it to myself.

 

I had hoped I had missed whole or fragments of glass, but there was none to be seen, some nice arts and crafts ones of Queen Bertha, which I record. I think I snap everything, so after half an hour we are done.

 

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Minster Abbey on the Isle of Thanet was founded in AD 669 by Domneva, niece of King Erconbert of Kent. The enormous parish church, built some distance to the south-west of the abbey, dates from two distinct periods. The nave is Norman, a magnificent piece of twelfth-century arcading with tall cylindrical pillars. The chancel and transepts are thirteenth century, with a three-light east window, each one double shafted inside. This end of the church has a simple stone vaulted ceiling which adds greatly to the grandeur. The glass is by Thomas Willement and dates from 1861. Ewan Christian restored the church in 1863 and added vaulted ceilings to the transepts. They had been intended by the medieval designers, but were never built. There is a set of eighteen fifteenth-century stalls with misericords and an excellent sixteenth-century font and cover.

 

kentchurches.info/church.asp?p=Minster+in+Thanet

 

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MINSTER.

THE next parish to Monkton eastward is Minster, antiently written both Mynstre, and Menstre, being so named from the Saxon word Minstre, signifying a church or monastery. It is divided into two boroughs, viz. Way Borough and Street Borough; the former of which lies on the ascent on the northern side of the street; the latter contains the street and church, with the southern part of the parish.

 

THIS PARISH is about three miles and an half from east to west, and near as much from north to south. The farms in it are perhaps as large as in any other parish in this county; the occupiers of which are, in general, men of considerable ability. The west part of this parish is bounded by a lynch or balk, which goes quite across the island to Westgate, called St. Mildred's Lynch, an account of which has already been given before, and which is the bounds of this manor from that of Monkton, as well as of the parish. This lynch has formerly been much broader than it is now, many of the farmers, who occupy lands bounding on or near it, having through a coveteous humour, not only dug up the mould or top of it, to lay on their land, but in some places have ploughed upon it. Too many instances of this kind are practised in other places, not only of this island, but of the county in general, so that there is scarce a remembrance left where those balks or lynches have been; such has the greedy avarice of the occupiers been, and this is one instance of the ill consequence of the neglect of the courts leet and baron. The village of Minster lies nearly in the centre of it, on low ground at the foot of the high lands, having the church on the south side of it; northward of the village it rises to high land, being a fine open champion country of uninclosed corn land, on which are situated Minster mill, Allan Grange, and Powcies, the latter at the extremity of the parish, close to which was, till lately, a small grove of oaks, the only one in this island. Lower down, about a mile southward, is Thorne manor, and beyond that Sevenscore farm. At the south-eastern extremity of the parish, and partly in St. Laurence, is Cliffsend, or Clyvesend, so called from its being at the end of the cliff, which extends from Ramsgate; it was antieutly a part of the estate of St. Augustine's monastery, and is called by Thorne in his Chronicle, the manor of Clyvesend. Here are now two considerable farms besides cottages.

 

About a mile and an half south-east from Minster church, is Ebbsfleet, formerly called by the various names of Hipwines, Ippeds, and Wipped's fleet; this seems to have been a usual place of landing from the ocean in this island; here it is said Hengist and Horsa, the two Saxon generals, first landed with their forces, about the year 449. Here St. Augustine, often called the Apostle of the English, first landed, in the year 596; and here too St. Mildred, of whom mention has been made likewise before, first landed from France, where she had been for instruction in the monastic life; and not many years ago there was a small rock at this place, called St. Mildred's rock, where, on a great stone, her footstep was said, by the monkish writers, to have remained impressed. (fn. 1) Below the church of Minster, southward, is the large level of marshes, called Minster level, at the southern extremity of which runs the river Stour, formerly the Wantsume, which, as has already been noticed before, was antiently of a much greater depth and width than it is at present, flowing up over the whole space of this level, most probably almost to the church-yard fence, being near a mile and an half distance; but the inning of the salts by the landholders, which had been in some measure deserted by the waters of the Wantsume at different places, so far lessened the force of the tide, and of the river waters mixing with it, that it occasioned the sands to increase greatly near this place, where it was at length entirely choaked up, so that a wall of earth was made by the abbot of St. Augustine, since called the Abbot's wall, to prevent the sea at high water overslowing the lands, which now comprehend this great level of marshes, at present under the direction and management of the commissioners of sewers for the district of East Kent. A part of these marsh lands have been much improved by means of shortening the course of the river Stour to the sea, by the cut at Stonar, which lets off the superfluous water in wet seasons with greater expedition, and a very valuable tract of near two hundred acres has been lately inclosed by a strong wall from the sea near Ebbs-fleet. Between the above-mentioned wall and the river Stour lie a great many acres of land, which the inhabitants call the salts, from their being left without the wall, and subject to the overflowing of the tide, so long as it continued to flow all around this island. Over against the church is a little creek, which seems to have been the place antiently called Mynstrefleet, into which the ships or vessels came, which were bound for this place. As a proof of this, there was found some years ago in a dyke bounding on this place, in digging it somewhat deeper than usual, some fresh coals, which very probably had fallen aside some lighter or boat in taking them out of it. (fn. 2)

 

I ought not to omit mentioning, that on the downs on the north part of this parish, where the old and present windmills were placed, is a prospect, which perhaps is hardly exceeded in this part of the kingdom. From this place may be seen, not only this island and the several churches in it, one only excepted; but there is a view at a distance, of the two spires of Reculver, the island of Sheppy, the Nore, or mouth of the river Thames, the coast of Essex, the Swale, and the British channel; the cliffs of Calais, and the kingdom of France; the Downs, and the town of Deal, the bay and town of Sandwich, the fine champion country of East Kent, the spires of Woodnesborough and Ash, the ruins of Richborough castle, the beautiful green levels of Minister, Ash, &c. with the river Stour winding between them; the fine and stately tower of the cathedral of Canterbury, and a compass of hills of more than one hundred miles in extent, which terminate the sight.

 

In the marshes on the south of this parish, there was found in 1723, an antique gold ring; on the place of the seal, which seemed to represent an open book, was engraved on one side an angel, seemingly kneeling, and on the other side a woman standing with a glory round her head; on the woman's side was engraved in old English characters, bone; on that of the angel, letters of the same character, but illegible. A fair is kept in this village on a Good Friday for pedlary and toys.

 

By the return made to the council's letter, by archbishop Parker's order, in the year 1563, there were then computed to be in this parish fifty-three housholds. By an exact account taken of Minster in 1774, there were found to be in this parish one hundred and forty-nine houses, and six hundred and ninety-six inhabitants; of the houses, sixteen were farm-houses, and one hundred and thirty three were inhabited by tradesmen, labourers, and widows.

 

THE MANOR and ABBEY OF MINSTER was antiently called Thaket manor, and continued so till, from the foundation of the abbey or minster within it, it acquired the name of the manor of Minster, though in the survey of Domesday, taken in the year 1080, it is still called Tanet manor, Kar exoxnv; but I have met with it no where else so late by that name.

 

This manor was in the year 670 in the possession of Egbert, king of Kent, whose two nephews Ethelred and Ethelbright, sons of his father's elder brother Ermenfride, deceased, (who left likewise two daughters, Ermenburga, called also Domneva, married to Merwald, son of Penda, king of Mercia, and Ermengitha, were left to his care, under promise of their succeeding to the kingdom. These princes were kept under the inspection of one Thunnor, a flattering courtier, who persuaded the king to have them murdered, left they should disturb him in the possession of the throne; which Thunnor undertook and perpetrated. To expiate this crime, the king, by the advice of archbishop Theodore, and Adrian, abbot of St. Augustine's, sent to Domneva, who had taken the vow of chastity on her, to offer her any satisfaction for this crime, when, as an atonement, she requested of the king, according to the custom of those times, to grant her a place in Tenet, where she might build a monastery to their memory, with a sufficient maintenance, in which she, with her nuns, might continually pray for the king's forgiveness, who immediately by his charter, which concludes with a singular curse on the infringers of it, (fn. 3) granted her for the endowment of it full one half of this island, being the eastern part of it, comprehended within the bounds of this manor, and since separated from the western part of the island and manor of Monkton, by a broad bank or lynch, made quite across the island, since called St. Mildred's Lynch, and remaining at this day.

 

The story of this grant, as told by Thorn, a native of this parish, and a monk of St. Augustine's monastery, in his chronicle of that abbey, is, that Egbert granting Domneva's petition, demanded of her how much land she desired; who replied, as much as her deer could run over at one course; this being granted, the deer was let loose at Westgate, in Birchington, in the presence of the king, his nobles, and a great concourse of people. Among them was Thunnor, the petrator of the murder, who, ridiculing the king for the lavishness of his gift and the method of its decision, endeavoured by every means to obstruct the deer's course, both by riding across and meeting it; but Heaven, continues the chronicler, being offended at his impiety, whilst he was in the midst of his career, the earth opened and swallowed him up, leaving the name of Tunnor's-leap, or Thunor's hyslepe, to the ground and place where he fell, to perpetuate the memory of his punishment, though it was afterwards called Heghigdale. Meanwhile the deer having made a small circle eastward, directed its course almost in a strait line south-westward across the island from one side to the other, running over in length and breadth forty-eight plough-lands; and the king, immediately afterwards delivered up to Domneva the whole tract of land which the deer had run over.

 

This tract or course of the deer, which included above ten thousand acres of some of the best lands in Kent, is said to have been marked out by the broad bank, or lynch, across the island, since called St. Mildred's Lynch, thrown up in remembrance of it; (fn. 4) but notwithstanding this well-invented story of Thorn, it is more probable that this lynch was made to divide the two capital manors of Minster and Monkton, before this gift to Domneva.

 

Puteus Thunor, (or Thunor's leap) says the annalist of St. Augustine's monastery, apparet prope Cursum Cervi juxta Aldelond; and the place where the king stood to see this course is represented to be by it, where formerly was a beacon, it being some of the highest land hereabouts, where the king might see the course. This Puteus Thunor, or Thunorslep, is very plainly the old chalk pit, called Minster chalk-pit, which its not unlikely was first sunk when the abbey and church here were built, and the bottom of it in process of time, being overgrown with grass, gave occasion for the invention of this sable of Thunor's being swallowed up by the earth at this place. The name of Thunorslep has been long since obliterated, and even the more modern one of Heghigdate has been long forgotten. Weever says, he lieth buried under an heap of stones, which to that day was called Thunniclam.

 

Domneva being thus furnished with wealth and all things necessary, founded, in honor of the B.V. Mary, a monastery, or cloyster of nuns, afterwards called ST. MILDRED'S ABBEY, on part of this land, on the south side of the island near the water, in the same placewhere the present parochial church stands. Archbishop Theodore, at the instance of Domneva, consecrated the church of it, and she afterwards appointed the number of nuns to be seventy, and was appointed by the archbishop, the first abbess of it; she died here and was buried on the glebe of the new monastery. Ermengitha, her sister, was after her death sainted, and lived with Domneva, in the abbey here, where she died, and was buried in a place about a mile eastward of it, where the inhabitants have found numbers of bones, and where it is probable, she built some chapel or oratory. In a field or marsh called the twenty acres, a little more than a quarter of a mile eastward of the church of Minster, are several foundations, as if some chapel or oratory had been built there. (fn. 5)

 

Domneva was succeeded as abbess by her daughter Mildred, who was afterwards sainted. She is said to have been buried in this church. On her death Edburga succeeded in the government of this monastery, who finding it insufficient for so great a number of nuns, built another just by, larger and more stately, which was consecrated by archbishop Cuthbert, and dedicated to St. Peter and St. Paul; and to this church she, about the year 750, removed the body of St. Mildred, at whose tomb many miracles were said to be wrought afterwards. Edburga was buried at Minster in her own new church, and was afterwards sainted. She was succeeded as abbess of this monastery by Sigeburga. In her time was the first depredation of the Danes in Thanet; who sell upon the people, laid every thing waste, and pludered the religious in this monastery; from this time they continued their ravages throughout this island almost every year; hence by degrees, this monastery fell to decay, and the nuns decreased in number, being vexed with grief and worn down with poverty, by the continual insults of these merciless pirates, who landed in this island in 978, and entirely destroyed by fire this monastery of St. Mildred, in which the clergy and many of the people were shut up, having fled thither for sanctuary; but they were, together with the nuns, all burnt to death, excepting Leofrune the abbess, who is said to have been carried away prisoner.

 

The Danes, however, spared the two chapels of St. Mary, and of St. Peter and St. Paul, in one of which divine service was afterwards performed, for the inhabitants of this parish and the adjoining neighbourhood. The antient scite of the monastery, together with this manor, and all the rest of the possessions of it remained in the king's hands, and they continued so till king Cnute, in the year 1027, gave the body of St. Mildred, together with the antient scite of the monastery, this manor and all its land within this island and without, and all customs belonging to this church, to the abbot and convent of St. Augustine, which gift was confirmed by king Edward the Confessor. (fn. 6)

 

The abbot and convent of St. Augustine becoming thus possessed of this manor, fitted up the remains of the abbey to serve as the court-lodge of it; accordingly it has ever since borne the name of Minstercourt. In the survey of Domesday, taken in the 15th year of the Conqueror's reign, anno 1080, this manor is thus described, under the general title of Terra æcclæ Sci Augustini, the land of the church of St. Augustine.

 

In Tanet hundred. St. Mildred's.

 

The abbot himself holds Tanet manor, which was taxed at forty-eight sulings. The arable land is sixty-two carucates. In demesne there are two, and one hundred and fifty villeins, with fifty borderers having sixty-three carucates. There is a church and one priest, who gives twenty shillings per annum. There is one salt-pit and two fisheries of three pence, and one mill.

 

In the time of king Edward the Confessor it was worth four times twenty pounds, when the abbot received it forty pounds, now one hundred pounds.

 

Of this manor three knights hold so much of the land of the villeins as is worth nine pounds, when there is peace in the land, and there they have three carucates.

 

After which king Henry I. granted to the monastery of St. Augustine, about the 4th of his reign, a market, to be yearly held within this their manor of Minster, with all customs, forseitures, and pleas; which was confirmed among other liberties by Edward III. in his 36th year, by inspeximus.

 

King Henry III. in his 54th year, anno 1270, granted to the abbot and convent of St. Augustine, free-warren in all their demesne lands of Minster. (fn. 7) King Edward II. in his 6th year, confirmed to the abbot free-warren in this manor among others, and next year anno 1313, in the iter of H. de Stanton and his sociates, justices itinerant, the abbot, upon a quo warranto, claimed and was allowed sundry liberties therein mentioned, in this manor, among others, and likewise free-warren in all his demesne lands of it, view of frank pledge, and wreck of the sea; one market weekly on a Friday, and one fair yearly on the eve and day of St. Mildred the Virgin, and other liberties therein mentioned; as having been granted and confirmed by divers of the king's predecessors, and allowed in the last iter of J. de Berewick and his sociates, justices itinerant; and that king Edward II. by his charter in his 6th year had sully confirmed all of them, and by the register of this monastery, of about this time, it appears that this manor had within its court the same liberties as those of Chistlet and Sturry. King Edward III. in his 5th year, exempted the abbot's homagers and tenants of this, among other of their manors, from their attendance at the sheriff's tourne, and afterwards by his charter of inspeximus in his 36th year, confirmed to this abbey all the manors and possessions given to it by former kings; and by another charter, the several grants of liberties and confirmations made by his predecessors, among which were those abovementioned; and king Henry VI. afterwards confirmed the same.

 

Next year the abbot and his servants taking distresses on their tenants of this manor, the tenants, to the number of six hundred, met and continued together for the space of five weeks, having got with them a greater number of people, who coming armed with bows and arrows, swords and staves, to the court of this manor and that of Salmanstone, belonging likewise to the abbot, laid siege to them, and after several attacks set fire to the gates of them. For fear of these violences, the monks and their servants at Salmanstone kept themselves confined there for fifteen days, so that the people enraged at not being able to encompass their ends in setting fire to the houses, destroyed the abbot's ploughs and husbandry utensils, which were in the fields; and cut down and carried away the trees on both these manors.

 

At the same time they entered into a confederacy and raised money here by tallages and assessments, by means of which they drew to them no small number of others of the cinque ports, who had nothing to lose, so that the abbot dared not sue for justice in the king's courts; but a method it seems was found to punish these rioters, or at least the principal of them, who were fined to the abbot for these damages six hundred pounds, a vast sum in those days, and were imprisoned at Canterbury till the fine was paid. The uneasiness of the tenants under such respective suits and services, seems to have occasioned the abbot and convent to have compounded with them, which they did in the year 1441, anno 20 Henry VI. By this composition the abbot and convent agreed, that the tenants should not in future be distrained for the rents and services they used to pay; but instead of them should pay compositions for every acre of the land called Cornegavel and Pennygavel, (fn. 8) which composition for the Cornegavel and Pennygavel land, continues in force at this time, being sixpence an acre now paid for the Cornegavel land.

 

In the time of king Richard II. this manor, with its rents and other appurtenances, was valued among the temporalities of the abbot and convent, at 232l. 4s. 3d. per annum; and the quantity of land belonging to it was by admeasurement 2149 acres and one rood.

 

In which state this manor continued till the final dissolution of the abbey of St. Augustine, which happened in the 30th year of Henry VIII. when it was surrendered, together with the rest of the possessions of the monastery, into the king's hands; at which time the manor and rents were of the value of 276l. yearly. (fn. 9) After which, the see of this manor, with the antient court-lodge of it, formerly the monastery, and then called Minster-court, with all the lands and appurtenances belonging to it, continued in the crown, till king James I. in his 9th year, by his letters patent, granted to Sir Philip Cary, William Pitt, esq. afterwards knighted; and John Williams, citizen and goldsmith of London, this lordship and manor of Menstre, with its rights, members, and appurtenances, late parcel of St. Augustine's monastery, except and reserved to the king's use, all advowsons and patronages of churches, chapels, &c. belonging to this manor; and he granted likewise all the rents of assize called Cornegavel land, in the parish of St. John, parcel of this manor; and the rents of assize of free tenement called Pennygavel land, in the parishes of St. Peter and St. Laurence, (fn. 10) to hold the manor, with its right, members and appurtenances, of the king, as of his manor of East Greenwich, by sealty only, in free and common socage, and not in capite, nor by knight's service; and to hold the rents of assize of the king in capite, by the service of one knight's fee; which grant and letters patent were conconfirmed by an act specially passed for the purpose, that year.

 

Some years after which, the heirs of the beforementioned Sir Philip Carey and John Williams, then Sir John Williams, bart. of Carmarthenshire, divided this estate; in which division, the manor itself with the court-lodge, part of the demesne lands, royalties, and appurtenances, was allotted to Sir John Williams, bart. (who died in 1668, and was buried in the Temple church, London); whose descendant of the same name, bart. of Carmarthenshire, dying without male issue, his daughter and sole heir, then the widow of the earl of Shelburne, carried it in marriage, at the latter end of king Charles II.'s reign, to Col. Henry Conyngham, afterwards a major-general in king William's reign, who died possessed of it in 1705. He left two sons, William and Henry, and a daughter Mary, married to Francis Burton, esq. of Clare, in Ireland. William, the eldest son of the general, succeeded him in this manor and estate in Minster, but died without surviving issue, upon which this estate descended to Henry Conyngham, esq. his younger brother, second son of the general, who was in 1753, anno 27 George II. created baron Conyngham, of Mount Charles, in Donegall, in Ireland; and afterwards by further letters patent, in 1756, viscount Conyngham, of the same kingdom; and again in 1780, earl Conyngham, and likewise baron Conyngham, of the same kingdom, with remainder of the latter title to his sister's sons. He married Ellen, only daughter of Solomon Merret, esq. of London, by whom he had no issue. He died s.p. in 1781, and was succeeded in his title of baron Conyngham by his nephew Francis Pierpoint Burton Conyngham, eldest son of his sister Mary, by her husband Francis Burton, esq. above-mentioned, which Francis, lord Conyngham, died in 1787, leaving by his wife Elizabeth, eldest daughter of Nathaniel Clements, esq. and sister of Robert, lord Leitrim, (who survived him) two sons, Henry, who succeeded him in title, and Nathaniel, and three daughters, Catherine married to the Rev. John Shirley Fermor, of Sevenoke; Ellen, to Stewart Weldon, esq. and Henrietta.

 

Henry, so succeeding his father as lord Conyngham, was created in December 1789, viscount Conyngham and baron Conyngham, of Mount Charles, in Donegall, to whom the inheritance of this manor and estate now belongs; but the possession of it for life is vested in the right hon. Ellen, countess dowager Conyngham; widow of Henry, earl Conyngham, above-mentioned. The arms of lord viscount Conyngham are, Argent, a shake-sork, between three mullets, sable. Supporters. The dexter—An horse charged on the breast with an eagle, displayed, or, maned and hoofed of the last. The sinister—A buck proper, charged on the breast with a griffin's head, erased, or, attired and unguled of the last. Crest—Anunicorn's head erased, argent, armed and maned, or. Motto—Over fork over.

 

A court leet and court baron is held for this manor, by the stile of the courtleet, and view of frank pledge, for the manor of Minster, in the hundred of Ringslow, alias Tenet, and the court baron for the said manor.

 

The court-lodge, formerly a part of the nunnery, was, after the dissolution of it, made use of as a farmhouse, in which some of the monks of St. Augustine resided, to manage the estate of it, which they kept in their own hands. On the north side of it, which seems to have been the front or entrance, is a handsome stone portal, on the top of which, in the middle, within a circle, are the arms of the abbey of St. Augustine, viz. Sable, a cross, argent. At a small distance from it stood antiently a very large barn, sufficient to hold the corn growing on all the demesnes, being in length 352 feet, and in breadth 47 feet, and the height of the walls 12 feet, with a roof of chesnut. When the estate was divided, 154 feet in length of this building was carried to Sevenscore farm, where it was burnt, by an accident unknown in 1700, and the remaining part here was burnt by lightning afterwards. On the south side of the house stood a chapel, said to have been built by St. Eadburga, the third abbess here. In it the body of St. Mildred is said to have been placed by her, or rather translated from the other monastery. Some of the walls and foundations of this chapel were remaining within the memory of some not long since deceased, but it is now so entirely demolished, that there is nothing to be seen of it, excepting a small part of the tower, and of the stairs leading up into it. Just by these ruins of the tower is a small piece of ground, in which lately in digging for mould, several human bones were dug up. There is a view of the remains of this nunnery in Lewis's Thanet.

 

THE OTHER PART of this estate, the scite of which lies about a mile eastward from Minster-court, since known by the name of SEVENSCORE, on which is built a substantial farm-house, with large barns and other necessary buildings, was allotted to —Carey, in whose successors viscounts Falkland, this estate continued down to Lucius Ferdinand, viscount Falkland, who not many years since alienated it to Josiah Wordsworth, esq. of London, whose son of the same name died possessed of it about the year 1784, leaving two sisters his coheirs, one of whom married Sir Charles Kent, bart. and the other, Anne, married Henry Verelst, esq. who afterwards, in right of their respective wives, became possessed of this estate in undivided moieties; in which state it still continues, Sir Charles Kent being at this time entitled to one moiety, and Mrs. Verelst, the widow of Henry Verelst, esq. above-mentioned, who died in 1785, and lies buried in this church, being entitled to the other moiety of it.

 

WASCHESTER is an estate lying at a small distance westward from Minster church, part of which was formerly parcel of the demesnes of the manor of Minster, and was included in king James's grant to Sir Philip Carey, William Pitt, esq. and John Williams, goldsmith, as has been mentioned before in the account of that manor; they in the year 1620, joined in the sale of them to Jeffry Sandwell, gent. of Monkton, who purchased other lands of different persons in this parish, Monkton and Birchington, the whole of which he sold in 1658, to John Peters, M. D. Philip le Keuse, and Samuel Vincent, which two latter alienated their shares soon afterwards to Dr. Peters; at which time all these lands together, not only comprehended Waschester farm, but likewise part, if not the whole of another called Acol. From Dr. Peters this estate descended to Peter Peters, M. D. of Canterbury, who died in 1697, upon which the inheritance of it descended to his sole daughter and heir Elizabeth, who in 1722 carried it in marriage to Thomas Barrett, esq. of Lee, whose second wife she was; he died possessed of it in 1757, upon which it descended to their only daughter and heir Elizabeth, who entitled her husband, the Rev. William Dejovas Byrche, to the fee of it. He died in 1792, leaving an only daughter Elizabeth, married to Samuel Egerton Brydges, esq. of the Middle Temple, barrister-atlaw, but now of Denton-court, who in her right possessed it, and afterwards sold it to Mr. Ambrose Maud, who now owns it.

 

SHERIFFS COURT is an estate lying somewhat less than a mile westward from Waschester, in the hamlet of Hoo in this parish; it was formerly called Sheriffs Hope, from the hope, or place of anchorage for ships, which sailed in the river Wantsume, which once ran close by this place. It is said by some to have taken its name from its having been part of the possessions of Reginald de Cornhill, who was so long sheriff of this county that he lost his own name and took that of Le Sheriff, from whence this place gained the name of Sheriffs hope, or court. He was sheriff from the 4th to the 9th years of king Richard I. in the last year of that reign and during the whole reign of king John. His arms are on the stone roof of the cloysters at Canterbury, being Two lions passant, debruised of a bendlet, impaling three piles. After this name was extinct here, the family of Corbie became possessed of this estate; one of whom, Robert de Corbie, died possessed of it in the 39th year of king Edward III. whose son Robert Corbie, esq. of Boughton Malherb, leaving a sole daughter and heir Joane, she carried it in marriage to Sir Nicholas Wotton, who, anno 3 Henry V. was lord mayor of London. His descendant Sir Edward Wotton procured his lands in this county to be disgavelled by the acts both of 31 Henry VIII. and 2 and 3 Edward VI. and from him this manor descended to Thomas, lord Wotton, who dying anno 6 Charles I. without male issue, his four daughters became his coheirs, of whom Catherine the eldest carried this estate in marriage to Henry, lord Stanhope, son and heir of Philip, earl of Chesterfield, whose widow Catherine, lady Stanhope, sold it to Henry Paramor. He was the tenant and occupier of Sheriff's court, being the eldest son of John Paramor, of Preston, the grandson of Thomas Paramor, of Paramor-street, in Ash, near Sandwich. They bore for their arms, Azure, a fess embattled, counter embairled, between three etoils of six points, or. (fn. 11) . He left it to his brother Thomas Paramor, whose grandson of the same name died possessed of it in 1652, and was buried with his ancestors in this church; from his heirs this estate was alienated to Thatcher, in which name it continued, till at length it was sold by one of them, to Mr. Robert Wilkins, gent. of St. Margaret's, Rochester, who possessed it for many years. He died without issue, and it has since become the property of Mrs. Terry, the present owner of it.

 

TO THIS MANOR is appurtenant the small MANOR OF PEGWELL, or COURT STAIRS, in the parish of St. Laurence.

 

ALDELOND GRANGE, usually called Allen Grange, situated about a mile northwardfrom Minster church, on the open high land, was so called in opposition to Newland Grange, in St. Laurence parish. It was antiently part of the possessions of the abbey of St. Augustine, and was in the year 1197, assigned by Roger, the abbot of it, to the sacristy of the abbey, for the purpose of upholding and maintaining the abbey church, as well in the fabric as ornaments, but on the condition that the sacrist for the time being, should perform all such services to the court of Minster as were due, and had been accustomed to be done for the land of it. (fn. 12)

 

The measurement of this land, according to Thorne, amounted to sixty-two acres; and to this Grange belong all the tithes of corn and grain, within the limits of the borough of Wayborough, excepting those which are received by the vicar. On the dissolution of the abbey of St. Augustine, in the 30th year of Henry VIII. this estate, then amounting to six score acres, came, with the rest of the possessions of the monastery, into the king's hands, where it did not continue long, for he settled it in his 33d year, by his dotation charter, on his new founded dean and chapter of Canterbury, with whom the inheritance of it continues at this time.

 

It has been demised by the dean and chapter, on a beneficial lease, the rack rent of it being 413l. per annum, for twenty one years, to Mr. Edward Pett, of Cleve-court, the present lessee of it. Messrs. Jessard and Paramor are the under lessees and occupiers of it.

 

POWCIES, which stands about half a mile northeastward from Allan grange, was formerly a gentleman's mansion, a large handsome building standing on much more ground than it does at present, with a gate house at the entrance into the court before it; all which being pulled down, a modern farm-house of brick has been built on the antient scite of it.

 

This seat was once in the possession of the family of Goshall, of Goshall, in Ash, where Sir John Goshall resided in king Edward III.'s reign, and in his descendants it continued till about the reign of king Henry IV. when it was carried in marriage by a female heir to one of the family of St. Nicholas, owners likewise of the adjoining manor of Thorne, in whom it continued down to Roger St. Nicholas, who died in 1484, leaving a sole daughter and heir Elizabeth, who entitled her husband John Dynley, of Charlton, in Worcestershire, to the possession of it. By her he had two sons, Henry and Edward, the eldest of whom succeeded to this estate, which he afterwards alienated, about the middle of queen Elizabeth's reign, to John Roper, esq. of Linsted, afterwards knighted, and anno 14 James I. created baron of Teynham; whose great grandson Christopher, lord Teynham, in king Charles I.'s reign, conveyed it to Sir Edward Monins, bart. of Waldershare, who died possessed of it in 1663, leaving Elizabeth his widow surviving, who held it in jointure at her death in 1703; upon which it devolved to the heirs and trustees of Susan, his eldest daughter and coheir, late wife of Peregrine Bertie, deceased, second son of Montague, earl of Lindsey; and they, in the reign of king William and queen Mary, joined in the sale of it to Sir Henry Furnese, bart. of Waldershare, who died possessed of it in 1712, as did his son Sir Robert in 1733. After which it became, with his other estates, vested in his three daughters and coheirs, and on a partition of them, anno 9 George II. this estate of Powcies was wholly allotted, among others, to Anne the eldest sister, wife of John, viscount St. John, which partition was confirmed by an act passed next year; after which it descended down to their grandson George, viscount Bolingbroke, who in 1790 alienated it to Mr. Henry and John Harnett, the present possessors of it.

 

THORNE, or as it is vulgarly called, Thourne, is a manor in this parish, situated about a mile southward from Powcies above mentioned, being so named from the quantity of thorny bushes growing on and about it. This manor was antiently the seat of a family which took their name from it, one of them, Henry de Thorne, was owner of it in the year 1300, anno 29 Edward I. and resided here; against whom it seems complaint was made to the abbot of St. Augustine, that he caused mass to be publicly said in his private oratory, or chapel, (the remains of which are still so entire as to be made use of as a granary, &c.) at this his manor of Thorne, (apud spinam) to the prejudice of the mother church, and the ill example of others; and he accordingly was inhibited from so doing in future, by the archbishop's letters to the vicar of Minster, dated that year. And under the cross in this church, in the north wall of it, is an antient tomb or coffin of solid stone, let into the wall under an arch of antient Saxon ornaments. On the stone which covers the tomb is a cross flory, on each side of which are two blank shields, and round the edge of the stone these words in old French letters: Ici gift Edile de Thorne, que fust Dna del Espine. This seems probable to have been one of the family, owners of this manor.

 

After this family of Thorne were become extinct here, that of Goshall, of Goshall, in Ash, appear to have been possessors of this manor; in whom it continued till about the reign of king Henry IV. when it went by marriage by a female heir to one of the family of St. Nicholas, in whose descendants it continued down to Roger St. Nicholas, who died in 1474, and as appears by his will, was buried before the image of St. Nicholas, in the chancel of Thorne, at Minster. Roger St. Nicholas, his son and heir, left an only daughter Elizabeth, who entitled her husband John Dynley, esq. of Charlton, in Worcestershire, to the possession of it. After which it continued down in the same owners as Powcies last above-described, till it came into the possession of George, viscount Bolingbroke, who in 1790 alienated it to Mr. Henry Wooton, the present owner of it.

 

See a custom for the demise of tenements by will within the borough of Menstre, secundum consuetudinem manerii, anno 55 Henry III. Itin. Kanc. rot. 18, in Robinson's Gavelkind, p. 236.

 

Charities.

THE OCCUPIER of Salmeston Grange, in St. John's parish, is bound by his lease to distribute to six poor inhabitants of the parish of Minster, to be nominated by the minister and churchwardens, in the first week, and on the middle Monday of Lent, to each of them, nine loaves and eighteen herrings; and to three poor people of the same, to each of them, two yards of blanket; and every Monday and Friday in each week, from the Invention of the Holy Cross to the feast of the Nativity of St. John the Baptist, to every poor person coming to Salmeston Grange, one dishfull of peas dressed.

 

THOMAS APPLETON, of Eastry, yeoman, by his will in 1593, gave to the relief of the poor of this parish, the sum of 5l. to be paid to the churchwardens yearly, for the use of the poor people, inhabitants there, fourteen days before Christmas day, the same to be paid out of certain lands belonging to him, called Hardiles, in the parish of Woodnesborough.

 

RICHARD CLERK, D. D. vicar of Minster, partly by deed in 1625, and partly by will on Nov 6, 1634, gave 120l. to be lent unto four parishioners, born in Minster, whose fathers were deceased, and they not sufficiently stocked, for the term of one, two, or three years, but not exceeding that; the interest arising from it to be divided among the poor of the parish. With this money the trustees purchased houses, which are at present divided into four tenements, besides the parish work-house, called the seoffees houses; and seven other tenements, called Cheap Row, the rent of which is annually distributed in clothing to the poor persons of the parish. They are all at present let to the churchwardens and overseers for the time being, by a lease of 99 years, from 1729, at the rent of 6l. This trust is now vested in Mr. William Fuller, of Doctors Commons, as heir of the last trustee; the trust not having been filled up since the year 1696.

 

JOHN CAREY, esq of Stanwell, in Middlesex, by will in 1685, gave 10l. per annum to be paid yearly to the churchwardens, out of his farm of Sevenscore; to be disposed of to the poor yearly, on St. Thomas's day.

 

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

 

The church, which is dedicated to St. Mary, is a very handsome structure, consisting of a nave and two side isles, a cross sept, and east chancel; the nave is of Saxon, the transept and chancel of gothic architecture; the last is curiously vaulted with stone, and provision was made for the same in the transept, but it was never completed. In it are eighteen collegiate stalis, in good preservation. At the west end of the church is a tall spire steeple, in which is a clock and five bells.

 

When the Danes plundered and burnt the abbey of Minster, they seem to have spared the two chapels of St. Mary, and of St. Peter and St. Paul, or however the stone work of them was preserved, and not burnt with the roof and other works of timber. The former of these was afterwards made into the present parish church, and has since been considerably enlarged.—The nave or body of the church seems to have been the old building; the pillars of which are thick and short, and the arches all circular, and a low roof was probably upon them, according to the simplicity and plainness of those times; but since the wall has been built higher, as appears by the distance there is, betwixt the top of the arches and the wall plate across; and an handsome chancel added at the east end, and a square tower on the west, with a high spire covered with lead placed on it. The chancel or choir and the middle of the cross are vaulted, and by the footings which are left, it was certainly intended that the whole cross should have been finished in the same manner. The eighteen stalls mentioned before, have very handsome wainscot behind, according to the mode of those times; in these the monks, vicars, and priests used to sit during the performance of divine service. Besides the high altar in this church, there were before the reformation other altars in it, dedicated to the Holy Trinity, St. James, and St. Anne. At these, as likewise before the Holy Cross, were lights constantly burning; for the maintenance of which, there were societies or fellowships, who contributed towards the maintenance of them, and those who died left in their last wills constantly small sums of money for that purpose. Under the middle of the cross was the rood-lost, the going up to which out of the chancel is yet to be seen, as are the mortice holes in which the timbers were put, on which the lost was built. On the north wall of it is the antient tomb of Edile de Thorne. On the pavement, as well as in the church porch, are several large flat gravestones, the inscriptions, if any on them, entirely worn away; they seem very antient, and are not improbably, memorials of some of the religious of this place, but they do not seem always to have lain where they do now. On the front of the tower of the steeple is a shield, carved in the stone work, viz. A fess, between three lion's passant. Among other memorials in this church, in the chancel, is one for Francis, son and heir to Edward Saunders, gent. of Norbourne-court, which Edward married the female heir of Francis Pendrick, esq. by his wife, who was nurse to queen Elizabeth. He died anno 1643; arms, A chevron, between three elephants heads, impaling a saltier, ermine, between three leopards faces. In the middle isle a monument for Bartholomew Sanders, gent. and Mary his wife, daughter of Henry Oxenden, esq. of Wingham; arms, Per chevron, sable and argent, three elephants heads, counterchanged, impaling Oxenden. On a mural monument are the effigies of a man and woman. kneeling at a desk, for Thomas Paramor, esq. sometime mayor of Canterbury, and Anne his first wife; arms, Azure, a fess embattled, between three stars of six points, or, impaling or, on a chevron, three stars of six points, sable, between as many dragons heads, quartered. In the north isle are several memorials for the Paramors. On a wooden frame, near the altar, a memorial for Col. James Pettit, obt. 1730. On the south side of the chancel, a mural monument for Mary, youngest daughter of Robert Knowler, gent. of Herne, wife of John Lewis, vicar of this church, obt. 1719. A memorial for John Lewis, formerly vicar of this church, obt. 1746, æt. 72. A memorial for Elizabeth Blome, daughter and coheir of John Blome, gent. of Sevenoke, obt. 1731; arms, in a lozenge, A cross fitchee, and cinquefoil, quartered with a greybound, current. A mural monument for Harry Verelst, esq. of Aston, in Yorkshire, formerly governor of Bengal, obt. 1785; he married Anne, coheir of Josiah Wordsworth, esq. of Wadworth, in Yorkshire, and of Sevenscore, in this parish, and left by her four sons and five daughters. In the south isle memorials for the Harnetts, Kennetts, and Colemans. In the middle isle are memorials for several of the Jenking's. Leland, in his Itinerary, vol. vii. p. 130 says, S. Florentius jacet in Cemiterio S. Mariæ in Thanet, cujus Tumba Crescit signis. (fn. 13)

 

On the top of the spire was formerly a globe, and upon that a great wooden cross, covered with lead, over which was a vane, and above that, an iron cross; but about the year 1647, the noted fanatic Richard Culmer, having got the sequestration of this vicarage, took it into his fancy that these were monuments of superstition and idolatry, and got these crosses demolished by two persons of the parish, whom he had hired, after he had himself before day, by moon light, fixed ladders for them to go up and down, from the square of the tower to the top of the spire. But if all the figures of a cross are monuments of idolatry, and to be removed, the poor caitiff has done his work but by halves, or rather not all, when he took down these from the spire and left the church standing, which is itself built in the form of a cross.

 

The church of Minster was antiently appendant to the manor, and as such was granted with it, first to Domneva, and afterwards became part of the possessions of the abbey founded by her here; and after the destruction of it came with the manor, by king Cnute's grant, to the abbot and convent of St. Augustine, to which it became appropriated in the year 1128, anno 29 Henry I. and was at that time assigned, with the chapels of St. John, St. Peter, and St. Laurence, with all rents, tithes, and other things, belonging to them, to the sacristy of that monastery; which regulation was confirmed by archbishop Theobald, and afterwards, in 1168, by pope Alexander, who consigned it to the reparation of the church of the monastery, which had been but just before burnt down. (fn. 14)

 

In the year 1176, anno 23 Henry II. the tenants of the Halimot, or manor court of Minster, agreed, that from thenceforth they would all cop their corn; and that they and their heirs, then and for ever afterwards, should pay all their tithes lawfully by cops, and all other matters of tithes, which they were accustomed to pay, as amply as they had ever paid them from the time of the dedication of the church of St. Mary of Menstre.

