BURIED IN THE SAND.

UNIDENTIFIED REMAINS.

Yesterday afternoon, the body of a man partly buried in the sand was discovered by a child on the Cheltenham Beach. On information being given to Gunner Morris, of Fort Cautley, the police were telephoned for, and Constable Eccles brought the body to the Auckland morgue. An inquest was held this morning by the Coroner (Mr. T. Gresham). Constable Eccles stated that the body was embedded in the sand about 50 yards below high water mark. With the exception of a portion of the riding trousers, the body was totally covered. Witness estimated that the man had been about 5ft. 5in. tall, of stout and robust build, aged about 35 to 45 years, and with a somewhat small head. The centre front tooth and one back tooth were missing. A leather belt with anchor clip on it, and about 30 inches in length, was embedded near the body. Deceased was wearing a black corkscrew cloth coat and brown Bedford cord trousers with rib stripe, and fob pockets. These trousers were. such as might have been worn by an ex-trooper. There were no marks of injuries to the skull. The body from its appearance had evidently been in the water and sand for at least twelve months. It had not been identified.

The jury returned a verdict of "Found Dead."

paperspast.natlib.govt.nz/newspapers/AS19071023.2.31.22

THE CHELTENHAM BEACH FATALITY.

ARE THE REMAINS THOSE OF LUKE LANGTON?

The finding of an unidentified body on Cheltenham beach, the wave-washed bones of which indicate that the period of time that has elapsed since it was deposited there must have been very considerable, recalls the fact that several Devonport residents have known for months that a body was in the vicinity. The larger bone of a right forearm was picked up some eight months ago, and the smaller corresponding bone about three months since. On Tuesday the remainder of the skeleton, enclosed in remnants of clothing, was discovered buried in the sand on the beach. The jury's verdict, pronounced on the scanty evidence adduced, was "Found dead," a fairly obvious conclusion. There is reason to believe that a guess may safely be made at the identity of the person whose remains have so long remained buried in the sand. In the finding of this body there is every probability that we have a distant echo of the terrible Kapanui-Claymore collision of December, 1905. The clothing corresponds with that said to have been worn by Luke Langton, who is supposed to have lost his life in that disaster. He is known to have ridden in from Maungaturoto, and just succeeded in catching the Kapanui at Warkworth, leaving his horse there. His build is given as nearly identical with the description tbat was formed of the remains at yesterday's inquest. The clothing is identical; the period of immersion would be within an easy margin of belief. These circumstances, coupled with the fact that there is no reported loss of anyone that could in any way be connected with the discovery, point to the probability of the remains being those of Luke Langton, late of Maungaturoto, the unfortunate victim of the Kapanui-Clay-more collision. The police are engaged in investigation, and will doubtless before long secure definite information from those most interested.

paperspast.natlib.govt.nz/newspapers/AS19071024.2.55

IN AUCKLAND HARBOUR.

TWO STEAMERS MEET.

KAPANUI SINKS IN FIVE MINUTES.

FIVE PERSONS DROWNED.

NARROW ESCAPE OF OTHERS

(Per United Press Association.)

AUCKLAND, December 24

A collision, which resulted in the loss of five lives, occurred in the harbour last night when the ooastal steamers Kapanui and Claymore, both belonging to the Settlers' Steamship Company, run into one another, the Kaipanui sinking in five minutes, being nearly cut in two.

Every effort was made to save the passengers, but the following were drowned:—

Peter Carter (boy).

Elbey (boy).

F. Clark (carter).

John; Fletcher (Syrian hawker)

Bernard Vipand (labourer)

Just before the collision took place the Kapaniuys red light went out, and in turning the vessel obscured her green light.

Immediately afterwards a crash came.

There was a scene of wild confusion on board the Kapanui, and cries for help were heard by those on board the Claymore.

Some of the passengers of the sinking vessel jumped overboard, and were rescued.

The only woman on board jumped into the water with her husband, who had placed a life belt around her.

He was a good swimmer, and succeeded in, supporting his wife until they were both rescued.

paperspast.natlib.govt.nz/newspapers/THS19051227.2.22.1

KAPANUI DISASTER.

It is feared that Mr Luke Langton, of Maungaturoto, was on board the Kapanui when she foundered. He left home with the intention of taking passage by her, and has not been heard of since.

paperspast.natlib.govt.nz/newspapers/WAIGUS19060102.2.8

THE KAPANUI DISASTER.

THE MISSING MAN LANGTON.

In connection with the information pointing to the probability of a, farmer at Maungaturoto, named Luke Langton, being amongst the missing passengers of the Kapanui, reported in yesterday's issue, Captain Southgate, of the Kapanui, does not think the missing man was on board the vessel on the night, of the disaster. One of the passengers, Mr. J. T. Osborne, however, states that he held lengthy conversations during the trip down from Warkworth with a passenger who gave his name as "Langton."

''I have no doubt," said Mr. Osborne to a representative of the Herald, that this is the Langton reported to be missing. He informed me that he had 300 acres of land near Maungaturoto, the greater part good, and that when the railway went to Maungaturoto it would be the making of him. We argued about the distance of Warkworth from Maungaturoto, as I did not think it was the 40 miles he estimated that he had ridden on horseback to get the boat. He had only one spur on, and wished that he had taken it off, he told me that his next neighbour on one side was a Mr. Kerr, and on the other side Mr. Tom Stewart, of Mount Albert. He said it, was the first time he had travelled on the Warkworth River, and as he was greatly interested in Wilson's cement works, about one mile and a-half below Warkworth, I told him that Mr. Wilson would be glad to show him round them. As I mentioned that the Flowers family had been settled at Whangarei when I had a farm there, he said he knew them as settled now at Maungaturoto."

"What was this passenger's appearance?'' Mr. Osborne was asked.

"He was a very strongly-built, burly man, about 5ft. 3in high, and seemed between 40 and 45 years of age. He looked well-to-do, though plainly dressed. He had a moustache, but no beard, and both hair and moustache were sprinkled with gray. He wore light clothes, as far as I recollect, and a felt hat."

"It is strange that he was not generally noticed, Mr. Osborne?"

"He appeared to me to be a reserved man, and I think I was the only passenger he conversed with. We talked generally of farming, and he invited me to call at his farm if I was ever in the neighbourhood. He said he had a brother at Taranaki. I last saw him on the deck about three-quarters of an hour before the collision, when he said he knew a certain place in Auckland— I thought he meant some hotel or boarding-house—where he should go, but be expected that, being holiday time, it would be full. He went down to tea on the Kapanui. I did not see him at the time of the collision, but I have not the slightest doubt that he was the man now reported to be missing."

SALVAGE OPERATIONS.

As reported yesterday, the sunken steamer was raised sufficiently on Sunday afternoon to bring the masts and funnel above water. When the tide was rising yesterday morning the Devonport Ferry Company's tug Pelican took the scows and the Kapanui, which was supported between the scows, in tow, and succeeded in bringing the Kapanni a considerable distance further in shore, and at low tide only about 10ft of water covered the vessel's deck. The contractors for the salvage operations expect that by this morning they will be able to search the wreck for bodies. The masts and funnel showing up so conspicuously yesterday morning proved objects of interest to large numbers of sightseers who gathered on shore or passed the scene of the collision in boats

THE INQUIRY. [BY TELEGRAPH. —PRESS ASSOCIATION".] Wellington, Monday.

The assessors at the magisterial inquiry into the circumstances of the Kapamu-Claymore collision at Auckland, to be held on January 9, will be Captain G. G. Smith, shipping master at Wellington, and Captain McArthur, one of the owners of the Torgauten, formerly a master in the Union Company's service.

paperspast.natlib.govt.nz/newspapers/NZH19060102.2.23

Plot 72: Alfred Burton (50) 22/10/1907 (Ang.)

Unknown male found on Cheltenham Beach (Luke Langton?) (adult) bur. 24/10/1907

Unmarked grave

Rows 12-16 in Anglican Division F are what can also be known as ‘Potters Fields’, they were used to bury some of the people whose families were unable to afford funeral costs, institutionalised unidentified at the time of burial or had no-one to bury them. These plots were common graves with some having up to three individuals interred in each, as they were not purchased, permanent grave markers were not permitted to be erected.

These rows are now protected by native bush and it is now no longer known where either rows or individual plots are located in this area.

English

en.wikipedia.org/wiki/Manueline

The Manueline, or Portuguese late Gothic, is the sumptuous, composite Portuguese style of architectural ornamentation of the first decades of the 16th century, incorporating maritime elements and representations of the discoveries brought from the voyages of Vasco da Gama and Pedro Álvares Cabral. This innovative style synthesizes aspects of Late Gothic architecture with influences of the Spanish Plateresque style, Italian urban architecture, and Flemish elements. It marks the transition from Late Gothic to Renaissance. The construction of churches and monasteries in Manueline was largely financed by proceeds of the lucrative spice trade with Africa and India.

The style was given its name, many years later, by Francisco Adolfo de Varnhagen, Viscount of Porto Seguro, in his 1842 book, Noticia historica e descriptiva do Mosteiro de Belem, com um glossario de varios termos respectivos principalmente a architectura gothica, in his description of the Jerónimos Monastery. Varnhagen named the style after King Manuel I, whose reign (1495–1521) coincided with its development. The style was much influenced by the astonishing successes of the voyages of discovery of Portuguese navigators, from the coastal areas of Africa to the discovery of Brazil and the ocean routes to the Far East, drawing heavily on the style and decorations of East Indian temples.

Although the period of this style did not last long (from 1490 to 1520), it played an important part in the development of Portuguese art. The influence of the style outlived the king. Celebrating the newly maritime power, it manifested itself in architecture (churches, monasteries, palaces, castles) and extended into other arts such as sculpture, painting, works of art made of precious metals, faience and furniture.

Português

pt.wikipedia.org/wiki/Estilo_manuelino

O Estilo manuelino, por vezes também chamado de gótico português tardio ou flamejante, é um estilo arquitectónico, escultórico e de arte móvel que se desenvolveu no reinado de D. Manuel I e prosseguiu após a sua morte, ainda que já existisse desde o reinado de D. João II. É uma variação portuguesa do Gótico final, bem como da arte luso-mourisca ou arte mudéjar, marcada por uma sistematização de motivos iconográficos próprios, de grande porte, simbolizando o poder régio. Incorporou, mais tarde, ornamentações do Renascimento italiano. O termo "Manuelino" foi criado por Francisco Adolfo Varnhagen na sua Notícia Histórica e Descriptiva do Mosteiro de Belém, de 1842. O Estilo desenvolveu-se numa época propícia da economia portuguesa e deixou marcas em todo o território nacional.

Esta tendência artística era conhecida, na época, como a variante portuguesa da arquitectura ad modum Yspaniae (ao modo hispânico) que, por sua vez, estava incluída na corrente arquitectónica "ao moderno" - expressão utilizada para o gótico tardio onde também havia a variante, por exemplo, do modo tudesco ou alemão na então nova arquitectura nórdica. Esta corrente opunha-se à arquitectura ao modo antigo ou ao romano.

No seu conjunto, pouco muda relativamente à estrutura formal do gótico alemão e plateresco. O alçado interior das igrejas mantém-se através da orientação este-oeste, da planta, dos sistemas de suporte e cobertura, do cálculo de proporções. As naves da mesma altura, influência das igrejas-salão alemãs, de cinco tramos, ausência de transepto e cabeceiras rectangulares são as principais características diferenciais. Apesar de ser essencialmente ornamental, o Manuelino caracteriza-se também pela aplicação de determinadas fórmulas técnicas da altura, como as abóbadas com nervuras polinervadas a partir de mísulas.

Na componente civil destacam-se os palácios, como o Paço de D. Manuel, em Évora, e solares rurais, como o Solar de Sempre Noiva, em Arraiolos, todos de planta rectangular. E na tipologia militar é referência maior o baluarte do Restelo, a Torre de Belém. Um dos primeiros baluartes de artilharia do país, a quebrar a tradição das torres de menagem, a sua planta rectangular sobrepõe-se a uma base poliédrica, que penetram Tejo adentro. A rectangularidade da planta opõe-se à curvilínea da decoração esculpida.

Escultura Manuelina

1.Árvores secas. Aparecem também no gótico final da Europa Central, usando-se o termo "astwerk" para descrever a sua utilização - são, portanto, um elemento característico do tardo-gótico e remetem para a estética franciscana, de cariz marcadamente naturalista e austera. Por outro lado, é um elemento que foi utilizado pelos detractores do gótico que consideravam o estilo bárbaro e primitivo - estéril como uma árvore seca. As suas raízes e troncos nodosos têm presença notável no Mosteiro de Alcobaça, na janela do Capítulo de Tomar, sobre o busto fundeiro; na Igreja de Vilar de Frades ou no Paço de Sintra.

2.Alcachofras (símbolo da regeneração e da ressurreição - sendo por isso queimada nos festejos de São João, esperando que volte a reverdecer);

3.Folhas de loureiro, como no Claustro de D. João I, no Mosteiro da Batalha;

4.Romãs (como nas portas laterais da Igreja Matriz de Golegã - símbolo de fertilidade, pela quantidade extraordinária de sementes que contêm)

5.Folhas de hera;

6.Pinhas (fertilidade e/ou imortalidade - por vezes interpretadas como sendo espigas de milho ou maçarocas) - são visíveis, por exemplo, sobre o portal da Igreja Matriz da Golegã;

7.Caracóis ou conchas de nautilus (como na Igreja da Vestiaria, em Alcobaça; ou na entrada das Capelas Imperfeitas, no Mosteiro da Batalha, simbolizando, talvez, a lentidão dos trabalhos);

8.Animais vários

9.Putti (crianças)

Principais Autores

No Norte de Portugal, os principais autores deste estilo, provenientes da Galiza ou de Biscaia, foram Tomé de Tolosa, Francisco Fial e Pêro Galego, que participaram na criação da Igreja Matriz de Caminha, bem como João de Vargas e João de Parmenes, que trabalharam juntamente com o português João Lopes na Sé de Lamego. O cantábrico João de Castilho, responsável pela galilé e pela capela-mor da Sé de Braga, também deixou a sua marca no Mosteiro dos Jerónimos, onde avulta a figura de Diogo Boitaca, criador do Mosteiro de Jesus de Setúbal. Além de Boitaca, o centro de Portugal conta também com a obra notável de Mateus Fernandes, bem representada no portal das Capelas Imperfeitas, no Mosteiro da Batalha.

Fala-se ainda de um "Manuelino de segunda geração", após o recrudescimento económico em Portugal, em consequência das Descobertas. Castilho, Boitaca e os irmãos Francisco e Diogo de Arruda, que desenharam a Torre de Belém, são os seus principais representantes.

Há ainda a referir os nomes de Manuel Pires, João Favacho, Pêro e Filipe Rodrigues, Álvaro Rodrigues, André Pires, João Dias, Diogo Pires, o Moço, entre outros.

Obras Principais

Entre as obras mais notáveis do manuelino, temos a referir:

No Norte de Portugal, onde está presente desde o início do século XVI e onde são características dominantes a decoração ao estilo "flamejante" e as Igrejas divididas em três naves: Igreja Matriz de Vila do Conde;

Igreja Matriz de Caminha;

Igreja Matriz de Freixo de Espada à Cinta;

Mosteiro de Leça do Balio (pia baptismal);

Pelourinho de Arcos de Valdevez;

No Centro de Portugal: Convento de Cristo, onde sobressai a magnífica janela do Capítulo;

Mosteiro dos Jerónimos;

Cruzeiro do Cartaxo;

Determinadas partes do Mosteiro de Santa Maria da Vitória (ou da Batalha);

Igreja Matriz da Golegã;

Igreja de São João Baptista de Tomar;

Igreja do Mosteiro de Santa Cruz de Coimbra; (túmulos, igreja, claustro);

Igreja do antigo Mosteiro de Jesus, em Setúbal;

A sala dos Brasões no Paço Real de Sintra;

Torre de Belém;

O arco triunfal da Igreja de Nossa Senhora do Pópulo, em Caldas da Rainha;

Sé Nova de Coimbra, (pia baptismal);

No Sul de Portugal: Igreja de São Francisco, em Évora;

Igreja Matriz de Monchique, num das mais características variantes locais do estilo.

Igreja Matriz de Odiáxere, bem característica do chamado Manuelino de Lagos.

Igreja da Misericórdia de Loulé;

O Estilo ainda se faz notar, mesmo fora de Portugal Continental Nas Regiões Autónomas: Sé do Funchal

Igreja Matriz de Ponta Delgada

Em Marrocos: Safim

Mazagão

Na Índia: Igreja do Priorado do Rosário

Igreja de São Francisco

Em Espanha:

Igreja de santa Maria Madalena, em Olivença

Em Moçambique:

Capela de Nossa Senhora do Baluarte, Ilha de Moçambique

Motivos Ornamentais

A característica dominante do Manuelino é a exuberância de formas e uma forte interpretação naturalista-simbólica de temas originais, eruditos ou tradicionais. O conjunto decorativo de um elemento escultórico manuelino apresenta-se quase sempre como um discurso de pedra, onde diversos elementos e referências se cruzam (pansemiose - ou "todos os significados"), como o simbilismo cristão, a alquimia, a tradição popular, etc. O contexto tanto pode ser moralizante, como alegórico, jocoso (quando se aponta o dedo aos defeitos humanos ou a pormenores obscenos, como a referência sexual numa gárgula exterior à capela de São Nicolau, em Guimarães), esotérico ou, simplesmente, propagandístico em relação ao poder imperial de D. Manuel I. Note-se que esta simbologia está também muito ligada à heráldica.