 

By an agreement entered into in 1182, between the archbishop and the abbot of St. Augustine's, this church was exempted from the payments of all dues and procurations to the archdeacon; and that year the archbishop confirmed this church to the monastery; which agreement was renewed in 1237, by archbishop Edmund; and further, that the abbot and convent should present to the archbishop, in the chapels of St. Peter, St. John, and St. Laurence, fit perpetual chaplains to the altarages in them, provided those altarages were worth ten marcs, with which the chaplains should be content, on pain of forfeiting the same; the vicar of the mother church of Menstre, having a sufficient vicarage taxed from antient time in the same, taking and receiving in right of his vicarage, the tenths of small tithes, viz. of lambs and pigs, and the obventions arising from marriages and churchings, which were forbid at the chapels, and were solemnized, &c. at the mother church only, and the burials of certain corpses, being those of the tenants or occupiers of lands in these chapelries, who were to be buried at Minster, unless the vicar gave leave to the contrary. At the same time the archbishop, with the consent of the archdeacon, confirmed this church to the abbot and convent, together with the several archiepiscopal confirmations of it, and those of the several kings of England. This part above-mentioned of the revenue of the vicarage of Minster, arising from these chapelries, has long since been lost, except that out of Salmestone Grange, amounting to 10s. a year; which, perhaps, might be a composition for the tenths of the small tithes, &c. in them. The altarages above-mentioned were the customary and voluntary offerings at the altar, for some religious office or service of the priest. To augment these, the regular and secular priests invented many things. For it is to be observed, that only a portion of these offerings, to the value of ten marcs, or 6l. 13s. 4d. was what the chaplains of these three chapels were presented to, and that they were accountable for the residue to the abbot and convent, and that if they presumed to detain any more of these offerings beyond that sum, they were to be deprived even of that. For this reason, they were to swear to the abbot and convent, to give a true account of the offerings made at their several altars, on their respective offering days, and in no shape to detriment their parish of Menstre, as to legacies or obventions, personal or predial, but to conserve all the parochial rights of the same, entire and untouched, to the utmost of their power. Then marcs appear now but a small sum for the maintenance of a parish minster; but when the value of money at the time when this composition was made is considered, it will be found to be a handsome and generous allowance to a chaplain, especially as their stipends were then paid by authority; ten marcs were then equal to more than sixty pounds now, and in a council held at Oxford but fifteen years before, it was decreed, that where the churches had a revenue as far as five marcs per annum, they should be conferred on none but such as should constantly reside in person, on the place, as being a sufficient maintenance. In 1348 H. Kinghton informs us, a chaplain's usual stipend was no more than four or five marcs, or two and his board; as for the chaplains of these three chapels, though they were to receive no more than ten marcs of these altarages, they were not excluded the enjoyment of the manses and glebes, given to these chapels when they were first consecrated, which made some addition to their income, and perhaps enabled them to keep a deacon to assist them. (fn. 15)

 

On the great and principal festivals, the inhabitants of these three chapelries, preceded by their priests and other officers, with their banners, tapers, &c. were used to go in procession to Minster, their mother church, there to join at the solemn mass and other divine service then performed, to make their offerings and pay their accustomed dues, in token of their subjection to their parochial or mother church.

 

The appropriation of the church of Minster, together with the advowson of the vicarage, continued, in manner as has been already mentioned, with the abbot and convent till the dissolution of their monastery in the 30th year of king Henry VIII. when it was surrendered, together with the rest of the possessions of the monastery, into the king's hands. After the dissolution of the monastery, there could not be said to be any parsonage or appropriation of this church, for the demesne lands of the manor of Minster, which are very extensive in this parish, were subject, as to the tithes of corn, to only a small modus or composition to the vicar, of eighteen shocks or cops of wheat, and eighteen shocks or cops of barley, or thereabouts; and the vicar was intitled, in right of his vicarage, to the corn tithes of the lands in the remaining part of the parish, as will be further noticed hereafter.

 

When the vicarage of this church was endowed and a vicar instituted, is no where found; but certainly it was before the year 1275; for in the act of consecration of the church or chapel-yard of St. Laurence that year, when that chapel was made parochial, mention is made of the vicar of Menstre, &c. and in the year 1384, anno 8 Richard II. this vicarage was valued at thirty marcs. After the dissolution of the abbey of St. Augustine, the advowson of this vicarage continued in the hands of the crown, till king Edward VI. in his first year, granted it, among other premises, to the archbishop, since which it has continued parcel of the pos sessions of that fee, the archbishop being the present patron of it.

 

This vicarage is valued in the king's books at 33l. 3s. 4d. and the yearly tenths at 3l. 6s. 8d. In 1588 here were three hundred communicants, and it was valued at 1501. It is endowed with a manse and glebe of about twenty-four acres of land, upland and marsh; all the corn tithes, and other tithes of that part of the parish called Street-borough; and of about one hundred acres in the other borough, called Weyborough, except the corn tithes of the demesnes of the manor of Minster, for which the modus or composition above-mentioned is paid.

 

¶The land in Minster level, which is pasture, paying but four-pence an acre for tithes, Dr. Richard Clarke, vicar here in 1597, made a composition with his parishioners, by which they obliged themselves to pay him at the vicarage house, within three days after every quarter, after the rate of twelve-pence an acre for their marsh land, or else to lose the benefit of the composition. (fn. 16) Dr. Meric Casaubon, who succeeded Dr. Clarke, would not abide by this composition, but afterwards compounded with the occupiers, at the rate of twelve-pence an acre for the worst of the land, and of fourteen pence and sixteen pence for that which is better; and in the year 1638 he demanded his tithes of the marsh land in kind, or eighteen pence per acre, which was agreed to by the parishioners, and paid by them till the year 1643; when the civil wars being begun, and this county in the power of the parliament, Dr. Casaubon, being continually threatened to be turned out of his vicarage, was content to receive one shilling per acre for the marsh land; in which manner he received it till the end of the year 1644, when this vicarage was sequestered, and one Richard Culmer was put into possession of this vicarage, (fn. 17) who to ingratiate himself with the parishioners, agreed to take no more than twelve pence an acre of them, as did Dr. Casaubon in 1660, on his being restored to this vicarage; at which rate the tithes were afterwards uniformly taken, till the time of the present vicar; the several vicars not being disposed to quarrel with their neighbours, though the land now lets for as much again as it did in Dr. Casaubon's time, viz. at 28s. an acre and upwards. There have been several litigations and issues at law tried between the present vicar, Mr. Dodsworth, and his parishioners, on account of this modus for the marsh land, all which have been decided in the vicar's favor, who set aside the modus of one shilling per acre by the verdict in his favor, and now takes from 1s. 6d. to 2s. 6d. for the grass land, according to its goodness; yet there are ten acres of grass land late in the possession of Josias Fuller Farrer, esq. which never having paid more than four-pence per acre, remain at that composition. The present value of it is about 350l. per annum.

 

www.british-history.ac.uk/survey-kent/vol10/pp264-294

Given the number of bears in the woods arounf Whitehorse right now, we skipped our usual weekend hikes into the boreal and walked the roads at the Yukon Wildlife Preserve. It is still a nice way to get out for a couple of hours and the animals you encounter are all safely cordonned off from pesky humans by sturdy fencing. This photo was taken a little past the halfway point in our walk and shows how dark the skies were getting. Fortunately, we made it all the way around without getting soaked.

Bright sunshine on a beautiful Autumn day persuaded me to drive to Fraserburgh and re visit its magnificent fishing harbour for the first time in a few months, hence today Tuesday 13th November 2018 I visited and captured as many trawlers and scenes that I could, I had a great couple of hours.

 

Fraserburgh Harbour is situated in Aberdeenshire in the North East corner of Scotland and is ideally positioned for the fishing grounds of the North and East of Scotland, as well as being in close proximity to the North Sea oil and gas fields and the emerging offshore renewables market. The location also makes it well placed for trade with Scandinavia and the Baltic sea ports.

 

The Port caters and provides facilities for:

 

Safe Berthing with a 24 hour advisory service

 

Fishing, Cargo, Oil Related, Offshore Renewables and Ship Repair

 

Fuel, water, electricity, Stevedores available as required

 

Extensive local supply chain

Haulage - UK and Worldwide

 

Fraserburgh Harbour Commissioners are committed to providing first class services to the fishing fleet. This commitment has been demonstrated over the years through deepening projects which have provided safe berthing facilities and two of the most up to date fish markets in the UK. Both markets, which are completely chilled, are capable of maintaining a temperature of +1ºC allowing landings of fish and nephrops over a 24 hour period, five days per week with the fish being kept in prime condition for the sales that take place at a later period. The markets cover 3100 square metres and can handle 6,000 boxes of fish daily. The very successful summer and autumn squid fishery takes place a few miles from the port and vessels often choose to land through Fraserburgh Fishmarket. A Wi-Fi internet connection was recently installed in the market and is available for all users.

 

The harbour houses a number of full time crab fishermen who operate throughout the year. The vast majority of crab landed is trucked to markets in England with the balance processed locally. Many of these smaller vessels also take part in the seasonal mackerel fishery with line mackerel also being landed and sold through the Fishmarket.

 

Fraserburgh Harbour is also home to a number of the large pelagic fishing vessels who class Fraserburgh Harbour as their “home” port. These vessels can be seen moored in the Balaclava basin between fishing seasons for mackerel, herring, blue whiting etc. The harbour and bay are designated and approved pelagic landing areas seeing large quantities of herring and mackerel landed during the season with demand coming from local processors as well as continental buyers. Catches can be landed direct into the Lunar Freezing factory, one of the most up to date and modernised processing factory in the country, which is located alongside the pier in the Balaclava Harbour. These catches can be landed either by lorry or by pipeline on specific berths straight into the factory.

 

The Harbour offers fresh water, shore power, waste disposal, oil reception facilities, etc all essential services for the fishing fleet.

 

Information on these can be obtained from the Harbour Office or from the Marine Watchtower.

 

Google and Wiki have the folowing info on this fine town.

 

Fraserburgh (/ˈfreɪzərbrə/; Scots: The Broch or Faithlie, Scottish Gaelic: A' Bhruaich) is a town in Aberdeenshire, Scotland with a population recorded in the 2001 Census at 12,454 and estimated at 12,630 in 2006.

 

It lies at the far northeast corner of Aberdeenshire, about 40 miles (64 km) north of Aberdeen, and 17 miles (27 km) north of Peterhead. It is the biggest shellfish port in Europe, landing over 12,000 tonnes in 2008, and is also a major white fish port and busy commercial harbour.

 

History

The name of the town means, literally, 'burgh of Fraser', after the Fraser family that bought the lands of Philorth in 1504 and thereafter brought about major improvement due to investment over the next century. Fraserburgh became a burgh of barony in 1546. By 1570, the Fraser family had built a castle (Fraserburgh Castle) at Kinnaird's Head and within a year the area church was built. By the 1590s the area known as Faithlie was developing a small harbour.

 

In 1592, Faithlie was renamed Fraserburgh by a charter of the Crown under King James VI. Sir Alexander Fraser was given permission to improve and govern the town as Lord Saltoun. At present this title is still in existence and is held by Flora Fraser, 20th Lady Saltoun and head of Clan Fraser. The Royal Charter also gave permission to build a college and university in Fraserburgh allowing the Lord Saltoun to appoint a rector, a principal, a sub-principal, and all the professors for teaching the different sciences.

 

A grant from the Scottish Parliament in 1595 allowed the first college building to be erected by Alexander Fraser, and in 1597 the General Assembly of the Church of Scotland recommended the Rev. Charles Ferme, then minister at the Old Parish, to be its first (and only) principal.

 

In 1601, Fraserburgh became a burgh of regality. The college, however, closed only a decade or so after Ferme's arrest on the orders of James VI for taking part in the 1605 General Assembly, being used again only for a short time in 1647 when King's College, Aberdeen temporarily relocated owing to an outbreak of plague. A plaque commemorating its existence may be seen on the exterior wall of the remains of the Alexandra Hotel in College Bounds.

 

Fraserburgh thereafter remained relatively quiet until 1787 when Fraserburgh Castle was converted to Kinnaird Head Lighthouse, Scotland's first mainland lighthouse. In 1803, the original 1571 church building was replaced and enlarged to seat 1000 people. The Auld Kirk was to be the standing authority in the town up until the 1840s.

 

The Statistical Account on the Parish of Fraserburgh, written between 1791–1799 (probably 1791) by Rev. Alexander Simpson of the Old Parish Church, shows that the population of Fraserburgh was growing with peaks due to seasonal employment. He records a population of about 2000 in 1780 of whom only 1000 resided in the town.

 

There was an additional population of 200 in the village of Broadsea. He makes a point of the arrival of Dr. Webster in Fraserburgh in 1755 claiming that the population then only stood at 1682. By the time the account was written the population had increased by 518 souls since 1755. Rev. Simpson also gives accounts of deaths, births and marriages. Between 1784-1791, he claims to have an average of 37 baptisms, 14 marriages and 19 deaths per year. The statistical account mentions activities with the harbour. He describes the harbour as small but good, telling that it had the capability to take vessels with '200 tons burden' at the time the account was written.

 

The account also mentions that Fraserburgh had tried and succeeded in shipbuilding especially after 1784. His account finishes speaking of a proposed enlargement of the harbour. He claims that the local people would willingly donate what they could afford but only if additional funding was provided by the Government and Royal Burghs.

 

The second statistical account, written as a follow up to the first of the 1790s, was written in January 1840 by Rev. John Cumming. He records population in 1791 as 2215 growing to only 2271 by 1811, but increasing massively to 2954 by 1831. He considered the herring fishing, which intensified in 1815, to be the most important reason for this population boom. By 1840 he writes that seamen were marrying early with 86 marriages and 60 births in the parish in the space of one year. On top of this increased population, he explains that the herring season seen an additional 1200 people working in the Parish. There is also mention of the prosperity of this trade bringing about an increase in general wealth with a change in both dress and diet. Cumming also records 37 illegitimate children from 1837–1840 although he keeps no record of death.

 

The prosperity of the economy also brought about improvement within the town with a considerable amount of new houses being built in the town. The people were gaining from the herring industry as in real terms rent fell by 6% from 1815 to 1840. Lord Saltoun was described as the predominant land owner earning £2266,13s,4d in rents.

 

This period also saw the extension of the harbour with a northern pier of 300 yards built between 1807–1812 and, in 1818, a southern pier built by Act of Parliament. Cumming states that no less than £30,000 was spent developing the harbour between 1807 and 1840 by which time the harbour held eight vessels of 45–155 tons and 220 boats of the herring fishery.

 

A railway station opened in 1865 and trains operated to Aberdeen via Maud and Dyce, as well as a short branch line to St. Combs. It was, however, closed to passengers in 1965 as part of the Beeching cuts, though freight trains continued to operate until 1979, after which the station site was redeveloped. Currently, the closest operating station is Inverurie, 56 km (35 miles) away.

 

Climate[

Fraserburgh has a marine climate heavily influenced by its proximity to the sea. As such summer highs and winter lows are heavily moderated, with very mild winter temperatures for a location so far north. The differences between seasons are very narrow as a result, with February averaging highs of 6.7 °C (44.1 °F) and August 17.2 °C (63.0 °F).[6] As a result of its marine influence, there is significant seasonal lag, with September being milder than June and October has slightly milder nights than May, in spite of a massive difference of daylight. The climate is overcast and wet with 1351.8 hours of sunshine. Temperature extremes have ranged from 26.6.C (July 1995) down to -14.4.C (February 1991) 747.7 millimetres (29.44 in) of precipitation per annum.

+++ DISCLAIMER +++

Nothing you see here is real, even though the conversion or the presented background story might be based historical facts. BEWARE!

 

Some background:

The Arsenal (de l'Aéronautique) VB 31 was a French naval fighter aircraft developed shortly after World War II. In January 1947 Arsenal were given a contract to develop a powerful naval fighter for the four French aircraft carriers. Since the modernization of the Aéronavale was pressing, the aircraft had to be developed fast. In order to cut time, the initial concept, the VB 30, was based on the unrealized German Messerschmitt Me 155 project.

 

The Me 155 naval fighter had been a naval development of the Messerschmitt Bf 109G, intended for the German aircraft carrier Graf Zeppelin, which never saw the light of day. When it was clear that the Me 155 was a dead end, the basic design was developed further into a high altitude interceptor and the project handed over to Blohm & Voss. The resulting, highly modified Bv 155 saw the prototype stage in the late years of WWII, but was never put into service. Years later, though, the Me 155 should surface again: Evolved by Ingenieur-General Vernisse and M. Badie, the VB 30 did not only use many design features of the original Me 155 design, it also heavily drew on the indigenous VB 10 heavy fighter which had been previously under development since WWII.

 

The VB 30 was more compact than the VB 10, though, even though it had similar proportions. IIt was an all-metal single-seat fighter with a low-wing monoplane, a retractable tailwheel undercarriage and of largely orthodox configuration. The wings had an inverted gull wing shape, in order to shorten the main undercarriage as much as possible, and were foldable. The landing gear retracted inwards, and the tail wheel was retractable, too.

 

The VB 30's layout resembled much the smaller North American Mustang. The aircraft was powered by a powerful Arsenal 24 H engine which was theoretically capable of 3.400hp – itself a development based on the cylinder blocks of the German Junkers IV12 213 engine. A huge radiator bath for the liquid-cooled engine was located under the fuselage, at the wings’ trailing edge.

 

The aircraft was heavily armed, with a newly developed, compact 30mm cannon (which would eventually become the famous DEFA cannon), firing through the propeller axis, plus four HS-404 20mm cannons or six 12.7mm machine guns in the wings, outside of the propeller arc. Various ordnance loads, including bombs of up to 500 kg caliber, drop tanks or unguided missiles, could be carried under the fuselage and outer wings.

 

Unlike the huge, tandem-engined VB 10, the VB 30 was (relatively) more successful, but its career started under misfortunate stars: Just one month after the VB 10 contract was cancelled, the prototype VB 30-01 made its maiden flight on 8th of December 1948. Overall, the aircraft behaved well, but its low speed handling was hampered by the immense torque of the Arsenal 24 H engine and the huge, four-bladed propeller. This problem was eventually countered with an enlarged fin, which earned the type its nickname "Requin" (Shark).

With this and many other detail modifications the aircraft was now called VB 31and cleared for series production, even though it was already apparent that the future of the fighter lay with jet power. A second prototype, the VB 30-02, had been started, but its assembly lagged so much behind that it was eventually finished as the first serial VB 31. Anyway, the development of the VB 31 continued as a safety net for France's nascent jet fighter programs, since it was not clear when pure jets would eventually offer the appropriate performance for carrier use, and when they'd be ready for service.

 

The VB 31’s development saw several drawbacks, including constant problems with the complicated, liquid-cooled engine, the radiator system and the landing gear. Serial production and service introduction of the VB 31 started slowly and was delayed until January 1951 – by which the French Air Force already had to rely on surplus British and American fighters to tide it over until domestically-produced jet fighters appeared. Time was already working against the VB 31.

 

Additionally, with the brooding Indochina War since August 1945, the need for a maritime fighter and fighter-bomber became so dire that the Aéronavale had to order the WWII Vought F4U-7 to fill this specific gap and replace several obsolete types. The XF4U-7 prototype did its test flight on 2 July 1952 with a total of 94 F4U-7s built for the French Navy's Aéronavale (79 in 1952, 15 in 1953), with the last of the batch, the final Corsair built, rolled out on 31 January 1953. With this proven (and cheaper) alternative, only a single batch of 40 VB 31 aircraft (instead of the planned 200!) was eventually built and put into service.

 

The VB 31 just came in time for the First Indochina War between France’s French Far East Expeditionary Corps and Emperor Báo Dai’s Vietnamese National Army against the Viet Minh, Led by Ho Chi Minh and Vo Nguyen Giap. During this conflict, the French used many different pre Cold War aircraft of World War Two, as well as the new types.The VB 31 were distrubuted between Flotille 3F and 12F, where they replayced Curtiss SB2C Helldivers and Grumman F6F-3 Hellcats, respectively. Flotille 12F pilots arrived in Asia on board of the aircraft carrier 'Arromanches' in early 1952, equipped with both VB 31 and F4U-7 fighters. Both types were deployed from the carrier and also served from Haiphong for CAS and escort duties in the Tonkin area.

 

The operational era of the VB 31 did not last long, though. The type was powerful, but complicated. The VB 31 also needed much more maintenance than the sturdy Corsair, which could also take more damage and had a considerable larger range. Hence, already in June 1953, all VB 31 were returned to Europe and based at Hyères, where they replaced obsolete F6F-5 Hellcats and were mainly used for training purposes. In the early sixties, with naval jet fighters finally available, the VB 31 were quickly withdrawn and scrapped, being replaced by Sud-Ouest SO-203 'Aquilon' (license-built D.H. Sea Venom) and Dassault Etendard IVM.

  

General characteristics:

Crew: one, pilot

Length: 11.63 m (38 ft 8 in)

Wingspan: 13.07 m (43 ft 6 in)

Height (peopeller at max. elevation): 4,9 m (16 ft 1 in)

 

Powerplant:

1 × Arsenal 24 H, 2.260 kW (3.000 hp), driving a four-bladed propeller

 

Performance:

Maximum speed: 665 km/h (413 mph)

Range: 1.191 km (740 miles)

Service ceiling: 11.125 m (37.100 ft)

Rate of climb: 10.2 m/s (2008 ft/min)

 

Armament:

1× 30 mm cannon with 100 RPG, firing through the propeller axis

4× 20 mm HS-404 cannons with 200 RPG or 6×12,7mm machine guns with 250 RPG in the outer wings

1.500kg (3.300 lbs.) of external ordnance, including bombs of of to 454kg (1.000 lbs) calibre, drop tanks or up to eight unguided missiles under the outer wings.

  

The Kit and its assembly:

I wonder if you recognize the basis for this fantasy airplane? It's actually a modified Bv 155 kit from ART Model/Special Hobby from Russia (Both kits are identical; the ART Model contains an injected clear canopy while the Special Hobby kit offers two vacu canopies, though).

 

Inspiration struck when I read about the huge VB 10, which has, in its profile view, much resemblance to the Bv 155 - and the latter actually has some naval-friendly features, e .g .the raised cockpit, placed pretty far forward at the wings' leading edge, or the massive landing gear. Since France used some German aircraft after WWII (e.g. Fw 190 for the Air Force and Ju 188 for the Navy), why not create a naval fighter from the Me 155/Bv 155 concept? Well, here it is... the Arsenal VB 31.

 

For this fantasy conversion, the Bv 155 kit saw major modifications, e. g.:

● The wing span was reduced - from each wing, 4.2cm/1.65" were taken away

● The wings received a new inverted gull wing shape, the cuts came handy

● Outer wings were clipped by 10mm/0,4" each

● Original wing tips were transplanted and re-sculpted to fit

● The rear fuselage was shortened by about 1.3cm/0.5"

● A carburetor intake was added under the nose (from a Hawker Hurricane)

● New horizontal stabilizers from a Grumman Panther (Matchbox)

● Lower position of the horizontal stabilizers

● New landing gear wells had to be cut out, a simple interior was scratch-built

● The landing gear retracts now inwards, original struts and covers were slightly shortened

● New main wheels from a Douglas Skyknight (Matchbox) were used

● New tail wheel (front wheel of a Revell F-16, I guess)

● Modified tail section with an arrestor hook

● The original, extensive exhaust piping between the engine and the turbo charger had to go

● New exhausts at the nose were added (scratch, HO scale roof tiles)

● New propeller from a Matchbox Hawker Tempest was mated with the original spinner

● Cockpit was taken OOB, but a different seat, a pilot and a radio in the rear were added

● Some panel lines had to be re-engraved, due to putty work and/or logical reasons

● Missile hardpoints under the wings come from an F4U

● Antennae were added, accoring to French F4U-7 pictures

 

There actually was no big plan - I had an idea of what to make from the kit, but modifications came step by step, as the parts fell together and looked or looked not right.

 

The 24 cylinder Arsenal 24 H engine was really under development in France, so it was a neat choice for such a relatively large aircraft. The huge turbocharger bath under the fuselage of the Bv 155 could easily be taken as a radiator bath for the large, liquid-cooled engine, so that no additional adaptations had to be made.

Overall, I wanted to save the elegant lines of the Bv 155. With the reduced wing span the aircraft looks even elegant, IMHO. All in all, and with its slender, inverted gull wings, the VB 31 somehow reminds of the Ju 87 and the later paper Ju 187 development. There's also something IL-2ish to it?

 

A side note concerning the kit itself: it has nice engraved details and some fine resin parts for the cockpit or the radiators. But wall strength is high (up to 2mm!), the material is somewhat soft and waxy, and fit is mediocre, so expect serious putty work. Not a bad kit, but something for the experienced modeler. Things surely were worse here, since my modifications to wings and fuselage called for even more sculpting.

  

Painting and markings:

It took some time to settle on a French naval aircraft, since I already have an all dark-blue whif in my collection (the whiffy F1J Sea Mustang). But I had some appropriate decals at hand, and the time frame as well as the potential user offered a good and plausible story behind the VB 31 in Aéronaval service.

 

Overall, the aircraft was painted in Blue Angels Blue (FS 15050, Testors 1718) and weathered with slightly lighter shades of blue and grey, for a sun-bleached look and in order to emphasize the panel lines. One can argue about this tone: many Aéronavale aircraft look much darker, rather like FS 15042, but I have seen pictures of such bright aircraft - I'd assume that the color standard was not very strict, as long as the aircraft was "dark blue"?

After basic painting the VB 31 looked very bright, so I did some major dry painting with darker/duller shades like Humbrol 67, 77 and 104 to tame things down, and the result is O.K. now.

 

The interior surfaces were painted in Mid Stone and dry-painted with Chromate Yellow (Humbrol 225 and 81). AFAIK, this is the typical interior finish for Aéronavel aircraft of that time, and it is a nice contrast to the dark and uniform outside.

 

Most markings come from an F4U-7 decal sheet, some things like the tail rudder Tricolore had to be improvised (comes from a 30 year old Airfix Bristol Blenheim decal sheet!).

 

Beyond the dry-painted blue and grey hues on the upper surfaces, the model was slightly weathered with exhaust and soot stains and some dry-painted silver on the leading edges. This makes the all-blue aircraft look a bit more lively and is IMHO authentic for Aéronavale fighters of the 50ies, esp. under the harsh climate of South East Asia.

 

Finally, everything was sealed under a semi-matt varnish (Tamiya Acryllics, rattle can), and some additional matt varnish was applied on the upper surfaces, also for a dull and sun-bleached look.

  

The kit was built in a week from sprues to pictures, overall a sleek and elegant aircraft with plausible lines - an hommage to the many elegant and innovative aircraft which were developed in France in WWII and later but which are easily overlooked today!

Given my thing for shadows you can probably guess this was a favorite of mine.

For best view: Press L

© Jef Kusters - credit MUST be given at all times

Ezra 9:5-9

 

“HE has given us New Life to raise again the house of our God.” (Ezra 9:9)

 

MEDITATION

“What would you say is one of the most important virtues we could have? How about Faith? Faith is more than just believing that God exists. It’s Trusting that HE is with us. It’s Trusting that HE is at work in our lives and that HE has a purpose for us. And it’s moving forward in that Trust, even when it’s difficult. That’s the kind of Faith that Ezra shows in today’s first reading…

 

“…You might wonder, though, how much Faith you really have, especially if you’re facing a hardship. You may wonder, Do I have enough? The answer is, Yes, you do! That’s because Faith is a divine gift given by a loving God. You don’t create Faith; you receive it. You lean on it. You rest in it. Because Faith is believing in Jesus, the Son of God, who loves you and gives Himself to you every day.

 

“So affirm your Faith in the Lord today. HE is the One who gives you New Life.”

 

PRAYER

“Lord, thank you for the gift of Faith! How could I possibly go on without you?”

 

Excerpt #meditation and #prayer from @wordamongus complete reflection @ www.wau.org

 

Archive link - wau.org/meditations/2025/09/24/1388768/

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

Filename - “New Life…” Ezra 9:9 late summer in Cascade Lake, Idaho September 2025

 

Following the Son...

Blessings,

Sharon 🌻

 

God's Beauty In Nature is calling us into a deeper relationship with Him...

 

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

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Please let me know in the comment section below, thank you...

 

Art4TheGlryOfGod Photography and Watercolor Paintings by Sharon

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Faith, Hope & Love in daily Art meditations...

 

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The secretarybird or secretary bird (Sagittarius serpentarius) is a very large, mostly terrestrial bird of prey. Endemic to Africa, it is usually found in the open grasslands and savannah of the sub-Saharan region. Although a member of the order Accipitriformes, which also includes many other diurnal raptors such as kites, hawks, vultures, and harriers, it is given its own family, Sagittariidae.

 

In 1779 English illustrator John Frederick Miller was the first European to describe the secretarybird, and it was soon after assigned to its own genus Sagittarius by French naturalist Johann Hermann in his Tabula Affinatum Animalium. It was not until 1935 that the species was moved to its own family, distinct from all other birds of prey—a classification confirmed by molecular systematics. Recent cladistic analysis has shown Sagittariidae to be an older branch of the diurnal birds of prey than Accipitridae and Falconidae, but a younger divergence than Cathartidae. Sometimes, the enigmatic bird Eremopezus is classified as an early relative of the secretarybird, though this is quite uncertain as the bird is only known from a few fragmentary body parts such as the legs. The earliest fossils associated with the family are two species from the genus Pelargopappus. The two species, from the Oligocene and Miocene respectively, were not discovered in Africa but France. The feet in these fossils are more like those of the Accipitridae; it is suggested that these characteristics are primitive features within the family. In spite of their age, it is not thought that the two species are ancestral to the secretary bird.

 

Though strongly convergent with the modern secretarybird, the extinct raptor Apatosagittarius is thought to be an accipitrid.

 

Its common name is popularly thought to derive from the crest of long quill-like feathers, lending the bird the appearance of a secretary with quill pens tucked behind their ear, as was once common practice. A more recent hypothesis is that "secretary" is borrowed from a French corruption of the Arabic saqr-et-tair or "hunter-bird."

 

The generic name "Sagittarius" is Latin for "archer," perhaps likening the secretary bird's "quills" to a quiver of arrows, and the specific epithet "serpentarius" recalls the bird's skill as a hunter of reptiles. Alternatively, the name could refer to the last two constellations in the Zodiac, Sagittarius and Serpentarius (now known as Ophiuchus).

 

The secretary bird is instantly recognizable as a very large bird with an eagle-like body on crane-like legs which increases the bird’s height to as much as 1.3 m (4.3 ft) tall. This bird has an eagle-like head with a hooked bill, but has rounded wings.[11] Height can range from 90 to 137 cm (35 to 54 in). Total length from 112 to 152 cm (44 to 60 in) and the wingspan is 191–220 cm (75–87 in). Body mass can range from 2.3 to 5 kg (5.1 to 11.0 lb) with 20 birds from southern Africa found to weigh an average of 4.02 kg (8.9 lb). Other attempts to estimate the mean weight range for secretary birds correspondingly lie between 3.5 and 4.2 kg (7.7 and 9.3 lb). The tarsus of the secretary bird averages 31 cm (12 in) and the tail is 57–85 cm (22–33 in), both factor into making them both taller and longer than any other species of raptor since these features are not as long in any other living raptor. The neck is not especially long, and can only be lowered down to the inter-tarsal joint, so birds reaching down to the ground or drinking must stoop to do so.

 

From a distance or in flight it resembles a crane more than a bird of prey. The tail has two elongated central feathers that extend beyond the feet during flight, as well as long flat plumage creating a posterior crest. Secretary bird flight feathers and thighs are black, while most of the coverts are grey with some being white. Sexes look similar to one another as the species exhibits very little sexual dimorphism, although the male has longer head plumes and tail feathers. Adults have a featherless red face as opposed to the yellow facial skin of the young.

 

Secretary birds are endemic to Sub-Saharan Africa and are non-migratory, though they may follow food sources. Their range extends from Mauritania to Somalia and south to the Cape of Good Hope. These birds are also found at a variety of elevations, from the coastal plains to the highlands. Secretary birds prefer open grasslands and savannas rather than forests and dense shrubbery which may impede their cursorial existence. While the birds roost on the local Acacia trees at night, they spend much of the day on the ground, returning to roosting sites just before dark.

 

Unlike most birds of prey, the secretary bird is largely terrestrial, hunting its prey on foot. Adults hunt in pairs and sometimes as loose familial flocks, stalking through the habitat with long strides. Prey may consist of insects, mammals ranging in size from mice to hares and mongoose, crabs, lizards, snakes, tortoises, young birds, bird eggs, and sometimes dead animals killed in grass or bush fires. Larger herbivores are not generally hunted, although there are some reports of secretary birds killing young gazelles and cheetah cubs. The importance of snakes in the diet has been exaggerated in the past, although they can be locally important and venomous species such as adders and cobras are regularly among the types of snake preyed upon.

 

Prey is often flushed out of tall grass by the birds stomping on the surrounding vegetation. It also waits near fires, eating anything it can that is trying to escape. They can either catch prey by chasing it and striking with the bill and swallowing (usually with small prey), or stamping on prey until it is rendered stunned or unconscious enough to swallow. Larger or dangerous prey, such as venomous snakes, are instead stunned or killed by the bird jumping onto their backs, at which point they will try to snap their necks or backs. There are some reports that, when capturing snakes, the secretary birds will take flight with their prey and then drop them to their death, although this has not been verified. Even with larger prey, food is generally swallowed whole through the birds' considerable gape. Occasionally, like other raptors, they will tear apart prey with their feet before consuming it.

 

Young are fed liquefied and regurgitated insects directly by the male or female parent and are eventually weaned to small mammals and reptile fragments regurgitated onto the nest itself. The above foodstuffs are originally stored in the crop of the adults.

 

The secretarybird has a relatively short digestive tract in comparison to other large African birds such as the Kori bustard. As the foregut is specialized for digesting large amounts of meat in a short amount of time, there is little need for the physical breakdown of food within the digestive tract over extended time spans. The crop of the secretarybird is dilated and the gizzard is nonmuscular in comparison to other birds. The large intestine lacks a cecum as there is little need for fermentative digestion of plant material.

 

In hunting and feeding on small animals and arthropods on the ground and in tall grass or scrub, secretarybirds occupy an ecological niche similar to that occupied by peafowl in South and Southeast Asia, roadrunners in North and Central America and seriemas in South America.

 

Secretarybirds associate in monogamous pairs. During courtship, they exhibit a nuptial display by soaring high with undulating flight patterns and calling with guttural croaking. Males and females can also perform a grounded display by chasing each other with their wings up and back, much like the way they chase prey. They usually mate on the ground, although some do so in Acacia trees. Secretarybirds will stay close to their mate even if their chick has already left.

 

Nests are built at a height of 5–7 m (16–23 ft) on Acacia trees. Both the male and female visit the nest site for almost half a year before egg laying takes place. The nest is around 2.5 m (eight feet) wide and 30 cm (one foot) deep, and is constructed as a relatively flat basin of sticks.

 

Secretary birds lay two to three oval, pale-green eggs over the course of two to three days, although the third egg is most often unfertilised. These eggs are incubated primarily by the female for 45 days until they hatch. The secretarybirds are facultatively fratricidal. There are conflicting opinions on this phenomenon also called cainism—"No evidence [exists] of sibling aggression, but youngest in brood of 3 almost always dies of starvation..."

 

The downy young can feed autonomously after 40 days, although the parents still feed the young after that time. Both the parents feed the young. At 60 days, the young start to flap their wings, and by day 65–80 are able to fledge. Fledging is accomplished by jumping out of the nest or using a semi-controlled fall via fervent wing flapping to the ground. After this time, the young are quickly taught how to hunt through expeditions with their parents and are considered independent soon after.

 

Secretarybirds specialize in stomping their prey until the prey is killed or immobilized. This method of hunting is commonly applied to lizards or snakes. An adult male trained to strike at a rubber snake on a force plate was found to hit with a force equal to 5 times its own body weight, with a contact period of only 10-15 ms. This short time of contact suggests that the secretarybird relies on superior visual targeting to determine the precise location of the prey's head. Although little is known about its visual field, it is assumed that it is large, frontal and binocular.

 

As secretarybirds are anatomically similar (but apparently not closely related) to the extinct Phorusrhacidae, it has been hypothesized that these birds may have employed a similar hunting technique.

 

Secretarybirds have unusually long legs (nearly twice as long as other ground birds of the same body mass), which is thought to be an adaptation for the bird’s unique stomping/striking hunting method. However, these long limbs appear to also lower its running efficiency.

 

The first successful rearing of a secretarybird in captivity occurred in 1986 at the Oklahoma City Zoo. Although secretarybirds build their nests in the trees in the wild, the captive birds at the Oklahoma City Zoo built theirs on the ground, which left their eggs open to depredation by local wild mammals. Therefore, zoo staff removed the eggs from the nest each time they were laid to be incubated and hatched at a safer location. The species now successfully breeds in captivity around the world, including in the San Diego Zoo and the Toronto Zoo.

 

The secretary bird has traditionally been admired in Africa for its striking appearance and ability to deal with pests and snakes. Africans sometimes call it the Devil's Horse. As such it has often not been disturbed, although this is changing as traditional observances have declined.

 

The secretary bird is the emblem of Sudan as well as a prominent feature on the coat of arms of South Africa.

 

In Sudan, it is featured in the middle white strip of the Presidential Flag; it is the main object on the Presidential Seal, and features heavily in Sudanese military insignia. The secretarybird on the Presidential Flag and Seal has its head turned to the right, with its distinctive crest clearly visible and its wings spread out with a white banner between its outstretched wings reading "Victory Is Ours".

 

The secretary bird has been a common motif for African countries on postage stamps, over 65 stamps from about 30 countries are known, including some from stamp-issuing entities such as Ajman, Manama. the Maldives and the United Nations where the bird does not occur.

 

The young are preyed upon by crows, ravens, hornbills, large owls and kites as they are vulnerable in Acacia tree tops, with no known incidents of predation on adults. As a population, the secretary bird is mainly threatened by loss of habitat and deforestation. In 1968 the species became protected under the Africa Convention on the Conservation of Nature and Natural Resources. Loss of grassland to bush encroachment driven by rising CO2 levels has also been implicated, as has a susceptibility to power line collisions. Nevertheless, the species is still widespread across Africa, and has adapted well to arable land where prey animals such as rodents are more common than in traditional habitat. The species is well represented in protected areas as well. They are assessed as vulnerable by the IUCN due to a recent rapid decline across their entire range (Wikipedia).

Cambodia (/kæmˈboʊdiə/ (About this soundlisten); also Kampuchea /ˌkæmpʊˈtʃiːə/; Khmer: កម្ពុជា Khmer: [kam.pu.ciə]; French: Cambodge), officially the Kingdom of Cambodia (Khmer: ព្រះរាជាណាចក្រកម្ពុជា, prĕəh riəciənaacak kampuciə, IPA: [prĕəh riə.ciə.naː.caʔ kam.pu.ciə]; French: Royaume du Cambodge), is a country located in the southern portion of the Indochina peninsula in Southeast Asia. It is 181,035 square kilometres in area, bordered by Thailand to the northwest, Laos to the northeast, Vietnam to the east and the Gulf of Thailand to the southwest.

 

The sovereign state of Cambodia has a population of over 16 million. The official religion is Theravada Buddhism, practised by approximately 95 percent of the population. The country's minority groups include Vietnamese, Chinese, Chams and 30 hill tribes. The capital and largest city is Phnom Penh, the political, economic and cultural centre of Cambodia. The kingdom is an elective constitutional monarchy with a monarch, currently Norodom Sihamoni, chosen by the Royal Throne Council as head of state. The head of government is the Prime Minister, currently Hun Sen, the longest serving non-royal leader in Southeast Asia, ruling Cambodia since 1985.

 

In 802 AD, Jayavarman II declared himself king, uniting the warring Khmer princes of Chenla under the name "Kambuja". This marked the beginning of the Khmer Empire, which flourished for over 600 years, allowing successive kings to control and exert influence over much of Southeast Asia and accumulate immense power and wealth. The Indianised kingdom facilitated the spread of first Hinduism and then Buddhism to much of Southeast Asia and undertook many religious infrastructural projects throughout the region, including the construction of more than 1,000 temples and monuments in Angkor alone. Angkor Wat is the most famous of these structures and is designated as a World Heritage Site.

 

After the fall of Angkor to Ayutthaya in the 15th century, a reduced and weakened Cambodia was then ruled as a vassal state by its neighbours. In 1863, Cambodia became a protectorate of France, which doubled the size of the country by reclaiming the north and west from Thailand.

 

Cambodia gained independence in 1953. The Vietnam War extended into the country with the US bombing of Cambodia from 1969 until 1973. Following the Cambodian coup of 1970 which installed the right-wing pro-US Khmer Republic, the deposed king gave his support to his former enemies, the Khmer Rouge. The Khmer Rouge emerged as a major power, taking Phnom Penh in 1975 and later carrying out the Cambodian genocide from 1975 until 1979, when they were ousted by Vietnam and the Vietnamese-backed People's Republic of Kampuchea, supported by the Soviet Union in the Cambodian–Vietnamese War (1979–91).

 

Following the 1991 Paris Peace Accords, Cambodia was governed briefly by a United Nations mission (1992–93). The UN withdrew after holding elections in which around 90 percent of the registered voters cast ballots. The 1997 factional fighting resulted in the ousting of the government by Prime Minister Hun Sen and the Cambodian People's Party, who remain in power as of 2018.

 

Cambodia is a member of the United Nations since 1955, ASEAN, the East Asia Summit, the WTO, the Non-Aligned Movement and La Francophonie. According to several foreign organisations, the country has widespread poverty, pervasive corruption, lack of political freedoms, low human development and a high rate of hunger. Cambodia has been described by Human Rights Watch's Southeast Asian Director, David Roberts, as a "vaguely communist free-market state with a relatively authoritarian coalition ruling over a superficial democracy".

 

While per capita income remains low compared to most neighboring countries, Cambodia has one of the fastest growing economies in Asia, with growth averaging 7.6 percent over the last decade. Agriculture remains the dominant economic sector, with strong growth in textiles, construction, garments and tourism leading to increased foreign investment and international trade. The US World Justice Project's 2015 Rule of Law Index ranked Cambodia 76 out of 102 countries, similar to other countries in the region.

 

NAME

The "Kingdom of Cambodia" is the official English name of the country. The English "Cambodia" is an anglicisation of the French "Cambodge", which in turn is the French transliteration of the Khmer កម្ពុជា kampuciə. Kampuchea is the shortened alternative to the country's official name in Khmer ព្រះរាជាណាចក្រកម្ពុជា prĕəh riəciənaacak kampuciə. The Khmer endonym Kampuchea derives from the Sanskrit name कम्बोजदेश kambojadeśa, composed of देश deśa ("land of" or "country of") and कम्बोज kamboja, which alludes to the foundation myths of the first ancient Khmer kingdom. The term Cambodia was already in use in Europe as early as 1524, since Antonio Pigafetta (an Italian explorer who followed Ferdinand Magellan in his circumnavigation of the globe) cites it in his work Relazione del primo viaggio intorno al mondo (1524-1525) as Camogia.

 

Colloquially, Cambodians refer to their country as either ស្រុកខ្មែរ srok khmae (Khmer pronunciation: [srok ˈkʰmae]), meaning "Khmer's Land", or the slightly more formal ប្រទេសកម្ពុជា prɑteih kampuciə (Khmer pronunciation: [prɑ.ˈteih kam.pu.ciə]), literally "Country of Kampuchea". The name "Cambodia" is used most often in the Western world while "Kampuchea" is more widely used in the East.

 

HISTORY

PRE-HISTORY

There exists sparse evidence for a Pleistocene human occupation of present-day Cambodia, which includes quartz and quartzite pebble tools found in terraces along the Mekong River, in Stung Treng and Kratié provinces, and in Kampot Province, although their dating is unreliable. Some slight archaeological evidence shows communities of hunter-gatherers inhabited the region during Holocene: the most ancient archaeological discovery site in Cambodia is considered to be the cave of L'aang Spean, in Battambang Province, which belongs to the Hoabinhian period. Excavations in its lower layers produced a series of radiocarbon dates around 6000 BC. Upper layers in the same site gave evidence of transition to Neolithic, containing the earliest dated earthenware ceramics in Cambodia

 

Archaeological records for the period between Holocene and Iron Age remain equally limited. A pivotal event in Cambodian prehistory was the slow penetration of the first rice farmers from the north, which began in the late 3rd millennium BC. The most curious prehistoric evidence in Cambodia are the various "circular earthworks" discovered in the red soils near Memot and in the adjacent region of Vietnam in the latter 1950s. Their function and age are still debated, but some of them possibly date from 2nd millennium BC.

Other prehistoric sites of somewhat uncertain date are Samrong Sen (not far from the ancient capital of Oudong), where the first investigations began in 1875, and Phum Snay, in the northern province of Banteay Meanchey. An excavation at Phum Snay revealed 21 graves with iron weapons and cranial trauma which could point to conflicts in the past, possible with larger cities in Angkor. Prehistoric artefacts are often found during mining activities in Ratanakiri. Iron was worked by about 500 BC, with supporting evidence coming from the Khorat Plateau, in modern-day Thailand. In Cambodia, some Iron Age settlements were found beneath Baksei Chamkrong and other Angkorian temples while circular earthworks were found beneath Lovea a few kilometres north-west of Angkor. Burials, much richer than other types of finds, testify to improvement of food availability and trade (even on long distances: in the 4th century BC trade relations with India were already opened) and the existence of a social structure and labour organisation. Also, among the artefacts from the Iron Age, glass beads are important evidence. Different kinds of glass beads recovered from several sites across Cambodia, such as the Phum Snay site in northwest and the Prohear site in southeast, show that there were two main trading networks at the time. The two networks were separated by time and space, which indicate that there was a shift from one network to the other at about 2nd–4th century AD, probably with changes in socio-political powers.

 

PRE-ANGKORIAN AND ANGKORIAN ERA

During the 3rd, 4th, and 5th centuries, the Indianised states of Funan and its successor, Chenla, coalesced in present-day Cambodia and southwestern Vietnam. For more than 2,000 years, what was to become Cambodia absorbed influences from India, passing them on to other Southeast Asian civilisations that are now Thailand and Laos. Little else is known for certain of these polities, however Chinese chronicles and tribute records do make mention of them. It is believed that the territory of Funan may have held the port known to Alexandrian geographer Claudius Ptolemy as "Kattigara". The Chinese chronicles suggest that after Jayavarman I of Chenla died around 690, turmoil ensued which resulted in division of the kingdom into Land Chenla and Water Chenla which was loosely ruled by weak princes under the dominion of Java.

 

The Khmer Empire grew out of these remnants of Chenla, becoming firmly established in 802 when Jayavarman II (reigned c790-850) declared independence from Java and proclaimed himself a Devaraja. He and his followers instituted the cult of the God-king and began a series of conquests that formed an empire which flourished in the area from the 9th to the 15th centuries. During the rule of Jayavarman VIII the Angkor empire was attacked by the Mongol army of Kublai Khan, however the king was able to buy peace. Around the 13th century, monks from Sri Lanka introduced Theravada Buddhism to Southeast Asia. The religion spread and eventually displaced Hinduism and Mahayana Buddhism as the popular religion of Angkor; however it was not the official state religion until 1295; when Indravarman III took power.

 

The Khmer Empire was Southeast Asia's largest empire during the 12th century. The empire's centre of power was Angkor, where a series of capitals were constructed during the empire's zenith. In 2007 an international team of researchers using satellite photographs and other modern techniques concluded that Angkor had been the largest pre-industrial city in the world with an urban sprawl of 2,980 square kilometres. The city, which could have supported a population of up to one million people and Angkor Wat, the best known and best-preserved religious temple at the site, still serves as a reminder of Cambodia's past as a major regional power. The empire, though in decline, remained a significant force in the region until its fall in the 15th century.

 

DARK AGES OF CAMBODIA

After a long series of wars with neighbouring kingdoms, Angkor was sacked by the Ayutthaya Kingdom and abandoned in 1432 because of ecological failure and infrastructure breakdown. This led to a period of economic, social, and cultural stagnation when the kingdom's internal affairs came increasingly under the control of its neighbours. By this time, the Khmer penchant for monument building had ceased. Older faiths such as Mahayana Buddhism and the Hindu cult of the god-king had been supplanted by Theravada Buddhism.

 

The court moved the capital to Longvek where the kingdom sought to regain its glory through maritime trade. The first mention of Cambodia in European documents was in 1511 by the Portuguese. Portuguese travellers described the city as a place of flourishing wealth and foreign trade. The attempt was short-lived however, as continued wars with Ayutthaya and the Vietnamese resulted in the loss of more territory and Longvek being conquered and destroyed by King Naresuan the Great of Ayutthaya in 1594. A new Khmer capital was established at Oudong south of Longvek in 1618, but its monarchs could survive only by entering into what amounted to alternating vassal relationships with the Siamese and Vietnamese for the next three centuries with only a few short-lived periods of relative independence.

 

The hill tribe people in Cambodia were "hunted incessantly and carried off as slaves by the Siamese (Thai), the Annamites (Vietnamese), and the Cambodians".

 

In the nineteenth century a renewed struggle between Siam and Vietnam for control of Cambodia resulted in a period when Vietnamese officials attempted to force the Khmers to adopt Vietnamese customs. This led to several rebellions against the Vietnamese and appeals to Thailand for assistance. The Siamese–Vietnamese War (1841–1845) ended with an agreement to place the country under joint suzerainty. This later led to the signing of a treaty for French Protection of Cambodia by King Norodom Prohmborirak.

 

FRENCH COLONISATION

In 1863, King Norodom, who had been installed by Thailand, sought the protection of Thailand from French rule. In 1867, the Thai king signed a treaty with France, renouncing suzerainty over Cambodia in exchange for the control of Battambang and Siem Reap provinces which officially became part of Thailand. The provinces were ceded back to Cambodia by a border treaty between France and Thailand in 1907.

 

Cambodia continued as a protectorate of France from 1867 to 1953, administered as part of the colony of French Indochina, though occupied by the Japanese empire from 1941 to 1945.[48] Between 1874 and 1962, the total population increased from about 946,000 to 5.7 million. After King Norodom's death in 1904, France manipulated the choice of king, and Sisowath, Norodom's brother, was placed on the throne. The throne became vacant in 1941 with the death of Monivong, Sisowath's son, and France passed over Monivong's son, Monireth, feeling he was too independently minded. Instead, Norodom Sihanouk, a maternal grandson of King Sisowath was enthroned. The French thought young Sihanouk would be easy to control. They were wrong, however, and under the reign of King Norodom Sihanouk, Cambodia gained independence from France on 9 November 1953.

 

INDEPENDENCE AND VIETNAM WAR

Cambodia became a constitutional monarchy under King Norodom Sihanouk. When French Indochina was given independence, Cambodia lost hope of regaining control over the Mekong Delta as it was awarded to Vietnam. Formerly part of the Khmer Empire, the area had been controlled by the Vietnamese since 1698, with King Chey Chettha II granting the Vietnamese permission to settle in the area decades before. This remains a diplomatic sticking point with over one million ethnic Khmers (the Khmer Krom) still living in this region. The Khmer Rouge attempted invasions to recover the territory which, in part, led to Vietnam's invasion of Cambodia and deposition of the Khmer Rouge.

 

In 1955, Sihanouk abdicated in favour of his father to participate in politics and was elected prime minister. Upon his father's death in 1960, Sihanouk again became head of state, taking the title of prince. As the Vietnam War progressed, Sihanouk adopted an official policy of neutrality in the Cold War. Sihanouk allowed the Vietnamese communists to use Cambodia as a sanctuary and a supply route for their arms and other aid to their armed forces fighting in South Vietnam. This policy was perceived as humiliating by many Cambodians. In December 1967 Washington Post journalist Stanley Karnow was told by Sihanouk that if the US wanted to bomb the Vietnamese communist sanctuaries, he would not object, unless Cambodians were killed.

 

The same message was conveyed to US President Johnson's emissary Chester Bowles in January 1968. However, in public Sihanouk refuted the right of the U.S. to use air strikes in Cambodia, and on 26 March he said "these criminal attacks must immediately and definitively stop". On 28 March a press conference was held and Sihanouk appealed to the international media: "I appeal to you to publicise abroad this very clear stand of Cambodia—that is, I will in any case oppose all bombings on Cambodian territory under whatever pretext." Nevertheless, the public pleas of Sihanouk were ignored and the bombing continued. Members of the government and army became resentful of Sihanouk's ruling style as well as his tilt away from the United States.

 

KHMER REPUBLIC (1970–75)

While visiting Beijing in 1970 Sihanouk was ousted by a military coup led by Prime Minister General Lon Nol and Prince Sisowath Sirik Matak. US support for the coup remains unproven. However, once the coup was completed, the new regime, which immediately demanded that the Vietnamese communists leave Cambodia, gained the political support of the United States. The North Vietnamese and Viet Cong forces, desperate to retain their sanctuaries and supply lines from North Vietnam, immediately launched armed attacks on the new government. The king urged his followers to help in overthrowing this government, hastening the onset of civil war.

 

Soon Khmer Rouge rebels began using him to gain support. However, from 1970 until early 1972, the Cambodian conflict was largely one between the government and army of Cambodia, and the armed forces of North Vietnam. As they gained control of Cambodian territory, the Vietnamese communists imposed a new political infrastructure, which was eventually dominated by the Cambodian communists now referred to as the Khmer Rouge.[56] Between 1969 and 1973, Republic of Vietnam and US forces bombed Cambodia in an effort to disrupt the Viet Cong and Khmer Rouge.

 

Documents uncovered from the Soviet archives after 1991 reveal that the North Vietnamese attempt to overrun Cambodia in 1970 was launched at the explicit request of the Khmer Rouge and negotiated by Pol Pot's then second in command, Nuon Chea. NVA units overran many Cambodian army positions while the Communist Party of Kampuchea (CPK) expanded their small-scale attacks on lines of communication. In response to the North Vietnamese invasion, US President Richard Nixon announced that US and South Vietnamese ground forces had entered Cambodia in a campaign aimed at destroying NVA base areas in Cambodia (see Cambodian Incursion). Although a considerable quantity of equipment was seized or destroyed by US and South Vietnamese forces, containment of North Vietnamese forces proved elusive.

 

The Khmer Republic's leadership was plagued by disunity among its three principal figures: Lon Nol, Sihanouk's cousin Sirik Matak, and National Assembly leader In Tam. Lon Nol remained in power in part because neither of the others was prepared to take his place. In 1972, a constitution was adopted, a parliament elected, and Lon Nol became president. But disunity, the problems of transforming a 30,000-man army into a national combat force of more than 200,000 men, and spreading corruption weakened the civilian administration and army.

 

The Communist insurgency inside Cambodia continued to grow, aided by supplies and military support from North Vietnam. Pol Pot and Ieng Sary asserted their dominance over the Vietnamese-trained communists, many of whom were purged. At the same time, the CPK forces became stronger and more independent of their Vietnamese patrons. By 1973, the CPK were fighting battles against government forces with little or no North Vietnamese troop support, and they controlled nearly 60% of Cambodia's territory and 25% of its population. The government made three unsuccessful attempts to enter into negotiations with the insurgents, but by 1974, the CPK were operating openly as divisions, and some of the NVA combat forces had moved into South Vietnam. Lon Nol's control was reduced to small enclaves around the cities and main transportation routes. More than 2 million refugees from the war lived in Phnom Penh and other cities.

 

On New Year's Day 1975, Communist troops launched an offensive which, in 117 days of the hardest fighting of the war, collapsed the Khmer Republic. Simultaneous attacks around the perimeter of Phnom Penh pinned down Republican forces, while other CPK units overran fire bases controlling the vital lower Mekong resupply route. A US-funded airlift of ammunition and rice ended when Congress refused additional aid for Cambodia. The Lon Nol government in Phnom Penh surrendered on 17 April 1975, just five days after the US mission evacuated Cambodia.

 

KHMER ROUGE REGIME 1975–1978

The Khmer Rouge reached Phnom Penh and took power in 1975. Led by Pol Pot, they changed the official name of the country to Democratic Kampuchea. The new regime modelled itself on Maoist China during the Great Leap Forward, immediately evacuated the cities, and sent the entire population on forced marches to rural work projects. They attempted to rebuild the country's agriculture on the model of the 11th century, discarded Western medicine and destroyed temples, libraries, and anything considered Western.

 

Estimates as to how many people were killed by the Khmer Rouge regime range from approximately one to three million; the most commonly cited figure is two million (about a quarter of the population). This era gave rise to the term Killing Fields, and the prison Tuol Sleng became notorious for its history of mass killing. Hundreds of thousands fled across the border into neighbouring Thailand. The regime disproportionately targeted ethnic minority groups. The Cham Muslims suffered serious purges with as much as half of their population exterminated. Pol Pot was determined to keep his power and disenfranchise any enemies or potential threats, and thus increased his violent and aggressive actions against his people.

 

Forced repatriation in 1970 and deaths during the Khmer Rouge era reduced the Vietnamese population in Cambodia from between 250,000 and 300,000 in 1969 to a reported 56,000 in 1984. However, most of the victims of the Khmer Rouge regime were not ethnic minorities but ethnic Khmer. Professionals, such as doctors, lawyers and teachers, were also targeted. According to Robert D. Kaplan, "eyeglasses were as deadly as the yellow star" as they were seen as a sign of intellectualism.

 

Religious institutions were not spared by the Khmer Rouge either. Religion was so viciously persecuted to such a terrifying extent that the vast majority of Cambodia's historic architecture, 95% of Cambodia's Buddhist temples, was completely destroyed.

  

VIETNAMESE OCCUPATION AND TRANSITION 1978–1992

In November 1978, Vietnamese troops invaded Cambodia in response to border raids by the Khmer Rouge. The People's Republic of Kampuchea (PRK), a pro-Soviet state led by the Kampuchean People's Revolutionary Party, a party created by the Vietnamese in 1951, and led by a group of Khmer Rouge who had fled Cambodia to avoid being purged by Pol Pot and Ta Mok, was established. It was fully beholden to the occupying Vietnamese army and under direction of the Vietnamese ambassador to Phnom Penh. Its arms came from Vietnam and the Soviet Union.

 

In opposition to the newly created state, a government-in-exile referred to as the Coalition Government of Democratic Kampuchea (CGDK) was formed in 1981 from three factions. This consisted of the Khmer Rouge, a royalist faction led by Sihanouk, and the Khmer People's National Liberation Front. Its credentials were recognised by the United Nations. The Khmer Rouge representative to the UN, Thiounn Prasith, was retained, but he had to work in consultation with representatives of the noncommunist Cambodian parties. The refusal of Vietnam to withdraw from Cambodia led to economic sanctions by the US and its allies.

 

Peace efforts began in Paris in 1989 under the State of Cambodia, culminating two years later in October 1991 in a Paris Comprehensive Peace Settlement. The UN was given a mandate to enforce a ceasefire and deal with refugees and disarmament known as the United Nations Transitional Authority in Cambodia (UNTAC).

 

RESTAURATION OF THE MONARCHY

In 1993, Norodom Sihanouk was restored as King of Cambodia, but all power was in the hands of the government established after the UNTAC sponsored elections. The stability established following the conflict was shaken in 1997 by a coup d'état led by the co-Prime Minister Hun Sen against the non-communist parties in the government. In recent years, reconstruction efforts have progressed and led to some political stability through a multiparty democracy under a constitutional monarchy.

 

In July 2010, Kang Kek Iew was the first Khmer Rouge member found guilty of war crimes and crimes against humanity in his role as the former commandant of the S21 extermination camp and he was sentenced to life in prison. However, Hun Sen has opposed extensive trials of former Khmer Rouge mass murderers.

 

In August 2014, a UN-backed war crimes tribunal, the Extraordinary Chambers in the Courts of Cambodia (also known as the Khmer Rouge Tribunal), sentenced Khieu Samphan, the regime's 83-year-old former head of state, and Nuon Chea, its 88-year-old chief ideologue, to life in prison on war crimes charges for their role in the country's terror period in the 1970s. The trial began in November 2011. Former Foreign Minister Ieng Sary died in 2013, while his wife, Social Affairs Minister Ieng Thirith, was deemed unfit to stand trial due to dementia in 2012. The group's top leader, Pol Pot, died in 1998.

 

GEOGRAPHY

Cambodia has an area of 181,035 square kilometres (69,898 square miles) and lies entirely within the tropics, between latitudes 10° and 15°N, and longitudes 102° and 108°E. It borders Thailand to the north and west, Laos to the northeast, and Vietnam to the east and southeast. It has a 443-kilometre coastline along the Gulf of Thailand.

 

Cambodia's landscape is characterised by a low-lying central plain that is surrounded by uplands and low mountains and includes the Tonle Sap (Great Lake) and the upper reaches of the Mekong River delta. Extending outward from this central region are transitional plains, thinly forested and rising to elevations of about 200 metres above sea level.

 

To the north the Cambodian plain abuts a sandstone escarpment, which forms a southward-facing cliff stretching more than 320 kilometres from west to east and rising abruptly above the plain to heights of 600 to 180–550 metres. This cliff marks the southern limit of the Dângrêk Mountains.

 

Flowing south through the country's eastern regions is the Mekong River. East of the Mekong the transitional plains gradually merge with the eastern highlands, a region of forested mountains and high plateaus that extend into Laos and Vietnam. In southwestern Cambodia two distinct upland blocks, the Krâvanh Mountains and the Dâmrei Mountains, form another highland region that covers much of the land area between the Tonle Sap and the Gulf of Thailand.

 

In this remote and largely uninhabited area, Phnom Aural, Cambodia's highest peak rises to an elevation of 1,813 metres. The southern coastal region adjoining the Gulf of Thailand is a narrow lowland strip, heavily wooded and sparsely populated, which is isolated from the central plain by the southwestern highlands.

 

The most distinctive geographical feature is the inundations of the Tonle Sap, measuring about 2,590 square kilometres during the dry season and expanding to about 24,605 square kilometres during the rainy season. This densely populated plain, which is devoted to wet rice cultivation, is the heartland of Cambodia. Much of this area has been designated as a biosphere reserve.

 

WIKIPEDIA

Given we had so much fun with the Captain Karl Spindler photo, we make another visit to the eclectic Joseph McGarrity Photographic Collection. We do not know much about this photo other than we are looking at a Policeman with a cap badge No. 1780. I will be very impressed if you can provide a name or for that matter any other information about him. Good luck!

 

Photographer: Unknown

 

Collection: Joseph McGarrity Photographic Collection

 

Date: 1916-1940

 

NLI Ref.: NPA JMG21

 

You can also view this image, and many thousands of others, on the NLI’s catalogue at catalogue.nli.ie

 

The Distiguished Service Corss, given by the Government of the United States, to the Unknown of World War I during his burial in 1921. On display in the Memorial Display Room in the Memorial Amphitheater at Arlington National Cemetery near Washington, D.C., in the United States.

 

Originally designed to be a reception hall, it was turned into display area at some point in time. (Good luck finding out when.) The south hall contains display cases which contain flags, medals, citations, and other awards given by the United States and other countries to the Unknowns who lie in the vaults at the Tomb of the Unknown Solider. Nearly all the displays in the south hall showcase honors given them at the time of their burial.

 

The north display hall contains honors given to the Unknowns at other times in history. It is not uncommon for other nations, military societies, U.S. states, or veterans' groups to create honors for the Unknowns and present them during ceremonies. These many honors are displayed in the north hall.

 

The original Amphitheater at the cemetery was constructed of wood in 1874. It was used for some of the first Memorial Day observances, but within 20 years proved too small for the large crowds using the facility. The Grand Army of the Republic, a veterans group composed of men who had served in the Union Army in the American Civil War, began pushing Congress to build a new amphitheater.

 

Congress authorized construction of the Memorial Amphitheater on March 4, 1913. Ground-breaking occurred on March 1, 1915, and President Woodrow Wilson placed the cornerstone on October 15, 1915. It was dedicated on May 15, 1920. The architect was Thomas Hastings of the New York City firm of Carrère and Hastings. The white marble came from Danby, Vermont. Ulysses A. Ricci designed the various friezes, ornamental devices, and decorative elements of the amphitheater.

 

The amphitheater itself sits about 5,000 people on low marble benches. It is elliptical, with an east-west depth of 200 feet and a north-south dept of 250 feet. The amphitheater is surrounded by a double-column colonnade. Above the west entrance is a quote from the Roman poet Horace: "Dulce et decorum est pro patria mori" ("It is sweet and fitting to die for one's country"). The names of battles -- from the American Revolution through the Spanish-American War -- are inscribed on the frieze above the colonnade inside the amphitheater.

 

A raised stage occupies the east side of the amphitheater. The names of 14 U.S. Army generals and 14 U.S. Navy admirals important in American history prior to World War I are inscribed on each side of the amphitheater stage. A quote from General George Washington's June 26, 1775, letter to the Continental Congress is inscribed inside the apse: "When we assumed the soldier we did not lay aside the citizen." A quote from President Abraham Lincoln's Gettysburg Address is inscribed above the stage: "We here highly resolve that these dead shall not have died in vain."

 

Halfway between the stage and the floor of the amphitheater is a narrow dais on which stands a carved marble throned. This platform was intended to be the seat for speakers, while guests sat on the upper stage. But it has almost never been used as such.

 

A small chapel is located beneath the amphitheater stage. There is a small below-ground kitchen and a small below-ground service room on either side of the stairs leading down to the chapel.

 

The Memorial Display Room occupies most of the ground floor of the west side of Memorial Amphitheater. It is open to the public, and contains displays about the unknown soldiers buried in the nearby Tomb of the Unknown Soldier. These displays include medals given to the unknown dead, the flags which covered them, and the history of the Tomb. Main stairs lead left and right to the second floor. On the second floor are offices and a reception room. Originally, the reception room on the upper floor was supposed to house the memorial displays, but these were moved downstairs at some point prior to the 1980s and now the upper floors are used for VIP guests. The marble of the Memorial Display Room is imported Botticino, from Italy.

Giraffe term ( Arabic Zarafa ( t ) , by the Italian giraffe ) is the name given to artiodátilos mammals , ruminants of the genus Giraffa family of girafídeos , which contains a single species , Giraffa camelopardalis to , or camel - leopard, as they were called by the Romans when they existed in North Africa , because it was believed they came from a mixture of a female camel with a male leopard [ citation needed ] . Ungulates are even number of toes .

The giraffes are the only members of their gender and , together with the okapi , form the Giraffidae family. Currently listed are nine subspecies of giraffe ( see below ) , differentiated by geographic distribution and the pattern of spots . These various subspecies of giraffes now inhabit the dry lands south of the Sahara . The giraffes are distributed into two groups : giraffe - Loons are tricornes , ie , interocular with a nasal horn and two parietal , presenting predominantly crosslinked coat , and giraffe- the -south without nasal horn and coat has predominantly irregular meshes .

The males reach 6 feet tall and with their prehensile tongues that reach up to 50 centimeters are able to pick up the leaves of acacia trees , by sharp spines between the tops of the branches , which are their main source of food. They are able to eat the leaves of trees up to 6 feet tall . To qualify for grazing , must depart from one another forelegs . Due to the low nutrient content of the leaves , giraffes need to eat large quantities and spend almost 20 hours a day eating . The body length may exceed 2.25 meters and also has a tail 80 inches long , not counting the final brush. Your weight may exceed 500 kg . Despite its size , the giraffe can reach a speed of 47 km / h , enough to escape their predators .

The giraffes , like all mammals have seven cervical vertebrae . Their necks , however, are the largest of today's animals , so it is somewhat flexible . Because of its long, stiff neck , your vascular system has the reputation of being the most responsible for the blood pressure of the animal kingdom . The heart has two holes : one that pumps blood to the lungs and limbs and another that feeds the brain with red liquid . The latter is fine , since the muscles are larger , so the force required for pumping is not as great as you think. However, when the giraffe has drinking water, the blood pressure of the head and greatly increases not only the wood due to two exceptional characteristics. Next to the brain, there is a network of capillaries that branch into numerous smaller veins within the skull of the animal. They serve to absorb and distribute this overload of blood by the heart flushed when the giraffe is with the neck down . In addition, a large vein that returns full of the valves of the heart receives blood pumped . When too much pressure on the blood vessels of the head of the giraffe , it is shunted to this vein. Full of valves that close with the last of the blood , the vein relieves the pressure of the head and not let the animal die each time you want to quench your thirst .

Both sexes have two to four short horns and covered with skin. The giraffe's fur is tawny ( tawny , tawny ) or pink, with large patches of brownish color (except in the womb , where the fur is white ) . The brown spots have unique pattern for each individual and helps to mimic in the shadows of the trees where they live . These spots also are concentrated under the skin , blood vessels and are responsible for the maintenance of adequate body temperature of giraffes . They have long legs , and the higher front than the rear , and a reduced number of ribs . The lifetime of a giraffe is approximately 15 to 20 years. The leather of the legs is more compressed and stiffer members giraffe than in the rest of the body. This allows the blood does not spill out of the tissue and muscles of the legs, causing her to return to the heart . If this does not happen , the legs of the giraffe accumulate a lot of blood because they are too long and end up killing the animal .

Lions , hyenas and leopards are predators of young giraffes , but adults have sufficient size and to limit the number of predators speed. The giraffes hardly emit sounds . Gestation lasts 420-450 days, rising creates only one at a time with a height that varies between 1.5 and 1.7 meters. Their horns are born loose in the skull not to hurt his mother during his departure from the uterus. The horns are fused with the bone during childhood and adolescence . Puppies giraffes fall from a height of almost two meters when the mother is standing during birth , which is frequent . The vegetation of the African savannah , however, takes the fall .

It is a gregarious animals forming herds or flocks rather numerous , walking quickly , caught the pitch and being associated to the antelopes and ostriches in African savannahs south of the Sahara .

Giraffes sleep about two hours a day and a little at a time . They sleep standing and only on very special occasions when you feel completely safe , lies on the ground to rest . The giraffe only lie if safe because if a predator approaches , she takes a long time to get up due to its size . The giraffe is quite large, due to a bone in her neck and her legs , which are well stretched.

 

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O termo girafa (do árabe zarAfa(t), pelo italiano giraffa) é a designação dada a mamíferos artiodátilos, ruminantes, do gênero Giraffa, da família dos girafídeos, no qual consta uma única espécie, a Giraffa camelopardalis, ou camelo-leopardo, como eram chamadas pelos romanos quando elas existiam no norte da África, pois acreditava-se que vinham de uma mistura de uma fêmea camelo, com um macho leopardo[carece de fontes]. São ungulados com número par de dedos.

As girafas são os únicos membros de seu gênero e, juntas com os ocapis, formam a família Giraffidae. Atualmente estão listadas nove subespécies de girafa (ver em baixo), diferenciadas pela distribuição geográfica e pelo padrão das manchas. Essas várias subespécies de girafas agora habitam as terras secas ao sul do Saara. As girafas se distribuem em dois grupos: girafa-do-norte que são tricornes, isto é, com um corno nasal interocular e dois frontoparietais, apresentando pelagem predominantemente reticulada; e girafa-do-sul, sem corno nasal e a pelagem tem predominantemente malhas irregulares.

Os machos chegam a 6 metros de altura e com suas línguas preênseis que alcançam até 50 centímetros são capazes de pegar as folhas de acácias, por entre pontiagudos espinhos nos altos dos galhos, que são sua principal fonte de alimentação. Elas são capazes de comer as folhas das árvores até 6 metros de altura. Para poderem pastar, têm de afastar uma da outra as pernas dianteiras. Devido ao baixo teor nutritivo das folhas, as girafas precisam comer grandes quantidades e passam quase 20 horas por dia comendo. O comprimento do corpo pode ultrapassar os 2,25 metros e ainda possui uma cauda com 80 centímetros de comprimento, não contando com o pincel final. O seu peso pode ultrapassar os 500 quilogramas. Apesar do seu tamanho, a girafa pode atingir a velocidade de 47 km/h, suficiente para fugir de seus predadores.

As girafas, como todos os mamíferos, possuem sete vértebras cervicais. Os seus pescoços, entretanto, são os maiores dos animais atuais, pelo que é pouco flexível. Por causa de seu pescoço comprido e rígido, seu sistema vascular possui a fama de ser o responsável pela maior pressão sanguínea do reino animal. O coração tem dois orifícios: um que bombeia sangue para o pulmão e membros e outro que alimenta o cérebro com o líquido vermelho. Este último é fino, visto que os músculos são maiores, assim a força necessária para o bombeamento não é tão grande como se imagina. No entanto, quando a girafa tem de beber água, a pressão sanguínea da cabeça aumenta muito e só não a mata devido a duas particularidades excepcionais. Próximo ao cérebro, existe uma rede de vasos capilares que se ramificam em inúmeras veias menores dentro do crânio do animal. Eles servem para amortecer e distribuir essa sobrecarga de sangue jorrada pelo coração quando a girafa está com o pescoço abaixado. Além disso, uma veia grossa repleta de válvulas que retorna ao coração recebe parte do sangue bombeado. Quando o sangue pressiona demasiadamente os vasos da cabeça da girafa, ele é desviado para essa veia. Repleta de válvulas que se fecham com a passada do sangue, a veia alivia a pressão da cabeça e não deixa que o animal morra cada vez que deseja matar a sede.

Ambos os sexos possuem dois a quatro cornos curtos e recobertos por pele. O pêlo da girafa é fulvo (amarelo-tostado, alourado) ou rosado, com grandes manchas de cor amarronzada (exceto no ventre, onde o pêlo é branco). As manchas pardas possuem um padrão único para cada indivíduo e o auxilia a se mimetizar por entre as sombras das árvores onde habita. Essas manchas também concentram, debaixo da pele, vasos sanguíneos e são responsáveis pela manutenção da temperatura corporal adequada das girafas. Elas possuem pernas longas, sendo as dianteiras mais altas que as traseiras, e número reduzido de costelas. O tempo de vida de uma girafa é de aproximadamente 15 a 20 anos. O couro das pernas é mais rijo e comprime mais os membros da girafa do que no restante do corpo. Isso permite que o sangue não se espalhe pelo tecido e músculos das patas, fazendo-o retornar ao coração. Caso isso não acontecesse, as pernas da girafa acumulariam muito sangue por serem longas demais e acabariam matando o animal.

Leões, hienas e leopardos são predadores dos filhotes de girafas, mas os adultos possuem porte e velocidade suficientes para limitar o número de predadores. As girafas quase não emitem sons. A gestação dura 420 a 450 dias, nascendo só uma cria de cada vez com uma altura que oscila entre 1,5 e 1,7 metros. Seus chifres nascem soltos no crânio para que não machuquem a mãe durante sua saída do útero. Os chifres se fundem com o osso durante a infância e adolescência. Os filhotes de girafas caem de uma altura de quase 2 metros quando a mãe está de pé durante o nascimento, o que é freqüente. A vegetação da savana africana, entretanto, amortece a queda.

É um animal gregário constituindo rebanhos ou bandos pouco numerosos, andando rapidamente, a passo travado e associando-se aos antílopes e avestruzes nas savanas africanas ao sul do Saara.

As girafas dormem aproximadamente duas horas por dia e um pouco de cada vez. Elas dormem em pé e, apenas em ocasiões muito especiais, quando se sente completamente segura, se deita no chão para descansar. A girafa só se deita se estiver segura pois, caso um predador se aproxime, ela demora muito tempo para se levantar devido a seu tamanho. A girafa é bem grande, devido a um osso de seu pescoço e de suas pernas, que são bem alongadas.

This is a set of photographs from the annual St. Coca's AC 5KM Road Race 2013 which was held in Kilcock, Co. Kildare, Ireland at 20:00 on Friday 27th June 2013. This superb road race is now firmly established again as one of the fastest and best organised road races of it's kind in Leinster. The course is left handed and starts outside the 'Bawn Og' St. Coca's AC track. It then proceeds around a well known local walking route around Laragh and in the closing kilometer runs parallel to the Royal Canal into the finish at the railway station. The members of St. Coca's AC and the many volunteers from the local community must be given great praise for organising another fantastic night of racing for runners, joggers, and walkers. The 5KM course is very flat with the exception of short incline up a motorway overpass and makes its way along narrow country lanes sheltered on either side by hedgerows. The weather was dry and humid and this made a good evening for an enjoyable night for everyone with a large crowd gathering at the finish to cheer on participants. Over 400 people participated in the race. There was a fantastic spread of refreshments (cakes, biscuits, sandwiches and hot drinks) in the school afterwards.

 

We have a large set of photographs from the event today. The full set is accessible at: www.flickr.com/photos/peterm7/sets/72157645423471903/

 

Timing and event management was provided by Precision Timing. Results are available on their website at www.precisiontiming.net/result/racetimer with additional material available on their Facebook page (www.facebook.com/davidprecisiontiming?fref=ts) See their promotional video on YouTube: www.youtube.com/watch?v=c-7_TUVwJ6Q

 

Reading on a Smartphone or tablet? Don't forget to scroll down further to read more about this race and see important Internet links to other information about the race! You can also find out how to access and download these photographs.

 

Some Useful Links

2014 St. Coca's 5KM Results www.precisiontiming.net/result.aspx?v=2056

GPS Trace of the 5KM Course (course hasn't changed in a few years) connect.garmin.com/activity/194011978

 

St. Coca's AC Facebook Page: www.facebook.com/stcocas.ac?ref=ts&fref=ts

St. Coca's Race Facebook Page: www.facebook.com/stcocas.roadrace?ref=ts&fref=ts

Start/finish area on Google Maps [Start: www.google.ie/maps/@53.397601,-6.675909,15z Finish: goo.gl/maps/3kPKq] are all within easy access of race HQ and the local village.

Google Streetview of the Location of the Race Finish: goo.gl/maps/3kPKq

 

Our Flickr Photograph Set of the St. Coca's 5KM 2013: www.flickr.com/photos/peterm7/sets/72157634382263872/

Our Flickr Photograph Set of the St. Coca's 5KM 2012: www.flickr.com/photos/peterm7/sets/72157630347296616/

Our Flickr Photograph Set of the St. Coca's 5KM 2011: www.flickr.com/photos/peterm7/sets/72157627042558602/

 

The Boards.ie Discussion Forum Thread about the Race in 2014: www.boards.ie/vbulletin/showthread.php?t=2057223729

The Boards.ie Discussion Forum Thread about the Race in 2013: www.boards.ie/vbulletin/showthread.php?t=2056954512

Read the Irish Heart Foundation Booklet on the "Slí na Sláinte" which the race encorporates: www.irishheart.ie/media/pub/slinaslainte/maps/kilcock.pdf

 

Can I use these photographs directly from Flickr on my social media account(s)?

 

Yes - of course you can! Flickr provides several ways to share this and other photographs in this Flickr set. You can share to: email, Facebook, Pinterest, Twitter, Tumblr, LiveJournal, and Wordpress and Blogger blog sites. Your mobile, tablet, or desktop device will also offer you several different options for sharing this photo page on your social media outlets.

 

We take these photographs as a hobby and as a contribution to the running community in Ireland. Our only "cost" is our request that if you are using these images: (1) on social media sites such as Facebook, Tumblr, Pinterest, Twitter,LinkedIn, Google+, etc or (2) other websites, blogs, web multimedia, commercial/promotional material that you must provide a link back to our Flickr page to attribute us.

 

This also extends the use of these images for Facebook profile pictures. In these cases please make a separate wall or blog post with a link to our Flickr page. If you do not know how this should be done for Facebook or other social media please email us and we will be happy to help suggest how to link to us.

 

I want to download these pictures to my computer or device?