Os motivos mais importantes da arquitectura manuelina são:

Símbolos nacionais: A esfera armilar ("a esfera dos matemáticos" conferida como divisa por D. João II ao seu primo e cunhado, D. Manuel (futuro rei D. Manuel I), que, tendo escrito no meridiano "Spera Mundi" - Esfera do Mundo - foi, mais tarde, interpretada como sinal de um desígnio divino para o reinado de D. Manuel que se apresenta nos motivos artísticos do estilo como "Esperança do Mundo", como também poderia ser interpretada a expressão aí inscrita)

A Cruz da Ordem de Cristo;

Escudo nacional;

Elementos naturalistas: Corais;

Algas;

Guizeiras

Árvores secas. Aparecem também no gótico final da Europa Central, usando-se o termo "astwerk" para descrever a sua utilização - são, portanto, um elemento característico do tardo-gótico e remetem para a estética franciscana, de cariz marcadamente naturalista e austera. Por outro lado, é um elemento que foi utilizado pelos detractores do gótico que consideravam o estilo bárbaro e primitivo - estéril como uma árvore seca. As suas raízes e troncos nodosos têm presença notável no Mosteiro de Alcobaça, na janela do Capítulo de Tomar, sobre o busto fundeiro; na Igreja de Vilar de Frades ou no Paço de Sintra.

Alcachofras (símbolo da regeneração e da ressurreição - sendo por isso queimada nos festejos de São João, esperando que volte a reverdecer);

Folhas de loureiro, como no Claustro de D. João I, no Mosteiro da Batalha;

Romãs (como nas portas laterais da Igreja Matriz de Golegã - símbolo de fertilidade, pela quantidade extraordinária de sementes que contêm)

Folhas de hera;

Pinhas (fertilidade e/ou imortalidade - por vezes interpretadas como sendo espigas de milho ou maçarocas) - são visíveis, por exemplo, sobre o portal da Igreja Matriz da Golegã;

Caracóis ou conchas de nautilus (como na Igreja da Vestiaria, em Alcobaça; ou na entrada das Capelas Imperfeitas, no Mosteiro da Batalha, simbolizando, talvez, a lentidão dos trabalhos);

Animais vários

Putti (crianças)

Elementos fantásticos: Ouroboros (a serpente que morde a sua própria cauda: símbolo do Universo: a união do princípio e do fim)

Sereias (motivo de arte profana, talvez fossem uma referência a várias palavras semelhantes e ao simbolismo associado: serão, ou a altura em que o ciclo produtivo do cardar da lã se realizava; serenata, ritual de namoro ligado ao pecado da carne, tal como em serralho, etc);

Monstros (principalmente as gárgulas, mas também outros, como dragões e animais de boca aberta, devorando o seu próprio corpo)

Orelhudos (cabeças com orelhas descomunalmente grandes, como no cadeiral de Santa Cruz de Coimbra);

Animais realizando acções humanas, numa perspectiva carnavalesca, como a tocar instrumentos musicais.

Simbolismo cristão: Cachos de uvas e sarmentos (relacionado com a "Vinha do Senhor" e com a Eucaristia), como em Luz de Tavira;

Agnus Dei

Querubins

Outros motivos: As cordas entrelaçadas e cabos, fazendo muitas vezes nós, como na Sé de Viseu, na Torre de Belém ou na Casa dos Alpoins, em Coimbra.

Redes;

Cinturões com grandes fivelas, como no Coro do Convento de Cristo, em Tomar;

Meias esferas, como na Igreja da Conceição, em Beja;

Pináculos cónicos com cogulhos de formas diversas;

Colunas torsas (como no portal da Igreja Matriz da Golegã ou na Sé da Guarda)

Correntes, como na arquivolta do portal principal da Casa de Sub-Ripas, em Coimbra;

Bustos de personagens históricas;

Cabeças de infantes (crianças)

Desenhos finos, semelhantes aos das pratas espanholas, suas contemporâneas.

Referências à cestaria;

Note-se que estes mesmos motivos aparecem também noutras construções, como pelourinhos, túmulos ou mesmo peças artísticas, como em ourivesaria.

O Rei

O "discurso" artístico presente no estilo manuelino, ainda que tenha começado a ser construído ainda antes do reinado de D. Manuel, teve uma influência considerável da própria personalidade do monarca, das suas aspirações no contexto mundial, em especial o projecto de uma cruzada que unificaria o mundo cristão do ocidente com o mítico reino Cristão oriental do Preste João, tornando-o o "Rei dos Mares" (e foi, de facto, assim designado por diversos autores estrangeiros).

O estilo manuelino transmite em grande parte estas aspirações messiânicas de um rei cuja ascensão ao poder foi, no mínimo insólita, depois da morte seguida de outros herdeiros directos ao trono (como o príncipe D. Afonso e o seu irmão, D. Diogo, assassinado). No entanto, desde a interpretação dada à expressão "Spera Mundi", na esfera armilar, que lhe fora concedida como divisa, até à interpretação do seu próprio nome, Emanuel ("Deus connosco", em hebraico), dado por sua mãe quando este nasceu, após um trabalho de parto longo e doloroso que só terminou quando a procissão do Corpo de Deus passava na rua, vários foram os "sinais" que indicavam que este rei fora o "Escolhido" por Deus para grandes feitos. A própria concepção política deste rei, influenciada pelo seu perceptor Diogo Rebelo e pelo joaquimismo fá-lo-ia crer que estava destinado a fundar o Quinto Império da Profecia de Daniel.

Estas referências messiânicas e apocalípticas estão também presentes na pintura (como nos frescos das "Casas Pintadas", em Évora e na "Aparição de Cristo à Virgem" de Jorge Afonso). Um exemplo claro aparece também na representação do rei e da rainha D. Maria, em primeiro plano, no quadro "Fons Vitae", pertencente à Misericórdia do Porto, de pintor anónimo mas segundo alguns de Colijn de Coter, numa cena da crucificação e onde o sangue de Cristo escorre para dentro de um gigantesco Graal.

The Grade I Listed Roman Newport Arch in Lincoln, Lincolnshire.

It is the name given to the remains of a 3rd-century Roman gate and is reputedly the oldest arch in the United Kingdom still used by traffic.

The Arch dates to the start of the 2nd century AD. It gave access from the city to Ermine Street, the main Roman road north to York. In the fourth century the city walls were strengthened, and at that time Newport probably consisted of a central arch for traffic, flanked by two smaller pedestrian arches. An upper floor topped the archway, and the whole structure was flanked by twin towers.

The whole structure would have risen to a height of 26 feet above ground level. The arch as we see it today is merely the upper section of the inner arch; the outer section was destroyed in the 17th century. There is no record of any attack upon the arch or the city walls during Roman times, though the gates here were attacked in the 13th century, during the Battle of Lincoln Fair.

The arch was remodelled and enlarged when the city, then Lindum Colonia a Roman town, became capital of the province Flavia Caesariensis in the 4th century. It is one of many original Roman arches still open to traffic, other examples being two gates through the city walls of the Roman town of Diocletianopolis (now Hisarya, Bulgaria), as well as numerous examples in Turkey.

Information Sources:

www.britainexpress.com/counties/lincs/roman/Newport-Arch.htm

www.heritageconnectlincoln.com/character-area/bailgate-an...

Rover SD1 is both the code name and eventual production name given to a series of executive cars built by British Leyland (BL), under the Rover marque. It was produced through its Specialist, Rover Triumph and Austin Rover divisions from 1976 until 1986, when it was replaced by the Rover 800. The SD1 was marketed under various names including Rover 3500, Rover 2300 and Rover Vitesse. In 1977 it won the European Car of the Year title.

In "SD1", the "SD" refers to "Specialist Division" and "1" is the first car to come from the in-house design team. The range is sometimes wrongly referred to as "SDi" ("i" is commonly used in car nomenclature to identify fuel injection).

The SD1 can be considered as the last "true" Rover, being the final Rover-badged vehicle to be produced at Solihull, as well as being the last to be designed largely by ex-Rover Company engineers and also the final Rover car to be fitted with the Rover V8 engine. Future Rovers would be built at the former British Motor Corporation factories at Longbridge and Cowley; and rely largely on Honda.

Design

The new car was designed with simplicity of manufacture in mind in contrast to the P6, the design of which was rather complicated in areas such as the De Dion-type rear suspension. The SD1 used a well-known live rear axle instead. This different approach was chosen because surveys showed that although the automotive press was impressed by sophisticated and revolutionary designs the general buying public was not, unless the results were good. However, with the live rear axle came another retrograde step – the car was fitted with drum brakes at the rear.

Rover's plans to use its then fairly new 2.2 L four-cylinder engine were soon abandoned as BL management ruled that substantially redesigned versions of Triumph's six-cylinder engine were to power the car instead. The Rover V8 engine was fitted in the engine bay. The three-speed automatic gearbox was the BorgWarner 65 model.

The dashboard of the SD1 features an air vent, unusually, directly facing the passenger. The display binnacle sits on top of the dashboard in front of the driver to aid production in left-hand drive markets. The air vent doubles as a passage for the steering-wheel column, and the display binnacle can be easily fitted on top of the dashboard on either the left or right-hand side of the car.

An estate body had been envisaged, but it did not get beyond the prototype stage. Two similarly specified estates have survived, and are exhibited at the Heritage Motor Centre and the Haynes International Motor Museum respectively. One was used by BL chairman Sir Michael Edwardes as personal transport in the late 1970s. The two cars as befit prototypes differ in the detail of and around the tailgate. One car has a recessed tailgate, while the other has a clamshell arrangement, where the whole tailgate is visible when closed.

The SD1 was intended to be produced in a state-of-the-art extension to Rover's historic Solihull factory alongside the TR7. It was largely funded by the British government, who had bailed BL out from bankruptcy in 1975. Unfortunately this did nothing to improve the patchy build quality that then plagued all of British Leyland. That, along with quick-wearing interior materials and poor detailing ensured that initial enthusiasm soon turned to disappointment.

Initial model and first additions to range

Rover 2300 6-cylinder engine, in situ in SD1

This car was launched on its home market in June 1976 in liftback form only, as the V8-engined Rover 3500: SOHC 2.3 L and 2.6 L sixes followed a year later. The car was warmly received by the press and even received the European Car of the Year award for 1977. Its launch on the European mainland coincided with its appearance at the Geneva Motor Show in March 1977, some three months after the Car of the Year announcement. Dealers had no left-hand drive cars for sale, however, since production had been blocked by a tool makers' strike affecting several British Leyland plants and a "bodyshell dispute" at the company's Castle Bromwich plant. Closer to home, the car and its design team received The Midlander of the Year Award for 1976, because they had between them done most in the year to increase the prestige of the (English) Midlands region.

Poor construction quality was apparent even in the company's press department fleet. The British magazine Motor published a road test of an automatic 3500 in January 1977, and while keen to highlight the Rover's general excellence, they also reported that the test car suffered from poor door seals, with daylight visible from inside past the rear door window frame's edge on the left side of the car, and a curious steering vibration at speed which might (or might not) have resulted from the car's front wheels not having been correctly balanced. Disappointment was recorded that the ventilation outlet directly in front of the driver appeared to be blocked, delivering barely a breeze even when fully open; the writer had encountered this problem on one other Rover 3500, although he had also driven other cars of the same type with an abundant output of fresh air through the vent in question. Nevertheless, in March 1977, Britain's Autocar was able to publish an article by Raymond Mays a famous racing driver and team manager during, in particular, the 1930s, 1950s and 1960s, in which Mays explained why, after driving it for 12,000 miles, he considered his Rover 3500 was "the best car he [had] ever had", both for its many qualities as a driver's car and for its excellent fuel economy even when driven hard. Similar problems persisted until 1980 and were reported in tests of the V8-S version.

In television shows John Steed in The New Avengers and George Cowley in The Professionals both used yellow Rover 3500 models. Although using different registration numbers both were possibly the same car.

[Text from Wikipedia]

I was recently very kindly given a Kiev 60 by my ex-girlfriends dad. He found it in a shop in the Ukraine for about £20! It’s in full working order apart from an unpredictable shutter. The mirror flips up and the shutter will go of somewhere between 1 to 10 seconds later. It seems to get quicker the more you use it so i’ll just have to take more photos.

I haven’t got a medium format scanner yet so these are scans of print I had done at Jessops, hence some weird marks on the photos.

I got Nathan to pose for a couple of shots as I didn't want to have test roll of just thing in my house. Really pleased with the results.

The pictures here are given at 600x400 pixel if you wish see that size use the download facility there is an icon on the lower right of the Flickr webpage. If you have any problems with the pictures please contact me. If you would like any other views of this war memorial please do ask. These pictures have been copyrighted to protect them, but I want them to be used to continue the commemoration of the sacrifice and futility of war. If you wish to use them then please do ask.

PHH Sykes ©2020

phhsykes@gmail.com

Here is a transcription of the memorial and some information gathered relating to it. Please do send details of any corrections that can be made.

OUR GLORIOUS DEAD

TO THE GLORY OF GOD AND IN THE LOVING MEMORY OF THE MEN OF THIS PARISH

WHO DIED IN THE GREAT WAR, 1918-1919

ERECTED BY THE THEIR FRIENDS 1920

NEIL PRIMROSE , M.C.ROYAL BUCKS, HUSSARS

GEORGE ALVES, CAMERON HDRS.

WILLIAM ALVES, CAMERON HDRS.

GEORGE BEATTIE,BLACK WATCH.

JAMES W. BLAKE,R. G. ARTILERY.

JOHN A. TEMPLE BLAKE, CAN. MTD. RIFLES.

THOMAS FULLERTON,ROYAL ENGINEERS.

GEORGE JOHNSON,ROYAL SCOTS.

MARTIN JOYCE,47TH. BAT. CAN.

ROBERT LEES,K.O.S.B.

JAMES McDOUGALL,A. & S. HDRS.

DONALD McGLASHAN,R.F. ARTILLERY.

ANDREW NEILL,SCOTS GUARDS.

THOMAS RAMAGE,A. & S. HDRS.

ARCHIBALD YOUNG,BLACK WATCH.

JAMES YOUNG,CAMERON HDRS.

GREATER LOVE HATH NO MAN THAN THIS, THAT A MAN LAY DOWN HIS LIFE FOR HIS FRIENDS.

THOMAS ALVES, R.N. 1939-1945 IAN KERR, R.A.C.

Monument Abbreviations Extended

Cameron Highlanders

Royal Garrison Artillery

Canadian Mounted Rifles, Canadian Expeditionary Force

47th Battalion (British Columbia) Canadian Expeditionary Force

King's Own Scottish Borderers

Argyll and Sutherland Highlanders (Princess Louise's)

Royal Field Artillery

Royal Navy

Royal Armoured Corps

Below is a list of information found at the Commonwealth War Graves Commission, www.cwgc.org/ and St. Giles High Kirk and other websites. I have tried to confirm and collect it together here.

CAPTAIN The Rt. Hon. NEIL JAMES ARCHIBALD PRIMROSE

Royal Buckinghamshire Hussars 1st/1st

Died 15 November 1917

Age 34 years old

Buried or commemorated at RAMLEH WAR CEMETERY D. 49.

Israel and Palestine (including Gaza)

Personal Inscription HE LIVES BY LOVE

Awards Military Cross, Mentioned in Despatches

Second son of 5th Earl of Rosebery (the former Prime Minister) and Countess of Rosebery; husband of Lady Victoria Primrose (now Lady Victoria Bullock), of Swynford Paddocks, Six Mile Bottom, Newmarket. Privy Councillor and Member of Parliament for Wisbech Division, Cambs. Since 1910.

He has a memorial in St Giles High Kirk on the High Street Edinburgh which reads as follows,

IN MEMORY OF

CAPTAIN THE RIGHT HON

NEIL JAMES ARCHIBALD

PRIMROSE M.P. M.C.

WHO WAS BORN AT DALMENY

DECEMBER 14TH 1889

WAS KILLED IN ACTION

NOVEMBER 15TH 1917

AT THE HILL OF GEZER

IN PALESTINE AND LIES BURIED

AT RAMLEH

THIS TABLET IS ERECTED BY

HIS PROUD & AFFLICTED FATHER

HIS LIFE WAS LOVELY AND

PLEASANT & HE DIED IN GLORY

THEY GO FROM STRENGTH TO

STRENGTH EVERY ONE OF THEM

IN ZION APPEARING BEFORE GOD

PRIVATE GEORGE ALVES Service Number: S/13290

Cameron Highlanders 7th Bn.

Died 25 September 1915

Buried or commemorated at LOOS MEMORIAL

Panel 119 to 124.

France

PRIVATE W B ALVES Service Number: S/13281

Cameron Highlanders 1st Bn.

Died 23 September 1918

Age 25 years old

Buried or commemorated at BRIE BRITISH CEMETERY

III. B. 1.

France

PRIVATE GEORGE BEATTIE Service Number: S/11800

Black Watch (Royal Highlanders) 2nd Bn.

Died 22 April 1916

Buried or commemorated at BASRA MEMORIAL Panel 25 and 63.

Iraq

PRIVATE JOHN ARCHIBALD TEMPLE BLAKE Service Number: 117150

2nd Canadian Mounted Rifles Battalion

Died 16 June 1916

Age 24 years old

Buried or commemorated at BOULOGNE EASTERN CEMETERY

VIII. B. 96.

France

SAPPER T FULLERTON Service Number: 414779

Royal Engineers

"B.W." Cable Sect.

Died 11 October 1917

Age 34 years old

Buried or commemorated at LONGUENESSE (ST. OMER) SOUVENIR CEMETERY

IV. E. 36.

France

PRIVATE MARTIN JOYCE Service Number: 227705

Canadian Infantry 47th Bn.

Died 28 October 1917

Age 43 years old

Buried or commemorated at YPRES (MENIN GATE) MEMORIAL

Panel 10 - 26 - 28.

Belgium

SECOND LIEUTENANT ROBERT WALLACE LEES

King's Own Scottish Borderers 7th Bn. attd. 2nd Bn.

Died 03 September 1916

Age 23 years old

Buried or commemorated at THIEPVAL MEMORIAL Pier and Face 4 A and 4 D.

France

PRIVATE JAMES McDOUGALL

Service Number: S/11915

Argyll and Sutherland Highlanders 1st Bn.

Died 29 September 1918

Buried or commemorated at MIKRA BRITISH CEMETERY, KALAMARIA 420.

Greece

SHOEING SMITH CORPORAL D McGLASHAN

Service Number: 635500

Royal Field Artillery "A" Bty. 256th Bde.

Died 12 October 1917

Age 40 years old

Buried or commemorated at VLAMERTINGHE NEW MILITARY CEMETERY

X. F. 1.

Belgium

CORPORAL T RAMAGE Service Number: S/9821

Argyll and Sutherland Highlanders 1st/7th Bn.

Died 20 July 1918

Buried or commemorated at MARFAUX BRITISH CEMETERY

VI. A. 7.

France

PRIVATE JOHN ARCHIBALD YOUNG Service Number: 27256

Black Watch (Royal Highlanders) 9th Bn.

Died 16 September 1918

Age 38 years old

Buried or commemorated at ST. MARY'S A.D.S. CEMETERY, HAISNES V. F. 1.

France

PETTY OFFICER STOKER THOMAS ALVES Service Number: P/K 59736

Royal Navy H.M.S. Vortigern

Died 15 March 1942

Age 47 years old

Buried or commemorated at PORTSMOUTH NAVAL MEMORIAL

Panel 67, Column 3.

United Kingdom

Son of John and Mary Alves; husband of Alice Alves, of Hornsey, London.

CAPTAIN IAN KERR Service Number: 151541

Died 26 June 1944

Age 26 years old

Son of John and Margaret Kerr; husband of Diana Joan Kerr, of Gorebridge, Midlothian.

JERUSALEM WAR CEMETERY, CHOUAIN, Calvados, France.

The Temple of Dendur

•Period: Roman Period

•Reign: reign of Augustus Caesar

•Date: completed by 10 B.C.

•Geography: From Egypt, Nubia, Dendur, West bank of the Nile River, 50 miles South of Aswan

•Medium: Aeolian sandstone

•Dimensions:

oTemple Proper:

Height: 6.40 m (21 ft.)

Width: 6.40 m (21 ft.)

Length: 12.50 m (41 ft.)

oGate:

Height: 8.08 m (26.5 ft.)

Width: 3.66 m (12 ft.)

Depth: 3.35 m (11 ft.)

•Credit Line: Given to the United States by Egypt in 1965, awarded to The Metropolitan Museum of Art in 1967, and installed in The Sackler Wing in 1978

•Accession Number: 68.154

On view at The Met Fifth Avenue in Gallery 131.

Egyptian temples were not simply houses for a cult image but also represented, in their design and decoration, a variety of religious and mythological concepts. One important symbolic aspect was based on the understanding of the temple as an image of the natural world as the Egyptians knew it. Lining the temple base are carvings of papyrus and lotus plants that seem to grow from water, symbolized by figures of the Nile god Hapy. The two columns on the porch rise toward the sky like tall bundles of papyrus stalks with lotus blossoms bound with them. Above the gate and temple entrance are images of the sun disk flanked by the outspread wings of Horus, the sky god. The sky is also represented by the vultures, wings outspread, that appear on the ceiling of the entrance porch.

On the outer walls between earth and sky are carved scenes of the king making offerings to deities who hold scepters and the ankh, the symbol of life. The figures are carved in sunk relief. In the brilliant Egyptian sunlight, shadows cast along the figures’ edges would have emphasized their outlines. Isis, Osiris, their son Horus, and the other deities are identified by their crowns and the inscriptions beside their figures. These scenes are repeated in two horizontal registers. The king is identified by his regalia and by his names, which appear close to his head in elongated oval shapes called cartouches; many of the cartouches simply read “pharaoh.” This king was actually Caesar Augustus of Rome, who, as ruler of Egypt, had himself depicted in the traditional regalia of the pharaoh. Augustus had many temples erected in Egyptian style, honoring Egyptian deities. This small temple, built about 15 B.C., honored the goddess Isis and, beside her, Pedesi and Pihor, deified sons of a local Nubian chieftain.

In the first room of the temple, reliefs again show the “pharaoh” praying and offering to the gods, but the relief here is raised from the background so that the figures can be seen easily in the more indirect light. From this room one can look into the temple past the middle room used for offering ceremonies and into the sanctuary of the goddess Isis. The only carvings in these two rooms are around the door frame leading into the sanctuary and on the back wall of the sanctuary, where a relief depicts Pihor worshiping Isis, and below—partly destroyed—Pedesi worshiping Osiris.

Curatorial Interpretation

History

After the conquest of Egypt in 31 B.C., Augustus confiscated the property of Egyptian temples and centralized their administration. As a kind of compensation, he commissioned at least 17 building projects for local gods, including the small Isis-temple of Dendur (ancient Tutzis) in Lower Nubia. No date for the temple’s construction is recorded except that the cartouches include the name of the “Autokrator Kaisaros,” that is Augustus. But one assumes reasonably that it was built during the peaceful years following the Roman-Kushite wars of 25-22 B.C., which had ended with the treaty of Samos of the year 21 B.C.

The dates 20 or 15 B.C. are usually given. Since Augustus only died in 14 A.D., a later date can not be ruled out. There is also no evidence for the Roman prefect who may have commissioned the building. The three possible candidates are:

•Gaius Petronius or Publius Petronius: 24 B.C. - 21 B.C. (who destroyed Napata)

•Publius Rubrius Barbarus: to 12 B.C.

•Gaius Turranius: 7 B.C. - 4 B.C.

A detailed Coptic inscription states that in 577 (or 559?) A.D. the temple was converted into a Christian church. Since 1820, the temple has been a favorite travel destination for explorers and artists, who produced numerous depictions and early photographs of the temple. Graffiti on the pronaos walls recall their visits.

The first Aswan dam brought the water 3 m below the doorsill of the temple. In 1908, conservation work was carried out in preparation for a seasonal flooding of the building. The building was completely drowned annually by the two raisings of the first Aswan dam, in 1907-12 and 1929-33. Remains of the wall paint were washed away but the walls remained structurally unharmed. Lake Nasser, created in 1970 by the building of the Aswan High Dam, would have submerged the temple forever. In 1962, the gate and temple were therefore documented and taken down as part of the Nubian salvage campaign. In recognition of the American contribution to the campaign, the gate and temple were presented to the United States in 1965.

Thanks to the initiative of Henry Fischer and Thomas Hoving, the temple was awarded to the Metropolitan Museum and in 1974/75 rebuilt in the newly created Sackler wing designed by Kevin Roche (born 1922) and John Dinkeloo (1918-81). The architects were faced with the problem that the temple was not free standing but built into a sloping rock surface, a landscape that was not desired by the Museum. The temple therefore had to be squeezed into the shape of a freestanding building, presented on a granite stage. The material chosen (red granite and “mason granite”) reflects with its shiny, polished surfaces the architect’s imagination of imperial-style pharaonic architecture. The stepped planes in front and around the temple house are modern creations that do not follow the original arrangement. These alterations, implemented for practical reasons, are quite appealing for the visitor but not hold up against modern conservation standards. The opening was celebrated on September 27, 1978.

Description

a)Cult Terrace

The temple towered impressively over the water of the Nile, visually supported by a 3.5 m high, 15 m broad and 16 m deep terrace (much higher than the reconstruction in the Museum). The front of the terrace had no opening but a front curving inward, probably better to withstand the torrent of the Nile. Similar terraces are known at Elephantine, Philae, Qasr Ibrim, Kalabsha, Ajuala and Dabod (see Jaritz 1980, pls. 48-49). The waterfront and the sides were closed with low parapet walls, which were underpinned by a heavy, protruding ledge. The re-creation in the Museum is made of granite because the original sandstone would not have withstood the museum’s traffic. The granite parapet wall designed by Roche-Dinkeloo consisted originally of two courses of blocks. The upper course was removed in 1995 in order to improve the vista on the temple terrace.

b)Temple Enclosure and Gate

The temple enclosure (temenos) rose on top of a 90 cm high step above the rear (west) side of the terrace. A monumental gate in the center formed the east front of the temenos.

The gate was for unknown reasons not exactly aligned with the temple-house behind. The visible parts of the gate are decorated with relief. The gate is 6.50 m high (including the cavetto), the doorway is 1.60 m wide and 4.35 m (from the court level). A staircase of 5 steps leads from the gate down onto the cult terrace.

The rough outer sidewalls of the gate suggest that it was incorporated in a massive wall or pylon built of brick or stone, closing off the Nile front of the temenos. Apparently no traces of a pylon were noticed at the site and it could well be that it was never built. However, the existence of a pylon is implied in the Museum’s reconstruction by a layer of irregular stones.

One would expect that high walls running east-west from the pylon to the mountain slope behind would have enclosed the sides of the temenos. Blackman’s plan shows the remains of these walls, but they no longer appear on Ashiri’s plan of 1972. In the Museum reconstruction, the parapet walls flanking the front platform suggest a continuation backwards in the direction of the cliffs.

The interior floor of the temenos was never completely level and the rock surface began to slope up beginning at the pronaos. The irregular lower edge of the exterior reliefs of the temple walls indicate the inclination of the slope. The center of the east court was treated differently. There, the gate and temple were connected by a 7 m broad walkway, made of masonry and rising 50 cm above the rough court level. This walkway is clearly visible on an old photo of the site. However, the photo was taken after modern consolidation of the temple and how much of it was modern is not recorded.

A door in the lateral south wall is shown on Blackman’s plan. Perhaps another one opened in the north side. However, there was no processional approach from the riverside because the cult terrace blocked an axial approach.

c)Temple House

The temple was primarily dedicated to Isis, mistress of Philae, who was the patron saint of Lower Nubia, an area known as the Dodekaschoinos. Attached was the cult of two brothers, Pedesi and Pihor, the sons of a local Nubian chieftain Quper. They carry the title hesy, which is normally bestowed on people drowned in the Nile. One assumes that Quper and his sons had earned merit in the Meroitic wars of the Romans.

The actual temple house represents a distyle in antis, with two quatrefoil column capitals in the front opening. This temple type was common in Ptolemaic times (as seen for example in tomb chapels at Tuna el-Gebel and Dakka) with several larger variations that include a wider pronaos with more front columns. The temple house is ca. 13 m long, 6.5 m wide and 5 m high (to the roof) and includes 3 consecutive rooms: entrance hall or pronaos; offering hall; and sanctuary. Depictions from the 19th century suggest that the cavetto cornice of the temple house was still largely in place around 1839. Today, only one block is left.

The entrance hall or pronaos has an open front with two 3.95 m high columns (including the abacus) columns carrying the architraves. The columns have quatrefoil papyrus capitals with a four-story lily decoration. The lateral interspaces were closed with screen walls.

The pronaos has a small side door in the southwest corner. This door was part of the temple structure and is incorporated into the decoration of the walls. Another, smaller side door in the northeast corner was cut through the existing building, damaging the wall reliefs. Both doors suggest that the access from the front of the pronaos was not always possible.

A large room follows behind, assumed to have been the offering hall. Except for the door in the rear wall, the room is undecorated, and was apparently unfinished.

The walls of the sanctuary are also undecorated except for a stela-like panel in the center of the rear wall. Its decoration depicts Pihor worshiping Isis, and below – partly destroyed – Pedesi worshiping Osiris. The floor and lowermost part of the rear and sidewalls are carved from the rock.

All the rest of the interior and exterior is covered with relief, showing the “pharaoh” (“kaisaros autokrator”) praying and offering to the gods.

d)Rock Chamber

In the cliff behind the temple was a small rock chamber with a basin in the floor. In front was a court with a kind of tiny pylon. One assumes that this was the tomb of the two brothers and perhaps the predecessor of the temple. The entrance was behind the stela of Pedesi and Pihor.

The 1.65 m thick rear wall of the temple-house includes a built-in secret chamber accessed from the south end through a door closed with a thin, removable block. This crypt has been explained as the tomb of one of the brothers or as a hiding place for a priest giving oracles through a hole in the wall. The crypt could also have been a hiding place for liturgical equipment.

e)Evaluation

The Dendur temple is comparatively small but impressive and a major example of Roman architecture based on the Ptolemaic building tradition in Egypt. The temple demonstrates an important aspect of Egyptian architecture. The modern viewer is impressed by the monumental gate or pylon forming the front of the temple. However, the gate of temples like that of Dendur cannot be reached by a frontal, axial approach. The access is blocked by a cult terrace (for example the first pylon of Karnak or the pylon of Medinet Habu). These pylons/gates were not intended as entrances but as exits, monumental stages where the god (in the form of a cult figure) emerges from the interior and performs his/her appearance at the “gates of appearances.” From the gate of the Dendur temple, the divinity descended onto the cult terrace, were it reposed and viewed the Nile and the realm. Jaritz (1980, pp. 61-654) has shown that the cult terrace of the Khnum temple on Elephantine also was the gathering place for cult communities who celebrated repasts with the divinity.

Dieter Arnold 2016

Provenance

Given to the United States by the Egyptian Government, 1965. Awarded to the Museum by the U.S. Government, 1967.

Selected References

•Gau, Francois Chretien 1822. Antiquités de la Nubie : ou, Monumens inédits des bords du Nil, situés entre la première et la seconde cataracte, dessinés et mesurés en 1819. Stuttgart, pl. 23-5.

•Rifaud, Jean-Jacques 1830. Voyage en Égypte, en Nubie et lieux circonvoisins depuis 1805 jusqu’en 1827. Paris: Crapelet, pp. 27-8.

•Blackman, Aylward M. 1911. The temple of Dendûr. Cairo: Imprimerie de l’Institut Français d’Archeologie Orientale.

•Monnet-Saleh, Janine 1969. “Observations sur le temple de Dendour.” In Bulletin de l’Institut Français d’Archéologie Orientale, 68, pp. 1–13.

•El-Achiri, Hassan, M. Aly, F.-A. Hamid, and Ch. LeBlanc 1972. Le temple de Dandour, 1-3. Collection scientifique (Markaz Tasjīl al-Āthār al-Miṣrīyah), Cairo.

•Jaritz, Horst 1980. Elephantine III : Die Terrassen vor den Tempeln des Chnum und der Satet : Architektur und Deutung. Mainz am Rhein: Zabern.

•Bagnall, Roger 1985. “Publius Petronius, Augustan Prefect of Egypt.” In Papyrology. Cambridge and New York: Cambridge University Press, pp. 85-93.

•Bianchi, Robert Steven 1998. “The Oracle at the Temple of Dendur.” In Egyptian Religion. The Last Thousand Years. Studies Dedicated to the Memory of Jan Quaegebeur, 85, pp. 773-80.

•Arnold, Dieter 1999. Temples of the Last Pharaohs. New York and Oxford: Oxford University Press, pp. 244-46.

•Hill, Marsha 2000. “Roman Egypt.” In The Year One: Art of the Ancient World East and West, edited by Elizabeth J. Milleker. New Haven: Metropolitan Museum of Art, pp. 84-5, figs. 62-63, p. 207.

•Metropolitan Museum of Art 2012. The Metropolitan Museum of Art Guide. New Haven, CT: Yale University Press, p. 58.

•Metropolitan Museum of Art 2012. The Metropolitan Museum of Art Guide. New York and New Haven, Connecticut: Yale University Press, p. 58.

Timeline of Art History (2000-Present)

Timelines

•Egypt, 1-500A.D.