 

You can download the photographic image here direct to your computer or device. This version is the low resolution web-quality image. How to download will vary slight from device to device and from browser to browser. However - look for a symbol with three dots 'ooo' or the link to 'View/Download' all sizes. When you click on either of these you will be presented with the option to download the image. Remember just doing a right-click and "save target as" will not work on Flickr.

 

I want get full resolution, print-quality, copies of these photographs?

 

If you just need these photographs for online usage then they can be used directly once you respect their Creative Commons license and provide a link back to our Flickr set if you use them. For offline usage and printing all of the photographs posted here on this Flickr set are available free, at no cost, at full image resolution.

 

Please email petermooney78 AT gmail DOT com with the links to the photographs you would like to obtain a full resolution copy of. We also ask race organisers, media, etc to ask for permission before use of our images for flyers, posters, etc. We reserve the right to refuse a request.

 

In summary please remember when requesting photographs from us - If you are using the photographs online all we ask is for you to provide a link back to our Flickr set or Flickr pages. You will find the link above clearly outlined in the description text which accompanies this photograph. Taking these photographs and preparing them for online posting does take a significant effort and time. We are not posting photographs to Flickr for commercial reasons. If you really like what we do please spread the link around your social media, send us an email, leave a comment beside the photographs, send us a Flickr email, etc. If you are using the photographs in newspapers or magazines we ask that you mention where the original photograph came from.

 

I would like to contribute something for your photograph(s)?

Many people offer payment for our photographs. As stated above we do not charge for these photographs. We take these photographs as our contribution to the running community in Ireland. If you feel that the photograph(s) you request are good enough that you would consider paying for their purchase from other photographic providers or in other circumstances we would suggest that you can provide a donation to any of the great charities in Ireland who do work for Cancer Care or Cancer Research in Ireland.

 

We use Creative Commons Licensing for these photographs

We use the Creative Commons Attribution-ShareAlike License for all our photographs here in this photograph set. What does this mean in reality?

The explaination is very simple.

Attribution- anyone using our photographs gives us an appropriate credit for it. This ensures that people aren't taking our photographs and passing them off as their own. This usually just mean putting a link to our photographs somewhere on your website, blog, or Facebook where other people can see it.

ShareAlike – anyone can use these photographs, and make changes if they like, or incorporate them into a bigger project, but they must make those changes available back to the community under the same terms.

 

Creative Commons aims to encourage creative sharing. See some examples of Creative Commons photographs on Flickr: www.flickr.com/creativecommons/

 

I ran in the race - but my photograph doesn't appear here in your Flickr set! What gives?

 

As mentioned above we take these photographs as a hobby and as a voluntary contribution to the running community in Ireland. Very often we have actually ran in the same race and then switched to photographer mode after we finished the race. Consequently, we feel that we have no obligations to capture a photograph of every participant in the race. However, we do try our very best to capture as many participants as possible. But this is sometimes not possible for a variety of reasons:

 

     ►You were hidden behind another participant as you passed our camera

     ►Weather or lighting conditions meant that we had some photographs with blurry content which we did not upload to our Flickr set

     ►There were too many people - some races attract thousands of participants and as amateur photographs we cannot hope to capture photographs of everyone

     ►We simply missed you - sorry about that - we did our best!

  

You can email us petermooney78 AT gmail DOT com to enquire if we have a photograph of you which didn't make the final Flickr selection for the race. But we cannot promise that there will be photograph there. As alternatives we advise you to contact the race organisers to enquire if there were (1) other photographs taking photographs at the race event or if (2) there were professional commercial sports photographers taking photographs which might have some photographs of you available for purchase. You might find some links for further information above.

 

Don't like your photograph here?

That's OK! We understand!

 

If, for any reason, you are not happy or comfortable with your picture appearing here in this photoset on Flickr then please email us at petermooney78 AT gmail DOT com and we will remove it as soon as possible. We give careful consideration to each photograph before uploading.

 

I want to tell people about these great photographs!

Great! Thank you! The best link to spread the word around is probably http://www.flickr.com/peterm7/sets

A few months ago, I visited St Mary, Brook here in Kent, and found that the north wall had the remains of a squint which used to enable the intern in an anchorite cell to see inside.

 

THe most famous anchorite was St Julian, a woman of 14th century Norwich, whose real name we do not know, but was given the name of the church where she was an anchorite.

 

Looking at the history of the church, I see that the original building was destroyed by bombs in the war, and what we see now is completely post-war, and the remains of the cell I had been hoping to see is now marked by a small chapel on the south wall. Whereas the cell would have been found on the north wall.

 

Many people come now to St JUlian on pilgrimage, and there is an attached centre which offers resource.

 

I arrived here at half eight on a Saturday morning, when the city was yet to wake, and I had the church to myself.

 

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This small church has an international reputation, as it was here that Dame Julian of Norwich lived in the later 14th century.

 

The building as it now stands dates almost entirely from 1953, when it was rebuilt after suffering a direct hit from a bomb in 1942. The church was also reconsecrated in 1953.

 

There is good reason to believe that a church has stood here since Anglo-Saxon times, although whether the destroyed building was of Saxon date, or Saxon workmanship but post-1066, is difficult to decide.

 

The north wall of the nave is original, and repairs after the bombing revealed a number of circular windows, (oculi) quite high up – a standard method of lighting Anglo-Saxon churches. One has been reopened, and another was turned into a round-headed window. Similar windows were found in the south wall of the chancel, although these were not reopened.

 

The tower, one of four round towers in Norwich, took the hit, and collapsed across the body of the church. It was partly rebuilt, and further heightened by about four feet in 198., to provide a housing for the bell.

 

Almost everything in the church dates from the rebuild of 1953. Three things pre-date it. First, the font, which is c1420, and stood originally in All Saints’ church; it was brought here when that church closed in 1977. It has carvings of the twelve apostles round the bowl, and eight other saints round the stem. The reredos survived the bomb, and was placed here in 1931; it was made in Oberammergau. Finally, the door to the Cell, which is a Norman archway. It was in fact the main door to St Michael-at-Thorn, a nearby church which was also destroyed on the same night in 1942, and never rebuilt.

 

The organ loft was built in 1981. The organ on it is by Henry Jones, of 1860.

Some photographs showing the interior before damage are at the back of the church.

 

All except a couple of floor-slabs were destroyed.

 

There are two windows, one between the Cell and the chancel, showing the Lily Crucifix, and Julian; the other, in the opposite wall, shows the seven sacraments. Both are by the firm of King of Norwich.

 

The Cell

 

This was built on what was thought to be site of Julian’s cell, although there is no evidence to support this. It was more likely to have been on the north side, and may have been detached from the church altogether. (The flint ‘foundations’ are more likely to be those of buttresses.)

 

Dame Julian

 

Despite common perceptions, the church is not dedicated to her, not did she necessarily take her name from the church, as ‘Julian’ (a form of Gillian) was a common name for women in the Middle Ages. Falling ill in 1373, she had a series of visions (‘shewings’) dealing with aspects of Christ’s passion. When she recovered, she became an anchoress at this church, and her musings on her shewings were eventually written down (‘The Revelations of Divine Love’). This is the first known book to be written in English by a woman.

 

www.norwich-churches.org/St Julian/home.shtm

 

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Julian (1342-1413) was a 14th century mystic, an anchoress, or female hermit, who lived in a small cell attached to St Julian's church, next to one of the busiest roads in medieval Norwich. Strangely, we do not know her real name; she is only known by her association with the church of St Julian.

 

In truth we do not know much of anything about her, except that she almost certainly was not a nun, but a lay person who chose a life of contemplation. She was also not the first person to use the anchorite cell attached to St Julian's church; it was used before her time and again after her death.

Julian is remembered at Norwich Cathedral with a statue on the west front and a pair of stained glass windows. One of the windows, in the Bauchon Chapel, portrays her as a Benedictine nun, which she was not. She is often called a saint as well, and she's not that either!

 

Anchoresses could not leave their cells; essentially they were walled in, so the decision to become an anchorite or anchoress was a serious one, and required a lifetime of dedication and commitment.

 

Because of that dedication, people often came to anchoresses for counsel, believing them to be wise or holy people. one visitor to 'Julian' was Margery Kempe (c.1373 – c.1438), who later dictated The Book of Margery Kempe, considered the first autobiography in English. This book detailed Kempe's numerous pilgrimages, and it is partly through this that we know so much about St Julian and her life.

 

On 8 May 1373 the anchoress Julian was struck by a severe illness which left her close to death. During the illness she had 16 visions, visions which she was moved to write down after her recovery. These writings took 20 years to complete, and are recorded in two stages. Immediately after her visions Julian wrote down a brief account. One can imagine her quickly scribbling down details of her impressions before she could forget them.

 

Then, after taking time to meditate on the visions, Julian began to write out a much longer, more detailed account, called The Long Text. This was sometime after 1393. Julian's visions became Revelations of Divine Love, the first book written by a woman in English, and a spiritual classic even today.

 

Unlike many religious teachings of her day, Julian did not write of a vengeful or judgemental God, but a God with an all-enveloping love, like a tender mother or father. This message of Divine Love ran counter to many religious teachings both at that time and since, but the simple, clear way she expressed her ideas continue to find an audience today, and her writings have been published in a multitude of languages and remain in print today.

 

ulian's hermitage was torn down at the Reformation, but after the church was hit by a bomb in WWII, the cell was rebuilt along with the very simple nave and chancel of the main church. Excavations uncovered what was thought to be the original foundations of the sanctuary and St Julian's cell.

 

The church was rebuilt using the original materials, so that it is essentially the 'same' medieval church, just reordered. Norwich did not really need another parish church; it has plenty to spare, but the church was rebuilt in part to act as a focus for the shrine of Lady Julian of Norwich. The north wall of the nave is largely original, with several small round windows suggeting a construction date sometime in the late 11th century.

 

Just one footnote to the rebuilding story; there is actually no firm evidence that the foundations discovered on the south side of the church were those of Julian's cell. It would have been much more commmon fore an anchoress cell to be built on the north side of the church.

 

From the nave a Romanesque doorway leads down a few steps to the hermitage, where you will find a separate altar and a small shrine against the north wall. This is, as closely as we can tell, where the original cell connected with the church. The best historic features inside the church are a 15th century octagonal font, brought here from All Saints church in the city centre after the original 15th century font was destroyed in the bombing.

 

Another historic feature is the Romanesque doorway, which has very nicely carved capitals, though rather worn with age. But most people don't come here for the architecture, though it is interesting, but for the connection with Julian.

 

www.britainexpress.com/counties/norfolk/norwich/st-julian...

 

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St Julian, although almost forgotten today, was a popular figure in medieval legend. He was a nobleman who, out hunting one day, spared the life of a deer which had admonished him. It then went on to make the rather startling prediction that he would kill his parents. By roundabout means, this accidentally happened; Julian resolved to pay penance by establishing a riverside inn for travellers, and a hospital for the poor. So, he was an entirely appropriate choice of patron for the medieval Priory established here in the medieval suburb of Conesford on the banks of the Wensum.

 

he Priory has long gone. In the 18th and 19th century this north bank area of the city was taken over with factories, warehouses and working class housing. They took the place of small artisans' cottages and workshops, some of which survive. In the late middle ages, much of East Anglia's stained glass and memorial brasses had been made here, but over the following centuries you would have been more likely to find tanneries and slaughterhouses. Only now is this area undergoing a full-scale regeneration that may see it become the city's artists quarter. King Street, the main road that ran through Conesford, is being gentrified, but still the urban decay of centuries clings to the old buildings.

But although this church is a small and rebuilt building, tucked away in what is still the anonymous and run down inner city, St Julian is one of the most famous of Norwich's churches because it is associated with the mystical visions of the Blessed Mother Julian of Norwich. Both church and mystic took their name from the adjacent Priory; in a way, it is a coincidence that they share it.

 

When Dame Julian came here, the church looked much as it did in the early 19th century drawing above. By the time George Plunkett took his 1937 photographs on the right, the Victorians had replaced the chancel, but it was still substantially a medieval church.

Incidentally, Dame Julian did not actually receive her visions at this church; some people are disappointed when they discover this. In fact, we don't know who she really was at all. She was a woman, of course, and probably of noble birth; she fell ill in the 1370s, probably in one of the outbreaks of the Black Death which carried off half Norfolk's population between the late 1340s and the end of the century.

 

In her deathbed delirium, she claimed, she received mystical visions, which she termed Revelations of Divine Love. On her unexpected recovery, she was received into holy orders, taking the name Julian, and became an Anchoress.

 

An Anchoress was a kind of female hermit, walled up in a room on the side of a church with a view of the altar. Meals would be passed to her, ablutions passed out, and she would offer advice to visitors; but her existence was largely a contemplative one. Her male equivalent would have been an Anchorite; there is surviving evidence of Anchorite or Anchoress cells at half a dozen East Anglian churches.

 

here was a great craze for Anchorites and Anchoresses in the late 14th century, mainly as a result of the way in which the Black Death had concentrated our minds and made us serious. Dame Julian devoted her time to prayer and contemplation of her visions, which she wrote down in English.

The manuscripts were scattered to the four winds by the Reformation, and it was really only in the 20th century that the importance of her work in both literary and spiritual terms was recognised. The most striking thing about the Revelations is quite simply that, at a time when an obsession with death, doom and gloom would have been entirely reasonable, they are optimistic and uplifting, an affirmation of our relationship with God. They suggest that our ultimate destiny is intended by God to be beautiful and glorious, and that life is not a test which sends its failures to hell.

 

Roger Clarke, a friend of this site, points out this has always been a rundown and poor part of Norwich, even in medieval days. Because even in the fifteenth century the Conesford area had a certain reputation, Roger writes, I have always felt that this adds to the specialness of the place. Mother Julian's Revelations are highly incarnational and stress the reality of Christ sharing in the messes and confusion of human existence - grace is very much earthed and earthy for her. What better place for the Revelations than a church in a run-down, slightly seedy, decayed, red-light district ? The holy is glimpsed, not in the purity of isolation, but in the ordinary - or, as Mother Julian, would call it "the homely". The Revelations are at the forefront of medieval northern European spiritual writing.

 

Although she has never been officially recognised as a Saint, Mother Julian is often treated as one (Blakeney church has a window of 'St Julian of Norwich') and her patronal day of May 8th is included in the Ordo of both the Church of England and of the Catholic Church in England and Wales.

A 1905 photograph of the interior above shows us that St Julian was a spectacularly high church at the start of the 20th century. The rood beam inscription reads And Incense shall be offered unto My Name and a Pure Offering received. But during the 1942 air raids on Norwich, St Julian was one of five city churches destroyed by the bombing.

 

2005, looking east: the doorway to the cell is on the right

Thanks to the significance of its most famous resident, it was the only one to be rebuilt, and this was done in the 1950s according to its original plan, except that the presumed site of Mother Julian's cell was added as a transept, accessed through a massive Norman doorway brought here from the bombed out church of St Michael at Thorn. The steeply pitched roof gives it an attractively rustic feel, and the Saxon windows exposed by the bombing have been left as features on the north side. The tower was left at a lower level, and is now less-convincingly Norman than it was before the bombing.

 

George Plunkett's 1946 photograph shows St Julian in ruins at the end of the war, and reminds us quite how complete the destruction was - far greater than at St Paul, for example. By the 1950s, work was in progress; the second photograph shows the state of play in 1952; in the foreground is Mother Julian's cell being constructed on the presumed site of its predecessor. On the same day, the north side is shown below, with the completed church being landscaped in 1962 in the fourth photograph.

 

The twelve-storey council block of Normandie tower looms over the church, and in this challenging area it was fitting that a group of Anglican nuns from the Community of All Hallows at Ditchingham on the outskirts of Bungay should have set up a community beside the church in the 1950s. In the reorganisation of Norwich parishes, this was one of two churches in the new Parmentergate parish to survive as a working church - the other is St John Timberhill.

 

We had just arrived inside St Julian to hear whispered voices coming from the south transept, when all of a sudden a nun came flying out through the Norman doorway into the body of the church. Not literally flying, of course, but she was certainly fleet of foot. "Hello sister, is it all right to have a look around?", I said, because it seemed only polite to ask.

 

"Can you wait a few minutes?" she replied, breathlessly, "we're in the middle of a Eucharist." And then she was gone, out of the north door. Well, what would you do? I thought about it, and began to photograph the font. I had just become engrossed in this when the breathless nun fled back in, carrying a large consecration host. She skipped back into the transept, and a few moments later we heard her voice begin to intone the third eucharistic prayer. I am not a member myself, but I love the Church of England and its funny little ways.

 

The font I was photographing came from All Saints in the city centre, another example of the way in which surviving Norwich churches have been enriched by those that fell to redundancy. It is similar to one that was in St James, but which has now been moved to a church in Norwich's northern suburbs. There is another in the series at Stalham. It was brought here to replace a 15th century font with shields that was destroyed by the bombs - you can see both fonts below, the earlier one photographed in 1937 by George Plunkett.

 

Although I have been fortunate enough to visit this church on a number of occasions, and have usually basked in its peaceful and contemplative atmosphere, we were in a hurry on this particular day, because it was the National Heritage open day 2005, when all of Norwich's medieval churches were open. St Julian is always open daily anyway, but most Norwich churches are not; so we pressed on to St Peter Parmentergate and left St Julian's nuns to their Eucharist. Peter Stephens kindly came to the rescue with the photographs below, which include the cell and the cell itself, which was inaccessible because of that eucharist and its attendant nuns.

 

I do admire Anglican nuns. Over in the Catholic Church there are thousands and thousands of nuns, mostly now in plain clothes, all over the world. They bestride the globe with their sleeves rolled up, teaching, running hospitals, contemplating, suing for peace in war zones, standing up to Bishops; one critic described them as the shock troops of Vatican II. But at least they know they are at the heart of their Church.

 

Not so Anglican nuns. You have to be someone really special to devote your life, quite literally, to a Church where you are in a tiny minority of the clerisy, where half the members of the Church don't even know that you exist, and, worse, some of those who do know about you wish that you didn't. Just imagine; you give up everything, only to watch the worldwide Anglican communion tearing itself apart, and the Church at home preparing to sink the life rafts that kept the Anglo-catholics afloat after the decision to ordain women Priests. Blimey. That'd be a test for your vocation and no mistake.

Perhaps it is a comfort for them to be here, and to sense the echo of Mother Julian's words: All shall be well, and all shall be well, and all manner of thing shall be well...

 

Simon Knott, November 2005

 

www.norfolkchurches.co.uk/norwichjulian/norwichjulian.htm

Of course you'd come here to the Venetian Resort & Casino. Given that tonight is your last overnight stay in Las Vegas and given that tonight is your last practical night for adventures, it's no real mystery why you would come here. From here you could venture north to the Palazzo, Wynn, Encore, Resorts World, and to the Sahara. You could venture south to Treasure Island, Caesars Palace, Bellagio, and the Aria or the Cosmopolitan. Or you can just make your final night stand right here at the Venetian. In all of your 30 years of 'Living & Loving Las Vegas' this won't be the first time you've effectively ended a Vegas Vacation at the Venetian. 😏

 

So Gentlemen -- do you head west to the Sapphire Gentlemen's Club and try to make some fast female friends, and maybe you also do a brief pit stop at Gilley's Saloon at Treasure Island? 🤔

 

Do you try to get in at the Lionel Richie Show at the Encore? 🤔

 

Or maybe you take in a Cirque du Soleil show somewhere in this neighborhood? 🤔

 

Or maybe you head east and visit the nearby Sphere! 🤔

There are three Ashfords, really. The modern newtown, Swindonesque newbuilds stretching into the countryside; the Victorian railway town, all neat rows of brick buit houses and the station, and then there is the old town, timber-framed houses along narrow lanes, with St Mary standing towering above all but the modern office blocks.

 

The west end church was given over to a Christmas Fayre, but is also used now as a concert venue, while under the tower westwards is still in use as a church, with many of its ancient features left alone by the Victorians.

 

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A stately church in a good position set away from the hustle and bustle of this cosmopolitan town. The very narrow tower of 1475 is not visually satisfactory when viewed from a distance but its odd proportions are hardly noticed when standing at its base. The church is very much the product of the families who have been associated with it over the centuries and who are commemorated by monuments within. They include the Fogges and the Smythes. The former is supposed to have wanted to create a college of priests here, but by the late fifteenth century such foundations were going out of fashion and the remodelling of the church undertaken by Sir John Fogge may have just been a philanthropic cause. Unusually, when the church was restored in 1860 the architect Ewan Christian kept the galleries (he usually swept them away), but Christ Church had yet to be built and the population of this growing town would have needed all the accommodation it could get. Even in 1851 1000 people had attended the church in a single sitting. The pulpit, designed by Pearson, was made in 1897.

 

www.kentchurches.info/church.asp?p=Ashford+1

 

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THE TOWN AND PARISH OF ASHFORD

LIES the next adjoining to Hothfield eastward. It is called in Domesday both Estefort and Essetesford, and in other antient records, Eshetisford, taking its name from the river, which runs close to it, which, Lambarde says, ought not to be called the Stour, till it has passed this town, but Eshe or Eschet, a name which has been for a great length of time wholly forgotten; this river being known, even from its first rise at Lenham hither, by the name of the Stour only.

 

A small part only of this parish, on the east, south and west sides of it, containing the borough of Henwood, alias Hewit, lying on the eastern or further side of the river from the town, part of which extends into the parish of Wilsborough, and the whole of it within the liberty of the manor of Wye, and the borough of Rudlow, which adjoins to Kingsnoth and Great Chart, are in this hundred of Chart and Longbridge; such part of the borough of Rudlow as lies adjoining to Kingsnoth, is said to lie in in jugo de Beavor, or the yoke of Beavor, and is divided from the town and liberty by the river, near a place called Pollbay; in which yoke there is both a hamlet and a green or common, of the name of Beavor; the remainder of the parish having been long separated from it, and made a distinct liberty, or jurisdiction of itself, having a constable of its own, and distinguished by the name of the liberty of the town of Ashford.

 

ASHFORD, at the time of taking the general survey of Domesday, was part of the possessions of Hugo de Montfort, who had accompanied the Conqueror hither, and was afterwards rewarded with this estate, among many others in different counties; in which record it is thus entered, under the general title of his lands:

 

¶Maigno holds of Hugo (de Montfort) Estefort. Turgisus held it of earl Godwin, and it is taxed at one suling. The arable land is half a carucate. There is nevertheless in demesne one carucate, and two villeins having one carucate. There are two servants, and eight acres of meadow. In the time of king Edward the Confessor, it was worth twenty five shillings; when he received it, twenty shillings; now thirty shilling.

 

The same Hugo holds Essela. Three tenants held it of king Edward, and could go whither they would with their lands. It was taxed at three yokes. The arable land is one carucate and an half. There are now four villeins, with two borderers having one carucate, and six acres of meadow. The whole, in the reign of king Edward the Confessor, was worth twenty shillings, and afterwards fifteen shillings, now twenty shillings.

 

Maigno held another Essetisford of the same Hugo. Wirelm held it of king Edward. It was taxed at one suling. The arable land is four carucates. In demesne there are two, and two villeins, with fifteen borderers having three carucates. There is a church, and a priest, and three servants, and two mills of ten shillings and two pence. In the time of king Edward the Confessor it was worth seventy shillings, and afterwards sixty shillings, now one hundred shillings.

 

Robert de Montfort, grandson of Hugh abovementioned, favouring the title of Robert Curthose, in opposition to king Henry I. to avoid being called in question upon that account, obtained leave to go on a pilgrimage to Jerusalem, leaving his possessions to the king; by which means this manor came into the hands of the crown. Soon after which it seems to have come into the possession of a family, who took their name from it. William de Asshetesford appears by the register of Horton priory to have been lord of it, and to have been succeeded by another of the same name. After which the family of Criol became owners of it, by whom it was held by knight's service of the king, in capite, by ward to Dover castle, and the repair of a tower in that castle, called the Ashford tower. (fn. 1) Simon de Criol, in the 27th and 28th year of Henry III. obtained a charter of free warren for this manor, whose son William de Criol passed it away to Roger de Leyborne, for Stocton, in Huntingdonshire, and Rumford, in Essex. William de Leyborne his son, in the 7th year of king Edward I. claimed and was allowed the privilege of a market here, before the justices itinerant. He died possessed of this manor in the 3d year of Edward II. leaving his grand-daughter Juliana, daughter of Thomas de Leyborne, who died in his father's life-time, heir both to her grandfather and father's possessions, from the greatness of which she was stiled the Infanta of Kent, (fn. 2) though thrice married, yet she died s. p. by either of her husbands, all of whom she survived, and died in the 41st year of Edward III. Upon which this manor, among the rest of her estates, escheated to the crown, and continued there till king Richard II. vested it, among others, in feoffees, for the performance of certain religious bequests by the will of king Edward III. then lately deceased; and they, in compliance with it, soon afterwards, with the king's licence, purchased this manor, with those of Wall, and Esture, of the crown, towards the endowment of St. Stephen's chapel, in the king's palace of Westminster, all which was confirmed by king Henry IV. and VI. and by king Edward IV. in their first years; the latter of whom, in his 7th year, granted to them a fair in this town yearly, on the feast of St. John Port Latin, together with all liberties, and to have a steward to hold the court of it, &c. In which situation they continued till the 1st year of Edward VI. when this collegiate chapel was, with all its possessions, surrendered into the king's hands, where these manors did not continue long; for that king, in his 3d year, granted the manor of Esshetford, with that of Wall, and the manor of Esture, to Sir Anthony Aucher, of Otterden, to hold in capite; and he, in the 2d and 3d of Philip and Mary, sold them to Sir Andrew Judde, of London, whose daughter and at length heir Alice, afterwards carried them in marriage to Thomas Smith, esq. of Westenhanger, commonly called the Customer, who died possessed of them in 1591, and lies buried in the south cross of this church, having had several sons and daughters, of, whom Sir John Smythe, of Ostenhanger, the eldest, succeeded him here, and was sheriff anno 42 Elizabeth. Sir Thomas Smith, the second son, was of Bidborough and Sutton at Hone, and ambassador to Russia, of whom and his descendants, notice has been taken in the former volumes of this history; (fn. 3) and Henry, the third son, was of Corsham, in Wiltshire, whence this family originally descended, and Sir Richard Smith, the fourth, was of Leeds castle. Sir John Smythe, above-mentioned, died in 1609, and lies buried in the same vault as his father in this church, leaving one son Sir Thomas Smythe, of Westenhanger, K. B. who was in 1628 created Viscount Strangford, of Ireland, whose grandson Philip, viscount Strangford, dying about 1709, Henry Roper, lord Teynham, who had married Catherine his eldest daughter, by his will, became possessed of the manors of Ashford, Wall, and Esture. By her, who died in 1711, he had two sons, Philip and Henry, successively lords Teynham; notwithstanding which, having the uncontrolled power in these manors vested in him, he, on his marriage with Anne, second daughter and coheir of Thomas Lennard, earl of Sussex, and widow of Richard Barrett Lennard, esq. afterwards baroness Dacre, settled them on her and her issue by him in tail male. He died in 1623, and left her surviving, and possessed of these manors for her life. She afterwards married the hon. Robert Moore, and died in 1755. She had by lord Teynham two sons, Charles and Richard-Henry, (fn. 4) Charles Roper, the eldest son, died in 1754 intestate, leaving two sons, Trevor-Charles and Henry, who on their mother's death became entitled to these manors, as coheirs in gavelkind, a recovery having been suffered of them, limiting them after her death to Charles Roper their father, in tail male; but being infants, and there being many incumbrances on these estates, a bill was exhibited in chancery, and an act procured anno 29 George II. for the sale of them; and accordingly these manors were sold, under the direction of that court, in 1765, to the Rev. Francis Hender Foote, of Bishopsborne, who in 1768 parted with the manor of Wall, alias Court at Wall, to John Toke, esq. of Great Chart, whose son Nicholas Roundell Toke, is the present possessor of it; but he died possessed of the manors of Ashford and Esture in 1773, and was succeeded in them by his eldest son John Foote, esq. now of Bishopsborne, the present owner of them. There are several copyhold lands held of the manor of Ashford. A court leet and court baron is regularly held for it.

 

THE TOWN OF ASHFORD stands most pleasant and healthy, on the knoll of a hill, of a gentle ascent on every side, the high road from Hythe to Maidstone passing through it, from which, in the middle of the town, the high road branches off through a pleasant country towards Canterbury. The houses are mostly modern and well-built, and the high-street, which has been lately new paved, is of considerable width. The markethouse stands in the centre of it, and the church and school on the south side of it, the beautiful tower of the former being a conspicuous object to the adjoining country. It is a small, but neat and chearful town, and many of the inhabitants of a genteel rank in life. Near the market place, is the house of the late Dr. Isaac Rutton, a physician of long and extensive practice in these parts, being the eldest son of Matthias Rutton, gent of this town, by Sarah his wife, daughter of Sir N. Toke, of Godinton. He died in 1792, bearing for his arms, Parted per fess, azure, and or, three unicorns heads, couped at the neck, counterchanged; since which, his eldest son, Isaac Rutton, esq. now of Ospringeplace, has sold this house to Mr. John Basil Duckworth, in whom it is now vested. In the midst of it is a large handsome house, built in 1759, by John Mascall, gent. who resided in it, and died possessed of it in 1769, and was buried in Boughton Aluph church, bearing for his arms, Barry of two, or, and azure, three inescutcheons, ermine; and his only son, Robert Mascall, esq. now of Ashford, who married the daughter of Jeremiah Curteis, esq. is the present owner, and resides in it. At the east end of the town is a seat, called Brooke-place, formerly possessed by the family of Woodward, who were always stiled, in antient deeds, gentlemen, and bore for their arms, Argent, a chevron, sable, between three grasshoppers, or; the last of them, Mr. John Woodward, gent. rebuilt this seat, and died possessed of it in 1757; of whose heirs it was purchased by Martha, widow of Moyle Breton, esq. of Kennington, whose two sons, the Rev. Moyle Breton, and Mr. Whitfield Breton, gent. alienated it to Josias Pattenson, esq. the second son of Mr. Josias Pattenson, of Biddenden, by Elizabeth, daughter and coheir of Felix Kadwell, esq. of Rolvenden; he married Mary, daughter of Mr. Henry Dering, gent. of this parish, and widow of Mr. John Mascall above-mentioned, by whom he has no issue, and he is the present owner of this seat, and resides in it. There have been barracks erected lately here, which at present contain 4000 soldiers. The market is held on a Saturday weekly, for the sale of corn, which is now but little used; and a market for the sale of all sorts of fat and lean stock on the first and third Tuesday in every month, which has been of great use to prevent monopolies. Two fairs are annually held now, by the alteration of the stile, on May 17, and Sept. 9, and another on Oct. 24; besides which, there is an annual fair for wool on August 2, not many years since instituted and encouraged by the principal gentry and landholders, which promises to prove of the greatest utility and benefit to the fair sale of it. That branch of the river Stour which rises at Lenham, runs along the southern part of this parish, and having turned a corn mill belonging to the lord of this manor, continues its course close at the east end of the town, where there is a stone bridge of four arches, repaired at the expence of the county, and so on northwards towards Wye and Canterbury. On the south side of the river in this parish, next to Kingsnoth, within the borough of Rudlow, is the yoke of Beavor, with the hamlet and farm of that name, possessed in very early times, as appears by the register of Horton priory, by a family of that name, one of whom, John Beavor, was possessed of it in the reign of Henry II. and was descended from one of the same furname, who attended the Conqueror in his expedition hither. The parish contains about 2000 acres of land, and three hundred and twenty houses, the whole rental of it being 4000l. per annum; the inhabitants are 2000, of which about one hundred are diffenters. The highways throughout it, which not many years ago were exceeding bad, have been by the unanimity of the inhabitants, which has shewn itself remarkable in all their public improvements, a rare instance in parochial undertakings, and by the great attention to the repairs of them, especially in such parts as were near their own houses, are now excellent. The lands round it are much upon a gravelly soil, though towards the east and south there are some rich fertile pastures, intermixed with arable land, and several plantations of hops; but toward the west, the soil is in general sand, having much quarrystone mixed with it, where there is a great deal of coppice wood, quite to Potter's corner, at the boundary of this parish.

 

The church, which is dedicated to St. Mary, is a large handsome building, consisting of three isles, with a transept, and three chancels, with the tower in the middle, which is losty and well proportioned, having four pinnacles at the top of it. There are eight bells in it, a set of chimes, and a clock. In the high chancel, on the north side, is the college John Fogge, the founder of the college here, who died in 1490, and his two wives, the brasses of their figures gone; but part of the inscription remains. And formerly, in Weever's time, there hung up in this chancel six atchievements, of those of this family whose burials had been attended by the heralds at arms, and with other ceremonies suitable to their degrees. Underneath the chancel is a large vault, full of the remains of the family. On the pavement in the middle, is a very antient curious gravestone, having on it the figure in brass of a woman, holding in her left hand a banner, with the arms of Ferrers, Six masctes, three and three, in pale; which, with a small part of the inscription round the edge, is all that is remaining; but there was formerly in brass, in her right hand, another banner, with the arms of Valoyns; over her head those of France and England quarterly; and under her feet a shield, being a cross, impaling three chevronels, the whole within a bordure, guttee de sang, and round the edge this inscription, Ici gift Elizabeth Comite D' athels la file sign de Ferrers . . . dieu asoil, qe morust le 22 jour d'octob. can de grace MCCCLXXV. Weever says, she was wife to David de Strabolgie, the fourth of that name, earl of Athol, in Scotland, and daughter of Henry, lord Ferrers, of Groby; and being secondly married to John Malmayns, of this county, died here in this town. Though by a pedigree of the family of Brograve, she is said to marry T. Fogge, esq. of Ashford; if so, he might perhaps have been her third husband. Near her is a memorial for William Whitfield, gent. obt. 1739. The north chancel belonged to Repton manor. In the vault underneath lay three of the family of Tuston, sometime since removed to Rainham, and it has been granted to the Husseys; Thomas Hussey, esq. of this town, died in 1779, and was buried in it. In the south chancel are memorials for the Pattensons, Whitfields, and Apsleys, of this place; and one for Henry Dering, gent. of Shelve, obt. 1752, and Hester his wife; arms, A saltier, a crescent for difference, impaling, on a chevron, between three persons, three crosses, formee; and another memorial for Thomasine, wife of John Handfield, obt. 1704. In the north cross are several antient stones, their brasses all gone, excepting a shield, with the arms of Fogge on one. At the end is a monument for John Norwood, gent. and Mary his wife, of this town, who lie with their children in the vault underneath. The south cross is parted off lengthways, for the family of Smith, lords of Ashford manor, who lie in a vault underneath. In it are three superb monuments, which, not many years since, were beautified and restored to their original state, by the late chief baron Smythe, a descendant of this family. One is for Thomas Smith, esq. of Westenhanger, in 1591; the second for Sir John Smythe, of Ostenhanger, his son, and Elizabeth his wife; and the third for Sir Richard Smyth, of Leeds castle, in 1628: all which have been already mentioned before. Their figures, at full length and proportion, are lying on, each of them, with their several coats of arms and quarterings blazoned. In the other part of this cross, is a memorial for Baptist Pigott, A. M. son of Baptist Pigott, of Dartford, and schoolmaster here, obt. 1657, and at the end of it, is the archbishop's consistory court. In the south isle is a memorial for Thomas Curteis, gent. obt. 1718, and Elizabeth his wife; arms, Curteis impaling Carter. Under the tower is one for Samuel Warren, vicar here forty-eight years, obt. 1720. The three isles were new pewed and handsomely paved in 1745. There are five galleries, and an handsome branch for candles in the middled isle; the whole kept in an excellent state of repair and neatness. There was formerly much curtious painted glass in the windows, particularly the figures of one of the family of Valoyns, his two wives and children, with their arms. In the south window of the cross isle, and in other windows, the figures, kneeling, of king Edward III. the black prince, Richard, duke of Gloucester, the lord Hastings. Sir William Haute, the lord Scales, Richard, earl Rivers, and the dutchess of Bedford his wife, Sir John Fogge, Sir John Peche, Richard Horne, Roger Manstone, and—Guildford, most of which were in the great west window, each habited in their surcoats of arms, not the least traces of which, or of any other coloured glass, are remaining throughout this church. Sir John Goldstone, parson of Ivechurch, as appears by his will in 1503, was buried in the choir of this church, and gave several costly ornaments and vestments for the use of it.

 

www.british-history.ac.uk/survey-kent/vol7/pp526-545

  

Given the bald treatment by a lovely and beautiful friend.

Given that the M420 has became the most common unit on my roster a little variety was necessary. With this in mind 3538 was taken out of service and modified to replicate one of the earlier units from the MR20a class. The last few members of this class share the same style of handrails that were used on later models so that eliminated one job. I did have to fabricate a new longer fuel tank though as well as changing the access door on the engineers side of the cab. On the earlier units this was one large door instead of the two piece style of later units.

David Kimbrough

July 12 at 10:29 PM ·

Los Angeles Harbor - 1913

As a colonial city, Los Angeles had long been a small and un-prosperous place. The Spanish, Mexican, and American governments had struggled to get non-indigenous people from afar to move to the area. They all wanted the area to grow economically, and it was a given that such an enterprise depended on bringing in new people. One of the difficulties was that Los Angeles was quite isolated from the world economy (globalization is nothing new). First, there were limited opportunities for investment; the location was dry and hot a good part of the year, so that agricultural activities would be difficult. There were few known local mineral resources. More importantly, overland travel was probably long, arduous, expensive, and dangerous whether one started in Spain, Mexico, or the United States. Sea travel was not much better both because of the tremendous distances and because there was no natural harbor. Los Angeles remained a small, backwater, provincial "Dogtown" for many decades.

It was the cattle and sheep raising that started a change. Local interests produced hides that could be exported. American trading and whaling ships began stopping by the "Bay of Smoke" south of Los Angeles to trade for hides and other goods. Strictly speaking, this was illegal as the Spanish government had outlawed trade with any ships other than Spanish. The first American trading ship to call by Rattle Snake Island by the mouth of what would be the mouth of the Los Angeles River was the Lelia Bryd in 1805. Because of the distance between Madrid and Mexico City and lax enforcement of regulations, trade with foreign ships thrived. In 1822 a newly independent Mexican government removed the Spanish restrictions on trade, and business boomed in the harbor. Many more people began moving to Los Angeles in general but also to the port area between El Rancho Los Palos Verdes and El Rancho San Pedro.

When California was conquered, and Los Angeles became a part of the United States, things began to change. For centuries, the Spanish had operated routes through the Isthmus of Panama, unloading ships on one coast, carrying the cargo across the mountains and jungles by both trails by cones on rivers, and then reloading the cargo on another ship on the other coast. A journey not for the faint of heart. Of course, taking a tail sailing ship "around the cape" was an alternate but deciding which route was more perilous was a complicated calculation. The gold rush of 1849 produced a vast migration of people with money to California. Moving and provisioning those people quickly turned into a big and profitable business. In 1850 a railroad was begun to cross the Isthmus of Panama. With its completion, trade between the United States and its newest state bloomed. Phineas Banning made his way to the small fishing village of San Pedro.

Business boomed in Los Angeles and its southern neighbor San Pedro. Fruits, meat, hides, and other locally produced goods were shipped north to support the gold mines and cities of Northern California at exorbitant prices. Many fortunes were made, and the harbor was vital. The term "harbor" was something of a misnomer for quite some time. There was not much in the way of quays, docks, or warehouses. Ships could stay far out at anchor and have their goods and passengers lightered to shore, a slow and costly process. Alternatively, they could beach themselves in the mud. Neither approach was desirable. Additionally, there was only limited protection from waves and storms. Dead Man Island and Rattlesnake Island provided some protection for leeward ships from winds and waves, but it was small beer.