MetPublications

•The Art of Ancient Egypt: A Resource for Educators

•“Dendur: The Six-Hundred-Forty-Third Stone”: Metropolitan Museum Journal, v. 33 (1998)

•Masterpieces of The Metropolitan Museum of Art

•Masterpieces of The Metropolitan Museum of Art

•The Metropolitan Museum of Art Guide

•The Metropolitan Museum of Art Guide

•The Metropolitan Museum of Art Guide (Arabic)

•The Metropolitan Museum of Art Guide (Chinese)

•The Metropolitan Museum of Art Guide (French)

•The Metropolitan Museum of Art Guide (German)

•The Metropolitan Museum of Art Guide (Italian)

•The Metropolitan Museum of Art Guide (Japanese)

•The Metropolitan Museum of Art Guide (Korean)

•The Metropolitan Museum of Art Guide (Portuguese)

•The Metropolitan Museum of Art Guide (Russian)

•The Metropolitan Museum of Art Guide (Spanish)

•The Metropolitan Museum of Art. Vol. 1, Egypt and the Ancient Near East

•One Met. Many Worlds.

•“The Temple of Dendur”: The Metropolitan Museum of Art Bulletin, v. 36, no. 1 (Summer, 1978)

•The Year One: Art of the Ancient World East and West

The Museum of the Moon was still supposed to be on. Or, to be more accurate, I had not checked that it was still on, but would be a good excuse to return to Rochester for the first time in over a decade.

Last time here I took seven or so shots, I was hoping to improve on that.

But, as I was to find, the Moon moved out on Wednesday, so there was just the cathedral to look at and record, and I pretty much had the cathedral to myself.

There was a service in the chancel, so that and the Quire were out of bounds for a while, but once over I was given the nod I could go in.

How do you describe a cathedral? Especially one as grand and old as Rochester?

From the west, the cathedral doesn't look too big, but there is a viewing place from the High Street that shows the cathedral to be a large and complicated building.

Inside the nave is huge, with the organ towering over the altar. Through the doorway into the quire and the sanctuary beyond, and all the while, above the white vaulted ceiling reached from the high walls and columns.

All around the walls are memorials to the great and good of Kent, some tombs too. The step leading from the aisles to the sanctuary are worn down by the millions of feet that have climbed them over the centuries.

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

The church is the cathedral of the Diocese of Rochester in the Church of England and the seat (cathedra) of the Bishop of Rochester, the second oldest bishopric in England after that of the Archbishop of Canterbury. The edifice is a Grade I listed building (number 1086423)

The Rochester diocese was founded by Justus, one of the missionaries who accompanied Augustine of Canterbury to convert the pagan southern English to Christianity in the early 7th century. As the first Bishop of Rochester, Justus was granted permission by King Æthelberht of Kent to establish a church dedicated to Andrew the Apostle (like the monastery at Rome where Augustine and Justus had set out for England) on the site of the present cathedral, which was made the seat of a bishopric. The cathedral was to be served by a college of secular priests and was endowed with land near the city called Priestfields.[3][a][b]

Under the Roman system, a bishop was required to establish a school for the training of priests.[4] To provide the upper parts for music in the services a choir school was required.[5] Together these formed the genesis of the cathedral school which today is represented by the King's School, Rochester. The quality of chorister training was praised by Bede.

The original cathedral was 42 feet (13 m) high and 28 feet (8.5 m) wide. The apse is marked in the current cathedral on the floor and setts outside show the line of the walls. Credit for the construction of the building goes to King Æthelberht rather than St Justus. Bede describes St Paulinus' burial as "in the sanctuary of the Blessed Apostle Andrew which Æthelberht founded likewise he built the city of Rochester."[c][7]

Æthelberht died in 617 and his successor, Eadbald of Kent, was not a Christian. Justus fled to Francia and remained there for a year before he was recalled by the king.[8]

In 644 Ithamar, the first English-born bishop, was consecrated at the cathedral.[d] Ithamar consecrated Deusdedit as the first Saxon Archbishop of Canterbury on 26 March 655.[9]

The cathedral suffered much from the ravaging of Kent by King Æthelred of Mercia in 676. So great was the damage that Putta retired from the diocese and his appointed successor, Cwichelm, gave up the see "because of its poverty".[10]

In 762, the local overlord, Sigerd, granted land to the bishop, as did his successor Egbert.[e][11] The charter is notable as it is confirmed by Offa of Mercia as overlord of the local kingdom.

Following the invasion of 1066, William the Conqueror granted the cathedral and its estates to his half-brother, Odo of Bayeux. Odo misappropriated the resources and reduced the cathedral to near-destitution. The building itself was ancient and decayed. During the episcopate of Siward (1058–1075) it was served by four or five canons "living in squalor and poverty".[12] One of the canons became vicar of Chatham and raised sufficient money to make a gift to the cathedral for the soul and burial of his

Gundulf's church

Lanfranc, Archbishop of Canterbury, amongst others, brought Odo to account at the trial of Penenden Heath c. 1072. Following Odo's final fall, Gundulf was appointed as the first Norman bishop of Rochester in 1077. The cathedral and its lands were restored to the bishop.

Gundulf's first undertaking in the construction of the new cathedral seems to have been the construction of the tower which today bears his name. In about 1080 he began construction of a new cathedral to replace Justus' church. He was a talented architect who probably played a major part in the design or the works he commissioned. The original cathedral had a presbytery of six bays with aisles of the same length. The four easternmost bays stood over an undercroft which forms part of the present crypt. To the east was a small projection, probably for the silver shrine of Paulinus which was translated there from the old cathedral.[f] The transepts were 120 feet long, but only 14 feet wide. With such narrow transepts it is thought that the eastern arches of the nave abuted the quire arch.[14] To the south another tower (of which nothing visible remains) was built. There was no crossing tower.[15] The nave was not completed at first. Apparently designed to be nine bays long, most of the south side but only five bays to the north were completed by Gundulf. The quire was required by the priory and the south wall formed part of its buildings. It has been speculated that Gundulf simply left the citizens to complete the parochial part of the building.[16] Gundulf did not stop with the fabric, he also replaced the secular chaplains with Benedictine monks, obtained several royal grants of land and proved a great benefactor to his cathedral city.

In 1078 Gudulf founded St Bartholomew's Hospital just outside the city of Rochester. The Priory of St Andrew contributed daily and weekly provisions to the hospital which also received the offerings from the two altars of St James and of St Giles.[17]

During the episcopates of Ernulf (1115–1124) and John (I) (1125–1137) the cathedral was completed. The quire was rearranged, the nave partly rebuilt, Gundulf's nave piers were cased and the west end built. Ernulf is also credited with building the refectory, dormitory and chapter house, only portions of which remain. Finally John translated the body of Ithamar from the old Saxon cathedral to the new Norman one, the whole being dedicated in 1130 (or possibly 1133) by the Archbishop of Canterbury, assisted by 13 bishops in the presence of Henry I, but the occasion was marred by a great fire which nearly destroyed the whole city and damaged the new cathedral. It was badly damaged by fires again in 1137 and 1179. One or other of these fires was sufficiently severe to badly damage or destroy the eastern arm and the transepts. Ernulf's monastic buildings were also damaged.

Probably from about 1190, Gilbert de Glanville (bishop 1185–1214) commenced the rebuilding of the east end and the replacement on the monastic buildings. The north quire transept may have been sufficiently advanced to allow the burial of St William of Perth in 1201, alternatively the coffin may have lain in the north quire aisle until the transept was ready. It was then looted in 1215 by the forces of King John during siege of Rochester Castle. Edmund de Hadenham recounts that there was not a pyx left "in which the body of the Lord might rest upon the altar".[14] However, by 1227, the quire was again in use when the monks made their solemn entry into it. The cathedral was rededicated in 1240 by Richard Wendene (also known as Richard de Wendover) who had been translated from Bangor.[14][18]

The shrines of Ss Paulinus and William of Perth, along with the relics of St Ithamar, drew pilgrims to the cathedral. Their offerings were so great that both the work mentioned above and the ensuing work could be funded.

Unlike the abbeys of the period (which were led by an abbot) the monastic cathedrals were priories ruled over by a prior with further support from the bishop.[19] Rochester and Carlisle (the other impoverished see) were unusual in securing the promotion of a number of monks to be bishop. Seven bishops of Rochester were originally regular monks between 1215 and the Dissolution.[20] A consequence of the monastic attachment was a lack of patronage at the bishop's disposal. By the early 16th century only 4% of the bishop's patronage came from non-parochial sources.[21] The bishop was therefore chronically limited in funds to spend on the non-monastic part of the cathedral.

The next phase of the development was begun by Richard de Eastgate, the sacrist. The two eastern bays of the nave were cleared and the four large piers to support the tower were built. The north nave transept was then constructed. The work was nearly completed by Thomas de Mepeham who became sacrist in 1255. Not long after the south transept was completed and the two bays of the nave nearest the crossing rebuilt to their current form. The intention seems to have been to rebuild the whole nave, but probably lack of funds saved the late Norman work.

The cathedral was desecrated in 1264 by the troops of Simon de Montfort, during sieges of the city and castle. It is recorded that armed knights rode into the church and dragged away some refugees. Gold and silver were stolen and documents destroyed. Some of the monastic buildings were turned into stables.[22] Just over a year later De Montfort fell at the Battle of Evesham to the forces of Edward I. Later, in 1300, Edward passed through Rochester on his way to Canterbury and is recorded as having given seven shillings (35p) at the shrine of St William, and the same again the following day. During his return he again visited the cathedral and gave a further seven shillings at each of the shrines of Ss Paulinus and Ithamar.

The new century saw the completion of the new Decorated work with the original Norman architecture. The rebuilding of the nave being finally abandoned. Around 1320 the south transept was altered to accommodate the altar of the Virgin Mary.

There appears to have been a rood screen thrown between the two western piers of the crossing. A rood loft may have surmounted it.[23] Against this screen was placed the altar of St Nicholas, the parochial altar of the city. The citizens demanded the right of entrance by day or night to what was after all their altar. There were also crowds of strangers passing through the city. The friction broke out as a riot in 1327 after which the strong stone screens and doors which wall off the eastern end of the church from the nave were built.[24] The priory itself was walled off from the town at this period. An oratory was established in angulo navis ("in the corner of the nave") for the reserved sacrament; it is not clear which corner was being referred to, but Dr Palmer[25] argues that the buttress against the north-west tower pier is the most likely setting. He notes the arch filled in with rubble on the aisle side; and on nave side there is a scar line with lower quality stonework below. The buttress is about 4 feet (1.2 m) thick, enough for an oratory. Palmer notes that provision for reservation of consecrated hosts was often made to the north of the altar which would be the case here.

The central tower was at last raised by Hamo de Hythe in 1343, thus essentially completing the cathedral. Bells were placed in the central tower (see Bells section below). The chapter room doorway was constructed at around this time. The Black Death struck England in 1347–49. From then on there were probably considerably more than twenty monks in the priory.

The modern paintwork of the quire walls is modelled on artwork from the Middle Ages. Gilbert Scott found remains of painting behind the wooden stalls during his restoration work in the 1870s. The painting is therefore part original and part authentic. The alternate lions and fleurs-de-lis reflect Edward III's victories, and assumed sovereignty over the French. In 1356 the Black Prince had defeated John II of France at Poitiers and took him prisoner. On 2 July 1360 John passed through Rochester on his way home and made an offering of 60 crowns (£15) at the Church of St Andrew.[27]

The Oratory provided for the citizens of Rochester did not settle the differences between the monks and the city. The eventual solution was the construction of St Nicholas' Church by the north side of the cathedral. A doorway was knocked through the western end of the north aisle (since walled up) to allow processions to pass along the north aisle of the cathedral before leaving by the west door.[27][28]

In the mid-15th century the clerestory and vaulting of the north quire aisle was completed and new Perpendicular Period windows inserted into the nave aisles. Possible preparatory work for this is indicated in 1410–11 by the Bridge Wardens of Rochester who recorded a gift of lead from the Lord Prior. The lead was sold on for 41 shillings.[g][29] In 1470 the great west window at the cathedral was completed and finally, in around 1490, what is now the Lady Chapel was built.[27] Rochester Cathedral, although one of England's smaller cathedrals, thus demonstrates all styles of Romanesque and Gothic architecture.[30]

In 1504 John Fisher was appointed Bishop of Rochester. Although Rochester was by then an impoverished see, Fisher elected to remain as bishop for the remainder of his life. He had been tutor to the young Prince Henry and on the prince's accession as Henry VIII, Fisher remained his staunch supporter and mentor. He figured in the anti-Lutheran policies of Henry right up until the divorce issue and split from Rome in the early 1530s. Fisher remained true to Rome and for his defence of the Pope was elevated as a cardinal in May 1535. Henry was angered by these moves and, on 22 June 1535, Cardinal Fisher was beheaded on Tower Green.

Henry VIII visited Rochester on 1 January 1540 when he met Ann of Cleves for the first time and was "greatly disappointed".[31] Whether connected or not, the old Priory of St Andrew was dissolved by royal command later in the year, one of the last monasteries to be dissolved.

The west front is dominated by the central perpendicular great west window. Above the window the dripstone terminates in a small carved head at each side. The line of the nave roof is delineated by a string course above which rises the crenelated parapet. Below the window is a blind arcade interrupted by the top of the Great West Door. Some of the niches in the arcade are filled with statuary. Below the arcade the door is flanked with Norman recesses. The door itself is of Norman work with concentric patterned arches. The semicircular tympanum depicts Christ sitting in glory in the centre, with Saints Justus and Ethelbert flanking him on either side of the doorway. Supporting the saints are angels and surrounding them are the symbols of the Four Evangelists: Ss Matthew (a winged man), Mark (a lion), Luke (an ox) and John (an eagle).[52] On the lintel below are the Twelve Apostles and on the shafts supporting it King Soloman and the Queen of Sheba.[53] Within the Great West Door there is a glass porch which allows the doors themselves to be kept open throughout the day.

Either side of the nave end rises a tower which forms the junction of the front and the nave walls. The towers are decorated with blind arcading and are carried up a further two stories above the roof and surmounted with pyramidal spires. The aisle ends are Norman. Each has a large round headed arch containing a window and in the northern recess is a small door. Above each arch is plain wall surmounted by a blind arcade, string course at the roof line and plain parapet. The flanking towers are Norman in the lower part with the style being maintained in the later work. Above the plain bases there are four stories of blind arcading topped with an octagonal spire.[54]

The outside of the nave and its aisles is undistinguished, apart from the walled up north-west door which allowed access from the cathedral to the adjacent St Nicholas' Church.[28] The north transept is reached from the High Street via Black Boy Alley, a medieval pilgrimage route. The decoration is Early English, but reworked by Gilbert Scott. Scott rebuilt the gable ends to the original high pitch from the lower one adopted at the start of the 19th century. The gable itself is set back from the main wall behind a parapet with walkway. He also restored the pilgrim entrance and opened up the blind arcade in the northern end of the west wall.[55]

To the east of the north transept is the Sextry Gate. It dates from Edward III's reign and has wooden domestic premises above. The area beyond was originally enclosed, but is now open to the High Street through the memorial garden and gates. Beyond the Sextry Gate is the entrance to Gundulf's Tower, used as a private back door to the cathedral.

The north quire transept and east end are all executed in Early English style, the lower windows light the crypt which is earlier. Adjoining the east end of the cathedral is the east end of the Chapter Room which is in the same style. The exact form of the east end is more modern than it appears, being largely due to the work of Scott in the 19th century. Scott raised the gable ends to the original high pitch, but for lack of funds the roofs have not been raised; writing in 1897 Palmer noted: "they still require roofs of corresponding pitch, a need both great and conspicuous".[56]

On the south side of the cathedral the nave reaches the main transept and beyond a modern porch. The aisle between the transepts is itself a buttress to the older wall behind and supported by a flying buttress. The unusual position of this wall is best explained when considering the interior, below. The southern wall of the presbytery is hidden by the chapter room, an 18th-century structure.

he western part of the nave is substantially as Gundulf designed it. According to George H. Palmer (who substantially follows St John Hope) "Rochester and Peterborough possess probably the best examples of the Norman nave in the country".[60] The main arcade is topped by a string course below a triforium. The triforium is Norman with a further string course above. The clerestory above is of perpendicular style. From the capitals pilasters rise to the first string course but appear to have been removed from the triforium stage. Originally they might have supported the roof timbers, or even been the springing of a vault.[61]

The easternmost bay of the triforium appears to be Norman, but is the work of 14th-century masons. The final bay of the nave is Decorated in style and leads to the tower piers. Of note is the north pier which possibly contains the Oratory Chapel mentioned above.[62]

The aisles are plain with flat pilasters. The eastern two bays are Decorated with springing for vaulting. Whether the vault was ever constructed is unknown, the present wooden roof extends the full length of the aisles.

The crossing is bounded to the east by the quire screen with the organ above. This is of 19th-century work and shows figures associated with the early cathedral. Above the crossing is the central tower, housing the bells and above that the spire. The ceiling of the crossing is notable for the four Green Men carved on the bosses. Visible from the ground is the outline of the trapdoor through which bells can be raised and lowered when required. The floor is stepped up to the pulpitum and gives access to the quire through the organ screen.

The north transept is from 1235 in Early English style. The Victorian insertion of windows has been mentioned above in the external description. Dominating the transept is the baptistery fresco. The fresco by Russian artist Sergei Fyodorov is displayed on the eastern wall. It is located within an arched recess. The recess may have been a former site of the altar of St Nicholas from the time of its construction in 1235 until it was moved to the screen before the pulpitum in 1322. A will suggests that "an altar of Jesu" also stood here at some point, an altar of some sort must have existed as evidenced by the piscina to the right of the recess.[64] The vaulting is unusual in being octpartite, a development of the more common sexpartite. The Pilgrim Door is now the main visitor entrance and is level for disabled access.

he original Lady Chapel was formed in the south transept by screening it off from the crossing. The altar of the Blessed Virgin Mary was housed in the eastern arch of the transept. There are traces of painting both on the east wall and under the arch. The painting delineates the location of the mediaeval north screen of the Lady Chapel. Around 1490 this chapel was extended westwards by piercing the western wall with a large arch and building the chapel's nave against the existing south aisle of cathedral. From within the Lady Chapel the upper parts of two smaller clerestory windows may be seen above the chapel's chancel arch. Subsequently, a screen was placed under the arch and the modern Lady Chapel formed in the 1490 extension.

The south transept is of early Decorated style. The eastern wall of it is a single wide arch at the arcade level. There are two doorways in the arch, neither of which is used, the northern one being hidden by the memorial to Dr William Franklin. The south wall starts plain but part way up is a notable monument to Richard Watts, a "coloured bust, with long gray beard".[65] According to Palmer there used to be a brass plaque to Charles Dickens below this but only the outline exists, the plaque having been moved to the east wall of the quire transept.[66] The west wall is filled by the large arch mentioned above with the screen below dividing it from the present Lady Chapel.

The Lady Chapel as it now exists is of Decorated style with three lights along southern wall and two in the west wall. The style is a light and airy counterpart to the stolid Norman work of the nave. The altar has been placed against the southern wall resulting in a chapel where the congregation wraps around the altar. The window stained glass is modern and tells the gospel story.

The first, easternmost, window has the Annunciation in the upper light: Gabriel speaking to Mary (both crowned) with the Holy Spirit as a dove descending. The lower light shows the Nativity with the Holy Family, three angels and shepherds. The next window shows St Elizabeth in the upper light surrounded by stars and the sun in splendour device. The lower light shows the Adoration of the Magi with Mary enthroned with the Infant. The final window of the south wall has St Mary Magdelene with her ointment surrounded by Tudor roses and fleurs-de-lis in the upper light with the lower light showing the Presentation in the Temple. The west wall continues with St. Margaret of Scotland in the upper light surrounded by fouled anchor and thistle roundels. The reference is to the original dedication of the cathedral as the Priory of St Andrew. The lower light shows the Crucifixion with Mary and St Peter. The final window is unusual, the upper light is divided in three and shows King Arthur with the royal arms flanked by St George on the left and St Michael on the right. The lower light shows the Ascension: two disciples to the left, three women with unguents to the right and three bare crosses top right.

en.wikipedia.org/wiki/Rochester_Cathedral

This batch of photo's were given to me in 1985 by a school friend, no idea who was the photographer or the date's and some of the locations, but I thought I would share them with you - ENJOY !

I was given a sweet tour of the LASD grounds in Whittier, CA by The Tez!

The Memorial for officers who were killed in the line of duty while serving the people of Los Angeles County:

Randy Hamson - 2008

Raul Gama - 2007

Maria C. Rosa - 2006

Pierre W. Bain - 2006

Luis Gerardo Ortiz - 2005

James P. Tutino - 2004

Michael Richard Arruda - 2004

Stephen D. Sorensen - 2003

David A. Powell - 2002

David W. March - 2002

Jake Kuredjian - 2001

Brandan G. Hinkle - 2001

Michael L. Hoenig - 1997

Shayne D. York, 1997

Antranik Geuvjehizian - 1995

Stephen W. Blair - 1995

Jimmie R. Henry - 1995

Richard B. Hammack - 1992

Nelson Yamamoto - 1992

Rosemary Iris May - 1989

James D. McSweeney - 1988

Roy A. Chester - 1988

Jack B. Miller - 1988

Charles R. Anderson - 1987

George L. Arthur - 1985

David L. Holguin - 1984

B. Loyd Brooks - 1984

James P. Clark - 1983

Larrell K. Smith - 1983

Lawrence M. Lavieri - 1983

Kenneth D. Ell - 1982

Constance E. Worland - 1981

Jack D. Williams - 1979

George Barthel - 1979

Robert M. Cartmell II - 1978

Walter Hannan - 1978

Thomas H. Pohlman - 1978

Arthur E. Pelino - 1978

Charles Plumleigh - 1978

Gregory L. Low - 1978

Edward J. Russell - 1977

Didier Hurdle - 1977

Lynn L. Lewis - 1977

Didier M. Hurdle - 1977

Darden Hollis - 1975

Theodor A. Abrey - 1974

James J. Foote - 1974

Carl E. Wilson - 1973

Donald W. Schneider - 1973

Joseph R. Herrera - 1972

Charles O. Ley - 1972

Barry Jon Hoffman - 1971

Gary D. Saunders - 1971

Louis C. Wallace - 1970

Gordon D. Erickson - 1970

Lionel W. Dashley - 1969

Charles D. Rea - 1969

Robert K. Schnur - 1968

Gary E. McCullah - 1968

James W. Waygood - 1967

Michael V. Wigderson - 1967

Ronald Ludlow - 1965

John M. Slobojan - 1964

Lloyd G. Constantine - 1964

Willard Ballard - 1964

William A. White - 1964

Timothy J. Harnett - 1961

Manuel A. Ayon - 1961

Lee E. Sawyer - 1960

Harold A. Reis, Jr. - 1958

Ronald J. Gillis - 1958

David A. Horr - 1958

Harold S. Blevins - 1957

Vernon J. Corbeil - 1957

Edwin M. Falkowski - 1955

Elbert J. Hall - 1949

Fred P. Guiol - 1946

John N. Hedge - 1933

Rudolph G. Vejar, Sr. - 1932

Frank D. De War - 1932

Robert E. Magee - 1923

William E. Funkhouser - 1922

Henry J. Ronsse - 1922

Herbert E. Glidden - 1920

Harold B. Broadwell - 1919

Michael V. Van Vliet - 1918

George Wilson - 1896

William C. Getman - 1858

James R. Barton - 1857

On Monday, my teacher gave out some guidelines for a final speech to be given at the end of the quarter. One of our options, was to write about an individual in the past whom we think should not be forgotten. Personally, I think Bob Marley should not be forgotten. When I asked her if that would be okay to write about, she told me that there were more important people in our past (I thought it was supposed to be about MY opinion?), and continued to tell me not to write about drugs. It just really annoyed me that she assumed I was going to stand in front of my classmates and talk about drugs. She just completely missed my point. Anyway, I'm still writing my speech about Bob Marley.

This is a bit of what I wrote for another class, journalism;

I admire Bob Marley. His music sends remarkable, inspiring and positive messages; if you are willing to listen to his lyrics. I love the fact that his lyrics free my mind from the worries of the moment. Listening to Bob Marley always reminds me to look at the brighter sides of every bad situation. His lyrics make me want to keep my head up, to the best of my ability. In a song titled Trench town Rock, Bob Marley sings, "One good thing about music: when it hits, you feel no pain. So, hit me with music." I strongly agree with this, music in general is very healing. Aside from Bob Marley's music, he was an amazing person in general. "Money can't buy life.", were the last words he spoke to his son, Ziggy Marley. Peace is something that will not be achieved in this world. Though, achieving peace would be more realistic, if only there were more people on this earth with similar thinking. I admire Bob Marley's incredible mind, and strong beliefs. The human population is awfully diverse. Although diversity can be so radiant, it is also a reason that peace will never be reached. Everyone's ideas, opinions, and thoughts are so unique, and this causes everything to clash. A day never passes without violence, and that is senseless. In one year, around 30,000 Americans die in gun violence alone. Whether it be a son/daughter, brother/sister, mother/father, etc., it is needless to say that violence takes away cherished ones every single day. Many people do not take the time to thoroughly think things through, before making extreme actions that include violence. It is 110% possible for issues to be illuminated without killing or harming others. So, If I could change anything in this world, I would annihilate violence and create total peace.

North Toraja (or Toraja Utara) is a regency (kabupaten) of South Sulawesi Province of Indonesia, and the home of the Toraja ethnic group. The local government seat is in Rantepao which is also the center of Toraja culture. Formerly this regency was part of Tana Toraja Regency.

The Tana Toraja boundary was determined by the Dutch East Indies government in 1909. In 1926, Tana Toraja was under the administration of Bugis state, Luwu. The regentschap (or regency) status was given on October 8, 1946, the last regency given by the Dutch. Since 1984, Tana Toraja has been named as the second tourist destination after Bali by the Ministry of Tourism, Indonesia. Since then, hundreds of thousands of foreign visitors have visited this regency. In addition, numerous Western anthropologists have come to Tana Toraja to study the indigenous culture and people of Toraja.

GEOGRAPHY

Tana Toraja is located on the Sulawesi island, 300 km north of Makassar, the provincial capital of South Sulawesi. Its geographical location is between latitude of 2°-3° South and longitude 119°-120° East (center: 3°S 120°ECoordinates: 3°S 120°E). The area of the new North Toraja Regency is 1,151.47 km², about 2.5% of the total area of South Sulawesi province. The topography of Tana Toraja is mountainous; its minimum elevation is 150 m, while the maximum is 3,083 above the sea level.

Tana Toraja Regency (Indonesian for Torajaland or Land of the Toraja, abbreviated Tator) is a regency (kabupaten) of South Sulawesi Province of Indonesia, and home to the Toraja ethnic group. The local government seat is in Makale, while the center of Toraja culture is in Rantepao. But now, Tana Toraja has been divided to two regencies that consist of Tana Toraja with its capital at Makale and North toraja with its capital at Rantepao.

The Tana Toraja boundary was determined by the Dutch East Indies government in 1909. In 1926, Tana Toraja was under the administration of Bugis state, Luwu. The regentschap (or regency) status was given on 8 October 1946, the last regency given by the Dutch. Since 1984, Tana Toraja has been named as the second tourist destination after Bali by the Ministry of Tourism, Indonesia. Since then, hundreds of thousands of foreign visitors have visited this regency. In addition, numerous Western anthropologists have come to Tana Toraja to study the indigenous culture and people of Toraja.

GEOGRAPHY

Tana Toraja is centrally placed in the island of Sulawesi, 300 km north of Makassar, the provincial capital of South Sulawesi. It lies between latitude of 2°-3° South and longitude 119°-120° East (center: 3°S 120°ECoordinates: 3°S 120°E). The total area (since the separation of the new regency of North Toraja) is 2,054.30 km², about 4.4% of the total area of South Sulawesi province. The topography of Tana Toraja is mountainous; its minimum elevation is 150 m, while the maximum is 3,083 above the sea level.

ADMINISTRATION

Tana Toraja Regency in 2010 comprised nineteen administrative Districts (Kecamatan), tabulated below with their 2010 Census population.

The Torajans are an ethnic group indigenous to a mountainous region of South Sulawesi, Indonesia. Their population is approximately 1,100,000, of whom 450,000 live in the regency of Tana Toraja ("Land of Toraja").[1] Most of the population is Christian, and others are Muslim or have local animist beliefs known as aluk ("the way"). The Indonesian government has recognised this animistic belief as Aluk To Dolo ("Way of the Ancestors").

The word Toraja comes from the Buginese language term to riaja, meaning "people of the uplands". The Dutch colonial government named the people Toraja in 1909. Torajans are renowned for their elaborate funeral rites, burial sites carved into rocky cliffs, massive peaked-roof traditional houses known as tongkonan, and colourful wood carvings. Toraja funeral rites are important social events, usually attended by hundreds of people and lasting for several days.

Before the 20th century, Torajans lived in autonomous villages, where they practised animism and were relatively untouched by the outside world. In the early 1900s, Dutch missionaries first worked to convert Torajan highlanders to Christianity. When the Tana Toraja regency was further opened to the outside world in the 1970s, it became an icon of tourism in Indonesia: it was exploited by tourism development and studied by anthropologists. By the 1990s, when tourism peaked, Toraja society had changed significantly, from an agrarian model—in which social life and customs were outgrowths of the Aluk To Dolo—to a largely Christian society. Today, tourism and remittances from migrant Torajans have made for major changes in the Toraja highland, giving the Toraja a celebrity status within Indonesia and enhancing Toraja ethnic group pride.

ETHNIC IDENTITY

The Torajan people had little notion of themselves as a distinct ethnic group before the 20th century. Before Dutch colonisation and Christianisation, Torajans, who lived in highland areas, identified with their villages and did not share a broad sense of identity. Although complexes of rituals created linkages between highland villages, there were variations in dialects, differences in social hierarchies, and an array of ritual practices in the Sulawesi highland region. "Toraja" (from the coastal languages' to, meaning people; and riaja, uplands) was first used as a lowlander expression for highlanders. As a result, "Toraja" initially had more currency with outsiders—such as the Bugis and Makassarese, who constitute a majority of the lowland of Sulawesi—than with insiders. The Dutch missionaries' presence in the highlands gave rise to the Toraja ethnic consciousness in the Sa'dan Toraja region, and this shared identity grew with the rise of tourism in the Tana Toraja Regency. Since then, South Sulawesi has four main ethnic groups—the Bugis (the majority, including shipbuilders and seafarers), the Makassarese (lowland traders and seafarers), the Mandarese (traders and fishermen), and the Toraja (highland rice cultivators).

HISTORY

From the 17th century, the Dutch established trade and political control on Sulawesi through the Dutch East Indies Company. Over two centuries, they ignored the mountainous area in the central Sulawesi, where Torajans lived, because access was difficult and it had little productive agricultural land. In the late 19th century, the Dutch became increasingly concerned about the spread of Islam in the south of Sulawesi, especially among the Makassarese and Bugis peoples. The Dutch saw the animist highlanders as potential Christians. In the 1920s, the Reformed Missionary Alliance of the Dutch Reformed Church began missionary work aided by the Dutch colonial government. In addition to introducing Christianity, the Dutch abolished slavery and imposed local taxes. A line was drawn around the Sa'dan area and called Tana Toraja ("the land of Toraja"). Tana Toraja was first a subdivision of the Luwu kingdom that had claimed the area. In 1946, the Dutch granted Tana Toraja a regentschap, and it was recognised in 1957 as one of the regencies of Indonesia.

Early Dutch missionaries faced strong opposition among Torajans, especially among the elite, because the abolition of their profitable slave trade had angered them. Some Torajans were forcibly relocated to the lowlands by the Dutch, where they could be more easily controlled. Taxes were kept high, undermining the wealth of the elites. Ultimately, the Dutch influence did not subdue Torajan culture, and only a few Torajans were converted. In 1950, only 10% of the population had converted to Christianity.

In the 1930s, Muslim lowlanders attacked the Torajans, resulting in widespread Christian conversion among those who sought to align themselves with the Dutch for political protection and to form a movement against the Bugis and Makassarese Muslims. Between 1951 and 1965 (following Indonesian independence), southern Sulawesi faced a turbulent period as the Darul Islam separatist movement fought for an Islamic state in Sulawesi. The 15 years of guerrilla warfare led to massive conversions to Christianity.

Alignment with the Indonesian government, however, did not guarantee safety for the Torajans. In 1965, a presidential decree required every Indonesian citizen to belong to one of five officially recognised religions: Islam, Christianity (Protestantism and Catholicism), Hinduism, or Buddhism. The Torajan religious belief (aluk) was not legally recognised, and the Torajans raised their voices against the law. To make aluk accord with the law, it had to be accepted as part of one of the official religions. In 1969, Aluk To Dolo ("the way of ancestors") was legalised as a sect of Agama Hindu Dharma, the official name of Hinduism in Indonesia.

SOCIETY

There are three main types of affiliation in Toraja society: family, class and religion.

FAMILY AFFILIATION

Family is the primary social and political grouping in Torajan society. Each village is one extended family, the seat of which is the tongkonan, a traditional Torajan house. Each tongkonan has a name, which becomes the name of the village. The familial dons maintain village unity. Marriage between distant cousins (fourth cousins and beyond) is a common practice that strengthens kinship. Toraja society prohibits marriage between close cousins (up to and including the third cousin)—except for nobles, to prevent the dispersal of property. Kinship is actively reciprocal, meaning that the extended family helps each other farm, share buffalo rituals, and pay off debts.

Each person belongs to both the mother's and the father's families, the only bilateral family line in Indonesia. Children, therefore, inherit household affiliation from both mother and father, including land and even family debts. Children's names are given on the basis of kinship, and are usually chosen after dead relatives. Names of aunts, uncles and cousins are commonly referred to in the names of mothers, fathers and siblings.