Phineas Banning developed a stage and trade company, running a fleet of stagecoaches from San Pedro to Los Angeles, Yuma, Salt Lake City, and other locations. He would later build the first railroad in Los Angeles, which ran to San Pedro. The next big change was when Phineas Banning (like the high school my mother attended) dredged the channel in the harbor, allowing deep-water vessels to enter much further inland, where real docks could be built, and greater protection from storms could be found. The combination of a seaport and rail head proved particularly profitable. So much so that others wanted to get into the business. Harry Huntington, of Pacific Electric fame, and the Southern Pacific Railroad (SP) decided to build their own port. They built an enormously long wharf at Santa Monica, which ran almost a mile (4,700 feet) out into the Pacific Ocean. SP ran a train from Los Angeles to Santa Monica and then straight out to the Long Wharf. This pier was supposedly the longest wharf in the world. It became something of a tourist attraction in its own right. Nonetheless, it had an enormous disadvantage; it did not protect ships from waves and wind. A ship docked at the Long Wharf could be tossed about as if it were at sea. This situation was a significant problem; there was no protection for ships in anchorage from the elements.

In the 1890s, an intense battle was being fought over the future of the Los Angeles Harbor. The supporters of San Pedro, including the City of Los Angeles, the sons of Phineas Banning, and the Cities of Wilmington and San Pedro, as well as many others, wanted to have the harbors at San Pedro and Wilmington be declared the official "Port of Los Angeles." Harry Huntington and the SP likewise wanted Santa Monica and the Long Wharf to be declared The Port of Los Angeles. Only one could be so declared. Moreover, and perhaps more to the point, only one could get federal funding to expand and modernize. While the SP and PE were both very politically connected and powerful, probably more so than the supporters of San Pedro, the severe technical limitations of the Long Wharf proved fatal.

Further, as well as the fact that the harbor in San Pedro would be publicly owned and operated, while the port at Santa Monica would be very privately owned. In the end, the naked political power of the Santa Monica port supporters could not overcome the technical and organizational superiority of the San Pedro port. The United States Congress declared San Pedro Bay as the official port for Los Angeles in 1897. The official funding for the construction of the port of Los Angeles in San Pedro, with a particular emphasis on the construction of the massive breakwater, was soon to be followed. In short order, the City of Los Angeles annexed the City of San Pedro and Wilmington, as well as the Shoestring Addition, to secure the city's hold on the port.

Once again, events in Panama changed to course of Los Angeles history. There had been talk for decades of building a canal through the Isthmus of Panama. A French company had attempted the effort in the 1890s, but the mountains and mosquitoes prevented their success. However, things began to change once the United States got into the picture, organizing a rebellion amongst Panamanians and securing a treaty to build the canal. Everyone realized that opening the Panama Canal would revolutionize the economics of California. Transport costs would drop dramatically, and exports of goods from California would skyrocket p, to say nothing of the import of people. The expected completion date was 1914. San Francisco was expected to be the biggest winner as it had the most well-developed harbor and transportation infrastructure, but Los Angeles was sure to profit as well. However, in 1906 San Francisco was hit by a colossal earthquake, destroying the business center and ruining its vast infrastructure. While the actual harbor facilities were not damaged, railroad infrastructure was severely damaged. As a result, considerable amounts of shipping traffic had to shift south to San Pedro. The Los Angeles Harbor, which had begun planning for expansion to accommodate new traffic from the Panama Canal, now had to speed up that process to handle the new business following the San Francisco Earthquake.

In 1913, the Los Angeles Harbor Commission produced a report on its modernization efforts. The report contained details and discussions of transportation economics, planning, and construction. The significant advantages of San Pedro over San Francisco travel times to more eastern locations were compared. It was all very dry and technical. However, there was another agenda. The opening of the Panama Canal was also to be a vast boom to tourism. In San Francisco, there was to be a World's Fair of epic proportions to celebrate both the canal's opening and the city's rebirth. In San Diego, there was the California Panama Exposition, a multi-year event comparable to the event in San Francisco. The massive campus at Balboa Park was built for this celebration. Los Angeles, however, hosted only minor events, partly because of the massive investments in the harbor at San Pedro. Los Angeles largely just piggybacked on the events in San Diego. While San Francisco and San Diego received the lion's share of publicity and tourism, Los Angeles secured its new status as the economic and political center of the state and San Pedro as the premier commercial port on the west coast.

Nonetheless, Los Angeles did what it could to benefit its tourism industry at this time. In the 1913 Harbor Commission report, there is a surprising number of photographs from other parts of Los Angeles with a definite eye toward local boosterism. I have copied many pictures from this report here, most of which are focused on the harbor and thus are in the San Pedro and Wilmington areas, but other very nice photographs further afield. There are photographs of DTLA, of course, but also "West Los Angeles" (as the area around USC was called in 1905), and even the "oil district" in Crown Hill and Echo Park. I have also included some photographs from the official program of the California Panama Exposition. Los Angeles' many public parks were prominently displayed, including Echo Park, Lafayette Park, East Lake Park, and Hollenbeck Park.

So enjoy the pictures and stories. There are several links below to the various official reports, programs, and related pages.

July 14, 2022

hdl.handle.net/2027/uc1.$b41693

hdl.handle.net/2027/nyp.33433110124421

www.kcet.org/.../how-santa-monica-almost-became-a...

waterandpower.org/.../Early_City_Views%20%281900...

www.lamag.com/.../citydig-how-los-angeles.../

 

St Martin, New Buckenham, Norfolk

 

New Buckenham is a south Norfolk new town, but this being Norfolk it is a 12th Century new town rather than a 20th Century one. William d'Albini, who we have already met at Wymondham and Castle Acre, was given the manor of Buckenham by the Conqueror. He rebuilt the castle a mile or so to the east, and a new town grew up below it. It appears, from the street grid which survives, to have been a planned town, although it is possible to drive through and not realise this, because the Attleborough road tears through mercilessly. But on foot you get a better sense of it, and it really deserves to be better known.

 

Much of what survives in the village is late medieval, and the best example of this period is St Martin. Externally this is a grand, urban building, easily the equal of most of the churches of Norwich and Ipswich, from the pinnacles on the tower to the crisp array of clerestory windows. There are minor remnants of an earlier 13th century building, but this might as well have been a complete rebuild. The narrowness of the graveyard only accentuates the way it rises like a rocket above the roof tops.

 

The Victorians seem to have taken this urban triumphalism as their motif for the inside. The interior is spacious, with a sense of height and width, but it has been pretty well scoured of any former character. It might just as well be anywhere. But it feels well used and looked after, and there are a number of interesting and unusual survivals.

 

The most interesting is the font. The stem is that of a typical East Anglian font of the 15th Century, guarded by wild men and lions, but placed on top of it now is an early 17th century bowl. Fonts of this kind are often considered 'Laudian', but in fact this predates Laud's reign as Archbishop of Canterbury by 13 years. There are several of these interesting fonts in Norfolk, but this one has the added detail of the churchwardens' names, Thomas Colman and Christopher Sudbury, and a very precise date, February 1st 1619. The stem has been recut, more likely by the Victorians than the Jacobeans.

 

At the west end of the nave there are several curious carved bargeboards that probably date from the 16th Century. They came from the market cross on the village green, and one of them has a carved relief of the town as it was before the Civil War.

 

The best glass here is 20th Century, designed by AL Wilkinson for King and Son. WWII memorial glass depicts St George, while a later window of the Adoration includes medieval Norfolk shepherds who would have been quite at home in this parish when the church was rebuilt.

 

In the south-east corner of the nave a Madonna and Child sits on a windowsill, and the inscription below reads Remember here Hugh Whitwham, Priest Vicar of this parish 1959-1977 who restored this chapel of the Blessed Virgin Mary for worship after 400 years of disuse. That's all, nothing fancy, just a cool white space, and it suits well the simplicity of modern Anglican spirituality as well as being a memory of a recent Anglo-catholic tradition here at New Buckenham.

 

Finally, outside in the churchyard, a headstone with a carved relief of a lamb on a globe, bottle, glass, haunch and bell between open books above the inscription Life is short. The inscription below it tells us that Near to this place lies Honest John, Was a friend but to few, a foe to none...

There are three Ashfords, really. The modern newtown, Swindonesque newbuilds stretching into the countryside; the Victorian railway town, all neat rows of brick buit houses and the station, and then there is the old town, timber-framed houses along narrow lanes, with St Mary standing towering above all but the modern office blocks.

 

The west end church was given over to a Christmas Fayre, but is also used now as a concert venue, while under the tower westwards is still in use as a church, with many of its ancient features left alone by the Victorians.

 

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A stately church in a good position set away from the hustle and bustle of this cosmopolitan town. The very narrow tower of 1475 is not visually satisfactory when viewed from a distance but its odd proportions are hardly noticed when standing at its base. The church is very much the product of the families who have been associated with it over the centuries and who are commemorated by monuments within. They include the Fogges and the Smythes. The former is supposed to have wanted to create a college of priests here, but by the late fifteenth century such foundations were going out of fashion and the remodelling of the church undertaken by Sir John Fogge may have just been a philanthropic cause. Unusually, when the church was restored in 1860 the architect Ewan Christian kept the galleries (he usually swept them away), but Christ Church had yet to be built and the population of this growing town would have needed all the accommodation it could get. Even in 1851 1000 people had attended the church in a single sitting. The pulpit, designed by Pearson, was made in 1897.

 

www.kentchurches.info/church.asp?p=Ashford+1

 

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THE TOWN AND PARISH OF ASHFORD

LIES the next adjoining to Hothfield eastward. It is called in Domesday both Estefort and Essetesford, and in other antient records, Eshetisford, taking its name from the river, which runs close to it, which, Lambarde says, ought not to be called the Stour, till it has passed this town, but Eshe or Eschet, a name which has been for a great length of time wholly forgotten; this river being known, even from its first rise at Lenham hither, by the name of the Stour only.

 

A small part only of this parish, on the east, south and west sides of it, containing the borough of Henwood, alias Hewit, lying on the eastern or further side of the river from the town, part of which extends into the parish of Wilsborough, and the whole of it within the liberty of the manor of Wye, and the borough of Rudlow, which adjoins to Kingsnoth and Great Chart, are in this hundred of Chart and Longbridge; such part of the borough of Rudlow as lies adjoining to Kingsnoth, is said to lie in in jugo de Beavor, or the yoke of Beavor, and is divided from the town and liberty by the river, near a place called Pollbay; in which yoke there is both a hamlet and a green or common, of the name of Beavor; the remainder of the parish having been long separated from it, and made a distinct liberty, or jurisdiction of itself, having a constable of its own, and distinguished by the name of the liberty of the town of Ashford.

 

ASHFORD, at the time of taking the general survey of Domesday, was part of the possessions of Hugo de Montfort, who had accompanied the Conqueror hither, and was afterwards rewarded with this estate, among many others in different counties; in which record it is thus entered, under the general title of his lands:

 

¶Maigno holds of Hugo (de Montfort) Estefort. Turgisus held it of earl Godwin, and it is taxed at one suling. The arable land is half a carucate. There is nevertheless in demesne one carucate, and two villeins having one carucate. There are two servants, and eight acres of meadow. In the time of king Edward the Confessor, it was worth twenty five shillings; when he received it, twenty shillings; now thirty shilling.

 

The same Hugo holds Essela. Three tenants held it of king Edward, and could go whither they would with their lands. It was taxed at three yokes. The arable land is one carucate and an half. There are now four villeins, with two borderers having one carucate, and six acres of meadow. The whole, in the reign of king Edward the Confessor, was worth twenty shillings, and afterwards fifteen shillings, now twenty shillings.

 

Maigno held another Essetisford of the same Hugo. Wirelm held it of king Edward. It was taxed at one suling. The arable land is four carucates. In demesne there are two, and two villeins, with fifteen borderers having three carucates. There is a church, and a priest, and three servants, and two mills of ten shillings and two pence. In the time of king Edward the Confessor it was worth seventy shillings, and afterwards sixty shillings, now one hundred shillings.

 

Robert de Montfort, grandson of Hugh abovementioned, favouring the title of Robert Curthose, in opposition to king Henry I. to avoid being called in question upon that account, obtained leave to go on a pilgrimage to Jerusalem, leaving his possessions to the king; by which means this manor came into the hands of the crown. Soon after which it seems to have come into the possession of a family, who took their name from it. William de Asshetesford appears by the register of Horton priory to have been lord of it, and to have been succeeded by another of the same name. After which the family of Criol became owners of it, by whom it was held by knight's service of the king, in capite, by ward to Dover castle, and the repair of a tower in that castle, called the Ashford tower. (fn. 1) Simon de Criol, in the 27th and 28th year of Henry III. obtained a charter of free warren for this manor, whose son William de Criol passed it away to Roger de Leyborne, for Stocton, in Huntingdonshire, and Rumford, in Essex. William de Leyborne his son, in the 7th year of king Edward I. claimed and was allowed the privilege of a market here, before the justices itinerant. He died possessed of this manor in the 3d year of Edward II. leaving his grand-daughter Juliana, daughter of Thomas de Leyborne, who died in his father's life-time, heir both to her grandfather and father's possessions, from the greatness of which she was stiled the Infanta of Kent, (fn. 2) though thrice married, yet she died s. p. by either of her husbands, all of whom she survived, and died in the 41st year of Edward III. Upon which this manor, among the rest of her estates, escheated to the crown, and continued there till king Richard II. vested it, among others, in feoffees, for the performance of certain religious bequests by the will of king Edward III. then lately deceased; and they, in compliance with it, soon afterwards, with the king's licence, purchased this manor, with those of Wall, and Esture, of the crown, towards the endowment of St. Stephen's chapel, in the king's palace of Westminster, all which was confirmed by king Henry IV. and VI. and by king Edward IV. in their first years; the latter of whom, in his 7th year, granted to them a fair in this town yearly, on the feast of St. John Port Latin, together with all liberties, and to have a steward to hold the court of it, &c. In which situation they continued till the 1st year of Edward VI. when this collegiate chapel was, with all its possessions, surrendered into the king's hands, where these manors did not continue long; for that king, in his 3d year, granted the manor of Esshetford, with that of Wall, and the manor of Esture, to Sir Anthony Aucher, of Otterden, to hold in capite; and he, in the 2d and 3d of Philip and Mary, sold them to Sir Andrew Judde, of London, whose daughter and at length heir Alice, afterwards carried them in marriage to Thomas Smith, esq. of Westenhanger, commonly called the Customer, who died possessed of them in 1591, and lies buried in the south cross of this church, having had several sons and daughters, of, whom Sir John Smythe, of Ostenhanger, the eldest, succeeded him here, and was sheriff anno 42 Elizabeth. Sir Thomas Smith, the second son, was of Bidborough and Sutton at Hone, and ambassador to Russia, of whom and his descendants, notice has been taken in the former volumes of this history; (fn. 3) and Henry, the third son, was of Corsham, in Wiltshire, whence this family originally descended, and Sir Richard Smith, the fourth, was of Leeds castle. Sir John Smythe, above-mentioned, died in 1609, and lies buried in the same vault as his father in this church, leaving one son Sir Thomas Smythe, of Westenhanger, K. B. who was in 1628 created Viscount Strangford, of Ireland, whose grandson Philip, viscount Strangford, dying about 1709, Henry Roper, lord Teynham, who had married Catherine his eldest daughter, by his will, became possessed of the manors of Ashford, Wall, and Esture. By her, who died in 1711, he had two sons, Philip and Henry, successively lords Teynham; notwithstanding which, having the uncontrolled power in these manors vested in him, he, on his marriage with Anne, second daughter and coheir of Thomas Lennard, earl of Sussex, and widow of Richard Barrett Lennard, esq. afterwards baroness Dacre, settled them on her and her issue by him in tail male. He died in 1623, and left her surviving, and possessed of these manors for her life. She afterwards married the hon. Robert Moore, and died in 1755. She had by lord Teynham two sons, Charles and Richard-Henry, (fn. 4) Charles Roper, the eldest son, died in 1754 intestate, leaving two sons, Trevor-Charles and Henry, who on their mother's death became entitled to these manors, as coheirs in gavelkind, a recovery having been suffered of them, limiting them after her death to Charles Roper their father, in tail male; but being infants, and there being many incumbrances on these estates, a bill was exhibited in chancery, and an act procured anno 29 George II. for the sale of them; and accordingly these manors were sold, under the direction of that court, in 1765, to the Rev. Francis Hender Foote, of Bishopsborne, who in 1768 parted with the manor of Wall, alias Court at Wall, to John Toke, esq. of Great Chart, whose son Nicholas Roundell Toke, is the present possessor of it; but he died possessed of the manors of Ashford and Esture in 1773, and was succeeded in them by his eldest son John Foote, esq. now of Bishopsborne, the present owner of them. There are several copyhold lands held of the manor of Ashford. A court leet and court baron is regularly held for it.

 

THE TOWN OF ASHFORD stands most pleasant and healthy, on the knoll of a hill, of a gentle ascent on every side, the high road from Hythe to Maidstone passing through it, from which, in the middle of the town, the high road branches off through a pleasant country towards Canterbury. The houses are mostly modern and well-built, and the high-street, which has been lately new paved, is of considerable width. The markethouse stands in the centre of it, and the church and school on the south side of it, the beautiful tower of the former being a conspicuous object to the adjoining country. It is a small, but neat and chearful town, and many of the inhabitants of a genteel rank in life. Near the market place, is the house of the late Dr. Isaac Rutton, a physician of long and extensive practice in these parts, being the eldest son of Matthias Rutton, gent of this town, by Sarah his wife, daughter of Sir N. Toke, of Godinton. He died in 1792, bearing for his arms, Parted per fess, azure, and or, three unicorns heads, couped at the neck, counterchanged; since which, his eldest son, Isaac Rutton, esq. now of Ospringeplace, has sold this house to Mr. John Basil Duckworth, in whom it is now vested. In the midst of it is a large handsome house, built in 1759, by John Mascall, gent. who resided in it, and died possessed of it in 1769, and was buried in Boughton Aluph church, bearing for his arms, Barry of two, or, and azure, three inescutcheons, ermine; and his only son, Robert Mascall, esq. now of Ashford, who married the daughter of Jeremiah Curteis, esq. is the present owner, and resides in it. At the east end of the town is a seat, called Brooke-place, formerly possessed by the family of Woodward, who were always stiled, in antient deeds, gentlemen, and bore for their arms, Argent, a chevron, sable, between three grasshoppers, or; the last of them, Mr. John Woodward, gent. rebuilt this seat, and died possessed of it in 1757; of whose heirs it was purchased by Martha, widow of Moyle Breton, esq. of Kennington, whose two sons, the Rev. Moyle Breton, and Mr. Whitfield Breton, gent. alienated it to Josias Pattenson, esq. the second son of Mr. Josias Pattenson, of Biddenden, by Elizabeth, daughter and coheir of Felix Kadwell, esq. of Rolvenden; he married Mary, daughter of Mr. Henry Dering, gent. of this parish, and widow of Mr. John Mascall above-mentioned, by whom he has no issue, and he is the present owner of this seat, and resides in it. There have been barracks erected lately here, which at present contain 4000 soldiers. The market is held on a Saturday weekly, for the sale of corn, which is now but little used; and a market for the sale of all sorts of fat and lean stock on the first and third Tuesday in every month, which has been of great use to prevent monopolies. Two fairs are annually held now, by the alteration of the stile, on May 17, and Sept. 9, and another on Oct. 24; besides which, there is an annual fair for wool on August 2, not many years since instituted and encouraged by the principal gentry and landholders, which promises to prove of the greatest utility and benefit to the fair sale of it. That branch of the river Stour which rises at Lenham, runs along the southern part of this parish, and having turned a corn mill belonging to the lord of this manor, continues its course close at the east end of the town, where there is a stone bridge of four arches, repaired at the expence of the county, and so on northwards towards Wye and Canterbury. On the south side of the river in this parish, next to Kingsnoth, within the borough of Rudlow, is the yoke of Beavor, with the hamlet and farm of that name, possessed in very early times, as appears by the register of Horton priory, by a family of that name, one of whom, John Beavor, was possessed of it in the reign of Henry II. and was descended from one of the same furname, who attended the Conqueror in his expedition hither. The parish contains about 2000 acres of land, and three hundred and twenty houses, the whole rental of it being 4000l. per annum; the inhabitants are 2000, of which about one hundred are diffenters. The highways throughout it, which not many years ago were exceeding bad, have been by the unanimity of the inhabitants, which has shewn itself remarkable in all their public improvements, a rare instance in parochial undertakings, and by the great attention to the repairs of them, especially in such parts as were near their own houses, are now excellent. The lands round it are much upon a gravelly soil, though towards the east and south there are some rich fertile pastures, intermixed with arable land, and several plantations of hops; but toward the west, the soil is in general sand, having much quarrystone mixed with it, where there is a great deal of coppice wood, quite to Potter's corner, at the boundary of this parish.

 

The church, which is dedicated to St. Mary, is a large handsome building, consisting of three isles, with a transept, and three chancels, with the tower in the middle, which is losty and well proportioned, having four pinnacles at the top of it. There are eight bells in it, a set of chimes, and a clock. In the high chancel, on the north side, is the college John Fogge, the founder of the college here, who died in 1490, and his two wives, the brasses of their figures gone; but part of the inscription remains. And formerly, in Weever's time, there hung up in this chancel six atchievements, of those of this family whose burials had been attended by the heralds at arms, and with other ceremonies suitable to their degrees. Underneath the chancel is a large vault, full of the remains of the family. On the pavement in the middle, is a very antient curious gravestone, having on it the figure in brass of a woman, holding in her left hand a banner, with the arms of Ferrers, Six masctes, three and three, in pale; which, with a small part of the inscription round the edge, is all that is remaining; but there was formerly in brass, in her right hand, another banner, with the arms of Valoyns; over her head those of France and England quarterly; and under her feet a shield, being a cross, impaling three chevronels, the whole within a bordure, guttee de sang, and round the edge this inscription, Ici gift Elizabeth Comite D' athels la file sign de Ferrers . . . dieu asoil, qe morust le 22 jour d'octob. can de grace MCCCLXXV. Weever says, she was wife to David de Strabolgie, the fourth of that name, earl of Athol, in Scotland, and daughter of Henry, lord Ferrers, of Groby; and being secondly married to John Malmayns, of this county, died here in this town. Though by a pedigree of the family of Brograve, she is said to marry T. Fogge, esq. of Ashford; if so, he might perhaps have been her third husband. Near her is a memorial for William Whitfield, gent. obt. 1739. The north chancel belonged to Repton manor. In the vault underneath lay three of the family of Tuston, sometime since removed to Rainham, and it has been granted to the Husseys; Thomas Hussey, esq. of this town, died in 1779, and was buried in it. In the south chancel are memorials for the Pattensons, Whitfields, and Apsleys, of this place; and one for Henry Dering, gent. of Shelve, obt. 1752, and Hester his wife; arms, A saltier, a crescent for difference, impaling, on a chevron, between three persons, three crosses, formee; and another memorial for Thomasine, wife of John Handfield, obt. 1704. In the north cross are several antient stones, their brasses all gone, excepting a shield, with the arms of Fogge on one. At the end is a monument for John Norwood, gent. and Mary his wife, of this town, who lie with their children in the vault underneath. The south cross is parted off lengthways, for the family of Smith, lords of Ashford manor, who lie in a vault underneath. In it are three superb monuments, which, not many years since, were beautified and restored to their original state, by the late chief baron Smythe, a descendant of this family. One is for Thomas Smith, esq. of Westenhanger, in 1591; the second for Sir John Smythe, of Ostenhanger, his son, and Elizabeth his wife; and the third for Sir Richard Smyth, of Leeds castle, in 1628: all which have been already mentioned before. Their figures, at full length and proportion, are lying on, each of them, with their several coats of arms and quarterings blazoned. In the other part of this cross, is a memorial for Baptist Pigott, A. M. son of Baptist Pigott, of Dartford, and schoolmaster here, obt. 1657, and at the end of it, is the archbishop's consistory court. In the south isle is a memorial for Thomas Curteis, gent. obt. 1718, and Elizabeth his wife; arms, Curteis impaling Carter. Under the tower is one for Samuel Warren, vicar here forty-eight years, obt. 1720. The three isles were new pewed and handsomely paved in 1745. There are five galleries, and an handsome branch for candles in the middled isle; the whole kept in an excellent state of repair and neatness. There was formerly much curtious painted glass in the windows, particularly the figures of one of the family of Valoyns, his two wives and children, with their arms. In the south window of the cross isle, and in other windows, the figures, kneeling, of king Edward III. the black prince, Richard, duke of Gloucester, the lord Hastings. Sir William Haute, the lord Scales, Richard, earl Rivers, and the dutchess of Bedford his wife, Sir John Fogge, Sir John Peche, Richard Horne, Roger Manstone, and—Guildford, most of which were in the great west window, each habited in their surcoats of arms, not the least traces of which, or of any other coloured glass, are remaining throughout this church. Sir John Goldstone, parson of Ivechurch, as appears by his will in 1503, was buried in the choir of this church, and gave several costly ornaments and vestments for the use of it.

 

www.british-history.ac.uk/survey-kent/vol7/pp526-545

  

There are three Ashfords, really. The modern newtown, Swindonesque newbuilds stretching into the countryside; the Victorian railway town, all neat rows of brick buit houses and the station, and then there is the old town, timber-framed houses along narrow lanes, with St Mary standing towering above all but the modern office blocks.

 

The west end church was given over to a Christmas Fayre, but is also used now as a concert venue, while under the tower westwards is still in use as a church, with many of its ancient features left alone by the Victorians.

 

-------------------------------------------

 

A stately church in a good position set away from the hustle and bustle of this cosmopolitan town. The very narrow tower of 1475 is not visually satisfactory when viewed from a distance but its odd proportions are hardly noticed when standing at its base. The church is very much the product of the families who have been associated with it over the centuries and who are commemorated by monuments within. They include the Fogges and the Smythes. The former is supposed to have wanted to create a college of priests here, but by the late fifteenth century such foundations were going out of fashion and the remodelling of the church undertaken by Sir John Fogge may have just been a philanthropic cause. Unusually, when the church was restored in 1860 the architect Ewan Christian kept the galleries (he usually swept them away), but Christ Church had yet to be built and the population of this growing town would have needed all the accommodation it could get. Even in 1851 1000 people had attended the church in a single sitting. The pulpit, designed by Pearson, was made in 1897.

 

www.kentchurches.info/church.asp?p=Ashford+1

 

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THE TOWN AND PARISH OF ASHFORD

LIES the next adjoining to Hothfield eastward. It is called in Domesday both Estefort and Essetesford, and in other antient records, Eshetisford, taking its name from the river, which runs close to it, which, Lambarde says, ought not to be called the Stour, till it has passed this town, but Eshe or Eschet, a name which has been for a great length of time wholly forgotten; this river being known, even from its first rise at Lenham hither, by the name of the Stour only.

 

A small part only of this parish, on the east, south and west sides of it, containing the borough of Henwood, alias Hewit, lying on the eastern or further side of the river from the town, part of which extends into the parish of Wilsborough, and the whole of it within the liberty of the manor of Wye, and the borough of Rudlow, which adjoins to Kingsnoth and Great Chart, are in this hundred of Chart and Longbridge; such part of the borough of Rudlow as lies adjoining to Kingsnoth, is said to lie in in jugo de Beavor, or the yoke of Beavor, and is divided from the town and liberty by the river, near a place called Pollbay; in which yoke there is both a hamlet and a green or common, of the name of Beavor; the remainder of the parish having been long separated from it, and made a distinct liberty, or jurisdiction of itself, having a constable of its own, and distinguished by the name of the liberty of the town of Ashford.

 

ASHFORD, at the time of taking the general survey of Domesday, was part of the possessions of Hugo de Montfort, who had accompanied the Conqueror hither, and was afterwards rewarded with this estate, among many others in different counties; in which record it is thus entered, under the general title of his lands:

 

¶Maigno holds of Hugo (de Montfort) Estefort. Turgisus held it of earl Godwin, and it is taxed at one suling. The arable land is half a carucate. There is nevertheless in demesne one carucate, and two villeins having one carucate. There are two servants, and eight acres of meadow. In the time of king Edward the Confessor, it was worth twenty five shillings; when he received it, twenty shillings; now thirty shilling.

 

The same Hugo holds Essela. Three tenants held it of king Edward, and could go whither they would with their lands. It was taxed at three yokes. The arable land is one carucate and an half. There are now four villeins, with two borderers having one carucate, and six acres of meadow. The whole, in the reign of king Edward the Confessor, was worth twenty shillings, and afterwards fifteen shillings, now twenty shillings.

 

Maigno held another Essetisford of the same Hugo. Wirelm held it of king Edward. It was taxed at one suling. The arable land is four carucates. In demesne there are two, and two villeins, with fifteen borderers having three carucates. There is a church, and a priest, and three servants, and two mills of ten shillings and two pence. In the time of king Edward the Confessor it was worth seventy shillings, and afterwards sixty shillings, now one hundred shillings.

 

Robert de Montfort, grandson of Hugh abovementioned, favouring the title of Robert Curthose, in opposition to king Henry I. to avoid being called in question upon that account, obtained leave to go on a pilgrimage to Jerusalem, leaving his possessions to the king; by which means this manor came into the hands of the crown. Soon after which it seems to have come into the possession of a family, who took their name from it. William de Asshetesford appears by the register of Horton priory to have been lord of it, and to have been succeeded by another of the same name. After which the family of Criol became owners of it, by whom it was held by knight's service of the king, in capite, by ward to Dover castle, and the repair of a tower in that castle, called the Ashford tower. (fn. 1) Simon de Criol, in the 27th and 28th year of Henry III. obtained a charter of free warren for this manor, whose son William de Criol passed it away to Roger de Leyborne, for Stocton, in Huntingdonshire, and Rumford, in Essex. William de Leyborne his son, in the 7th year of king Edward I. claimed and was allowed the privilege of a market here, before the justices itinerant. He died possessed of this manor in the 3d year of Edward II. leaving his grand-daughter Juliana, daughter of Thomas de Leyborne, who died in his father's life-time, heir both to her grandfather and father's possessions, from the greatness of which she was stiled the Infanta of Kent, (fn. 2) though thrice married, yet she died s. p. by either of her husbands, all of whom she survived, and died in the 41st year of Edward III. Upon which this manor, among the rest of her estates, escheated to the crown, and continued there till king Richard II. vested it, among others, in feoffees, for the performance of certain religious bequests by the will of king Edward III. then lately deceased; and they, in compliance with it, soon afterwards, with the king's licence, purchased this manor, with those of Wall, and Esture, of the crown, towards the endowment of St. Stephen's chapel, in the king's palace of Westminster, all which was confirmed by king Henry IV. and VI. and by king Edward IV. in their first years; the latter of whom, in his 7th year, granted to them a fair in this town yearly, on the feast of St. John Port Latin, together with all liberties, and to have a steward to hold the court of it, &c. In which situation they continued till the 1st year of Edward VI. when this collegiate chapel was, with all its possessions, surrendered into the king's hands, where these manors did not continue long; for that king, in his 3d year, granted the manor of Esshetford, with that of Wall, and the manor of Esture, to Sir Anthony Aucher, of Otterden, to hold in capite; and he, in the 2d and 3d of Philip and Mary, sold them to Sir Andrew Judde, of London, whose daughter and at length heir Alice, afterwards carried them in marriage to Thomas Smith, esq. of Westenhanger, commonly called the Customer, who died possessed of them in 1591, and lies buried in the south cross of this church, having had several sons and daughters, of, whom Sir John Smythe, of Ostenhanger, the eldest, succeeded him here, and was sheriff anno 42 Elizabeth. Sir Thomas Smith, the second son, was of Bidborough and Sutton at Hone, and ambassador to Russia, of whom and his descendants, notice has been taken in the former volumes of this history; (fn. 3) and Henry, the third son, was of Corsham, in Wiltshire, whence this family originally descended, and Sir Richard Smith, the fourth, was of Leeds castle. Sir John Smythe, above-mentioned, died in 1609, and lies buried in the same vault as his father in this church, leaving one son Sir Thomas Smythe, of Westenhanger, K. B. who was in 1628 created Viscount Strangford, of Ireland, whose grandson Philip, viscount Strangford, dying about 1709, Henry Roper, lord Teynham, who had married Catherine his eldest daughter, by his will, became possessed of the manors of Ashford, Wall, and Esture. By her, who died in 1711, he had two sons, Philip and Henry, successively lords Teynham; notwithstanding which, having the uncontrolled power in these manors vested in him, he, on his marriage with Anne, second daughter and coheir of Thomas Lennard, earl of Sussex, and widow of Richard Barrett Lennard, esq. afterwards baroness Dacre, settled them on her and her issue by him in tail male. He died in 1623, and left her surviving, and possessed of these manors for her life. She afterwards married the hon. Robert Moore, and died in 1755. She had by lord Teynham two sons, Charles and Richard-Henry, (fn. 4) Charles Roper, the eldest son, died in 1754 intestate, leaving two sons, Trevor-Charles and Henry, who on their mother's death became entitled to these manors, as coheirs in gavelkind, a recovery having been suffered of them, limiting them after her death to Charles Roper their father, in tail male; but being infants, and there being many incumbrances on these estates, a bill was exhibited in chancery, and an act procured anno 29 George II. for the sale of them; and accordingly these manors were sold, under the direction of that court, in 1765, to the Rev. Francis Hender Foote, of Bishopsborne, who in 1768 parted with the manor of Wall, alias Court at Wall, to John Toke, esq. of Great Chart, whose son Nicholas Roundell Toke, is the present possessor of it; but he died possessed of the manors of Ashford and Esture in 1773, and was succeeded in them by his eldest son John Foote, esq. now of Bishopsborne, the present owner of them. There are several copyhold lands held of the manor of Ashford. A court leet and court baron is regularly held for it.

 

THE TOWN OF ASHFORD stands most pleasant and healthy, on the knoll of a hill, of a gentle ascent on every side, the high road from Hythe to Maidstone passing through it, from which, in the middle of the town, the high road branches off through a pleasant country towards Canterbury. The houses are mostly modern and well-built, and the high-street, which has been lately new paved, is of considerable width. The markethouse stands in the centre of it, and the church and school on the south side of it, the beautiful tower of the former being a conspicuous object to the adjoining country. It is a small, but neat and chearful town, and many of the inhabitants of a genteel rank in life. Near the market place, is the house of the late Dr. Isaac Rutton, a physician of long and extensive practice in these parts, being the eldest son of Matthias Rutton, gent of this town, by Sarah his wife, daughter of Sir N. Toke, of Godinton. He died in 1792, bearing for his arms, Parted per fess, azure, and or, three unicorns heads, couped at the neck, counterchanged; since which, his eldest son, Isaac Rutton, esq. now of Ospringeplace, has sold this house to Mr. John Basil Duckworth, in whom it is now vested. In the midst of it is a large handsome house, built in 1759, by John Mascall, gent. who resided in it, and died possessed of it in 1769, and was buried in Boughton Aluph church, bearing for his arms, Barry of two, or, and azure, three inescutcheons, ermine; and his only son, Robert Mascall, esq. now of Ashford, who married the daughter of Jeremiah Curteis, esq. is the present owner, and resides in it. At the east end of the town is a seat, called Brooke-place, formerly possessed by the family of Woodward, who were always stiled, in antient deeds, gentlemen, and bore for their arms, Argent, a chevron, sable, between three grasshoppers, or; the last of them, Mr. John Woodward, gent. rebuilt this seat, and died possessed of it in 1757; of whose heirs it was purchased by Martha, widow of Moyle Breton, esq. of Kennington, whose two sons, the Rev. Moyle Breton, and Mr. Whitfield Breton, gent. alienated it to Josias Pattenson, esq. the second son of Mr. Josias Pattenson, of Biddenden, by Elizabeth, daughter and coheir of Felix Kadwell, esq. of Rolvenden; he married Mary, daughter of Mr. Henry Dering, gent. of this parish, and widow of Mr. John Mascall above-mentioned, by whom he has no issue, and he is the present owner of this seat, and resides in it. There have been barracks erected lately here, which at present contain 4000 soldiers. The market is held on a Saturday weekly, for the sale of corn, which is now but little used; and a market for the sale of all sorts of fat and lean stock on the first and third Tuesday in every month, which has been of great use to prevent monopolies. Two fairs are annually held now, by the alteration of the stile, on May 17, and Sept. 9, and another on Oct. 24; besides which, there is an annual fair for wool on August 2, not many years since instituted and encouraged by the principal gentry and landholders, which promises to prove of the greatest utility and benefit to the fair sale of it. That branch of the river Stour which rises at Lenham, runs along the southern part of this parish, and having turned a corn mill belonging to the lord of this manor, continues its course close at the east end of the town, where there is a stone bridge of four arches, repaired at the expence of the county, and so on northwards towards Wye and Canterbury. On the south side of the river in this parish, next to Kingsnoth, within the borough of Rudlow, is the yoke of Beavor, with the hamlet and farm of that name, possessed in very early times, as appears by the register of Horton priory, by a family of that name, one of whom, John Beavor, was possessed of it in the reign of Henry II. and was descended from one of the same furname, who attended the Conqueror in his expedition hither. The parish contains about 2000 acres of land, and three hundred and twenty houses, the whole rental of it being 4000l. per annum; the inhabitants are 2000, of which about one hundred are diffenters. The highways throughout it, which not many years ago were exceeding bad, have been by the unanimity of the inhabitants, which has shewn itself remarkable in all their public improvements, a rare instance in parochial undertakings, and by the great attention to the repairs of them, especially in such parts as were near their own houses, are now excellent. The lands round it are much upon a gravelly soil, though towards the east and south there are some rich fertile pastures, intermixed with arable land, and several plantations of hops; but toward the west, the soil is in general sand, having much quarrystone mixed with it, where there is a great deal of coppice wood, quite to Potter's corner, at the boundary of this parish.

 

The church, which is dedicated to St. Mary, is a large handsome building, consisting of three isles, with a transept, and three chancels, with the tower in the middle, which is losty and well proportioned, having four pinnacles at the top of it. There are eight bells in it, a set of chimes, and a clock. In the high chancel, on the north side, is the college John Fogge, the founder of the college here, who died in 1490, and his two wives, the brasses of their figures gone; but part of the inscription remains. And formerly, in Weever's time, there hung up in this chancel six atchievements, of those of this family whose burials had been attended by the heralds at arms, and with other ceremonies suitable to their degrees. Underneath the chancel is a large vault, full of the remains of the family. On the pavement in the middle, is a very antient curious gravestone, having on it the figure in brass of a woman, holding in her left hand a banner, with the arms of Ferrers, Six masctes, three and three, in pale; which, with a small part of the inscription round the edge, is all that is remaining; but there was formerly in brass, in her right hand, another banner, with the arms of Valoyns; over her head those of France and England quarterly; and under her feet a shield, being a cross, impaling three chevronels, the whole within a bordure, guttee de sang, and round the edge this inscription, Ici gift Elizabeth Comite D' athels la file sign de Ferrers . . . dieu asoil, qe morust le 22 jour d'octob. can de grace MCCCLXXV. Weever says, she was wife to David de Strabolgie, the fourth of that name, earl of Athol, in Scotland, and daughter of Henry, lord Ferrers, of Groby; and being secondly married to John Malmayns, of this county, died here in this town. Though by a pedigree of the family of Brograve, she is said to marry T. Fogge, esq. of Ashford; if so, he might perhaps have been her third husband. Near her is a memorial for William Whitfield, gent. obt. 1739. The north chancel belonged to Repton manor. In the vault underneath lay three of the family of Tuston, sometime since removed to Rainham, and it has been granted to the Husseys; Thomas Hussey, esq. of this town, died in 1779, and was buried in it. In the south chancel are memorials for the Pattensons, Whitfields, and Apsleys, of this place; and one for Henry Dering, gent. of Shelve, obt. 1752, and Hester his wife; arms, A saltier, a crescent for difference, impaling, on a chevron, between three persons, three crosses, formee; and another memorial for Thomasine, wife of John Handfield, obt. 1704. In the north cross are several antient stones, their brasses all gone, excepting a shield, with the arms of Fogge on one. At the end is a monument for John Norwood, gent. and Mary his wife, of this town, who lie with their children in the vault underneath. The south cross is parted off lengthways, for the family of Smith, lords of Ashford manor, who lie in a vault underneath. In it are three superb monuments, which, not many years since, were beautified and restored to their original state, by the late chief baron Smythe, a descendant of this family. One is for Thomas Smith, esq. of Westenhanger, in 1591; the second for Sir John Smythe, of Ostenhanger, his son, and Elizabeth his wife; and the third for Sir Richard Smyth, of Leeds castle, in 1628: all which have been already mentioned before. Their figures, at full length and proportion, are lying on, each of them, with their several coats of arms and quarterings blazoned. In the other part of this cross, is a memorial for Baptist Pigott, A. M. son of Baptist Pigott, of Dartford, and schoolmaster here, obt. 1657, and at the end of it, is the archbishop's consistory court. In the south isle is a memorial for Thomas Curteis, gent. obt. 1718, and Elizabeth his wife; arms, Curteis impaling Carter. Under the tower is one for Samuel Warren, vicar here forty-eight years, obt. 1720. The three isles were new pewed and handsomely paved in 1745. There are five galleries, and an handsome branch for candles in the middled isle; the whole kept in an excellent state of repair and neatness. There was formerly much curtious painted glass in the windows, particularly the figures of one of the family of Valoyns, his two wives and children, with their arms. In the south window of the cross isle, and in other windows, the figures, kneeling, of king Edward III. the black prince, Richard, duke of Gloucester, the lord Hastings. Sir William Haute, the lord Scales, Richard, earl Rivers, and the dutchess of Bedford his wife, Sir John Fogge, Sir John Peche, Richard Horne, Roger Manstone, and—Guildford, most of which were in the great west window, each habited in their surcoats of arms, not the least traces of which, or of any other coloured glass, are remaining throughout this church. Sir John Goldstone, parson of Ivechurch, as appears by his will in 1503, was buried in the choir of this church, and gave several costly ornaments and vestments for the use of it.