Before the start of the formal administration of Toraja villages by the Tana Toraja Regency, each Toraja village was autonomous. In a more complex situation, in which one Toraja family could not handle their problems alone, several villages formed a group; sometimes, villages would unite against other villages. Relationship between families was expressed through blood, marriage, and shared ancestral houses (tongkonan), practically signed by the exchange of water buffalo and pigs on ritual occasions. Such exchanges not only built political and cultural ties between families but defined each person's place in a social hierarchy: who poured palm wine, who wrapped a corpse and prepared offerings, where each person could or could not sit, what dishes should be used or avoided, and even what piece of meat constituted one's share.

CLASS AFFILIATION

In early Toraja society, family relationships were tied closely to social class. There were three strata: nobles, commoners, and slaves (slavery was abolished in 1909 by the Dutch East Indies government). Class was inherited through the mother. It was taboo, therefore, to marry "down" with a woman of lower class. On the other hand, marrying a woman of higher class could improve the status of the next generation. The nobility's condescending attitude toward the commoners is still maintained today for reasons of family prestige.

Nobles, who were believed to be direct descendants of the descended person from heaven, lived in tongkonans, while commoners lived in less lavish houses (bamboo shacks called banua). Slaves lived in small huts, which had to be built around their owner's tongkonan. Commoners might marry anyone, but nobles preferred to marry in-family to maintain their status. Sometimes nobles married Bugis or Makassarese nobles. Commoners and slaves were prohibited from having death feasts. Despite close kinship and status inheritance, there was some social mobility, as marriage or change in wealth could affect an individuals status. Wealth was counted by the ownership of water buffaloes.

Slaves in Toraja society were family property. Sometimes Torajans decided to become slaves when they incurred a debt, pledging to work as payment. Slaves could be taken during wars, and slave trading was common. Slaves could buy their freedom, but their children still inherited slave status. Slaves were prohibited from wearing bronze or gold, carving their houses, eating from the same dishes as their owners, or having sex with free women—a crime punishable by death.

RELIGIOUS AFFILATION

Toraja's indigenous belief system is polytheistic animism, called aluk, or "the way" (sometimes translated as "the law"). In the Toraja myth, the ancestors of Torajan people came down from heaven using stairs, which were then used by the Torajans as a communication medium with Puang Matua, the Creator. The cosmos, according to aluk, is divided into the upper world (heaven), the world of man (earth), and the underworld. At first, heaven and earth were married, then there was a darkness, a separation, and finally the light. Animals live in the underworld, which is represented by rectangular space enclosed by pillars, the earth is for mankind, and the heaven world is located above, covered with a saddle-shaped roof. Other Toraja gods include Pong Banggai di Rante (god of Earth), Indo' Ongon-Ongon (a goddess who can cause earthquakes), Pong Lalondong (god of death), and Indo' Belo Tumbang (goddess of medicine); there are many more.

The earthly authority, whose words and actions should be cleaved to both in life (agriculture) and death (funerals), is called to minaa (an aluk priest). Aluk is not just a belief system; it is a combination of law, religion, and habit. Aluk governs social life, agricultural practices, and ancestral rituals. The details of aluk may vary from one village to another. One common law is the requirement that death and life rituals be separated. Torajans believe that performing death rituals might ruin their corpses if combined with life rituals. The two rituals are equally important. During the time of the Dutch missionaries, Christian Torajans were prohibited from attending or performing life rituals, but were allowed to perform death rituals. Consequently, Toraja's death rituals are still practised today, while life rituals have diminished.

CULTURE

TONGKONAN

Tongkonan are the traditional Torajan ancestral houses. They stand high on wooden piles, topped with a layered split-bamboo roof shaped in a sweeping curved arc, and they are incised with red, black, and yellow detailed wood carvings on the exterior walls. The word "tongkonan" comes from the Torajan tongkon ("to sit").

Tongkonan are the center of Torajan social life. The rituals associated with the tongkonan are important expressions of Torajan spiritual life, and therefore all family members are impelled to participate, because symbolically the tongkonan represents links to their ancestors and to living and future kin. According to Torajan myth, the first tongkonan was built in heaven on four poles, with a roof made of Indian cloth. When the first Torajan ancestor descended to earth, he imitated the house and held a large ceremony.

The construction of a tongkonan is laborious work and is usually done with the help of the extended family. There are three types of tongkonan. The tongkonan layuk is the house of the highest authority, used as the "center of government". The tongkonan pekamberan belongs to the family members who have some authority in local traditions. Ordinary family members reside in the tongkonan batu. The exclusivity to the nobility of the tongkonan is diminishing as many Torajan commoners find lucrative employment in other parts of Indonesia. As they send back money to their families, they enable the construction of larger tongkonan.

Architecture in the style of a tongkonan is still very common. Various administration buildings were built in this style in recent years, e.g. the Kecamatan building in Rantepao.

WOOD CARVINGS

To express social and religious concepts, Torajans carve wood, calling it Pa'ssura (or "the writing"). Wood carvings are therefore Toraja's cultural manifestation.

Each carving receives a special name, and common motifs are animals and plants that symbolise some virtue. For example, water plants and animals, such as crabs, tadpoles and water weeds, are commonly found to symbolise fertility. In some areas noble elders claim these symbols refer to strength of noble family, but not everyone agrees. The overall meaning of groups of carved motifs on houses remains debated and tourism has further complicated these debates because some feel a uniform explanation must be presented to tourists. Torajan wood carvings are composed of numerous square panels, each of which can represent various things, for example buffaloes as a wish of wealth for the family; a knot and a box, symbolizing the hope that all of the family's offspring will be happy and live in harmony; aquatic animals, indicating the need for fast and hard work, just like moving on the surface of water.

Regularity and order are common features in Toraja wood carving (see table below), as well as abstracts and geometrical designs. Nature is frequently used as the basis of Toraja's ornaments, because nature is full of abstractions and geometries with regularities and ordering. Toraja's ornaments have been studied in ethnomathematics to reveal their mathematical structure, but Torajans base this art only on approximations. To create an ornament, bamboo sticks are used as a geometrical tool.

FUNERAL RITES

In Toraja society, the funeral ritual is the most elaborate and expensive event. The richer and more powerful the individual, the more expensive is the funeral. In the aluk religion, only nobles have the right to have an extensive death feast. The death feast of a nobleman is usually attended by thousands and lasts for several days. A ceremonial site, called rante, is usually prepared in a large, grassy field where shelters for audiences, rice barns, and other ceremonial funeral structures are specially made by the deceased's family. Flute music, funeral chants, songs and poems, and crying and wailing are traditional Toraja expressions of grief with the exceptions of funerals for young children, and poor, low-status adults.

The ceremony is often held weeks, months, or years after the death so that the deceased's family can raise the significant funds needed to cover funeral expenses. Torajans traditionally believe that death is not a sudden, abrupt event, but a gradual process toward Puya (the land of souls, or afterlife). During the waiting period, the body of the deceased is wrapped in several layers of cloth and kept under the tongkonan. The soul of the deceased is thought to linger around the village until the funeral ceremony is completed, after which it begins its journey to Puya.

Another component of the ritual is the slaughter of water buffalo. The more powerful the person who died, the more buffalo are slaughtered at the death feast. Buffalo carcasses, including their heads, are usually lined up on a field waiting for their owner, who is in the "sleeping stage". Torajans believe that the deceased will need the buffalo to make the journey and that they will be quicker to arrive at Puya if they have many buffalo. Slaughtering tens of water buffalo and hundreds of pigs using a machete is the climax of the elaborate death feast, with dancing and music and young boys who catch spurting blood in long bamboo tubes. Some of the slaughtered animals are given by guests as "gifts", which are carefully noted because they will be considered debts of the deceased's family. However, a cockfight, known as bulangan londong, is an integral part of the ceremony. As with the sacrifice of the buffalo and the pigs, the cockfight is considered sacred because it involves the spilling of blood on the earth. In particular, the tradition requires the sacrifice of at least three chickens. However, it is common for at least 25 pairs of chickens to be set against each other in the context of the ceremony.

There are three methods of burial: the coffin may be laid in a cave or in a carved stone grave, or hung on a cliff. It contains any possessions that the deceased will need in the afterlife. The wealthy are often buried in a stone grave carved out of a rocky cliff. The grave is usually expensive and takes a few months to complete. In some areas, a stone cave may be found that is large enough to accommodate a whole family. A wood-carved effigy, called Tau tau, is usually placed in the cave looking out over the land. The coffin of a baby or child may be hung from ropes on a cliff face or from a tree. This hanging grave usually lasts for years, until the ropes rot and the coffin falls to the ground.

In the ritual called Ma'Nene, that takes place each year in August, the bodies of the deceased are exhumed to be washed, groomed and dressed in new clothes. The mummies are then walked around the village.

DANNCE AND MUSIC

Torajans perform dances on several occasions, most often during their elaborate funeral ceremonies. They dance to express their grief, and to honour and even cheer the deceased person because he is going to have a long journey in the afterlife. First, a group of men form a circle and sing a monotonous chant throughout the night to honour the deceased (a ritual called Ma'badong). This is considered by many Torajans to be the most important component of the funeral ceremony. On the second funeral day, the Ma'randing warrior dance is performed to praise the courage of the deceased during life. Several men perform the dance with a sword, a large shield made from buffalo skin, a helmet with a buffalo horn, and other ornamentation. The Ma'randing dance precedes a procession in which the deceased is carried from a rice barn to the rante, the site of the funeral ceremony. During the funeral, elder women perform the Ma'katia dance while singing a poetic song and wearing a long feathered costume. The Ma'akatia dance is performed to remind the audience of the generosity and loyalty of the deceased person. After the bloody ceremony of buffalo and pig slaughter, a group of boys and girls clap their hands while performing a cheerful dance called Ma'dondan.

As in other agricultural societies, Torajans dance and sing during harvest time. The Ma'bugi dance celebrates the thanksgiving event, and the Ma'gandangi dance is performed while Torajans are pounding rice. There are several war dances, such as the Manimbong dance performed by men, followed by the Ma'dandan dance performed by women. The aluk religion governs when and how Torajans dance. A dance called Ma'bua can be performed only once every 12 years. Ma'bua is a major Toraja ceremony in which priests wear a buffalo head and dance around a sacred tree.

A traditional musical instrument of the Toraja is a bamboo flute called a Pa'suling (suling is an Indonesian word for flute). This six-holed flute (not unique to the Toraja) is played at many dances, such as the thanksgiving dance Ma'bondensan, where the flute accompanies a group of shirtless, dancing men with long fingernails. The Toraja have indigenous musical instruments, such as the Pa'pelle (made from palm leaves) and the Pa'karombi (the Torajan version of a jaw harp). The Pa'pelle is played during harvest time and at house inauguration ceremonies.

COGENDER VIEWS

Among the Saʼadan (eastern Toraja) in the island of Sulawesi (Celebes), Indonesia, there are homosexual male toburake tambolang shamans; although among their neighbors the Mamasa (western Toraja) there are instead only heterosexual female toburake shamanesses.

LANGUAGE

The ethnic Toraja language is dominant in Tana Toraja with the main language as the Sa'dan Toraja. Although the national Indonesian language is the official language and is spoken in the community, all elementary schools in Tana Toraja teach Toraja language.

Language varieties of Toraja, including Kalumpang, Mamasa, Tae, Talondo, Toala, and Toraja-Sa'dan, belong to the Malayo-Polynesian language from the Austronesian family. At the outset, the isolated geographical nature of Tana Toraja formed many dialects between the Toraja languages themselves. After the formal administration of Tana Toraja, some Toraja dialects have been influenced by other languages through the transmigration program, introduced since the colonialism period, and it has been a major factor in the linguistic variety of Toraja languages.

A prominent attribute of Toraja language is the notion of grief. The importance of death ceremony in Toraja culture has characterised their languages to express intricate degrees of grief and mourning. The Toraja language contains many terms referring to sadness, longing, depression, and mental pain. Giving a clear expression of the psychological and physical effect of loss is a catharsis and sometimes lessens the pain of grief itself.

ECONOMY

Prior to Suharto's "New Order" administration, the Torajan economy was based on agriculture, with cultivated wet rice in terraced fields on mountain slopes, and supplemental cassava and maize crops. Much time and energy were devoted to raising water buffalo, pigs, and chickens, primarily for ceremonial sacrifices and consumption. Coffee was the first significant cash crop produced in Toraja, and was introduced in the mid 19th century, changing the local economy towards commodity production for external markets and gaining an excellent reputation for quality in the international market.

With the commencement of the New Order in 1965, Indonesia's economy developed and opened to foreign investment. In Toraja, a coffee plantation and factory was established by Key Coffee of Japan, and Torajan coffee regained a reputation for quality within the growing international specialty coffee sector Multinational oil and mining companies opened new operations in Indonesia during the 1970s and 1980s. Torajans, particularly younger ones, relocated to work for the foreign companies—to Kalimantan for timber and oil, to Papua for mining, to the cities of Sulawesi and Java, and many went to Malaysia. The out-migration of Torajans was steady until 1985. and has continued since, with remittances sent back by emigre Torajans performing an important role within the contemporary economy.

Tourism commenced in Toraja in the 1970s, and accelerated in the 1980s and 1990s. Between 1984 and 1997, a significant number of Torajans obtained their incomes from tourism, working in and owning hotels, as tour guides, drivers, or selling souvenirs. With the rise of political and economic instability in Indonesia in the late 1990s—including religious conflicts elsewhere on Sulawesi—tourism in Tana Toraja has declined dramatically. Toraja continues to be a well known origin for Indonesian coffee, grown by both smallholders and plantation estates, although migration, remittances and off-farm income is considered far more important to most households, even those in rural areas.

TOURISM AND CULTURAL CHANGE

Before the 1970s, Toraja was almost unknown to Western tourism. In 1971, about 50 Europeans visited Tana Toraja. In 1972, at least 400 visitors attended the funeral ritual of Puang of Sangalla, the highest-ranking nobleman in Tana Toraja and the so-called "last pure-blooded Toraja noble." The event was documented by National Geographic and broadcast in several European countries. In 1976, about 12,000 tourists visited the regency and in 1981, Torajan sculpture was exhibited in major North American museums. "The land of the heavenly kings of Tana Toraja", as written in the exhibition brochure, embraced the outside world.

In 1984, the Indonesian Ministry of Tourism declared Tana Toraja Regency the prima donna of South Sulawesi. Tana Toraja was heralded as "the second stop after Bali". Tourism was increasing dramatically: by 1985, a total number of 150,000 foreigners had visited the Regency (in addition to 80,000 domestic tourists), and the annual number of foreign visitors was recorded at 40,000 in 1989. Souvenir stands appeared in Rantepao, the cultural center of Toraja, roads were sealed at the most-visited tourist sites, new hotels and tourist-oriented restaurants were opened, and an airstrip was opened in the Regency in 1981.

Tourism developers have marketed Tana Toraja as an exotic adventure—an area rich in culture and off the beaten track. Western tourists expected to see stone-age villages and pagan funerals. Toraja is for tourists who have gone as far as Bali and are willing to see more of the wild, "untouched" islands. However, they were more likely to see a Torajan wearing a hat and denim, living in a Christian society. Tourists felt that the tongkonan and other Torajan rituals had been preconceived to make profits, and complained that the destination was too commercialised. This has resulted in several clashes between Torajans and tourism developers, whom Torajans see as outsiders.

A clash between local Torajan leaders and the South Sulawesi provincial government (as a tourist developer) broke out in 1985. The government designated 18 Toraja villages and burial sites as traditional tourist attractions. Consequently, zoning restrictions were applied to these areas, such that Torajans themselves were barred from changing their tongkonans and burial sites. The plan was opposed by some Torajan leaders, as they felt that their rituals and traditions were being determined by outsiders. As a result, in 1987, the Torajan village of Kété Kesú and several other designated tourist attractions closed their doors to tourists. This closure lasted only a few days, as the villagers found it too difficult to survive without the income from selling souvenirs.

Tourism has also transformed Toraja society. Originally, there was a ritual which allowed commoners to marry nobles (puang) and thereby gain nobility for their children. However, the image of Torajan society created for the tourists, often by "lower-ranking" guides, has eroded its traditional strict hierarchy. High status is not as esteemed in Tana Toraja as it once was. Many low-ranking men can declare themselves and their children nobles by gaining enough wealth through work outside the region and then marrying a noble woman.

WIKIPEDIA

Information given by ebay seller:

"This young Civil War Soldier 1/6th plate tintype is identified as Great Uncle Newton Ornbaun. We tried to research him, at first with no luck. Fortunately research on Ancestry.com not only confirmed his identity, we were also able to find a photograph of his brother (Andrew Marion Ornbaun) that is identical to the one we are listing in a separate auction. His real name is Henry Newton Ornbaun, not Henry Osborn. When I read the letter from an officer documenting his wounds and bravery, the officer had spelled it wrong. Also when I looked at the draft papers, the name Osborn is intermingled with Ornbaun and Ornbaum. Henry Newton Ornbaun was with the 79th Indiana Infantry. He was injured in November 1863 during the Chattanooga Campaign, and died from his wounds on Dec 1st,1863. We are adding an excerpt from the letter from headquarters, documenting his injury.

HDQRS. SEVENTY-NINTH REGT. INDIANA VOLS.,

Chattanooga, Tennessee, November 27, 1863.

CAPT.: I have the honor to submit the following report of the part taken by the Seventy-ninth Regt. Indiana Volunteers and Eighty-sixth Regt. Indiana Volunteers, consolidated, and placed under my command by order of Gen. Beatty, in the battle before Chattanooga:

On the 23d instant, at noon, orders were received to march, and leaving our camps we formed at supporting distance, in double column, in rear of the left of Brig.-Gen. Willich's command.

The advance being made, we followed in the above order for about a mile, halted, deployed the column, and were ordered to form on the left of Gen. Willich's line. Not a shot was fired by my command during all this time. At night orders were received to fortify our position with rifle-pits and abatis. During the night we succeeded in accomplishing and carrying out the order as directed, and had at the break of day a line

of field-works of much strength. Nothing occurred Tuesday, the 24th, or Wednesday, the 25th, until about 3 o'clock in the afternoon, at which time I was ordered by Gen. Beatty to advance with my command beyond our works and form on the left of the front line of Gen. Willich, to advance and take the rifle-pits of the rebels in our front. The rebels upon our approach abandoned their rifle-pits, which were occupied by our forces. Not having received any order to remain in the rebel works, I ordered my command to advance upon the

mountain side in our front. Crossing the open space beyond the works we met a terrible fire, enfilading my command in all directions. The fire of the rebels becoming very severe, and their infantry in front, who were retreating before us, halting occasionally and firing upon us, I perceived that the safety of my command required it to get the protection of the mountain side to be enabled to take shelter among the trees and rocks. I urged a rapid advance, and with the hearty co-operation of the officers of both regiments the whole line was carried forward in the best order possible, on almost inaccessible ground. Here, protected by the steepness of the mountain, the men were enabled to make good their foothold, and reply to the rebel musketry, which was very galling and almost surrounding us. We advanced steadily step by step. When near the top my attention was called by Capt. Howe to the fact that our advance upon the mountain isolated us from the rest of the line with which we advanced upon the enemy's rifle-pits; there was no support on the right or left, and on looking back perceived our forces occupying the rebel works below; to retrace our steps would have been inevitable

destruction to the entire command. The resolve to advance and hold every inch of ground until supported was our only safety. The line advanced firmly, taking advantage of every obstacle, under a most furious fire of artillery and small-arms, the enemy rolling lighted shells among my men and throwing rocks upon our heads: but the ground was held and contested with the utmost determination. The rebels did not

succeed in forcing us back one step. We remained in our position, our flags and the enemy's almost touching, keeping up a heavy fire, until support came on the right and left, advancing up the mountain. At last orders were given to fix bayonets, and to charge them; once the effort failed, but advancing again, succeeded, and gained the enemy's works,

which were covered with dead and wounded, and full of rebels, who made haste to fling away their guns and to get to our rear. As my men swarmed upon the crest the rebels made another stand, commanded, as ascertained, by the rebel Gen. Hardee, but their resistance was very feeble; they were quickly broken, and fled in the greatest confusion. Here a battle-flag was captured; I regret to say it was torn to shreds by the men in their eagerness to secure mementoes. After pursuing the rebels, and the capture of many pieces of artillery and numerous prisoners, the command bivouacked upon the crest of Missionary Ridge.

It is with much pleasure that I can report the loss of both regiments as surprisingly little, when taken into consideration with the magnitude of the effort, and its results. A list of casualties is hereto appended.*

I beg leave to call the attention of the general to the following officers whose conduct deserves special mention: Capt.'s Hanna, Jordan, and Howe, Adjutant Ritter, Lieut.'s Mounts and Burns, of the Seventy-ninth Indiana Volunteers; Capt.'s Sims, Gregory, and Carnahan, Lieut.'s McInerny and Laymon, of the Eighty-sixth Indiana Volunteers. They with all other officers did their whole duty.

Among the enlisted men, where all displayed such daring, it is hard to make a distinction. First Sergt. William M. Johnston, Company D; Color Sergt. Henry C. Lawrence, First Sergt. Simeon J. Thompson, of Company B; First Sergt. Henry N. Osborn, of K; and John W. Hartpence, a drummer, of Company C, who went into the ranks and fought well--the last three of whom are seriously wounded--as well as all

non-commissioned officers, have acted with intrepidity and great bravery, assisting their officers in every manner.

I cannot close this without making my acknowledgments and

thanking Col. George F. Dick, of the Eighty-sixth Indiana

Volunteers, for the valuable assistance rendered me in commanding the two regiments while consolidated during the battle and from the time we left our camps.

I have the honor to be, captain, very respectfully, your obedient servant,

FRED. KNEFLER,

Col. Seventy-ninth Indiana Volunteers."

I have given this some thought over the years; what distinguishes a neck corset from a collar? For me, a collar has limited adjustment using buckles or locks, etc. A neck corset has infinite adjustment through laces.

Obviously, tight-lacing a neck corset could be deleterious to the wearer, but they can certinaly be utilised to immobilise the wearer's head and to restrict breathing. There are a few photos out there of a girl I knew as Gina, who intentionally wore a neck corset so tight that she could barely breathe, the veins in her forehead stood out, and she couldn't swallow.

Neck corsets could be used to give the appearance of a stretched neck by pushing the collar bones down and the chin up. I have never worn a neck corset, but I am guessing that a neck corset that tall will be highly restrictive.

Given all the rumours, I thought I'd go and establish some facts today, starting with a trip to Sunray Travel's depot in Woking, the old Countryliner one.

The large group of VOR buses complied:

1) Dart SLF/Marshall Capital DM43 (V361 DLH).

2) MPD DP35 (T337 TVM).

3) MAN 14.220/East Lancs Myllennium MEM7 (RX53 LFH).

4) MAN 14.220/MCV Evolution MRM2 (AE06 VPZ).

5) MAN 14.220/East Lancs Myllennium MEM11 (MM53 BLU).

6) Dart SLF/Plaxton Pointer DP42 (P307 HDP).

7) Mercedes-Benz Sprinter BU04 UTP.

8) MPD DP10 (W921 JNF).

In this shot, from left to right, are DP35 (T337 TVM), DM43 (V361 DLH), MEM7 (RX53 LFH) and MRM2 (AE06 VPZ).

The depot is off Monument Way East, but the back of it is visible from the canal towpath.

Basingstoke Canal towpath, Maybury, Woking, Surrey.

Shorinji-ryu karate-do Renshinkan was started by soke founder Isamu Tamotsu, 10th-dan (hanshi), in Kagoshima City, Japan, in 1955. Mr. Tamotsu was born in Naze City, Kagoshima Prefecture in 1919. He was given elementary lessons of karate by fishermen in Itoman, Okinawa in his boyhood and moved to Taiwan when he was 17. Tamotsu learned Kodokan judo and acquired Chinese Shorinji Nampa (southern) Kempo from roshi Chin at the same time. After the World War II, he acquired Kyan Chen Mie (legendary karate-ka) meijin jikiryu (traditional school) in Okinawa.

Integrating these martial arts with houen-ryu-taijutsu (houen-ryu gymnastic art), kensou-ryu-jujutsu (kensou-ryu yawara), hakkou-ryu-jujutsu (hakkou-ryu yawara), bo (long baton), sai (short sword-like weapon), jo (short baton), ancient Chinese martial arts, etc., and establishing his own viewpoint, Tamotsu started Renshinkan Shorinji-ryu karate-do.

With excellent techniques and high spirituality, Renshinkan has been spreading quickly all over Japan and the world for the last 43 years. Renshinkan boasts of 1,000 branches and 300,000 students in Japan.

Renshinkan is also proliferating in many foreign countries {ﾐepublic of China, USA, Philippines, India, Puerto Rico, Dominica, Finland, Sweden, Russia, Mexico, Brazil, and Panama.

In "Black Belt" an American martial arts magazine, a great number of Syorinji-ryu kata's and sparring techniques from the second soke, Iwao Tamotsu were introduced.

★ How to join Shorinji-ryu Renshinkan karate-do

　 Just make a phone call first! All you need is karate-gi!

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You first learn kukan-zuki. Hold both of your fists firm, thrust one of your hands with speed and power, pull the other backwards and strike with the elbow. It is important to maintain your axis and turn your shoulders and waist quickly.

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Mae-geri is a technique to kick the opponent with the upper part of the foot. It is the basic technique of various kicks. Continue training to kick as far as you can to the extent you don't lose your axis. Kicks vary a lot, but the basic kick remains to be mae-geri.

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Sokuto-geri is the technique to kick the opponent with the side of your foot. Techniques with elasticity and power of the entire body in the waist have big destructive power and characterize Renshinkan Shorinji-ryu karate-do.

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These three basic techniques are the essence of all.

Those practicing Renshinkan Shorinji-ryu karate-do are advised to practice these techniques every day.

Explained next are zenshin (forward) and kotai (backward), basics of shubi-gata (defense forms).

G.I. JOE COMIC BOOK ~THE COMMANDER ESCAPES!~ JUNE 1984

GI JOE ROLL CALL:

Ace Armbruster, Brad J. O-3 Airborne Talltree, Franklin E. E-5 Airtight Schnurr, Kurt E-4 Alpine Pine, Albert M. E-4 Barbeque Kelly, Gabriel A. E-4 Bazooka Kasnerbogen, David L. E-5 Beach Head Sneeden, Wayne R. E-6 Big Lob No name or rank given Blowtorch Hanrahan, Timothy P. E-4 Breaker Kirby, Alvin R. E-4 Chuckles Provost, Philip M. E-5 No Voice Clutch Steinberg, Lance J. E-4 Cover Girl Krieger, Courtney A. E-4 Cross Country Blais, Robert M. E-5 Cutter Stone, Skip A. O-2 Deep Six Willoughby, Malcolm R. PO-2'nd Dial Tone Morelli, Jack S. E-4 Doc Greer, Carl W. O-3 Duke Hauser, Conrad S. E-8 Dusty Rudat, Ronald W. E-4 Falcon Falcone, Vincent R. O-2 Flash Gambello, Anthony S. E-4 Flint Faireborn, Dashiell R. W-3 Footloose Meyers, Andrew D. E-4 Frostbite Seward, Farley S. E-4 Grunt Graves, Robert W. E-4 Gung-Ho LaFitte, Ettienne R. E-7 Hawk Abernathy, Clayton M. O-7 Heavy Metal Guderian, Sherman R. E-4 Iceberg Nash, Clinton L E-5 Jinx Classified E-5 Lady Jaye Hart-Burnett, Alison R. E-4 Law Lavigne, Christopher M. E-4 Leatherneck Metzger, Wendell A. E-7 Lifeline Steen, Edwin C. E-5 Lift Ticket Sikorski, Victor W. W-2 Low-Light MacBride, Cooper G. E-6 Mainframe Parker, Blaine L E-5 Mercer Stratton, Felix P. E-5 Mutt Perlmutter, Stanley R. E-4 Quick Kick Ito, MacArthur S. E-4 Recondo LeClaire, Daniel M. E-4 Red Dog Taputapu, David E-5 Rip Cord Weems, Wallace A. E-4 Roadblock Hinton, Marvin F. E-4 Rock 'N Roll McConnel, Craig S. E-5 Sgt. Slaughter Classified E-7 Scarlett O'Hara, Shana E-5 Sci-Fi Fine, Seymour P. E-4 Shipwreck Delgoto, Hector X. E-5 Short Fuse Friestadt, Eric W. E-4 Slip Stream Boyajian, Gregory B. 0-2 Snake Eyes Classified E-5 Snow Job Moore, Harlan W. E-6 Sparks No name or rank given Spirit Iron-Knife, Charlie E-4 Stalker Wilkinson, Lonzo R E-5 Steeler Pulaski, Ralph W. O-1 Taurus Ayvazyan, Varujan E-5 Thunder Breckinridge, Matthew H. E-5 Tollbooth Goren, Chuck X. E-5 Torpedo Leialoha, Edward W. W-4 Tripwire Skoog, Tormod S. E-4 Tunnel Rat Lee, Nicky E-5 Wet Suit Forrest, Brian M. E-5 Wild Bill Hardy, William S. W-4 Zap Melendez, Rafael J. E-4

COBRA ROLL CALL:

Baroness Classified Buzzer Blinken, Dreadnok Cobra Commander Classified Copperhead Classified Destro Unknown Dr. Mindbender Unknown Firefly Classified Golobulus None Cobra La Major Bludd Bludd, Sebastian Monkeywrench Winkie, Bill Dreadnok Nemesis Enforcer None Pythona None Cobra Ripper Nod, Harry Dreadnok Scrap Iron Classified Serpentor none Storm Shadow Classified Thrasher Unknown Dreadnok Torch Winken, Tom Dreadnok Tomax Classified Crimson Guard Wild Wiesel Classified Xamot Classified Crimson Guard Zandar Unknown Dreadnok Zarana Unknown Dreadnok Zartan Unknown Dreadnok

(for further information please go to the end of page and activate the corresponding link!)

TOPICS

The Vienna Opera Ball

Viennese Opera Ball

Just as already the operetta and the waltz had been imported from Paris to Vienna, comes also the model for the Vienna Opera Ball from the Seine metropolis. By a corresponding approval of Duke Philip of Orleans, on 2 January 1716 a "public ball" can be held for the first time, to which everyone has access who can pay the admission fee of five livres. First, the balls take place at the Comédie française, but already in 1717 was given the Académie de Musique, the Paris Opera House, the special right of the organization. Nevertheless, in the Comédie furthermore take place balls, with the audience far more popular than the 'opera balls'.

In 1861 the construction of an opera house begins at the Ringstrasse, on the explicit desire of Emperor Franz Joseph not solely intended for performances of operas and ballets, but also for the staging of the Opera Ball. With this, have been created both the spatial and the official conditions for a genuine Viennese Opera Ball according to Parisian model. It should, however, take another eight years before a dance event in the opera could be held for the first time after the completion of the house in 1869.

Initially, due to the increasing violence at the Paris balls but only Court Opera soirees take place. This includes elegant evening soirees with musical entertainment, but without dancing. On 11 December 1877 opened the court musical director Wilhelm Gericke the first Court Opera Soirée with the "Wedding March" by Felix Mendelssohn. After several concert pieces the baton is handed over to the Strauss family. First, Johann Strauss son conducts the Vienna Philharmonic with a waltz, followed by his brother Edward with a specially for this day composed "Opera Soirée Polka". After that, the dance-crazed Viennese are no longer stoppable: all chairs were put to the side, and the evening, which was thought without dance pleasure, ends like a ball. This is the hour of birth of the opera ball, even though for the time being still far away from being called so.

Already the second event on 15 January 1878 is announced officially as "Second Hofopernsoirée (Ball)". The third, for 12 February 1878 scheduled Soirée, is canceled for reasons of piety, since Pope Pius IX. a few days earlier had died. After the uncomplicated election of Leo XIII. to new head of the Church the ball is on 23 February rescheduled.

After these three opera soirees from March of the same year take place redoutes in the Court Opera, continuing the tradition of masked balls and linked with strict dress code: "in the hall, with the exception of the lodges, the ladies the stay is only permitted in an elegant mask, short costumes are not allowed. The gentlemen of civil appear in evening dress with white cravat, cylinder or Claquehut (opera hat - chapeau claque). "During the next twenty years during the carnival time each year should be organized two, in some seasons even three redoutes. However, at these festivals the Viennese society is not as boundless as once united in the common ball pleasure, because in the meantime the guests are spread across three different levels, not only differing in space but also in the appearance of guests from each other. Are the boxes the aristocratic guests in elaborate ball gowns reserved, so gather in the stalls the bourgeois guests, for which there is no mask constraint. In addition, there are the galleries that are accessible to every viewer without special admission ticket.

1899 the popular balls for the time being come to an abrupt end, as is discovered that the opera for such festivals does not comply with the safety regulations. Since an appropriate conversion proves to be too costly, the redoutes are discontinued for an unforeseen period of time. A certain compensation for those festivals offers in the following years the in the new town hall held "Ball der Stadt Wien".

Only in 1921, the tradition of the redoutes in the Court Opera has been resumed, but without being able to follow on the success of previous years. After several breaks followed in 1924, 1928 and 1929 again opera redoutes, neither musically nor stylistically corresponding with the level of the defunct imperial monarchy-time and they are not characterized by the former wit, charm and temperament. The twenties are not only politically, but also culturally a very different time in which with the progressive emancipation of women the meaning of a redoute became obsolete.

And so 1935 is launched the first as such referred to Opera Ball. In a time of political uncertainty, it complied in addition to social also with diplomatic and official representative purposes. Therefore, it takes no wonder that the guest list has many personalities from politics. The last opera ball before the outbreak of the Second World War should be organized in 1939, when Austria was already 'connected' by Adolf Hitler to the German Reich. Therefore respectively stiff and artificial resulted according to that this night on which no happiness will raise, previously the rule.