 

www.british-history.ac.uk/survey-kent/vol7/pp526-545

  

There are three Ashfords, really. The modern newtown, Swindonesque newbuilds stretching into the countryside; the Victorian railway town, all neat rows of brick buit houses and the station, and then there is the old town, timber-framed houses along narrow lanes, with St Mary standing towering above all but the modern office blocks.

 

The west end church was given over to a Christmas Fayre, but is also used now as a concert venue, while under the tower westwards is still in use as a church, with many of its ancient features left alone by the Victorians.

 

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A stately church in a good position set away from the hustle and bustle of this cosmopolitan town. The very narrow tower of 1475 is not visually satisfactory when viewed from a distance but its odd proportions are hardly noticed when standing at its base. The church is very much the product of the families who have been associated with it over the centuries and who are commemorated by monuments within. They include the Fogges and the Smythes. The former is supposed to have wanted to create a college of priests here, but by the late fifteenth century such foundations were going out of fashion and the remodelling of the church undertaken by Sir John Fogge may have just been a philanthropic cause. Unusually, when the church was restored in 1860 the architect Ewan Christian kept the galleries (he usually swept them away), but Christ Church had yet to be built and the population of this growing town would have needed all the accommodation it could get. Even in 1851 1000 people had attended the church in a single sitting. The pulpit, designed by Pearson, was made in 1897.

 

www.kentchurches.info/church.asp?p=Ashford+1

 

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THE TOWN AND PARISH OF ASHFORD

LIES the next adjoining to Hothfield eastward. It is called in Domesday both Estefort and Essetesford, and in other antient records, Eshetisford, taking its name from the river, which runs close to it, which, Lambarde says, ought not to be called the Stour, till it has passed this town, but Eshe or Eschet, a name which has been for a great length of time wholly forgotten; this river being known, even from its first rise at Lenham hither, by the name of the Stour only.

 

A small part only of this parish, on the east, south and west sides of it, containing the borough of Henwood, alias Hewit, lying on the eastern or further side of the river from the town, part of which extends into the parish of Wilsborough, and the whole of it within the liberty of the manor of Wye, and the borough of Rudlow, which adjoins to Kingsnoth and Great Chart, are in this hundred of Chart and Longbridge; such part of the borough of Rudlow as lies adjoining to Kingsnoth, is said to lie in in jugo de Beavor, or the yoke of Beavor, and is divided from the town and liberty by the river, near a place called Pollbay; in which yoke there is both a hamlet and a green or common, of the name of Beavor; the remainder of the parish having been long separated from it, and made a distinct liberty, or jurisdiction of itself, having a constable of its own, and distinguished by the name of the liberty of the town of Ashford.

 

ASHFORD, at the time of taking the general survey of Domesday, was part of the possessions of Hugo de Montfort, who had accompanied the Conqueror hither, and was afterwards rewarded with this estate, among many others in different counties; in which record it is thus entered, under the general title of his lands:

 

¶Maigno holds of Hugo (de Montfort) Estefort. Turgisus held it of earl Godwin, and it is taxed at one suling. The arable land is half a carucate. There is nevertheless in demesne one carucate, and two villeins having one carucate. There are two servants, and eight acres of meadow. In the time of king Edward the Confessor, it was worth twenty five shillings; when he received it, twenty shillings; now thirty shilling.

 

The same Hugo holds Essela. Three tenants held it of king Edward, and could go whither they would with their lands. It was taxed at three yokes. The arable land is one carucate and an half. There are now four villeins, with two borderers having one carucate, and six acres of meadow. The whole, in the reign of king Edward the Confessor, was worth twenty shillings, and afterwards fifteen shillings, now twenty shillings.

 

Maigno held another Essetisford of the same Hugo. Wirelm held it of king Edward. It was taxed at one suling. The arable land is four carucates. In demesne there are two, and two villeins, with fifteen borderers having three carucates. There is a church, and a priest, and three servants, and two mills of ten shillings and two pence. In the time of king Edward the Confessor it was worth seventy shillings, and afterwards sixty shillings, now one hundred shillings.

 

Robert de Montfort, grandson of Hugh abovementioned, favouring the title of Robert Curthose, in opposition to king Henry I. to avoid being called in question upon that account, obtained leave to go on a pilgrimage to Jerusalem, leaving his possessions to the king; by which means this manor came into the hands of the crown. Soon after which it seems to have come into the possession of a family, who took their name from it. William de Asshetesford appears by the register of Horton priory to have been lord of it, and to have been succeeded by another of the same name. After which the family of Criol became owners of it, by whom it was held by knight's service of the king, in capite, by ward to Dover castle, and the repair of a tower in that castle, called the Ashford tower. (fn. 1) Simon de Criol, in the 27th and 28th year of Henry III. obtained a charter of free warren for this manor, whose son William de Criol passed it away to Roger de Leyborne, for Stocton, in Huntingdonshire, and Rumford, in Essex. William de Leyborne his son, in the 7th year of king Edward I. claimed and was allowed the privilege of a market here, before the justices itinerant. He died possessed of this manor in the 3d year of Edward II. leaving his grand-daughter Juliana, daughter of Thomas de Leyborne, who died in his father's life-time, heir both to her grandfather and father's possessions, from the greatness of which she was stiled the Infanta of Kent, (fn. 2) though thrice married, yet she died s. p. by either of her husbands, all of whom she survived, and died in the 41st year of Edward III. Upon which this manor, among the rest of her estates, escheated to the crown, and continued there till king Richard II. vested it, among others, in feoffees, for the performance of certain religious bequests by the will of king Edward III. then lately deceased; and they, in compliance with it, soon afterwards, with the king's licence, purchased this manor, with those of Wall, and Esture, of the crown, towards the endowment of St. Stephen's chapel, in the king's palace of Westminster, all which was confirmed by king Henry IV. and VI. and by king Edward IV. in their first years; the latter of whom, in his 7th year, granted to them a fair in this town yearly, on the feast of St. John Port Latin, together with all liberties, and to have a steward to hold the court of it, &c. In which situation they continued till the 1st year of Edward VI. when this collegiate chapel was, with all its possessions, surrendered into the king's hands, where these manors did not continue long; for that king, in his 3d year, granted the manor of Esshetford, with that of Wall, and the manor of Esture, to Sir Anthony Aucher, of Otterden, to hold in capite; and he, in the 2d and 3d of Philip and Mary, sold them to Sir Andrew Judde, of London, whose daughter and at length heir Alice, afterwards carried them in marriage to Thomas Smith, esq. of Westenhanger, commonly called the Customer, who died possessed of them in 1591, and lies buried in the south cross of this church, having had several sons and daughters, of, whom Sir John Smythe, of Ostenhanger, the eldest, succeeded him here, and was sheriff anno 42 Elizabeth. Sir Thomas Smith, the second son, was of Bidborough and Sutton at Hone, and ambassador to Russia, of whom and his descendants, notice has been taken in the former volumes of this history; (fn. 3) and Henry, the third son, was of Corsham, in Wiltshire, whence this family originally descended, and Sir Richard Smith, the fourth, was of Leeds castle. Sir John Smythe, above-mentioned, died in 1609, and lies buried in the same vault as his father in this church, leaving one son Sir Thomas Smythe, of Westenhanger, K. B. who was in 1628 created Viscount Strangford, of Ireland, whose grandson Philip, viscount Strangford, dying about 1709, Henry Roper, lord Teynham, who had married Catherine his eldest daughter, by his will, became possessed of the manors of Ashford, Wall, and Esture. By her, who died in 1711, he had two sons, Philip and Henry, successively lords Teynham; notwithstanding which, having the uncontrolled power in these manors vested in him, he, on his marriage with Anne, second daughter and coheir of Thomas Lennard, earl of Sussex, and widow of Richard Barrett Lennard, esq. afterwards baroness Dacre, settled them on her and her issue by him in tail male. He died in 1623, and left her surviving, and possessed of these manors for her life. She afterwards married the hon. Robert Moore, and died in 1755. She had by lord Teynham two sons, Charles and Richard-Henry, (fn. 4) Charles Roper, the eldest son, died in 1754 intestate, leaving two sons, Trevor-Charles and Henry, who on their mother's death became entitled to these manors, as coheirs in gavelkind, a recovery having been suffered of them, limiting them after her death to Charles Roper their father, in tail male; but being infants, and there being many incumbrances on these estates, a bill was exhibited in chancery, and an act procured anno 29 George II. for the sale of them; and accordingly these manors were sold, under the direction of that court, in 1765, to the Rev. Francis Hender Foote, of Bishopsborne, who in 1768 parted with the manor of Wall, alias Court at Wall, to John Toke, esq. of Great Chart, whose son Nicholas Roundell Toke, is the present possessor of it; but he died possessed of the manors of Ashford and Esture in 1773, and was succeeded in them by his eldest son John Foote, esq. now of Bishopsborne, the present owner of them. There are several copyhold lands held of the manor of Ashford. A court leet and court baron is regularly held for it.

 

THE TOWN OF ASHFORD stands most pleasant and healthy, on the knoll of a hill, of a gentle ascent on every side, the high road from Hythe to Maidstone passing through it, from which, in the middle of the town, the high road branches off through a pleasant country towards Canterbury. The houses are mostly modern and well-built, and the high-street, which has been lately new paved, is of considerable width. The markethouse stands in the centre of it, and the church and school on the south side of it, the beautiful tower of the former being a conspicuous object to the adjoining country. It is a small, but neat and chearful town, and many of the inhabitants of a genteel rank in life. Near the market place, is the house of the late Dr. Isaac Rutton, a physician of long and extensive practice in these parts, being the eldest son of Matthias Rutton, gent of this town, by Sarah his wife, daughter of Sir N. Toke, of Godinton. He died in 1792, bearing for his arms, Parted per fess, azure, and or, three unicorns heads, couped at the neck, counterchanged; since which, his eldest son, Isaac Rutton, esq. now of Ospringeplace, has sold this house to Mr. John Basil Duckworth, in whom it is now vested. In the midst of it is a large handsome house, built in 1759, by John Mascall, gent. who resided in it, and died possessed of it in 1769, and was buried in Boughton Aluph church, bearing for his arms, Barry of two, or, and azure, three inescutcheons, ermine; and his only son, Robert Mascall, esq. now of Ashford, who married the daughter of Jeremiah Curteis, esq. is the present owner, and resides in it. At the east end of the town is a seat, called Brooke-place, formerly possessed by the family of Woodward, who were always stiled, in antient deeds, gentlemen, and bore for their arms, Argent, a chevron, sable, between three grasshoppers, or; the last of them, Mr. John Woodward, gent. rebuilt this seat, and died possessed of it in 1757; of whose heirs it was purchased by Martha, widow of Moyle Breton, esq. of Kennington, whose two sons, the Rev. Moyle Breton, and Mr. Whitfield Breton, gent. alienated it to Josias Pattenson, esq. the second son of Mr. Josias Pattenson, of Biddenden, by Elizabeth, daughter and coheir of Felix Kadwell, esq. of Rolvenden; he married Mary, daughter of Mr. Henry Dering, gent. of this parish, and widow of Mr. John Mascall above-mentioned, by whom he has no issue, and he is the present owner of this seat, and resides in it. There have been barracks erected lately here, which at present contain 4000 soldiers. The market is held on a Saturday weekly, for the sale of corn, which is now but little used; and a market for the sale of all sorts of fat and lean stock on the first and third Tuesday in every month, which has been of great use to prevent monopolies. Two fairs are annually held now, by the alteration of the stile, on May 17, and Sept. 9, and another on Oct. 24; besides which, there is an annual fair for wool on August 2, not many years since instituted and encouraged by the principal gentry and landholders, which promises to prove of the greatest utility and benefit to the fair sale of it. That branch of the river Stour which rises at Lenham, runs along the southern part of this parish, and having turned a corn mill belonging to the lord of this manor, continues its course close at the east end of the town, where there is a stone bridge of four arches, repaired at the expence of the county, and so on northwards towards Wye and Canterbury. On the south side of the river in this parish, next to Kingsnoth, within the borough of Rudlow, is the yoke of Beavor, with the hamlet and farm of that name, possessed in very early times, as appears by the register of Horton priory, by a family of that name, one of whom, John Beavor, was possessed of it in the reign of Henry II. and was descended from one of the same furname, who attended the Conqueror in his expedition hither. The parish contains about 2000 acres of land, and three hundred and twenty houses, the whole rental of it being 4000l. per annum; the inhabitants are 2000, of which about one hundred are diffenters. The highways throughout it, which not many years ago were exceeding bad, have been by the unanimity of the inhabitants, which has shewn itself remarkable in all their public improvements, a rare instance in parochial undertakings, and by the great attention to the repairs of them, especially in such parts as were near their own houses, are now excellent. The lands round it are much upon a gravelly soil, though towards the east and south there are some rich fertile pastures, intermixed with arable land, and several plantations of hops; but toward the west, the soil is in general sand, having much quarrystone mixed with it, where there is a great deal of coppice wood, quite to Potter's corner, at the boundary of this parish.

 

The church, which is dedicated to St. Mary, is a large handsome building, consisting of three isles, with a transept, and three chancels, with the tower in the middle, which is losty and well proportioned, having four pinnacles at the top of it. There are eight bells in it, a set of chimes, and a clock. In the high chancel, on the north side, is the college John Fogge, the founder of the college here, who died in 1490, and his two wives, the brasses of their figures gone; but part of the inscription remains. And formerly, in Weever's time, there hung up in this chancel six atchievements, of those of this family whose burials had been attended by the heralds at arms, and with other ceremonies suitable to their degrees. Underneath the chancel is a large vault, full of the remains of the family. On the pavement in the middle, is a very antient curious gravestone, having on it the figure in brass of a woman, holding in her left hand a banner, with the arms of Ferrers, Six masctes, three and three, in pale; which, with a small part of the inscription round the edge, is all that is remaining; but there was formerly in brass, in her right hand, another banner, with the arms of Valoyns; over her head those of France and England quarterly; and under her feet a shield, being a cross, impaling three chevronels, the whole within a bordure, guttee de sang, and round the edge this inscription, Ici gift Elizabeth Comite D' athels la file sign de Ferrers . . . dieu asoil, qe morust le 22 jour d'octob. can de grace MCCCLXXV. Weever says, she was wife to David de Strabolgie, the fourth of that name, earl of Athol, in Scotland, and daughter of Henry, lord Ferrers, of Groby; and being secondly married to John Malmayns, of this county, died here in this town. Though by a pedigree of the family of Brograve, she is said to marry T. Fogge, esq. of Ashford; if so, he might perhaps have been her third husband. Near her is a memorial for William Whitfield, gent. obt. 1739. The north chancel belonged to Repton manor. In the vault underneath lay three of the family of Tuston, sometime since removed to Rainham, and it has been granted to the Husseys; Thomas Hussey, esq. of this town, died in 1779, and was buried in it. In the south chancel are memorials for the Pattensons, Whitfields, and Apsleys, of this place; and one for Henry Dering, gent. of Shelve, obt. 1752, and Hester his wife; arms, A saltier, a crescent for difference, impaling, on a chevron, between three persons, three crosses, formee; and another memorial for Thomasine, wife of John Handfield, obt. 1704. In the north cross are several antient stones, their brasses all gone, excepting a shield, with the arms of Fogge on one. At the end is a monument for John Norwood, gent. and Mary his wife, of this town, who lie with their children in the vault underneath. The south cross is parted off lengthways, for the family of Smith, lords of Ashford manor, who lie in a vault underneath. In it are three superb monuments, which, not many years since, were beautified and restored to their original state, by the late chief baron Smythe, a descendant of this family. One is for Thomas Smith, esq. of Westenhanger, in 1591; the second for Sir John Smythe, of Ostenhanger, his son, and Elizabeth his wife; and the third for Sir Richard Smyth, of Leeds castle, in 1628: all which have been already mentioned before. Their figures, at full length and proportion, are lying on, each of them, with their several coats of arms and quarterings blazoned. In the other part of this cross, is a memorial for Baptist Pigott, A. M. son of Baptist Pigott, of Dartford, and schoolmaster here, obt. 1657, and at the end of it, is the archbishop's consistory court. In the south isle is a memorial for Thomas Curteis, gent. obt. 1718, and Elizabeth his wife; arms, Curteis impaling Carter. Under the tower is one for Samuel Warren, vicar here forty-eight years, obt. 1720. The three isles were new pewed and handsomely paved in 1745. There are five galleries, and an handsome branch for candles in the middled isle; the whole kept in an excellent state of repair and neatness. There was formerly much curtious painted glass in the windows, particularly the figures of one of the family of Valoyns, his two wives and children, with their arms. In the south window of the cross isle, and in other windows, the figures, kneeling, of king Edward III. the black prince, Richard, duke of Gloucester, the lord Hastings. Sir William Haute, the lord Scales, Richard, earl Rivers, and the dutchess of Bedford his wife, Sir John Fogge, Sir John Peche, Richard Horne, Roger Manstone, and—Guildford, most of which were in the great west window, each habited in their surcoats of arms, not the least traces of which, or of any other coloured glass, are remaining throughout this church. Sir John Goldstone, parson of Ivechurch, as appears by his will in 1503, was buried in the choir of this church, and gave several costly ornaments and vestments for the use of it.

 

www.british-history.ac.uk/survey-kent/vol7/pp526-545

  

THe vicar and wardens at Ss Peter and Paul had arranged many events in the church, and there were many visitors when I arrived. Would I like to go up the tower I was asked when I walked in. I believe I would.

 

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It is difficult to date accurately the first church building in Stoke, but we know from Edwards Hasteds ‘History of Kent’ published in 1798 the early history of the church: Stoke itself was given to the See of Rochester by Eadberht, King of Kent, sometime between 664 and 673 AD “for the good of his soul and for the remission of his sins.” This makes it one of the first donations of land to the church. It is likely that there were some settlements here in Roman times and that there were some salt workings on the marshes even in those days. In Saxon times Stoke was an important place, as we know by its name. In those days it was called Andschohesham, a “ham on the stockaded land.” In early Saxon days a place protected by a stockade would attract people needing a refuge for their cattle. It would become more important than a settlement ending with a “ton” or “ham.” Later the name was shortened to Estoches and it is recorded under this name in the Domesday Book of 1086. The entry for Stoches or Stoke states that there was a church with four servants and four acres of meadows. This and all the other land and villeins (a feudal tenant entirely subject to a lord or manor to whom he paid dues and services in return for land) were held by the Bishop of Rochester, (Picture above left Rena Pitsilli-Graham).

The earliest parts of the church, possibly the Nave, Chancel and aisles, date from the late 12th century. A report by the Canterbury Archaeological Trust (CAT) (Linklater 2010) gives a broad outline of the history of the building and indicates that the Naves arcades are also of this date with the north arcade perhaps being slightly later but “only by 20 years or so” Stoke church was dedicated only to St. Peter until at least 1524, with St Paul added some time after that. The Edward Hasted history still refers to it as St Peter only in 1789. The position of the church is due to the people of the village settling on the high ground above the Saltings. The village developed as scattered housing on the margins of the firm ground above the reaches of the highest tides, although the lower land was probably farmed as it would be very fertile. The oldest part of the present church dates from about 1175. However from earlier historical records of the building it is difficult to establish whether the South or the north aisle is thought to be the earliest. Historians have written that “the pillars of the south arcade are Norman, Octagonal and carry the massive quality so usual in Norman Work.” However, you will see the octagonal pillars are actually on the north side of the church and the south arcade has rounder squatter pillars, with arches of similar style. Another historian claims that it is this aisle which is the oldest, with Norman transition pillars, capitals and arches. It would certainly appear to be uncertain.

 

The Font at the rear of the south aisle is a circular tub shape, which has been claimed to be Norman, although others believe it to be Saxon; it is dated as 13th century by the listing description. Its simple shape and workmanship certainly incline to an earlier Saxon time, but at this stage it is unlikely to be established one way or the other.

 

he next addition was the other arcade and aisle, presumably on the north side. The original lancet window is still here, but the present glass is of a much more recent date. The chancel dates from the same date as the lancet window. Within the chancel is an ornamental stone coffin lid, near to the altar on the north side, while on the South side is the outline of the priest’s door, which would have led to a separate chapel dedicated to the Blessed Virgin Mary. On the same wall is a piscine niche with a foliated canopy.

 

In the South Aisle is a piscine with a fox and a lion head, the lion putting it’s tongue out . This is fourteenth century work, which supports the view that the south aisle was once the chantry for Malmaynes Hall, granted to the manor of Malmaynes Hall around 1380, and below the aisle was the family vault.

 

Many centuries later when the roof was being repaired the vault become flooded, and this is popularly supposed to have caused the pillar closest to the east window to have tilted out of true.

The fifteenth century was a busy time for the fabric of the church, with two windows in the north aisle being added, and the window above the font. The glass in these has been replaced at later dates. Most of the roof timbers date from this time. , as do the north and south door. The present door in the south wall is a modern addition, donated by the Royal Engineers, based in the Medway towns.

 

The Canterbury Archaeological Trust (CAT) (Linklater 2010) report states that the Tower may be as early as the 14th century, (there were bequests for the building work from 1479 onwards) and it may have been repaired or extended in the early part of the 16th century. The tower itself stands, but the steeple was never built, despite many donations from the people of Stoke and benefactors from further afield. The reason has never been fully explained. The tower seems to have been built or rebuilt from 1470 to 1550, and it may be that all the monies donated were used to build the tower. Some believe that the Reformation intervened and that the work was abandoned. Others believe that the siting of a steeple so close to the estuary would have been too dangerous, acting as a beacon to invaders. Whatever the reason, no steeple has ever been added to the tower, which at least gives us the opportunity to climb the 53 steps to enjoy the panoramic views from the top. Within the tower is the belfry, with three bells. These have were restored in 1980’s along with parts of the bell frame at a cost of many thousands of pounds.

 

The vault discovered in the vault centre of the South Aisle in 2009 has been shown to be an unusual double chamber, at 4.2 metres long, occupying the centre of the Aisle. This is thought to date from the 17-18th century. Substantial burials have been found to the East of the Aisle externally.

 

Over the last four centuries little new work has been added to the church, but various repairs have been carried out, including a major restoration programme in 1898 of the roofs and floors as described in a newspaper article of the time (see left). The architect was FC Lees of Victoria Street, Westminster. It appears that a North Porch was in existence and was either rebuilt or remodelled after 1898 according to the article. (See the restoration pages for details of works starting in 2014)

Over the years the glass in the windows has been replaced and there appears little or no documentation about the original or subsequent glass. In the lancet window in the north aisle there is a beautiful glass showing three pomegranates in tones of blue, turquoise and gold, (See picture right, Rena Pitsilli-Graham)

Nearby is a window designed and donated by Mrs Marjorie Crofts, depicting St. Francis of Assissi with rushes, poppies, and white dove and a kingfisher. This was made by Maile Studios of Canterbury and presented in 1995.

 

The main east window in the chancel is dedicated to the Goord family and dates from 1938. It was made by Celtic Studios of Swansea, a small studio founded in 1933 by Howard Martin and his cousin Hubert Thomas. They designed and made stained glass windows for houses, a cinema, a pub, chapels and churches and there is a large amount of their work in Toronto, Canada. The window here cost £409.10s and shows St. Peter and St. Paul with Christ in the centre panel. St Peter is holding two keys and St Pauls is holding a sword. No other examples of stained glass exist in the church.

 

Outside the church is a pretty lych gate in the boundary wall surrounding the churchyard. The wooden gates were given by the Bett family in 1995 in memory of Phillip Bett, a long standing and devoted church warden and servant of the church, (see pictures left, J Plumb).

On the outside wall by the south door is a holy water stoup, dating back some centuries. The church walls are constructed mostly of random rubble Kentish Ragstone. The church was listed Grade 1 in 1966. National Heritage defines this as 'of exceptional interest, sometimes considered to be internationally important; only 2.5% of listed buildings are Grade I.'

 

www.stpeterstpaulupperstoke.com/history

 

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THE last parish undescribed in this hundred, lies the next southward from that of Alhallows. A small part of it is within the hundred of Shamel. This place, as appears by the Textus Roffensis, was called Andscohesham in the time of the Saxons. In Domesday it is called Estoches and Stoches; and in later deeds by its present name of Stoke.

 

EADBERHT, king of Kent, gave part of his land for the good of his soul, and the remission of his sins, to the bishopric of St. Andrew, in Rochester, and Ealdulf, bishop of it, in the district called Hohg, at a place there called Andscohesham, containing, by estimation, ten ploughlands, together with all things belonging to it, in fields, woods, meadows, fisheries, saltpans, &c. according to the known and established bounds of it; which gift was confirmed by archbishop Nothelm and king Æthelberht, in the metropolitical city, in 738. This estate was afterwards wrested from the church of Rochester during the troublesome times of the Danish wars, and was afterwards purchased by earl Godwin of two men, who held it of the bishop of Rochester, and sold it without the bishop's knowledge. The earl was succeeded in it by his eldest son, earl Harold, afterwards king of England, after whose death, William the Conqueror attaining the crown, seised on all the late king's estates, and gave this manor, together with other land at Stoke, among other premises, to Odo, bishop of Baieux, his half brother. But Lanfranc, archbishop of Canterbury, recovered the manor of Stoke from him, in the solemn assembly held at Pinenden-heath, in 1076, and afterwards restored it, with its church, to Gundulph, bishop of Rochester, and the church of St. Andrew, (fn. 1) which gift was confirmed by archbishop Anselm, and by several of his successors, archbishops of Canterbury.

 

The manor of Stoke is thus described in the general survey of Domesday, taken about four years afterwards, under the general title of the bishop of Rochester's lands.

 

In How hundred. The same bishop (of Rochester) holds Estoches. In the time of king Edward the Confessor, it was taxed at five sulings, and now at three. The arable land is five carucates. In demesne there are two carucates, and 10 villeins, with five borderers, having 4 carucates. There is a church, and 4 servants, and 4 acres of meadow. In the time of king Edward, and afterwards, and now it was, and is worth eight pounds and 20 pence, and yet he who holds it pays 13 pounds and 20 pence.

 

This manor was, and is belonging to the bishopric of Rochester; but earl Godwin, in the time of king Edward, bought it of two men, who held it of the bishop, and this sale was made without his knowledge.

 

But after that, William being king, Lanfranc the archbishop recovered it against the bishop of Baieux, and from thence the church of Rochester is now seised of it.

 

Gundulph, bishop of Rochester, having divided the revenues of his church between himself and his convent, allotted this manor to the share of the monks, ad victum, that is, to the use of their refectory; (fn. 2) and the same was confirmed to them, by several of the succeeding kings, archbishops, and bishops of Rochester. (fn. 3)

 

On bishop Gilbert de Glanvill's coming to the see of Rochester in 1185, he found it much impoverished, by the gifts of several of the best estates belonging to it made by bishop Gundulph, to the monks of his priory. This occasioned a dispute between them, the bishop claiming this manor, among others, as having belonged to the maintenance of his table. In consequence of which, though he wrested the church of Stoke from them, yet they continued in possession of this manor, with its appendages, till the dissolution of the priory in the reign of king Henry VIII.

 

In the 7th year of king Edward I. the bishop of Rochester claimed certain liberties, by the grant of king Henry I. in all his lands and fees, and others by antient custom, in the lands of his priory in Stoke, and other lands belonging to his church; (fn. 4) which were allowed by the jury, as they were again in the 21st year of that reign, upon a Quo warranto; and again in the 7th year of king Edward II. and they were confirmed by letters of inspeximus, granted by king Edward III. in his 30th year. In the 21st year of king Edward I. on another Quo warranto, the prior of Rochester claimed that he and his predecessors had, in the manors of Stoke, &c. view of frank-pledge, from beyond memory, which was allowed by the jury. He also claimed free-warren, by grant from Henry I. but the jury found that neither he nor his predecessors had used it, therefore it was determined, that they should remain without that liberty, but king Edward I. by his charter, in his 23d year, granted that liberty to the prior and convent in all their demesne lands of this manor, among others; so that no one should enter on them, either to hunt, or to take any thing which belonged to warren, without their licence, on the forfeiture of ten pounds. In the 15th year of king Edward I. the manor of Stoke was valued at nine pounds.

 

On the dissolution of the priory of Rochester in the 32d year of king Henry VIII. this manor was surrendered, with the other possessions of it, into the king's hands, who presently after, in his 33d year, settled it, on his new-founded dean and chapter of Rochester, with whom the inheritance of it continues at this time.

 

There is a court-leet and court-baron held for this manor.

 

In 1720, Jacob Sawbridge, one of the South-Sea directors, purchased the lease of the manor-farm of Stoke, under the yearly rent of twenty eight pounds, clear of all taxes, the rack rent of which, was ninety pounds per annum. The present lessee is the Right Hon. John, earl of Darnley.

 

TUDERS, formerly spelt Teuders, is a manor in this parish, which antiently was held of the bishop of Rochester, as of his manor of Stoke.

 

In the 12th year of king John, this estate was held by Hugo de Stokes, as half a knight's fee, of the bishop of Rochester, by knight's service. (fn. 5) His descendant, Theodore de Stokes, afterwards possessed it, (fn. 6) and ingrafted his name on it; for from that time this manor was called Theodores, and for shortness, Tudors; and Philipott says, he had seen an antient roll of Kentish arms, wherein Tudor of Stoke bore the same coat armour with Owen Theodore, vulgarly called Tuder, being Azure, a chevron between four helmets argent.

 

After this name was extinct here, this manor came into that of Woodward; one of whom, Edward Woodward, possessed it at the latter end of Henry VIII's reign. His descendant, in the beginning of the reign of queen Elizabeth, conveyed it to John Wilkins gent. of Stoke parsonage, who died in the 19th year of that reign, and was succeeded in it by his kinsman and heir, George Wilkins, gent. who married Elizabeth, one of the daughters of Mr. John Copinger, of Alhallows, by whom he left no issue. He lies buried in this church. His arms were, Gules, on a chevron argent, a demi lion between two martlets sable, between three welk shells or; one of whose descendants, about the beginning of king Charles I's reign, alienated it to Bright, and Edward Bright, clerk, died possessed of it in the year 1670, on which this estate, by virtue of a mortgage term, passed into the possession of William Norcliffe, esq. of the Temple, London, whose widow possessed it after his decease, and since her death it is become the property of the Rev. Mr. Henry Southwell, of Wisbeach, in the Isle of Ely, who is the present owner of it.

 

Hugo de Stokes, owner of this manor in the reign of king Stephen, gave the tithes of it to the monks of St. Andrew's, in Rochester, to whom it was confirmed by archbishop Theobald, and the prior and convent of Canterbury, (fn. 7) and by several bishops of Rochester. (fn. 8)

 

At the dissolution of the priory, in the 32d year of king Henry VIII. this portion of tithes, together with the rest of the possessions of the monastery, was surrendered into the king's hands, who settled it next year, on his new-erected dean and chapter of Rochester, where it now remains.

 

This portion of tithes, called Tudor's portion, was surveyed soon after the death of king Charles I. in 1649, when it was returned, that the same arose out of the tenement of Tudors, and several other tenements, called Bartons, in the parish of Stoke, with six fields, containing by estimation, fifty-three acres; the improved value of which premises was five pounds per annum, all which were let by the late dean and chapter, anno 3 king Charles I. to Sarah Wilkins, at 6s. and 8d. per annum.

 

The present lessee is Baldwin Duppa Duppa, of Hollingborne, in this county.

 

MALMAYNES is a manor in this parish, now commonly known by the name of Maamans Hall, which was given, as well as that of Stoke, by the Conqueror, at his accession to the crown, to his half-brother, Odo, as has been already mentioned; and when archbishop Lanfranc recovered the latter from the bishop, at the noted assembly of the county at Pinenden, as having before belonged to the church of Rochester, this manor was then likewise in his possession. Accordingly it is thus entered in the survey of Domesday, under the general title of that prelate's lands:

 

The same Ansgotus (de Rochester) holds of the bishop (of Baieux) Stoches. It was taxed at two sulings. The arable land is two carucates, and there are in demesne . . . with seven borderers. There is one fishery of two shillings. In the time of king Edward, and afterwards, it was worth one hundred shillings, now one hundred and ten shillings. Anschil held it of king Edward.

 

On the disgrace of the bishop of Baieux in 1083, this, among the rest of his estates, was confilcated to the crown. After which it became part of the possessions of the family of Malmaines, a branch of which resided here, and fixed their name on it. John de Malmaines, son of Henry, died possessed of it in the 10th year of king Edward II. In the 20th year of king Edward III. the heirs of Thomas de Malmayns, of Hoo, paid aid for three quarters of a knight's fee, which John Malmayns before held here of the king.

 

Richard Filiot seems soon afterwards to have been in possession of this manor, which passed from him into the family of Carew, and Nicholas Carew, of Bedington, in Surry, died possessed of it in the 14th year of king Richard II. His son, Nicholas de Careu, armiger, de Bedington, as he wrote himself, (fn. 9) in the 9th year of king Henry V. conveyed this manor by sale to Iden; from which name it passed, in the latter end of king Henry VIII's reign, to John Parker, whose arms were, Sable, on a fess ingrailed argent, between three hinds tripping or, three torteauxes, each charged with a pheon of the second, which coat is now quartered by lord Teynham. (fn. 10) His sole daughter and heir, Elizabeth, carried it in marriage to John Roper, esq. of Linsted, who was first knighted, and afterwards created baron of Teynham, in this county. His son, Christopher, lord Teynham, died in 1622, and by his will devised this manor to his second son, William Roper, esq. who alienated it, in the reign of king Charles I. to Jones, in whose descendants it continued till the reign of king George I. when it passed by sale from them to Baldwin Duppa, esq. who died in 1737, and his son, Baldwin Duppa, esq. of Hollingborne-hill, possessed it at his death in 1764, since which it has continued in the same family the present owner, being Baldwin Duppa Duppa, esq. of that place.

 

Sir John Malmeyns, of this parish, in 1303, made his petition to Robert, abbot, and the convent of Boxley, appropriators of this church; that as he was, on account of his house being situated at such a distance from the parish church, often prevented from attending divine service there, he might be enabled to build an oratory, for himself and his family, on his own estate, and might have a priest to celebrate divine services in it. To which the abbot and convent assented, provided, as far as might be, no prejudice might by it accrue to the mother church, themselves, or the vicars of it, which licence was confirmed by Thomas, bishop of Rochester, that year.

 

RALPH MALESMÆINS, about the reign of king Henry I. became a monk of the priory of St. Andrew, in Rochester, and on that account granted to the monks there his tithes of Stoches; and after his death Robert Malesmæins, his son, confirmed it, as did Theobald, archbishop of Canterbury, Ralph, prior and the convent of Canterbury, and several of the succeeding bishops of Rochester.

 

At the dissolution of the priory of Rochester, in the 32d year of king Henry VIII. this portion of tithes was surrendered into the king's hands, who granted it the nextyear, by his dotation charter, to his new-erected dean and chapter of Rochester, where the inheritance of it now remains.

 

The present lessee, under the dean and chapter, is Baldwin Duppa Duppa, esq. of Hollingborne-hill.

 

Reginald de Cobham, son of John de Cobham, possessed lands in this parish, and in the 14th year of king Edward III. procured free-warren in all his demesne lands in Stoke.

 

King Henry VIII. in his 32d year, granted to George Brooke, lord Cobham, a marsh, called Coleman's, alias Bridge-marsh, lying in Oysterland, alias Eastland, in Stoke; and other premises, parcel of the priory of Christ-church, to hold in capite, by knights service.

 

CHARITIES.

 

RICHARD WHITE, of Chalk, gave by will in 1722, an annual sum of money to the poor of this parish not receiving alms, vested in Mr. John Prebble, and of the yearly product of ten shillings.

 

STOKE is within the ECCLESIASTICAL JURISDICTION of the diocese and deanry of Rochester. The church, is dedicated to St. Peter.

 

In the chancel are these brasses: one for John Wilkins, gentleman, born in this parish, married Elizabeth, daughter of John Coppinger, esq. of Alhallows, obt. s. p. 1575, arms, Wilkins impaling Coppinger, and other coats, one for William Cardiff, B. D. vicar, obt. 1415; another for Frances Grimestone, daughter of Ralph Coppinger, esq. and wife of Henry Grimestone, esq. obt. 1608.

 

This church was antiently an appendage to the manor of Stoke.

 

King Henry I. gave his tithe of Stoke to the church of St. Andrew, and Gundulph, bishop of Rochester, and when he allotted the manor of Stoke to the share of the monks of his convent, the church passed as an appendage to it, and it continued with them, till bishop Gilbert de Glanvill took this church, among other premises, from them, and annexed it again to his see, where it remained till Richard, bishop of Rochester, with the consent of his chapter, granted the appropriation of it to the abbot and convent of Boxley for ever; saving the portions of tithes, which the prior and convent used to take, from the demesnes of Sir Henry Malmeyns, and those arising from the free tenement of Theodore de Stokes, and the portion of four sacks of wheat due to the almoner of Rochester, and of four sacks of wheat due to the lessees of St. Bartholomew, which they used to take by the hands of the rector of the church, and which for the future they should receive by the hands of the abbot and convent, saving also all episcopal right, and a competent vicarage to be assessed by him, which instrument was dated in 1244. Soon after which, the bishop endowed this vicarage as follows:

 

First, he decreed, that the perpetual vicar of it should have all the altarage, with all small tithes, excepting hay, which should remain to the parson; and that he should have the chapel, and the cemetery of it, and the crost adjoining, and one mark of silver yearly, at the hand of the parson of Stoke, and that the vicar should sustain all burthens due and accustomed, and contribute a third part to the repair and amendment of the chancel, books, vestments, and other ornaments.

 

Richard, bishop of Rochester, in 1280, at the instance of the prior and convent of Rochester, made enquiry in what manner the monks used antiently to retain their tithes in their manors, and in what manner they used to impart them to the parish churches of the same, when it was certified, that in the manor of Stoke, the parish church took the whole tithes of sheaves only, but of other small tithes, as well as of mills and hay, it did not, nor used to take any thing; and he decreed, that the parish church of Stoke should be content with the tenths of the sheaves of all kind of corn only. All which was confirmed to them by John, archbishop of Canterbury, by his let of inspeximus, in the year 1281.

 

In 1315 the abbot and convent of Boxley, as appropriators of the church of Stoke, claimed an exemption of tithes for a mill newly erected by them in the parish of Halstow, for the herbage of their marsh of Horsemershe, and for the rushes increasing, and the lambs feeding in it, before Walter, archbishop of Canterbury, and his commissaries, then visiting this diocese, as metropolitan, which claim was allowed by the decree of the archbishop, &c. that year.

 

On the dissolution of the abbey of Boxley, in the 29th year of king Henry VIII. the church and vicarage of Stoke, together with the rest of the possessions of that monastery, were surrendered into the king's hands.

 

Soon after which, this rectory, with the advowson of the vicarage, was granted by the king to William Goodwyn, to hold in capite by knights service, and he, in the 36th year of that reign, alienated it with the king's licence, to John Parke, whose only daughter, Elizabeth, carried these premises in marriage to John Roper, esq. of Linsted, afterwards created lord Teynham; who in the 9th year of queen Elizabeth, alienated them to John Wilkins, gent. (fn. 11) who levied a fine of them in Easter term, anno 17 of that reign, and died possessed of them in the 19th year of it. He was succeeded in this parsonage and advowson by his kinsman and heir, George Wilkins, one of whose descendants, in the beginning of king Charles I's reign, alienated them to Bright, from which name they were sold to Baldwin Duppa, esq. since which they have passed in like manner as Malmains-hall, before described, to Baldwin Duppa Duppa, esq. the present proprietor of the parsonage and advowson of the vicarage of Stoke. The rectory of Stoke pays a fee farm to the church of ten shillings and eight-pence per annum.

 

The vicarage of Stoke is a discharged living in the king's books, of the clear yearly certified value of thirty pounds, the yearly tenths being 17s. 2d.

 

In 1650, this vicarage, on the survey then taken of it, was valued at forty pounds, (fn. 12) Mr. Thomas Miller, then incumbent.

 

¶NICHOLAS DE CARREU, senior, lord of the manor of Malmeynes, in this parish, with the licence of king Edward III. which was afterwards further renewed and confirmed by king Richard II. in the 12th year of that reign, anno 1388, founded A CHANTRY for two priests in this church of Stoke; and he then, by his deed, endowed it with one messuage and one acre of land, in this parish, for their habitation and their maintenance, an annual rent of twenty-four marcs out of his manor, called Malemeynesemanere, which was confirmed by William, bishop of Rochester, who with the consent of his convent, made rules and orders for their presentation and admission, from time to time, and for the good order and celebration of divine rites in it, to which instrument the bishop, the prior and convent of Rochester, Nicholas de Carreu, and John Maister, and John Buset, chantry priests, severally set their seals.

 

www.british-history.ac.uk/survey-kent/vol4/pp34-45

Given by Lilli Palmer.

"Balgowns - british glamour since 1950" - Victoria and Albert museum.

Paul Given, First Minister of Northern Ireland meets world leaders and others influentials in intragovernmental relationships at the Welcome to Glasgow Breakfast event at the Clydesdale Distillery for COP26. Photograph: Will Crowne/ UK Government

Wikipedia says:

 

Kuntur Wasi (Quechua kuntur condor, wasi house, "condor house") is the name given to the ruins of a religious center with complex architecture and stone sculptures, located in the Andean highlands of Peru.

 

It is believed the inhabitants had a link with the Chavín culture.

 

Kuntur Wasi is located in the Northern Mountain Range of Peru, specifically at the headwaters of the Jequetepeque River, in the region of the city of Cajamarca near the small town of San Pablo. The Jequetepeque valley provided a transportation corridor between the coastal region and the highlands.

 

Kuntur Wasi was a center where people congregated.

 

It is thought to have been constructed around 1000-700 BCE, during the Initial Period. The architecture consists of a hill-top temple, quadrangular platforms, a sunken courtyard, and series of rooms.

 

In the floor of one room there is an anthropomorphic figure made of clay, about 30 inches (75 cm) in height. It is painted with cinnabar red, malachite green, and black, yellow, and pink. Its face has big square eyes and a wide mouth with prominent canine teeth. There are also stepped platforms and funeral structures.

 

Lithosculptures have been found, similar to the Chavín style.

 

Kuntur Wasi was occupied between the years 1200-50 BC.

 

It was first discovered in 1945 by Julio C. Tello. In 1989, scientists from the University of Tokyo excavated four tombs at Kuntur Wasi. Valuable items, such as pectoral necklaces (decorative breastplates), gold crowns, ornamental stone beads, earrings, sets of dishes and iconographies of people were discovered in the burial area.

 

Since the beginning of the University of Tokyo's archaeological mission, eight tombs have been found in the area.

 

The Kuntur Wasi Museum, managed by local citizens, opened in 1994.

---------------

Según Wikipedia:

 

Kuntur Wasi es un sitio arqueológico que data del Formativo Inferior, se encuentra ubicado en el centro poblado del mismo nombre, en la provincia de San Pablo, en el departamento de Cajamarca, en el Perú.

 

En la lengua quechua Kuntur Wasi significa "Casa del Cóndor". Según el arqueológo japonés, Yoshio Onuki, estudioso principal de este sitio arqueológico, Kuntur Wasi es una expresión prechavín pero que posteriormente posee una gran influencia no solo de Chavín sino también de Cupisnique especialmente en la orfebrería y la cerámica.

  

Kuntur Wasi pasó por los siguientes periodos:

 

Fase Ídolo: Construcción del centro ceremonial con pisos enlucidos con cal de color blanco. En esta fase hay una cierta relación con Huacaloma y Pacopampa.

 

Fase Kuntur: Construcción de un nuevo complejo ceremonial en forma de U. Se desarrolla la cerámica fina y la orfebrería.

 

Fase Copa: Modificación del complejo arquitectónico ceremonial y la renovación del sistema de canales de drenaje.

 

Fase Sotera: Existe una relación con la Fase Layzón del valle de Cajamarca. Corresponde a la decadencia de Kuntur Wasi.

Given all of the recent news about a BIG pod of humpback whales in Monterey Bay, I made the decision yesterday to try and get out on a sailing with Monterey Bay Whale Watch to see this for myself. I was able to get on their boat that departed at 9am this morning, and I was not disappointed.

 

Spread over a sizable area of the northern side of the Monterey Bay we saw humpbacks scattered just about everywhere we looked. The guide on the boat estimated between 50 and 100 whales.

 

Humpbacks tend to keep a relatively low profile in the water - usually all you see of them is their blow-hole, humped back, and tail, and the most prominent sight for sure is the tail fluke as they dive (and we saw LOTs of this going on). We were lucky enough today to see some distant breaches (no pictures), and some "social" interactions such as tail and fin slapping on top of the usual surface, blow, arch and dive move of feeding whales. We also got to hear the whales, and smell their breath, thanks to the proximity of some of the whales as they surfaced.

 

It was a fantastic trip, and I am so glad I decided to go at short notice, for while we will be sailing with them on September 22, there are no guarantees all these whales will still be in the area then.

 

I have LOADS of pictures to go through, but here is a taster, straight out of the camera (apart from adding the watermark).

 

© 2013, John Krzesinski.

 

Did you know you can find me on Facebook? Check me out here.

The Verona Arena (Arena di Verona) is a Roman amphitheatre in Piazza Bra in Verona, Italy, which is internationally famous for the large-scale opera performances given there. It is one of the best preserved ancient structures of its kind. Amphitheatre

The building itself was built in AD 30 on a site which was then beyond the city walls. The ludi (shows and games) staged there were so famous that spectators came from many other places, often far away, to witness them. The amphitheatre could host more than 30,000 spectators in ancient times.

 

The round façade of the building was originally composed of white and pink limestone from Valpolicella, but after a major earthquake in 1117, which almost completely destroyed the structure's outer ring, except for the so-called "ala", the stone was quarried for re-use in other buildings. Nevertheless it impressed medieval visitors to the city, one of whom considered it to have been a labyrinth, without ingress or egress. Ciriaco d'Ancona was filled with admiration for the way it had been built and Giovanni Antonio Panteo's civic panegyric De laudibus veronae, 1483, remarked that it struck the viewer as a construction that was more than human. Musical theatre

The first interventions to recover the arena's function as a theatre began during the Renaissance. Some operatic performances were later mounted in the building during the 1850s, owing to its outstanding acoustics.

 

And in 1913, operatic performances in the arena commenced in earnest due to the zeal and initiative of the Italian opera tenor Giovanni Zenatello and the impresario Ottone Rovato. The first 20th-century operatic production at the arena, a staging of Giuseppe Verdi's Aida, took place on 10 August of that year, to mark the birth of Verdi 100 years before in 1813. Musical luminaries such as Puccini and Mascagni were in attendance. Since then, summer seasons of opera have been mounted continually at the arena, except in 1915â18 and 1940â45, when Europe was convulsed in war.

 

Nowadays, at least four productions (sometimes up to six) are mounted each year between June and August. During the winter months, the local opera and ballet companies perform at the L'Accademia Filarmonica.

 

Modern-day travellers are advised that admission tickets to sit on the arena's stone steps are much cheaper to buy than tickets giving access to the padded chairs available on lower levels. Candles are distributed to the audience and lit after sunset around the arena.

 

Every year over 500,000 people see productions of the popular operas in this arena.[3] Once capable of housing 20,000 patrons per performance (now limited to 15,000 because of safety reasons), the arena has featured many of world's most notable opera singers. In the post-World War II era, they have included Giuseppe Di Stefano, Maria Callas, Tito Gobbi and Renata Tebaldi among other names. A number of conductors have appeared there, too. The official arena shop has historical recordings made by some of them available for sale.

 

The opera productions in the Verona Arena had not used any microphones or loudspeakers until an electronic sound reinforcement system was installed in 2011.

 

In recent times, the arena has also hosted several concerts of international rock and pop bands, among which Laura Pausini, Pink Floyd, Alicia Keys, One Direction, Simple Minds, Duran Duran, Deep Purple, The Who, Dire Straits, Mike Oldfield, Rod Stewart, Sting, Pearl Jam, Radiohead, Peter Gabriel, Björk, Muse, Paul McCartney, Jamiroquai, and Whitney Houston.

 

In 1981, 1984 and 2010 it hosted the podium and presentation of the Giro d'Italia with thousands packing the arena to watch the prizes being handed out.

 

The 2011 Bollywood film Rockstar directed by Imtiaz Ali starring Ranbir Kapoor with music composed by Academy Award winner A.R.Rahman opens and closes with musical concerts shot here.

 

On 26 March 2013, Paul McCartney confirmed a show at the venue as part of his 2013 Tour. The show is scheduled to take place on Tuesday, 25 June 2013.

British-Irish boy band One Direction performed on 19 May 2013 as part of their Take Me Home Tour

Piazza Bra , or simply the Bra (a name derived from a corruption of the term "Braida", which in turn derives from the Lombard breit , or "off"), is the largest square in Verona , located in its center historian .

 

The square of Piazza Bra began to turn into only the first half of the sixteenth century , when the architect Michele San Micheli concluded the palace of Honorij : this building was to delimit the western side of the square of the future, as well as to establish a correct outlook on the ' Arena . The first attempt to transform the clearing dirt road instead of walking, however, was the mayor Alvise Mocenigo, who wanted to create a meeting place for the rising bourgeoisie Verona: he was able to inaugurate the first part of the Liston , a paved sidewalk that lines connecting the Bra Corso Porta Nuova in Via Mazzini , in 1770. La Gran Guardia , begun by the Venetians in the seventeenth century and completed by the Austrians in the ' Nineteenth Century , went to delimit the southern side of the square, while in 1836 the architect Giuseppe Barbieri designed the eastern edge, where a hospital were demolished, some houses and a church, which was built in place of the Gran Guardia Nuova , better known as Palazzo Barbieri. This, initially used as a barracks by the Austrians, became, as a result of ' annexation of Veneto to the Kingdom of Italy , the seat of the municipality of the City of Verona.

 

History

Origins

In Roman times , the place where you would then open the Bra was outside the city and yet away from the main roads. It is only since the first century AD, when it was built the ' amphitheater in the Roman Empire, better known as the Arena of Verona , who came to define the northern edge of what centuries later would become one of the main squares of Verona. In 305 the Emperor Galerius , during a short stay in the city, he opened a door along the walls which was built in 265 by the Emperor Gallienus , which surrounded the Arena went thus creating a first connection between the city and the place where later would be born Bra.

 

The square, however, began to abbozzarsi only in the Middle Ages: the walls of the city was enlarged at that point between 1130 and 1153, going to close so that piece of land that later would become, coming to have the size of a square. Those areas between the walls and the Roman city walls were called braide, from the Lombard breit ; the braida that could match the current Bra in the twelfth century was far more extensive than at the edge of the square today.

 

A door that the Braida along the city walls is already mentioned in a document dated 1257, but later his place was taken by the gates of the Bra , probably due to the Visconti and to the Venetians : the first arch is dated to the late fourteenth century and the second to the second half of the fifteenth century. The clock that is located between the two arches of the gates of the Bra was a gift of Count Antonio Nogarola made ââin 1871: it was installed with the dials is visible from one side on the other walls. The clock was inaugurated on June 2, 1872 and refurbished in 1879 because of its vagueness.

 

Development

Piazza Bra after the arrangement of the central gardens

Piazza Bra in the mid-twentieth century.

The Bra began to be defined as a square only in the first decade of the seventeenth century, when they started on the south side of the factories Gran Guardia and the seat of the ' Accademia Filarmonica of Verona . In conjunction with the factory della Gran Guardia became the leveling the square as possible, and also create some gradients to regulate the flow of stormwater, operation up to that time never practiced because the space was used by stonemasons, that here, as well as work, abandoning the resulting material, and because the clearing was used for the discharge of material from construction in progress in the area.

 

For others, one hundred and fifty years the space was in clay, in fact, only in 1770 the foundations were laid of Liston will of the mayor Alvise Mocenigo. On March 13, 1782 Francis Menegatti presented a project to the final lastricamento of Liston that the City Council approved and, after this surgery, the bra became the favorite place for afternoon walks in place of Piazza dei Signori . Goethe , in his essay Journey to Italy , describes enjoyed the arrival carriage with ladies and gentlemen, and said that the sunset loitered along the rim of the amphitheater enjoying the most beautiful views of the city. I insole and down on the pavement off the Bra 'walked a multitude of people .

 

The square was smoothed more times: in 1808 he was entrusted with the task of remaking the Liston architect Luigi Trezza and in 1820 excavations were carried out along the Arena, in order to bring to light the basis of the same, as it was buried about two feet because of the sediments that were deposited after the numerous floods that had undergone the city. He also opted for a lowering of the average level of Bra about 70 centimeters along a line slightly inclined from the Gran Guardia At Arena, lowering the share of Liston.

 

Plan of Bra in a drawing by Giuseppe Barbieri

As for the lighting, until the eighteenth century the bra at night was totally immersed in the dark; only in the nineteenth century were installed lights in oil and gas lighting in 1845, so that the Liston also became a place for evening strolls. Then important for the conformation of the square today, is the accommodation in the central part of the garden Bra occurred in 1873: the central gardens were created with three circles forming a triangle with a central fountain.

Between 1884 and 1951 the square was affected by the rails of the tramway town .

 

Events

It is interesting to read the description of Liston of an astonished reporter of the magazine Esperia in an article of 1837:

 

" ... the audience is walking the plank of 'Veronesi, extended space, which is located in a few cities: here business people are dining and comforting conversation, idleness is recreated, and the beautiful flock there to get tributes of glances and sighs of their worshipers ... and many cafes offer brilliant and sufficient acceptance to the numerous meetings that there agree. Street musicians and improvisers, unpleasant indeed, but the liveliness of the inhabitants always well received, breaking the monotony of chatter; and the music of the military garrison increase much fun. Very pleasing to the eye is in the summer thousands of people of both sexes, and before sitting under the porch; and a more active crowd by constantly prowling the paths formed by the rows of seats, and now dispense with a bow, and now dwell near some nice, vibrate envious compliments and words of hope and voting ... while the beautiful turn cautious gaze looking at the confused teeming with ill-concealed impatience, greeting or stop most expensive among the happy meeting ... "

In the past, however, the Bra was used for uses other than those described well by this reporter: in particular, after the twelfth century it was included in the city walls it was used for the wood, hay, straw and cattle, so that in ancient documents is called the Bra cattle market. More often is cited as the parade ground, as was the case here the review of the troops from the beginning of the Venetian rule, which is why this was one of the points of conflict between the French and Venetian soldiers during the Veronese Easters in 1797 . Starting from 1633, after the approval of the Venetian Senate for the creation of an exhibition of goods in the city, there were held two annual fairs fifteen days each, which continued to be held until one of them was destroyed by fire October 28, 1712, and then restored in another place, it was established only in 1822, a new exhibition, which would last in Piazza Bra for twenty years.

 

Fair in very old custom is instead to Saint Lucia : it takes place every year from 11 to 13 December, but do not know its origins. Legend has it that, probably in the communal, an epidemic broke out in the city that struck my eyes, it was so that the Veronese decided to make a pilgrimage to the church of Saint Lucia (no longer exists): the children, who did not want to participate , were persuaded to return with the promise that they would find the shoes filled with gifts. The miracle occurred, and since then the fair is held to coincide with the feast of Saint Lucia.

 

The comet of Verona during a night snowfall

During the Christmas season takes place within the Arena arches dell ' Arena, the International Festival of the Nativity , an event born in 1984 from the mind of Alfredo Troisi , along with the comet symbol of the event, from the reservoir from the Arena, go to dive in Bra. Over the years the star has taken on meanings and values ââare independent of the review of the nativity, as to be appreciated by itself. This architecture-sculpture was designed by architect and designer Rinaldo Olivieri : his intuition came to looking at a map of the city, characterized by two large voids, one of the auditorium and that of the square in front of the Arena. It was from this impression that he was born an ideal line, a huge arch that connects the Arena with the urban space, an arc of light and steel from the Temple of the music goes to fall and explode among citizens.

There are three Ashfords, really. The modern newtown, Swindonesque newbuilds stretching into the countryside; the Victorian railway town, all neat rows of brick buit houses and the station, and then there is the old town, timber-framed houses along narrow lanes, with St Mary standing towering above all but the modern office blocks.

 

The west end church was given over to a Christmas Fayre, but is also used now as a concert venue, while under the tower westwards is still in use as a church, with many of its ancient features left alone by the Victorians.

 

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A stately church in a good position set away from the hustle and bustle of this cosmopolitan town. The very narrow tower of 1475 is not visually satisfactory when viewed from a distance but its odd proportions are hardly noticed when standing at its base. The church is very much the product of the families who have been associated with it over the centuries and who are commemorated by monuments within. They include the Fogges and the Smythes. The former is supposed to have wanted to create a college of priests here, but by the late fifteenth century such foundations were going out of fashion and the remodelling of the church undertaken by Sir John Fogge may have just been a philanthropic cause. Unusually, when the church was restored in 1860 the architect Ewan Christian kept the galleries (he usually swept them away), but Christ Church had yet to be built and the population of this growing town would have needed all the accommodation it could get. Even in 1851 1000 people had attended the church in a single sitting. The pulpit, designed by Pearson, was made in 1897.

 

www.kentchurches.info/church.asp?p=Ashford+1

 

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THE TOWN AND PARISH OF ASHFORD

LIES the next adjoining to Hothfield eastward. It is called in Domesday both Estefort and Essetesford, and in other antient records, Eshetisford, taking its name from the river, which runs close to it, which, Lambarde says, ought not to be called the Stour, till it has passed this town, but Eshe or Eschet, a name which has been for a great length of time wholly forgotten; this river being known, even from its first rise at Lenham hither, by the name of the Stour only.

 

A small part only of this parish, on the east, south and west sides of it, containing the borough of Henwood, alias Hewit, lying on the eastern or further side of the river from the town, part of which extends into the parish of Wilsborough, and the whole of it within the liberty of the manor of Wye, and the borough of Rudlow, which adjoins to Kingsnoth and Great Chart, are in this hundred of Chart and Longbridge; such part of the borough of Rudlow as lies adjoining to Kingsnoth, is said to lie in in jugo de Beavor, or the yoke of Beavor, and is divided from the town and liberty by the river, near a place called Pollbay; in which yoke there is both a hamlet and a green or common, of the name of Beavor; the remainder of the parish having been long separated from it, and made a distinct liberty, or jurisdiction of itself, having a constable of its own, and distinguished by the name of the liberty of the town of Ashford.

 

ASHFORD, at the time of taking the general survey of Domesday, was part of the possessions of Hugo de Montfort, who had accompanied the Conqueror hither, and was afterwards rewarded with this estate, among many others in different counties; in which record it is thus entered, under the general title of his lands:

 

¶Maigno holds of Hugo (de Montfort) Estefort. Turgisus held it of earl Godwin, and it is taxed at one suling. The arable land is half a carucate. There is nevertheless in demesne one carucate, and two villeins having one carucate. There are two servants, and eight acres of meadow. In the time of king Edward the Confessor, it was worth twenty five shillings; when he received it, twenty shillings; now thirty shilling.

 

The same Hugo holds Essela. Three tenants held it of king Edward, and could go whither they would with their lands. It was taxed at three yokes. The arable land is one carucate and an half. There are now four villeins, with two borderers having one carucate, and six acres of meadow. The whole, in the reign of king Edward the Confessor, was worth twenty shillings, and afterwards fifteen shillings, now twenty shillings.

 

Maigno held another Essetisford of the same Hugo. Wirelm held it of king Edward. It was taxed at one suling. The arable land is four carucates. In demesne there are two, and two villeins, with fifteen borderers having three carucates. There is a church, and a priest, and three servants, and two mills of ten shillings and two pence. In the time of king Edward the Confessor it was worth seventy shillings, and afterwards sixty shillings, now one hundred shillings.

 

Robert de Montfort, grandson of Hugh abovementioned, favouring the title of Robert Curthose, in opposition to king Henry I. to avoid being called in question upon that account, obtained leave to go on a pilgrimage to Jerusalem, leaving his possessions to the king; by which means this manor came into the hands of the crown. Soon after which it seems to have come into the possession of a family, who took their name from it. William de Asshetesford appears by the register of Horton priory to have been lord of it, and to have been succeeded by another of the same name. After which the family of Criol became owners of it, by whom it was held by knight's service of the king, in capite, by ward to Dover castle, and the repair of a tower in that castle, called the Ashford tower. (fn. 1) Simon de Criol, in the 27th and 28th year of Henry III. obtained a charter of free warren for this manor, whose son William de Criol passed it away to Roger de Leyborne, for Stocton, in Huntingdonshire, and Rumford, in Essex. William de Leyborne his son, in the 7th year of king Edward I. claimed and was allowed the privilege of a market here, before the justices itinerant. He died possessed of this manor in the 3d year of Edward II. leaving his grand-daughter Juliana, daughter of Thomas de Leyborne, who died in his father's life-time, heir both to her grandfather and father's possessions, from the greatness of which she was stiled the Infanta of Kent, (fn. 2) though thrice married, yet she died s. p. by either of her husbands, all of whom she survived, and died in the 41st year of Edward III. Upon which this manor, among the rest of her estates, escheated to the crown, and continued there till king Richard II. vested it, among others, in feoffees, for the performance of certain religious bequests by the will of king Edward III. then lately deceased; and they, in compliance with it, soon afterwards, with the king's licence, purchased this manor, with those of Wall, and Esture, of the crown, towards the endowment of St. Stephen's chapel, in the king's palace of Westminster, all which was confirmed by king Henry IV. and VI. and by king Edward IV. in their first years; the latter of whom, in his 7th year, granted to them a fair in this town yearly, on the feast of St. John Port Latin, together with all liberties, and to have a steward to hold the court of it, &c. In which situation they continued till the 1st year of Edward VI. when this collegiate chapel was, with all its possessions, surrendered into the king's hands, where these manors did not continue long; for that king, in his 3d year, granted the manor of Esshetford, with that of Wall, and the manor of Esture, to Sir Anthony Aucher, of Otterden, to hold in capite; and he, in the 2d and 3d of Philip and Mary, sold them to Sir Andrew Judde, of London, whose daughter and at length heir Alice, afterwards carried them in marriage to Thomas Smith, esq. of Westenhanger, commonly called the Customer, who died possessed of them in 1591, and lies buried in the south cross of this church, having had several sons and daughters, of, whom Sir John Smythe, of Ostenhanger, the eldest, succeeded him here, and was sheriff anno 42 Elizabeth. Sir Thomas Smith, the second son, was of Bidborough and Sutton at Hone, and ambassador to Russia, of whom and his descendants, notice has been taken in the former volumes of this history; (fn. 3) and Henry, the third son, was of Corsham, in Wiltshire, whence this family originally descended, and Sir Richard Smith, the fourth, was of Leeds castle. Sir John Smythe, above-mentioned, died in 1609, and lies buried in the same vault as his father in this church, leaving one son Sir Thomas Smythe, of Westenhanger, K. B. who was in 1628 created Viscount Strangford, of Ireland, whose grandson Philip, viscount Strangford, dying about 1709, Henry Roper, lord Teynham, who had married Catherine his eldest daughter, by his will, became possessed of the manors of Ashford, Wall, and Esture. By her, who died in 1711, he had two sons, Philip and Henry, successively lords Teynham; notwithstanding which, having the uncontrolled power in these manors vested in him, he, on his marriage with Anne, second daughter and coheir of Thomas Lennard, earl of Sussex, and widow of Richard Barrett Lennard, esq. afterwards baroness Dacre, settled them on her and her issue by him in tail male. He died in 1623, and left her surviving, and possessed of these manors for her life. She afterwards married the hon. Robert Moore, and died in 1755. She had by lord Teynham two sons, Charles and Richard-Henry, (fn. 4) Charles Roper, the eldest son, died in 1754 intestate, leaving two sons, Trevor-Charles and Henry, who on their mother's death became entitled to these manors, as coheirs in gavelkind, a recovery having been suffered of them, limiting them after her death to Charles Roper their father, in tail male; but being infants, and there being many incumbrances on these estates, a bill was exhibited in chancery, and an act procured anno 29 George II. for the sale of them; and accordingly these manors were sold, under the direction of that court, in 1765, to the Rev. Francis Hender Foote, of Bishopsborne, who in 1768 parted with the manor of Wall, alias Court at Wall, to John Toke, esq. of Great Chart, whose son Nicholas Roundell Toke, is the present possessor of it; but he died possessed of the manors of Ashford and Esture in 1773, and was succeeded in them by his eldest son John Foote, esq. now of Bishopsborne, the present owner of them. There are several copyhold lands held of the manor of Ashford. A court leet and court baron is regularly held for it.

 

THE TOWN OF ASHFORD stands most pleasant and healthy, on the knoll of a hill, of a gentle ascent on every side, the high road from Hythe to Maidstone passing through it, from which, in the middle of the town, the high road branches off through a pleasant country towards Canterbury. The houses are mostly modern and well-built, and the high-street, which has been lately new paved, is of considerable width. The markethouse stands in the centre of it, and the church and school on the south side of it, the beautiful tower of the former being a conspicuous object to the adjoining country. It is a small, but neat and chearful town, and many of the inhabitants of a genteel rank in life. Near the market place, is the house of the late Dr. Isaac Rutton, a physician of long and extensive practice in these parts, being the eldest son of Matthias Rutton, gent of this town, by Sarah his wife, daughter of Sir N. Toke, of Godinton. He died in 1792, bearing for his arms, Parted per fess, azure, and or, three unicorns heads, couped at the neck, counterchanged; since which, his eldest son, Isaac Rutton, esq. now of Ospringeplace, has sold this house to Mr. John Basil Duckworth, in whom it is now vested. In the midst of it is a large handsome house, built in 1759, by John Mascall, gent. who resided in it, and died possessed of it in 1769, and was buried in Boughton Aluph church, bearing for his arms, Barry of two, or, and azure, three inescutcheons, ermine; and his only son, Robert Mascall, esq. now of Ashford, who married the daughter of Jeremiah Curteis, esq. is the present owner, and resides in it. At the east end of the town is a seat, called Brooke-place, formerly possessed by the family of Woodward, who were always stiled, in antient deeds, gentlemen, and bore for their arms, Argent, a chevron, sable, between three grasshoppers, or; the last of them, Mr. John Woodward, gent. rebuilt this seat, and died possessed of it in 1757; of whose heirs it was purchased by Martha, widow of Moyle Breton, esq. of Kennington, whose two sons, the Rev. Moyle Breton, and Mr. Whitfield Breton, gent. alienated it to Josias Pattenson, esq. the second son of Mr. Josias Pattenson, of Biddenden, by Elizabeth, daughter and coheir of Felix Kadwell, esq. of Rolvenden; he married Mary, daughter of Mr. Henry Dering, gent. of this parish, and widow of Mr. John Mascall above-mentioned, by whom he has no issue, and he is the present owner of this seat, and resides in it. There have been barracks erected lately here, which at present contain 4000 soldiers. The market is held on a Saturday weekly, for the sale of corn, which is now but little used; and a market for the sale of all sorts of fat and lean stock on the first and third Tuesday in every month, which has been of great use to prevent monopolies. Two fairs are annually held now, by the alteration of the stile, on May 17, and Sept. 9, and another on Oct. 24; besides which, there is an annual fair for wool on August 2, not many years since instituted and encouraged by the principal gentry and landholders, which promises to prove of the greatest utility and benefit to the fair sale of it. That branch of the river Stour which rises at Lenham, runs along the southern part of this parish, and having turned a corn mill belonging to the lord of this manor, continues its course close at the east end of the town, where there is a stone bridge of four arches, repaired at the expence of the county, and so on northwards towards Wye and Canterbury. On the south side of the river in this parish, next to Kingsnoth, within the borough of Rudlow, is the yoke of Beavor, with the hamlet and farm of that name, possessed in very early times, as appears by the register of Horton priory, by a family of that name, one of whom, John Beavor, was possessed of it in the reign of Henry II. and was descended from one of the same furname, who attended the Conqueror in his expedition hither. The parish contains about 2000 acres of land, and three hundred and twenty houses, the whole rental of it being 4000l. per annum; the inhabitants are 2000, of which about one hundred are diffenters. The highways throughout it, which not many years ago were exceeding bad, have been by the unanimity of the inhabitants, which has shewn itself remarkable in all their public improvements, a rare instance in parochial undertakings, and by the great attention to the repairs of them, especially in such parts as were near their own houses, are now excellent. The lands round it are much upon a gravelly soil, though towards the east and south there are some rich fertile pastures, intermixed with arable land, and several plantations of hops; but toward the west, the soil is in general sand, having much quarrystone mixed with it, where there is a great deal of coppice wood, quite to Potter's corner, at the boundary of this parish.

 

The church, which is dedicated to St. Mary, is a large handsome building, consisting of three isles, with a transept, and three chancels, with the tower in the middle, which is losty and well proportioned, having four pinnacles at the top of it. There are eight bells in it, a set of chimes, and a clock. In the high chancel, on the north side, is the college John Fogge, the founder of the college here, who died in 1490, and his two wives, the brasses of their figures gone; but part of the inscription remains. And formerly, in Weever's time, there hung up in this chancel six atchievements, of those of this family whose burials had been attended by the heralds at arms, and with other ceremonies suitable to their degrees. Underneath the chancel is a large vault, full of the remains of the family. On the pavement in the middle, is a very antient curious gravestone, having on it the figure in brass of a woman, holding in her left hand a banner, with the arms of Ferrers, Six masctes, three and three, in pale; which, with a small part of the inscription round the edge, is all that is remaining; but there was formerly in brass, in her right hand, another banner, with the arms of Valoyns; over her head those of France and England quarterly; and under her feet a shield, being a cross, impaling three chevronels, the whole within a bordure, guttee de sang, and round the edge this inscription, Ici gift Elizabeth Comite D' athels la file sign de Ferrers . . . dieu asoil, qe morust le 22 jour d'octob. can de grace MCCCLXXV. Weever says, she was wife to David de Strabolgie, the fourth of that name, earl of Athol, in Scotland, and daughter of Henry, lord Ferrers, of Groby; and being secondly married to John Malmayns, of this county, died here in this town. Though by a pedigree of the family of Brograve, she is said to marry T. Fogge, esq. of Ashford; if so, he might perhaps have been her third husband. Near her is a memorial for William Whitfield, gent. obt. 1739. The north chancel belonged to Repton manor. In the vault underneath lay three of the family of Tuston, sometime since removed to Rainham, and it has been granted to the Husseys; Thomas Hussey, esq. of this town, died in 1779, and was buried in it. In the south chancel are memorials for the Pattensons, Whitfields, and Apsleys, of this place; and one for Henry Dering, gent. of Shelve, obt. 1752, and Hester his wife; arms, A saltier, a crescent for difference, impaling, on a chevron, between three persons, three crosses, formee; and another memorial for Thomasine, wife of John Handfield, obt. 1704. In the north cross are several antient stones, their brasses all gone, excepting a shield, with the arms of Fogge on one. At the end is a monument for John Norwood, gent. and Mary his wife, of this town, who lie with their children in the vault underneath. The south cross is parted off lengthways, for the family of Smith, lords of Ashford manor, who lie in a vault underneath. In it are three superb monuments, which, not many years since, were beautified and restored to their original state, by the late chief baron Smythe, a descendant of this family. One is for Thomas Smith, esq. of Westenhanger, in 1591; the second for Sir John Smythe, of Ostenhanger, his son, and Elizabeth his wife; and the third for Sir Richard Smyth, of Leeds castle, in 1628: all which have been already mentioned before. Their figures, at full length and proportion, are lying on, each of them, with their several coats of arms and quarterings blazoned. In the other part of this cross, is a memorial for Baptist Pigott, A. M. son of Baptist Pigott, of Dartford, and schoolmaster here, obt. 1657, and at the end of it, is the archbishop's consistory court. In the south isle is a memorial for Thomas Curteis, gent. obt. 1718, and Elizabeth his wife; arms, Curteis impaling Carter. Under the tower is one for Samuel Warren, vicar here forty-eight years, obt. 1720. The three isles were new pewed and handsomely paved in 1745. There are five galleries, and an handsome branch for candles in the middled isle; the whole kept in an excellent state of repair and neatness. There was formerly much curtious painted glass in the windows, particularly the figures of one of the family of Valoyns, his two wives and children, with their arms. In the south window of the cross isle, and in other windows, the figures, kneeling, of king Edward III. the black prince, Richard, duke of Gloucester, the lord Hastings. Sir William Haute, the lord Scales, Richard, earl Rivers, and the dutchess of Bedford his wife, Sir John Fogge, Sir John Peche, Richard Horne, Roger Manstone, and—Guildford, most of which were in the great west window, each habited in their surcoats of arms, not the least traces of which, or of any other coloured glass, are remaining throughout this church. Sir John Goldstone, parson of Ivechurch, as appears by his will in 1503, was buried in the choir of this church, and gave several costly ornaments and vestments for the use of it.

 

www.british-history.ac.uk/survey-kent/vol7/pp526-545

  

+++ DISCLAIMER +++

Nothing you see here is real, even though the conversion or the presented background story might be based on historical facts. BEWARE!

  

Some background:

Uruguay, like several other countries in South America, has been a traditional customer of US military hardware. In Uruguay’s case, this first example were 40 M3A1 Stuart light tanks delivered in 1944-1945. In the years following the Second World War and the Korean War, obsolete armored vehicles which were no longer deemed as required for the current situation of the US military were given as military aid to US allies, particularly in Latin America. It was in this context that Uruguay would receive 17 M24 Chaffee light tanks and 12 M4A3E8 Sherman medium tanks in 1957-1958 from American surplus stock.

 

Deliveries were completed on September 30th, 1958. This was part of the American Military Assistance Program (MAP), under which the US provided military equipment to aligned nations within the context of the Cold War. These tanks did not come from the mainland US but were instead delivered from US Army stocks in Japan and Korea. A considerable number of spare parts were likely delivered along with these, too, as well as in the coming years. Along with the Chaffees and Shermans, Uruguay furthermore received a single Sherman-based M74 Armored Recovery Vehicle.

 

By the time of the Korean War, the M4 series had evolved into its final form, often referred to as the M4A3E8, and this was the Sherman version that was also delivered to Uruguay. To the Marines in Korea, they were known as the “Old Reliables”. Entering service late in the Second World War, this model featured an improved Horizontal Volute Spring Suspension (HVSS) that replaced the iconic Vertical Volute Spring Suspension (VVSS) of earlier models. This suspension allowed for a wider track, improving grip and lower ground pressure on softer ground.

Propulsion was provided by the Ford GAA all-aluminum 32-valve DOHC 60-degree, 500 hp, V8 gasoline/petrol engine. This could propel the tank to a top speed of 40 – 48 km/h (25 – 30 mph). Armor on the vehicle was up to 76 mm (3 in) thick. The tank had a crew of five, consisting of a commander, driver, co-driver/bow machine gunner, gunner, and loader.

 

Even though a large number of newer 90mm gun armed M26 Pershings and M46 Pattons were dispatched to the Korean Peninsula, multiple variants of the HVSS Sherman were also used in the Korean War. These included the regular M4A3(76)W HVSS, which was armed with the 76mm Tank Gun M1A1 or M1A2, the M4A3(105) HVSS, armed with the 105mm Howitzer M4, and finally, the POA-CWS-H5, a specialist version armed with both a 105mm Howitzer and a coaxial flamethrower.

 

The ex-American tanks were delivered to Uruguay’s Batallón de Infantería Nº 13 (13th Infantry Battalion), founded in 1904, and with the arrival of the new equipment at the Durazno Arsenal in central Uruguay the regiment was aptly renamed Batallón de Infantería Blindado Nº 13 (13th Armored Infantry Battalion). The tanks formed two Compañías Blindada de Tanques (Armored Tanks Companies), formally created on 12 July 1958. In each company, two tanks formed a command section while the remaining were divided into platoons of five. Each platoon was coded with an individual color and the command tanks received colored shields as background to their tactical codes. Additionally, the command tanks received individual names, beginning with letters corresponding to their respective commanded platoons, e. g. “Ceasar” for one of the 3rd platoon’s commanding M4s, which carried the tactical code "2" on a green background, the 3rd platoon’s color.

 

The tanks were delivered in a unicolor camouflage, likely U.S. Army olive drab. They received prominent Uruguayan army roundels on the turret flanks, comprising a blue roundel in the center, circled by white and then further circled by blue again, with a red bar going through the roundel diagonally. Later, likely in the 1960s, the tanks were given a disruptive four-color scheme, comprising medium green, dark green, tan and a dark brown bordering on black.

 

The first months of the new tanks’ service were marked by several instances of ceremonial use in foreign presidential visits to Uruguay, during which the tanks would perform a parade in the streets of Montevideo, the Uruguayan capital – often in the company of the vintage M3A1 Stuarts which were still retained in service by this point for training.

 

The 1960s were a decade of turmoil in Uruguay, with an economic crisis caused by struggling Uruguayan exports causing significant unrest and political uproar. This led to the rise of an armed revolutionary left-wing movement known as the Tupamaros or MLN-T (Movimiento de Liberación Nacional-Tupamaros, Tupamaros National Liberation Movement) which would progressively grow more violent. In 1968, the Uruguayan president, Jorge Pachero, declared a state of emergency that would see the military largely deployed in the streets. The following president, Juan María Bordaberry, would continue authoritarian policies and suspend civil liberties. In June 1973, he dissolved the Uruguayan congress and became a de facto dictator sponsored by the Uruguayan military.

 

During this time, the Tupamaros fought in an urban guerilla war against the Uruguayan military. The Uruguayan tanks, especially the compact M24s, were regularly employed in the streets as a show of force, being a very intimidating presence to potential insurgents. For this mission, a few M4s and M24s, primarily command tanks, were outfitted with locally developed hydraulic dozer blades. These were detachable, though, and the tanks should retain the installations for the rest of their career.

 

By mid-1972, the Tupamaros had largely been defeated, killed, captured, or forced into exile, as many other Uruguayans had been. The Uruguayan dictatorship would maintain itself all the way to 1985 however, engaging in repressive policies which, while often overshadowed by some employed by other regimes, such as Augusto Pinochet’s Chile, would see many Uruguayans exiled, and many assassinations performed against political opponents, even though most of which took place outside of Uruguay’s borders. The M4s and M24s would continue to regularly be used for intimidation purposes during this era, though Uruguay would also purchase more modern tanks in 1982, including twenty-two M41 Walker Bulldog light tanks from Belgium. These didn’t replace the vintage WWII vehicles, though.

 

In 1984, elections were finally held, seeing Uruguay return to civilian rule from this point onward. Though amnesty for human rights abusers would be declared, Uruguay would move back towards being one of the more democratic and stable countries in South America in the next decades, which would culminate in a former Tupamaros, who had spent fifteen years in prison, José Mujica, being elected president in 2009.

At the same time as Uruguay was transitioning back to democracy, the M4s and M24s the country had now operated for about thirty years were becoming increasingly obsolete. The tanks’ engines were worn out after 30 years of constant use and useful ammunition for the M4s 76 mm gun was not available anymore. Funds for new/more modern tanks were not available at that time, therefore, it was decided to modernize the powerplants and drivetrains of the tanks and outfit the Shermans with a modern, bigger main gun.

 

For this purpose, the Brazilian company Bernardini was contracted. The Bernardini S/A Industria e Comercio (Bernardini Industrial and Commerce Company), based at São Paulo, was originally a safe manufacturer which operated from 1912, but during its later years it branched out into vehicle production, too, and created several conversions and indigenous tanks for the Brazilian Army.

Bernardini outfitted the light M24s with a Saab-Scania DN11 220-230 hp engine, a Swedish industrial truck engine manufactured in Brazil. This was a commercially available engine for which parts could be very easily sourced, and it was coupled with a new GAV 762 automatic gearbox. Mounting these totally different engines called for considerable modifications, including a completely new raised engine deck with integrated coolers.

The Shermans received new Continental AOS-895-3 six-cylinder air-cooled petrol engines, which had been procured together with the Belgian M41s as part of a spares deal and directly delivered to Brazil for the conversions. This engine delivered 500 bhp (370 kW), the same as the former Ford GAA V8, but provided more torque, was lighter and more compact, and had a considerably lower fuel consumption. It was coupled with a new gearbox, an Allison CD-500-3, with 2 ranges forward, 1 reverse.

 

For the planned armament upgrade, the modern 90 mm Cockerill Mk. 7 gun was chosen, another item procured from Belgium. Weighing less than ¾ of a ton and with a length of 4.365 m, the 90 mm Cockerill operated at a pressure of just 310 MPa and produced a recoil stroke of only 350 to 370 mm. Ammunition for the Cockerill gun was made by MECAR (another Belgian arms company) and included a potent Armor-Piercing Fin-Stabilised Discarding Sabot – Tracer (APFSDS-T) round with a muzzle velocity of 1,500 m/s, able to defeat even heavy targets. Furthermore, there were High Explosive Plastic rounds (HEP) to defeat bunkers, structures, light armor and also for indirect fire use, smoke, canister, High Explosive Anti-Tank (HEAT), and training rounds.

 

However, the plan to simply exchange the old 76 mm gun in the original M4A3 turret turned out to be impossible, so that Bernardini offered to adapt one of the company’s own turret designs, a cast turret for an upgrade for the indigenous CCL X1A2 “Carcará” tank that never materialized due to low Brazilian funds, to the M4’s very similar hull. The Uruguayan government agreed and the deal for the conversion of all M4s left in service was closed in late 1982. Some sources refer to this modernization as having occurred in 1983, while some others mention 1987.

 

The new Bernardini turret resembled the earlier Sherman turret, but it was overall larger and featured a long, characteristic jutty as a counterweight for the bigger and longer gun. It also offered ample space for a radio set and ammunition. The turret had a maximum armor strength of 114 mm (4.5 in) at the front, instead of the former 76 mm (3 in); traverse was full 360° (manual and electric-hydraulic) at a rate of 36°/sec. The turret’s higher overall weight was compensated for by the relatively light gun and the lighter engine – even though this raised the tank’s center of gravity and somewhat reduced its handling quality. The commander and gunner sat in the turret on the right side, with the commander provided with a domed U.S.-style cupola. The gunner did not have a hatch and was seated forward of the commander. A loading assistant was placed on the left side of the gun, with a separate hatch that was also used to board the tank by the crew and to load ammunition. A tool storage box was normally mounted externally on the rear of the already long bustle, and smoke grenade launchers could be mounted on each side of the turret – even though this never happened, and Uruguay apparently never procured such devices. A large radio antenna was mounted to the turret roof and at the rear of the jutty, command tanks had a second antenna for a dedicated inter-tank communication radio set next to the cupola.

 

The 90 mm Cockerill Mk. 7 gun had a rifled L/52 barrel and was outfitted with a light T-shaped muzzle brake and a smoke ejector. The secondary armament was changed to two 7.62 mm Browning M1919 machine guns (which were able to fire 7.62×51 mm NATO standard ammunition), one coaxial with the main gun and the other in the hull. A manually operated 12.7 mm Browning M2HB machine gun was mounted in an anti-aircraft position on the turret roof, in front of the commander cupola. A total of 55 rounds for the 90 mm gun were carried, plus 4,750 rounds for the 7.62 mm machine guns and 600 rounds for the 12.7 mm gun. This ammunition was mostly stored in the hull, the turret jutty held a new ammunition-ready rack with 11 rounds.

 

At some point following their modernization, during the late Eighties, all Uruguayan tanks were given a new, more subdued camouflage scheme, vaguely resembling the American woodland scheme, consisting of a very dark brown/black, light brown, and dark green. The prominent roundel was removed, too, an the vehicles’ tactical code was now either retained in a dark color on the turret side or completely omitted.

 

The 1990s saw the 13th Armored Infantry Battalion receive a fleet of fifteen BVP-1s purchased from the Czech Republic; ten more were delivered in 1996, with a further five in 1998, plus three vehicles for spare parts in 1999. These more modern infantry fighting vehicles would be operated alongside the M4s and M24s within the battalion’s fleet during the coming decades. Other purchases from the 1990s included, for example, Tiran-5Sh main battle tanks (revamped captured T-55s from Israel) and 2S1 self-propelled artillery pieces.

 

Uruguay retired its M4 fleet around 2012, but the light M24s soldiered on until 2019, when the last WWII type in Uruguayan service was eventually sorted out, after a long process that was delayed by a lack of an export permission for M41s as replacement from the United States for no less than six years.

  

Specifications:

Crew: Five (commander, gunner, loader, driver, radio operator/hull machine gun operator)

Weight: 33.7 tons combat loaded

Length: 6.87 m (22 ft 6 in) hull only

8.21 m (26 ft 10 1/2 in) overall with gun forward

Width: 3.42 m (11 ft 3 in) hull only

Height: 3,45 m (11 ft 3 3/4 in) w/o AA machine gun

Tread: 89 in

Ground clearance: 17 in (0.43 m)

Fire Height: 90 in (2.29 m)

Suspension: Horizontal volute spring

Fuel capacity: 168 gallons 80 Octane gasoline

 

Armor:

0.5 – 4.5 in (13 – 114 mm)

 

Performance:

Maximum speed: 30 mph (48 km/h) in a dash

26 mph (42 km/h) sustained on road

Operational range: 120 mi (193 km) on roads

Maximum grade: 60 percent

Maximum trench: 7.5 feet

Maximum vertical Wall: 24 inches

Maximum fording depth: 36 inches

Minimum turning circle: (diameter) 62 feet

Power/weight: 13.5 hp/ton

Ground pressure: Zero penetration 11.0 psi

 

Engine & transmission:

Continental AOS-895-3 six-cylinder air-cooled petrol engine with 500 bhp (370 kW),

coupled with an Allison CD-500-3 gearbox with 2 ranges forward, 1 reverse

 

Armament:

1× 90 mm (L/52) Cockerill Mk. 7 gun with 55 rounds

2× 7.62 mm Browning M1919 machine guns with a total of 4,750 rounds,

one co-axial with the main gun, another in the front glacis plate

1× 12.7 mm Browning M2HB anti-aircraft machine gun on the commander cupola with 600 rounds

  

The kit and its assembly:

This whiffy M4 Sherman was inspired by two things: one was that I have so far never built a fictional M4 before, despite the type’s large number in WWII and thereafter. And I had a surplus turret from a Japanese 1:72 Type 61 tank (Trumpeter kit) in the donor bank, which frequently grinned at me – but I never had a proper idea how to use it.

 

This changed when I combined both, and the idea of a post-WWII M4 conversion/modernization was born, inspired by the successful Israeli M50/51 upgrades. I also settled for an M4A3E8 chassis, because I wanted a relatively modern Sherman with a welded hull and the new running gear as the basis – and the choice fell on the respective Hasegawa kit (which has its fundamental scale and proportions flaws, but it was cheap and readily available). Using an alternative Trumpeter kit might have been a better choice from a detail point of view, but I think that the Hasegawa kit’s weaknesses are negligible – and this here is whifworld, after all.

 

The next conceptual problem arose quickly, though: who’d be the operator of this tank? A natural choice was Japan’s JGSDF, because they received M4A3E8s from the USA (the Hasegawa kit even provides decals for such a vehicle), and the Type 61 was its successor. But the Sherman was not very popular in Japan – it was quite big, with logistics problems (tunnel sizes, train transport), and the interior was not suited to the smaller Japanese crews. The JGSDF was quite happy to get rid of the vintage Shermans.

The IDF was another candidate, but the M50/51s were “already there”. After long further research I went across Middle and South America. Chile, for instance, operated a highly modified M4A3E8 upgrade with a 60 mm high-velocity gun called “M-60”. And Paraguay decided to re-activate its M3 and M4 fleet in 2014, even though only for training purposes.

I eventually settled for a small and rather exotic operator: Uruguay! I found a very good article about the M24 Chaffee’s active duty in this country, which lasted from 1958 until 2019(!), and these Chaffees underwent massive conversions and upgrades during their long career – and some M4s would be a nice and plausible company. Another selling point was that the Uruguayan Army’s roundel was easy to replicate, and, as a bonus, the M24s carried a very attractive camouflage early in their career.

 

With this concept, the build was straightforward: The M4A3E8 was basically built OOB, it went together with no trouble, even though its details appear rather clumsy and almost toylike these days. A good thing about the kit is, though, that you can paint the small road wheels separately, while the HVSS suspension can be attached to the hull. This makes painting quite easy and convenient.

Trumpeter’s Type 61 turret was another matter, though, because its fit was rather dubious and called for some PSR. Furthermore, it was incomplete: some small parts of it had already been used in other projects, so that I had to improvise.

First, I had to create an adapter so that it could be combined with the Sherman hull – it was created from styrene sheet and profiles, together with a “floor” for the turret with 0.5 mm sheet. But now the turret can be mounted into the original opening, and it fits like a glove into the intended space. Even the low deflector walls that protect its base fit snuggly around it, it’s a very natural combo (at least on the Hasegawa hull!).

Biggest problem was the missing original commander cupola. The spare box did not yield a proper replacement, so I ordered M48/M60 cupolas from Bulgaria-based OKB Grigorovich – very crisp stuff, the set comes with four pieces and the cupolas are even made from clear resin so that the periscopes have a natural look on the model. As a lucky coincidence, the cupola’s diameter perfectly matched the respective hole in the turret, so that the implant looks very natural. Because the cupola came with a separate hatch, I fixed it in an open position and added a crew figure from the Hasegawa Sherman.

 

The dozer blade was a late addition, inspired by equipment carried by some real Uruguayan M24s. However, in this case the device was scratched from the remains of a dozer blade from a WWII Bergehetzer. Hydraulic rams to lift it and some hoses were scratched from steel wire and various bits and pieces. Improvised, but it looks the part, and it’s a nice detail that fits well into the model’s real world historic background.

  

Painting and markings:

The camouflage is based on a single-color picture I was able to find of a Uruguayan M24 wearing it, providing a guesstimate basis for the four tones, and a profile drawing of the same vehicle, just from the other side. I settled upon Humbrol 63, 75, and mix of 150 with 63 and 10 with 85 for the respective tan (which appears very yellow-ish), dark green, light green and the very dark brown tone. The pattern is a free interpretation of what could be discerned on the reference material, with guesstimates for front, back and upper surfaces. As it is a retrofitted piece, the dozer shield became all dark green.

 

The model then received an overall washing with a highly thinned mix of black and dark brown acrylic artist paint. The vinyl tracks were painted, too, with a mix of grey, red brown and iron, all acrylic paints, too, that do not interact chemically with the soft vinyl in the long run.

 

Markings are minimal; the Uruguayan Army roundel is an Argentinian cocarde from an Airfix Skyhawk (and a bit pale) with a separate red decal stripe placed over it – unfortunately it’s a bit obscured by the handles running along the turret. The tactical code number came from an Israeli tank, and it had to be placed quite high because of the handles/rails.

Uruguayan tanks from the Eighties and earlier seem to have carried additional registration numbers, too, and I gave the Sherman the fictional code "A 247" on the glacis plate and its flanks. The nickname "Caesar" is a personal twist.

 

Dry-brushing with earth brown to further emphasize edges and details followed. Finally, the model was sealed with matt acrylic vanish (Italeri) overall, and some very light extra dry-brushing with silver and light grey was done to simulate flaked paint, esp. on the dozer blade. Dirt and rust residues were added here and there. After final assembly (the vinyl tracks refused to stick to the road wheels!), the lower areas of the model were powdered with mineral pigments to simulate dust.

  

All in all, this fictional Uruguayan Sherman update looks very natural and convincing. The Type 61 turret matched the M4A3E8 hull in an almost unnatural fashion, and the dozer blade adds a certain twist to the tank, even though this detail is rooted in Uruguay’s tank operations history. The disruptive “tiger stripes” paint scheme is also very attractive, and together with the unusual roundels the whole thing has a very exotic look – but it’s not unbelievable. :D

Given the PSE 13 treatment

Given to me by my parents, I used to place these on our tree over forty years ago. Now I have several sets!

Dernier sous-marin à propulsion classique. (désarmé le 1er août 2009).

Cédé à la Malaisie.

French Navy last diesel-electric submarine (decomissionned August 1st, 2009)

Given up to the Malaysia.

Shaggy

Orville Richard Burrell (born October 22, 1968, Kingston, Jamaica), better known by his stage name Shaggy, is a Jamaican-American reggae singer who takes his nickname from Scooby-Doo's companion—a nickname given to him by his friends during his teenage years because his name bore a similarity to the Scooby Doo character. He is especially notable for his distinctive sub-baritone voice. Speaking on This Morning on August 27, 2008, Burrell states the name Shaggy is a reference to his then hairstyle.

Biography Early life

His family moved to the United States from Jamaica and they settled in the neighborhood of Flatbush, Brooklyn in New York City.

In 1988, he joined the United States Marine Corps as a Field Artillery Cannon Crewman with 5th Battalion 10th Marines. While enlisted in the Marines he served during Operation Desert Storm during the Gulf War. It was during this time that Shaggy perfected his signature singing voice, breaking the constant monotony of running and marching cadences with his flair for inflection. It is also where he got the inspiration for his song "Boombastic".Career 1990s

Upon his return from the Persian Gulf, he decided to pursue his music career and his first hit in 1993: "Oh Carolina", was a dancehall re-make of a ska hit by the Folkes Brothers.The same year, Shaggy appeared on Kenny Dope's hip hop album "The Unreleased Project". He worked together with producers such as Sting International, Don One (who cut his first track), Lloyd 'Spiderman' Campbell and Robert Livingston. He had further big hits, including "Boombastic" in 1995, the theme tune of a popular Levi's commercial.Early 2000s

He then had a major comeback in 2001, featuring worldwide number-one hit singles "It Wasn't Me" and "Angel", the latter of which was built around two song samples - Merrilee Rush's 1968 hit "Angel of the Morning" (which was remade in 1981 by Juice Newton), and The Steve Miller Band's 1973 hit "The Joker". The album Hot Shot, from which those cuts came, would hit number one on the Billboard 200 and UK album chart.

However, his 2002 release Lucky Day, and the 2005 album Clothes Drop failed to match Hot Shot's success, although Lucky Day still went gold.The albums, however, found success in Europe, especially with heavy airplay from the single Hey Sexy Lady.

Shaggy remade the Scooby-Doo theme song on the soundtrack entitled "Shaggy, Where Are You?".

Shaggy recorded the theme for Showtime, a 2002 movie.

On 11 March 2007, Shaggy performed the official song of the ICC Cricket World Cup 2007, entitled "The Game of Love and Unity", with Barbadian entertainer Rupee and Trinidadian Fay-Ann Lyons at the opening ceremony at The Greenfield Stadium, Trelawny, Jamaica.

Shaggy left Universal and released his latest album under his own label, Big Yard Records with distribution by VP Records. On August 2007, he joined Cyndi Lauper in Singapore for the Sonnet Music Festival, where they performed "Girls Just Want To Have Fun". On 15 October 2007, he was awarded the Jamaican Order of Distinction in the rank of Commander (CD).

In January 2008, Shaggy performed a concert with Natalia and En Vogue in Antwerp. The same year, UEFA chose Shaggy to record the official anthem for the Mascots (Trix and Flix) of the Euro 2008 football tournament held in Austria and Switzerland. The song was "Feel the Rush".

In the summer of 2008 he appeared on VH1's, "I Love The New Millenium". On 4 December that year, Intoxication was nominated for Best Reggae Album at the 51st Grammy Awards.

On 23 August 2009 Shaggy performed at Ottawa Reggae Festival in Ottawa, Canada. There are plans for a new single release in late 2009 with "Fading Away", featuring Kevin Rudolf and Lil Jon. He will also be releasing "Fly High", featuring Gary Pine, to be issued on 5 December 2009.

In 2009, Shaggy was invited to perform at the "Festival Creole" held every year from Nov 28 to Dec 6 in Mauritius Island.

•1993: Pure Pleasure

•1994: Original Doberman

•1995: Boombastic US #34, UK #37 (Platinum)

•1997: Midnite Lover (Platinum)

•2000: Hot Shot US #1, UK #1 (6x Platinum)

•2002: Lucky Day US #24 (Gold)

•2005: Clothes Drop US #144

•2007: Intoxication

•2008: Best of Shaggy: The Boombastic Collection UK #22

The Verona Arena (Arena di Verona) is a Roman amphitheatre in Piazza Bra in Verona, Italy, which is internationally famous for the large-scale opera performances given there. It is one of the best preserved ancient structures of its kind. Amphitheatre

The building itself was built in AD 30 on a site which was then beyond the city walls. The ludi (shows and games) staged there were so famous that spectators came from many other places, often far away, to witness them. The amphitheatre could host more than 30,000 spectators in ancient times.

 

The round façade of the building was originally composed of white and pink limestone from Valpolicella, but after a major earthquake in 1117, which almost completely destroyed the structure's outer ring, except for the so-called "ala", the stone was quarried for re-use in other buildings. Nevertheless it impressed medieval visitors to the city, one of whom considered it to have been a labyrinth, without ingress or egress. Ciriaco d'Ancona was filled with admiration for the way it had been built and Giovanni Antonio Panteo's civic panegyric De laudibus veronae, 1483, remarked that it struck the viewer as a construction that was more than human. Musical theatre

The first interventions to recover the arena's function as a theatre began during the Renaissance. Some operatic performances were later mounted in the building during the 1850s, owing to its outstanding acoustics.

 

And in 1913, operatic performances in the arena commenced in earnest due to the zeal and initiative of the Italian opera tenor Giovanni Zenatello and the impresario Ottone Rovato. The first 20th-century operatic production at the arena, a staging of Giuseppe Verdi's Aida, took place on 10 August of that year, to mark the birth of Verdi 100 years before in 1813. Musical luminaries such as Puccini and Mascagni were in attendance. Since then, summer seasons of opera have been mounted continually at the arena, except in 1915â18 and 1940â45, when Europe was convulsed in war.

 

Nowadays, at least four productions (sometimes up to six) are mounted each year between June and August. During the winter months, the local opera and ballet companies perform at the L'Accademia Filarmonica.

 

Modern-day travellers are advised that admission tickets to sit on the arena's stone steps are much cheaper to buy than tickets giving access to the padded chairs available on lower levels. Candles are distributed to the audience and lit after sunset around the arena.

 

Every year over 500,000 people see productions of the popular operas in this arena.[3] Once capable of housing 20,000 patrons per performance (now limited to 15,000 because of safety reasons), the arena has featured many of world's most notable opera singers. In the post-World War II era, they have included Giuseppe Di Stefano, Maria Callas, Tito Gobbi and Renata Tebaldi among other names. A number of conductors have appeared there, too. The official arena shop has historical recordings made by some of them available for sale.

 

The opera productions in the Verona Arena had not used any microphones or loudspeakers until an electronic sound reinforcement system was installed in 2011.

 

In recent times, the arena has also hosted several concerts of international rock and pop bands, among which Laura Pausini, Pink Floyd, Alicia Keys, One Direction, Simple Minds, Duran Duran, Deep Purple, The Who, Dire Straits, Mike Oldfield, Rod Stewart, Sting, Pearl Jam, Radiohead, Peter Gabriel, Björk, Muse, Paul McCartney, Jamiroquai, and Whitney Houston.

 

In 1981, 1984 and 2010 it hosted the podium and presentation of the Giro d'Italia with thousands packing the arena to watch the prizes being handed out.

 

The 2011 Bollywood film Rockstar directed by Imtiaz Ali starring Ranbir Kapoor with music composed by Academy Award winner A.R.Rahman opens and closes with musical concerts shot here.

 

On 26 March 2013, Paul McCartney confirmed a show at the venue as part of his 2013 Tour. The show is scheduled to take place on Tuesday, 25 June 2013.

British-Irish boy band One Direction performed on 19 May 2013 as part of their Take Me Home Tour

Piazza Bra , or simply the Bra (a name derived from a corruption of the term "Braida", which in turn derives from the Lombard breit , or "off"), is the largest square in Verona , located in its center historian .

 

The square of Piazza Bra began to turn into only the first half of the sixteenth century , when the architect Michele San Micheli concluded the palace of Honorij : this building was to delimit the western side of the square of the future, as well as to establish a correct outlook on the ' Arena . The first attempt to transform the clearing dirt road instead of walking, however, was the mayor Alvise Mocenigo, who wanted to create a meeting place for the rising bourgeoisie Verona: he was able to inaugurate the first part of the Liston , a paved sidewalk that lines connecting the Bra Corso Porta Nuova in Via Mazzini , in 1770. La Gran Guardia , begun by the Venetians in the seventeenth century and completed by the Austrians in the ' Nineteenth Century , went to delimit the southern side of the square, while in 1836 the architect Giuseppe Barbieri designed the eastern edge, where a hospital were demolished, some houses and a church, which was built in place of the Gran Guardia Nuova , better known as Palazzo Barbieri. This, initially used as a barracks by the Austrians, became, as a result of ' annexation of Veneto to the Kingdom of Italy , the seat of the municipality of the City of Verona.

 

History

Origins

In Roman times , the place where you would then open the Bra was outside the city and yet away from the main roads. It is only since the first century AD, when it was built the ' amphitheater in the Roman Empire, better known as the Arena of Verona , who came to define the northern edge of what centuries later would become one of the main squares of Verona. In 305 the Emperor Galerius , during a short stay in the city, he opened a door along the walls which was built in 265 by the Emperor Gallienus , which surrounded the Arena went thus creating a first connection between the city and the place where later would be born Bra.

 

The square, however, began to abbozzarsi only in the Middle Ages: the walls of the city was enlarged at that point between 1130 and 1153, going to close so that piece of land that later would become, coming to have the size of a square. Those areas between the walls and the Roman city walls were called braide, from the Lombard breit ; the braida that could match the current Bra in the twelfth century was far more extensive than at the edge of the square today.

 

A door that the Braida along the city walls is already mentioned in a document dated 1257, but later his place was taken by the gates of the Bra , probably due to the Visconti and to the Venetians : the first arch is dated to the late fourteenth century and the second to the second half of the fifteenth century. The clock that is located between the two arches of the gates of the Bra was a gift of Count Antonio Nogarola made ââin 1871: it was installed with the dials is visible from one side on the other walls. The clock was inaugurated on June 2, 1872 and refurbished in 1879 because of its vagueness.

 

Development

Piazza Bra after the arrangement of the central gardens

Piazza Bra in the mid-twentieth century.

The Bra began to be defined as a square only in the first decade of the seventeenth century, when they started on the south side of the factories Gran Guardia and the seat of the ' Accademia Filarmonica of Verona . In conjunction with the factory della Gran Guardia became the leveling the square as possible, and also create some gradients to regulate the flow of stormwater, operation up to that time never practiced because the space was used by stonemasons, that here, as well as work, abandoning the resulting material, and because the clearing was used for the discharge of material from construction in progress in the area.

 

For others, one hundred and fifty years the space was in clay, in fact, only in 1770 the foundations were laid of Liston will of the mayor Alvise Mocenigo. On March 13, 1782 Francis Menegatti presented a project to the final lastricamento of Liston that the City Council approved and, after this surgery, the bra became the favorite place for afternoon walks in place of Piazza dei Signori . Goethe , in his essay Journey to Italy , describes enjoyed the arrival carriage with ladies and gentlemen, and said that the sunset loitered along the rim of the amphitheater enjoying the most beautiful views of the city. I insole and down on the pavement off the Bra 'walked a multitude of people .

 

The square was smoothed more times: in 1808 he was entrusted with the task of remaking the Liston architect Luigi Trezza and in 1820 excavations were carried out along the Arena, in order to bring to light the basis of the same, as it was buried about two feet because of the sediments that were deposited after the numerous floods that had undergone the city. He also opted for a lowering of the average level of Bra about 70 centimeters along a line slightly inclined from the Gran Guardia At Arena, lowering the share of Liston.

 

Plan of Bra in a drawing by Giuseppe Barbieri

As for the lighting, until the eighteenth century the bra at night was totally immersed in the dark; only in the nineteenth century were installed lights in oil and gas lighting in 1845, so that the Liston also became a place for evening strolls. Then important for the conformation of the square today, is the accommodation in the central part of the garden Bra occurred in 1873: the central gardens were created with three circles forming a triangle with a central fountain.

Between 1884 and 1951 the square was affected by the rails of the tramway town .

 

Events

It is interesting to read the description of Liston of an astonished reporter of the magazine Esperia in an article of 1837:

 

" ... the audience is walking the plank of 'Veronesi, extended space, which is located in a few cities: here business people are dining and comforting conversation, idleness is recreated, and the beautiful flock there to get tributes of glances and sighs of their worshipers ... and many cafes offer brilliant and sufficient acceptance to the numerous meetings that there agree. Street musicians and improvisers, unpleasant indeed, but the liveliness of the inhabitants always well received, breaking the monotony of chatter; and the music of the military garrison increase much fun. Very pleasing to the eye is in the summer thousands of people of both sexes, and before sitting under the porch; and a more active crowd by constantly prowling the paths formed by the rows of seats, and now dispense with a bow, and now dwell near some nice, vibrate envious compliments and words of hope and voting ... while the beautiful turn cautious gaze looking at the confused teeming with ill-concealed impatience, greeting or stop most expensive among the happy meeting ... "

In the past, however, the Bra was used for uses other than those described well by this reporter: in particular, after the twelfth century it was included in the city walls it was used for the wood, hay, straw and cattle, so that in ancient documents is called the Bra cattle market. More often is cited as the parade ground, as was the case here the review of the troops from the beginning of the Venetian rule, which is why this was one of the points of conflict between the French and Venetian soldiers during the Veronese Easters in 1797 . Starting from 1633, after the approval of the Venetian Senate for the creation of an exhibition of goods in the city, there were held two annual fairs fifteen days each, which continued to be held until one of them was destroyed by fire October 28, 1712, and then restored in another place, it was established only in 1822, a new exhibition, which would last in Piazza Bra for twenty years.

 

Fair in very old custom is instead to Saint Lucia : it takes place every year from 11 to 13 December, but do not know its origins. Legend has it that, probably in the communal, an epidemic broke out in the city that struck my eyes, it was so that the Veronese decided to make a pilgrimage to the church of Saint Lucia (no longer exists): the children, who did not want to participate , were persuaded to return with the promise that they would find the shoes filled with gifts. The miracle occurred, and since then the fair is held to coincide with the feast of Saint Lucia.

 

The comet of Verona during a night snowfall

During the Christmas season takes place within the Arena arches dell ' Arena, the International Festival of the Nativity , an event born in 1984 from the mind of Alfredo Troisi , along with the comet symbol of the event, from the reservoir from the Arena, go to dive in Bra. Over the years the star has taken on meanings and values ââare independent of the review of the nativity, as to be appreciated by itself. This architecture-sculpture was designed by architect and designer Rinaldo Olivieri : his intuition came to looking at a map of the city, characterized by two large voids, one of the auditorium and that of the square in front of the Arena. It was from this impression that he was born an ideal line, a huge arch that connects the Arena with the urban space, an arc of light and steel from the Temple of the music goes to fall and explode among citizens.

Given that the name of the subject is printed on the bottom of this cabinet card, it might well be a photo of a celebrity of some sort, produced in quantity for public sale. G.H. Young studio, Chicago, c. 1890.

Wolf Pack Invite 09/27/08

River Walk Park - Bakersfield, CA, Wednesday, September 27, 2008

 

www.andynoise.com/wolfpack08.html

 

Chris Schwartz (Foothill) won the varsity boys race in 16:18. McFarland took the team title. McFarland also won the boys frosh/soph and jv team races. medals were given out to the top 15 runners.

 

Varsity Boys Team Results

 

1 MCFA McFarland 25

2 PADA Palmdale 95

3 RIDG Ridgeview 118

4 SHAF Shafter 130

5 BAEA East Bakersfield 142

6 BAKE Bakersfield 174

7 WASC Wasco 176

8 STOC Stockdale 210

9 FTHL Foothill 233

10 GARC Garces Memorial 254

11 ARVI Arvin 321

12 NORT North 324

13 Fron Frontier 345

14 SOUT South 404

15 BACH Bakersfield Christian 423

16 WSTB West Bakersfield 461

TFCC Taft INC

  

1. 16:18 179 179 Chris Schwartz Sr M FTHL 1

2. 16:29 292 292 Cisneros Alfonso Sr M MCFA 2

3. 16:38 450 450 Robby Baker Jr M RIDG 3

4. 16:44 297 297 Marco Perez So M MCFA 4

5. 16:48 293 293 Eduardo Bautista Jr M MCFA 5

6. 16:51 294 294 Marco Camargo Jr M MCFA 6

7. 16:54 451 451 Alex Garcia Jr M RIDG 7

8. 16:56 291 291 Gerardo Alcala Sr M MCFA 8

9. 16:58 295 295 Eddie Garcia Sr M MCFA 9

10. 17:04 296 296 Francisco Nava So M MCFA 10

11. 17:05 483 483 Joshua Wittenberg Sr M SHAF 11

12. 17:10 402 402 Adrian Ramos Jr M PADA 12

13. 17:16 400 400 Victor Hernandez Sr M PADA 13

14. 17:19 72 72 Andrew Ariey Sr M BAKE 14

15. 17:20 403 403 Daniel Ramos Jr M PADA 15

  

Elizabeth Wittenberg (Shafter) won the girls varsity race in 20:10. The Ridgeview varsity girls won the team title. Palmdale won the jv race and McFarland won the frosh/soph team title.

 

Varsity Girls Team Results

 

1 RIDG Ridgeview 45

2 SHAF Shafter 73

3 PADA Palmdale 94

4 NORT North 95

5 STOC Stockdale 124

6 FTHL Foothill 142

7 BAKE Bakersfield 142

8 GARC Garces Memorial 189

9 Fron Frontier 243

10 SOUT South 278

BAEA East Bakersfield INC

ARVI Arvin INC

WASC Wasco INC

TFCC Taft INC

WSTB West Bakersfield INC

BACH Bakersfield Christian INC

  

1. 20:10 464 464 Elizabeth Wittenberg Sr F SHAF

2. 21:04 430 430 Tijerra Lynch So F RIDG

3. 21:07 369 369 Merino Jennifer Sr F PADA

4. 21:10 428 428 Jessica Huizar Jr F RIDG

5. 21:12 89 89 Lucia Garcia Jr F BAEA

6. 21:17 208 208 Monica Guzman Jr F GARC

7. 21:23 330 330 Cecilia Lopez Sr F NORT

8. 21:33 90 90 Sophia Garcia So F BAEA

9. 21:35 136 136 Natalie Fernandez So F FTHL

10. 21:46 2 2 Tonya Hernandez Jr F ARVI

11. 21:53 624 624 Alejandra Gutierrez Sr F WASC

12. 21:55 372 372 Anaiz Ortiz Sr F PADA

13. 21:56 426 426 Ashley Duran Sr F RIDG

14. 22:05 459 459 Lindsee Handel So F SHAF

15. 22:12 45 45 Gabrielle Lerma So F BAKE

   

JV Boys Results

 

1 MCFA McFarland 29

2 RIDG Ridgeview 72

3 BAEA East Bakersfield 105

4 PADA Palmdale 118

5 SOUT South 150

6 Fron Frontier 160

7 WASC Wasco 161

8 STOC Stockdale 169

9 FTHL Foothill 237

10 GARC Garces Memorial 246

11 MiMo Mira Monte 278

12 BAKE Bakersfield 341

SHAF Shafter INC

TFCC Taft INC

ARVI Arvin INC

NORT North INC

 

1. 11:06 284 284 Bryan Calvo Sr M MCFA

2. 11:23 290 290 Pedro Sanchez Jr M MCFA

3. 11:34 661 661 Eric Sanchez Jr M WASC

4. 11:34 100 100 felix Trevino So M BAEA

5. 11:36 277 277 Bernardo Garcia Fr M MCFA

6. 11:39 440 440 Ernesto Castillo Jr M RIDG

7. 11:45 476 476 Matt Yanez Jr M SHAF

8. 11:46 439 439 Michael Anseno Sr M RIDG

9. 11:47 98 98 Marc Sotello Jr M BAEA

10. 11:47 474 474 Elias Picazo Sr M SHAF

11. 11:49 288 288 Adam Marquez Fr M MCFA

12. 11:50 394 394 Ramirez Miguel Jr M PADA

13. 11:50 393 393 Nicholas Mayo Jr M PADA

14. 11:53 276 276 Ismael Bautista Fr M MCFA

15. 12:00 101 101 Esteban Vargas Sr M BAEA

  

JV Girls Results

 

1 PADA Palmdale 27

2 STOC Stockdale 51

3 RIDG Ridgeview 66

4 MiMo Mira Monte 100

SOUT South INC

BAKE Bakersfield INC

FTHL Foothill INC

NORT North INC

GARC Garces Memorial INC

 

1. 14:45 494 494 Claudia Cuevas Sr F SOUT

2. 15:05 420 420 Natalia Motta Sr F RIDG

3. 15:12 528 528 Amber Crabtree Sr F STOC

4. 15:28 351 351 Amy Diaz Sr F PADA

5. 15:33 360 360 Lizet Onofre Jr F PADA

6. 15:41 364 364 Crystal Schachter Jr F PADA

7. 15:48 531 531 Shelby Pinkham Jr F STOC

8. 15:51 41 41 Felisa Torres Sr F BAKE

9. 15:52 118 118 Lucia Garcia Jr F FTHL

10. 15:54 362 362 Karina Ortega Jr F PADA

11. 15:54 328 328 Aubree Mossburg Jr F NORT

12. 16:04 365 365 Michelle Silva Jr F PADA

13. 16:06 367 367 Zaria Zambrano Jr F PADA

14. 16:07 525 525 Justine Benavidez Sr F STOC

15. 16:19 128 128 Nancy Tenorio Sr F FTHL

  

Frosh/Soph Boys

 

1 MCFA McFarland 25

2 WASC Wasco 66

3 FTHL Foothill 95

4 STOC Stockdale 114

5 RIDG Ridgeview 121

6 PADA Palmdale 139

7 SHAF Shafter 174

8 Inde Independence 183

9 TFCC Taft 254

10 BAKE Bakersfield 287

11 RFKH RFKH 312

12 GARC Garces Memorial 313

13 ARVI Arvin 337

14 MiMo Mira Monte 383

SOUT South INC

Error 2042 #N/A INC

 

1. 10:53 666 666 Jorge Zuniga Fr M WASC

2. 10:55 282 282 Chavez Ryan Fr M MCFA

3. 11:12 275 275 Sergio Avelar Fr M MCFA

4. 11:25 638 638 Eddie Aguilar So M WASC

5. 11:26 280 280 Leo Perez Fr M MCFA

6. 11:26 278 278 Jose Monrreal Fr M MCFA

7. 11:36 177 177 Genaro Quintanar Fr M FTHL

8. 11:38 541 541 Alex Eckley Fr M STOC

9. 11:39 279 279 Gonzalo Mulato Fr M MCFA

10. 11:40 252 252 Dwayne Facho So M Inde

11. 11:41 434 434 Brandon Magno Fr M RIDG

12. 11:42 383 383 Corey Nieto Fr M PADA

13. 11:48 543 543 Abraham Mayorga So M STOC

14. 11:49 467 467 Pablo Mendez Fr M SHAF

15. 11:50 650 650 Asencion Mendoza Sr M WASC

   

Frosh/Soph Girls

 

1 MCFA McFarland 43

2 Inde Independence 51

3 STOC Stockdale 73

4 FTHL Foothill 101

5 TFCC Taft 121

6 RIDG Ridgeview 139

7 RFKH RFKH 173

8 WASC Wasco 180

SOUT South INC

BAEA East Bakersfield INC

NORT North INC

BAKE Bakersfield INC

GARC Garces Memorial INC

 

1. 14:02 267 267 Corina Garcia So F MCFA

2. 14:02.6 270 270 Kathy Torres Fr F MCFA

3. 14:09 266 266 Olivia Ayon Fr F MCFA

4. 14:09 586 586 Daisy Guitron Fr F TFCC

5. 14:16 522 522 Madison Schutzner Fr F STOC

6. 14:23 484 484 Natalie Espinoza So F SOUT

7. 14:37 248 248 Sara Sullivan Fr F Inde

8. 14:37 110 110 Erica Castro So F FTHL

9. 14:44 237 237 Natalie Ambriz So F Inde

10. 14:46 93 93 Mayra Ponce So F BAEA

11. 14:50 244 244 Acacia Ingram So F Inde

12. 14:58 523 523 Victoria Valos So F STOC

13. 15:00 268 268 Liset Perezchica Fr F MCFA

14. 15:03 249 249 Katelynn Webb Fr F Inde

15. 15:20 135 135 Mari Escuedero So F FTHL

www.redcarpetreporttv.com

 

Mingle Media TV and Red Carpet Report host Brandi Chang were invited to come out to cover FX's Justified Season 5 premiere red carpet event and screening at the Directors Guild in Hollywood.

 

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About the FX’s Justified

Based on Elmore Leonard’s novella Fire in the Hole, Justified was developed by Graham Yost and stars Timothy Olyphant as ‘Deputy US Marshal Raylan Givens,’ a lawman who finds himself drawn back to his home state of Kentucky. This January, Raylan confronts the Crowes, a deadly, lawless family from Florida intent on settling in Harlan with new criminal enterprises in mind. Meanwhile, ‘Boyd Crowder’ (Walton Goggins) struggles to free his imprisoned fiancée ‘Ava’ (Joelle Carter) as he partners with the Dixie Mafia’s ‘Wynn Duffy’ (Jere Burns). For more info visit:

www.justifiedtv.com

  

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