Image

Reopening of the Vienna State Opera, 1955

© wissenmedia

Shortly before the end of World War II, the Vienna Opera House on 12 March 1945 almost completely was destroyed by a bomb. It should take ten years until the house was rebuilt and with Ludwig van Beethoven's opera "Fidelio" at the 5th November 1955 ceremoniously could be opened. In the following carnival season with this also the first opera ball of the post-war period can be celebrated, but which has changed its face much: "Actually, the Opera Ball is not a Viennese event anymore, but already a pan-European one. A ball night for which the world envies us".

This new image has remained to this day, with the only difference that the Opera Ball is now no longer considered only as a pan-European, but as an international event. A highlight of the evening is the annual opening of the ball by about 180 debutantes who on the arm of the to them for this evening assigned Cavaliers in a Polonaise move in. After the Vienna Philharmonic for many years had taken over the musical interpretation of the evening, there is since 1982 a Vienna Opera Ball Orchestra grounded specifically for this purpose. In addition, since 1984, there is also a Viennese Opera Ball Ladies Ensemble, made ​​up of 15 musicians and beyond the ball unfolding a very busy concert schedule.

Today on the Opera Ball there is not exclusively danced just waltz anymore. Up to ten orchestras or soloists play at the same time in different places of the house, and as a concession to modern times there is since some years even a nightclub. And yet, the waltz enjoys as the king of dances to this day unbroken popularity, without which for many no Viennese Opera Ball is thinkable. Another innovation is also the since 1981 in the Schwind Foyer installed Viennese Opera Ball Casino, which is a special attraction especially for the younger guests. Collectors will also appreciate the annually by the casino issued special Opera Ball chips.

How to become a debutante?

Proposals are now mostly send in by the dance schools of the country. The first condition is the perfect mastery of the links waltz, which is checked at a Vortanztermin (dance audition date - don't worry, the Lipizzans are doing the same!). Has the potential debutante overcome this hurdle with flying colors, it is about to find a suitable partner for the big night. The criteria for this choice are less situated in personal relationships than in pure dance qualities. After finally the couples have found each other, for five days under the expert guidance of several ballet master not only the links waltz, but also the choreography of the marching in is practiced until everything is perfectly rehearsed. The question of clothes is strictly regulated for the couples: the ladies in white dresses with a little crown on the head and the gentlemen in evening dress. To underline the internationality of the ball, every year also Debütantinnen and Debütanten from around the world are invited.

Guests

Artists from the world of the theater and the music, film and television can be found on the Vienna Opera Ball as well as well-known athletes and fashion designers. Diplomats and politicians from home and abroad appreciate the special atmosphere, and every now and then you meet also members of the European nobility. The Opera Ball today is no longer just a lavish celebration in which together a whole evening and a full night is celebrated, but increasingly also a social forum that connects professional and political contacts in a pleasant way with a social event.

Scandals

In recent decades, the Vienna Opera Ball, however, has not only found unanimous support, but has been increasingly criticized. In the 80s made fights between angry citizens that characterized the event as a "festival of the political and monetary bigwigs" and the police the headlines. Unforgettable is also the demonstration against the reprocessing plant Wackersdorf when in 1987 the Bavarian Prime Minister Franz-Josef Strauss participated in the Opera Ball. In addition, now almost every year during the opera ball take place demonstrations against these seemingly senseless waste of funds in the face of hardship and misery, hunger and wars, social and health problems in the world.

Nevertheless, the Opera Ball has lost none of its fascination and all over the world - from Bangkok via Kuala Lumpur and Korea to Tokyo, Singapore, Seoul and Dubai, Ankara, Istanbul, Kiev, Prague and Budapest to Rome, New York, Los Angeles and Washington - it found imitation, without being able to ever really come close to the Viennese model. Even if the question of the contemporaneity of the Vienna Opera Ball ever and again was controversially discussed, at the latest in 2005 has been shown that even this traditional event cannot stop short before general social changes: for the first time a smoking ban for the Opera Ball was pronounced.

www.wissen.de/thema/der-wiener-opernball?chunk=wiener-ope...

At any given moment of the day there are many rotary punches being used in the fabrication department. On this day the sides of four different models were being punched out. It was an entirely hand-driven process with each side carefully placed into the punch, then one side at a time those parts were punched one or more times, by four teams of workers assigned to those projects. Each press could be used by anyone in the shop. Each press would be set up for a specific task. Then it was up to the next worker to change the set up for the next group of parts needing to be punched out. The two men seated at the right were working on a much larger electric press used to stamp out O scale steam locomotive tender sides.

You can follow my story about Building Brass Model Trains in the order it was meant to be told in my album: www.flickr.com/photos/jeff_lemke/albums/72157664865492920

On any given day, non-profit Guide Dogs for the Blind (GDB) is caring for and training a new litter of frisky puppies at their school campus. More than 800 per year are whelped and raised by a dedicated team at GDB’s National Headquarters located in San Rafael, California.

Dreyfuss + Blackford Architecture, in association with Animal Arts Design Studios, was selected to design the new 28,000 square foot Puppy Center. Applying the latest in animal care design best practices, this new puppy birthing and enrichment facility supports GDB’s mission of preparing highly-qualified service canines to be lifelong partners for individuals who are visually impaired. By providing a healthier, more ergonomic and socially enriching environment for the puppies and their caretakers, GDB will better equip these future companions to reach their full potential. The facility also includes a Learning Lab (in lobby), which will help educate the public through interactive displays, dedicated areas to view puppy enrichment, and other learning spaces.

The Puppy Center includes 19 neonatal kennels and eight new whelping kennels for moms and puppies, and 30 new puppy kennels in the Young Heroes Academy where the puppies stay until 10 weeks of age. Each area will have dedicated gown-in facilities, medical support spaces, staff work areas, laundry, food preparation area and restrooms. The building systems include industry best practices in biological risk management, acoustics, air quality, radiant heating, and lighting.

A new park and plaza across from the entrance from the Puppy Center is an outdoor practice area for handlers and dogs. The area includes a bridge, open courtyard, walking paths, grass picnic area and various exhibits throughout for use in teaching the dogs how to navigate different outdoor situations.

Photo by David Wakely.

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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

For more of Mingle Media TV’s Red Carpet Report coverage, please visit our website and follow us on Twitter and Facebook here:

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Given to me by a friend of Neil

Title: The P.R. Williams Funeral Service horse-drawn hearse, St. Thomas, ca. 1905. Given the presence of a uniformed honour guard, this was likely a military or police funeral. Although unlikely in this case, it was traditional to use white horses for a woman's funeral. The men shown driving the hearse are likely Phillip R. Williams, right, and his son, Ernest C. Williams. P.R. Williams established his funeral service in St. Thomas in 1893. He was also the first patron of the Order of the Eastern Star in St. Thomas, sponsoring the establishment of the Maple Leaf Chapter in 1909. The decorative lamps seen at the front of the hearse are now at the Williams Funeral Home, Elgin Street, St. Thomas.

Creator(s): unknown

Bygone Days Publication Date: March 4, 2014

Original Publication Date: N/A

Reference No.: R11 S5 Sh3 B1 F31 (K-3)

Credit: Elgin County Archives, Ian Cameron Collection

"Ulam" is a name given to a group of herbs and vegetables that are eaten raw or blached (quickly dip in hot water) that are eaten with rice. It can also normally eaten with some side seasoning like budu (grinded dried anchovies @ ikan billis or dried prawn @ udang bari), cencaluk (a spicy sauce made from tiny baby prawns, cillis and other seasoning) or sambal belacan (chilli paste made from dried fish or prawn paste); eaten with rice. Ulam is famous as daily fare for the Malay community in villages. Ulam is taken from many different portions of a plant. This includes the shoots, leaves, umbut (someone help me with this translation please, thanks), seed, fruit, root and sometimes the flower. Common vegetables such as cucumber, lettuce and eggplant is also used to make an Ulam dish. Traditional medicinal herbs are also used.

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"Ulam" is analogous to the Western practice of eating raw vegetables and fruits - whatever is in hand - in salads. The condiments differ, instead of salad dressings, various types of "Sambal", typically "Sambal Belacan"( www.flickr.com/photos/liyin/13767761/ ) is consumed.

It’s difficult to improve upon a thoroughly considered $1.6 million hypercar, but McLaren has certainly given it one helluva crack. The marque’s special ops team (McLaren Special Operations) has just released a drool-worthy new theme for the McLaren Elva to one-up the original 804 hp roadster.

Inspired by Bruce McLaren’s superlight M1A, the reimagined Elva honors the marque’s storied racing history while showcasing all the latest automotive innovations. It’s an amalgamation of old and new and boasts impressive specs to boot.

A worthy muse, McLaren’s M1A was the quickest car on track at the Canadian Sports Car Grand Prix in 1964, smashing the lap record multiple times. The ferocious racer hit eye-watering speeds while exuding McLaren’s distinctive aesthetic beauty and has been artfully re-created thanks to this theme.

Sporting a sleek, black exterior, the roadster has Bruce McLaren’s iconic number 4 emblazoned on the rear quarter panels and silver-and-red racing stripes across the front bumper and rocker panels. Meanwhile, the Alcantara interior pairs jet black with plush burgundy upholstery.

While this one-of-a-kind Elva may take some design cues from the ‘60s, performance-wise it’s decidedly futuristic. Officially the lightest McLaren road car ever, the Elva boasts a bespoke carbon-fiber body and chassis, plus feather-light materials throughout. The land missile can soar from standstill to 60 mph in less than three seconds, thanks to a thundering 804 hp, twin-turbo V-8.

On top of that, McLaren claims the open-air dream machine, which has no roof, windshield or side windows, features the world’s first Active Air Management System. This ingenious design redirects airflow over the cockpit to create what the marque calls “a bubble of calm,” which means your hat should stay on even at menacingly high speeds.

The original McLaren Elva will be limited to just 399 examples and is expected to roll off the production line towards the end of this year. McLaren did not disclose exactly how many Elva M1As will be made but, hopefully, it won’t be too long before we see one flying through the streets.

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

Jeremy Flores returns to his homeland on a family mission to protect the beaches that have given him so much.

If you were to stand on the shoreline of Reunion Island’s 'Bocan Canot' beach today, it would be hard to imagine the crowded beach completely empty, however this was a reality only a few short months ago. 18 shark attacks over a five year period dramatically affected the Indian Ocean paradise both emotionally and economically.

“Reunion Island was an amazing place to grow up. It is where i caught my first waves and learnt to surf.” Remembers Top 10 World Tour Surfer Jeremy Flores. “It’s paradise. But it’s also where I have lost some of my closest friends. When you look at the stats for shark attacks worldwide, what has happened in Reunion Island in the last 5 year is really heavy”

These tragedies motivated Jeremy's family to return to their homeland and embark on a campaign to protect the beaches that have given them so much. By winning a chair in the local council, Jeremy's father Patrick Flores has been able to initiate a program of shark netting and surveillance that has helped Reunion's beach lovers get back into the water. The campaign's success has been noticed by shark affected communities worldwide including the recently tragedy-struck Ballina on Australia's east coast.

“We just wanted to help the island, we did it for the community. If you look now the beaches are packed, the restaurants are packed and the surf schools are about to reopen…It has affected so much more than the surfers”

On a recent trip home, Jeremy hosted the first surf competition in 5 years at the newly protected 'Roche Noire' beach. The day finished a huge success seeing generations of Reunion Island locals come together to celebrate change, progress, and most importantly the lives of those that will forever be missed.

“This event was a big success. The ambiance and vibe was better than I expected. Everyone came together, from the youngest surfers to the oldest generation, all sharing waves…Surfing is so much more than a sport. It’s a way of living. A way of being close to nature and living with a passion. The adrenaline that surfing gives us, there is nothing like it. I don’t know what i would do without surfing. It’s the highest high.”

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Dane Burnheim

Sam Smith

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Jason Lee

Frankie the cat philosopher...

astute, challenging...but dense...my lack of education in Philosophy was evident...

Reminders of broken relationships are given new life in the Parlamentarium

A burnt piece of wood, an old lamp, a hockey puck – what do they have in common? Each is a personal reminder of a once special relationship now gone. The Parlamentarium – the European Parliament’s visitors centre in Brussels – is hosting an exhibition of Zagreb’s Museum of Broken Relationships. Preview some of the stories in our slideshow and come visit. The exhibition is open for the public until mid-October.

The Exhibition

The exhibition, housed by the Museum of Broken Relationships in Zagreb, Croatia is made up of 90 objects, of which 43 were collected specifically for the Brussels exhibition and donated by inhabitants of Brussels. The “collection is composed of evocative objects which remained as silent witnesses of faded love and relationships”, and will be open to the public from 16 June to 15 October, free of charge.

www.europarl.europa.eu/news/en/news-room/content/20140616...

This photo is free to use under Creative Commons license (CC) and must be credited: "© European Union 2014 - European Parliament" (Attribution-NonCommercial-NoDerivs Creative Commons license). For bigger HR files please contact: webcom-flickr(AT)europarl.europa.eu

Killdeer - A shorebird you can see without going to the beach, Killdeer are graceful plovers common to lawns, golf courses, athletic fields, and parking lots. These tawny birds run across the ground in spurts, stopping with a jolt every so often to check their progress, or to see if they have startled up any insect prey. Their voice, a far-carrying, excited kill-deer, is a common sound even after dark, often given in flight as the bird circles overhead on slender wings. Widespread, numerous, and noisy – these words describe the killdeer, Charadrius vociferus, a conspicuous, easy-to-identify member of the plover family. It is one of the noisiest of American birds, which accounts for the "vociferus" part of its scientific name. Although the killdeer is classed as a migratory species, this bird is a year-round resident of Texas, choosing a variety of habitats as home. It is found throughout the state, with the possible exception of the Panhandle during frigid winter weather. It thrives in open or semi-open areas and is at home in either dry or wet locations. An arid mesa or canyon can be as appealing as a home near a river or by a lake shore. Plains and prairies, whether grassy or bare, and fields or pastures, whether cultivated or fallow, attract the birds as often as the marshes, beaches, bays, and lagoon flats of the coast. Killdeer also manage to live side-by-side with people, using airports, golf courses, and lawns as foraging areas. Pebbled rooftops serve as well for nest sites as dry gravel beds along creeks and rivers. Both nest and eggs blend into the surroundings, but the birds take no chances, guarding the nest constantly throughout the 26 to 28 day incubation period. If the nest is threatened, the female is a master at the art of subterfuge. Imitating a severely injured bird, she flutters a few feet from the nest, falls flat on the ground as though hopelessly wounded, and utters piteous cries. If approached, she recovers enough to move farther from the nest, but continues to drag one or both wings on the ground as if broken. She may even roll over and gasp and pant as if completely exhausted by her efforts. Throughout the performance she continues to cry pitifully as if in pain. By spreading her tail feathers and throwing her body from side to side, she exposes a golden-red rump patch that may look like blood to the enemy. The male also may get into the act, flying around the intruder at a safe distance, screaming protests. Working as a team, they continue the performance until the intruder is lured away from the nest. Another diversion the birds use is the false nest act. When feeding birds are approached, one will move away, completely ignoring the enemy, and settle into a depression with all the motions associated with covering a nest of eggs. As the enemy draws near, the bird glides off to expose the empty depression. To add insult, the bird also makes a cry that sounds like a chuckle. If the enemy continues to follow, the false nest act will be repeated until the follower gets tired of looking into empty depressions and goes away. For more info see: tpwd.texas.gov/publications/nonpwdpubs/introducing_birds/...

Banteay Srei or Banteay Srey (Khmer: ប្រាសាទបន្ទាយស្រី) is a 10th-century Cambodian temple dedicated to the Hindu god Shiva. Located in the area of Angkor in Cambodia. It lies near the hill of Phnom Dei, 25 km north-east of the main group of temples that once belonged to the medieval capitals of Yasodharapura and Angkor Thom. Banteay Srei is built largely of red sandstone, a medium that lends itself to the elaborate decorative wall carvings which are still observable today. The buildings themselves are miniature in scale, unusually so when measured by the standards of Angkorian construction. These factors have made the temple extremely popular with tourists, and have led to its being widely praised as a "precious gem", or the "jewel of Khmer art."

HISTORY

FOUNDATION & DEDICATION

Consecrated on 22 April 967 A.D., Bantãy Srĕi was the only major temple at Angkor not built by a monarch; its construction is credited to a courtier named Yajnavaraha / Yajñavarāha (modern Khmer: យជ្ញវរាហៈ), who served as a counsellor to king Rajendravarman II (modern Khmer: ព្រះបាទរាជេន្រ្ទវរ្ម័ន).The foundational stela says that Yajnavaraha, grandson of king Harsavarman I, was a scholar and philanthropist who helped those who suffered from illness, injustice, or poverty. His pupil was the future king Jayavarman V (r. 968- ca. 1001). Originally, the temple was surrounded by a town called Īśvarapura.

Yajñavarāha's temple was primarily dedicated to the Hindu god Śiva. Originally, it was carried the name Tribhuvanamaheśvara - great lord of the threefold world - in reference to the Shaivite linga that served as its central religious image. However, the temple buildings appear to be divided along the central east-west axis between those buildings located south of the axis, which are devoted to Śiva, and those north of the axis, which are devoted to Viṣṇu.

The temple's modern name, Bantãy Srĕi - citadel of the women, or citadel of beauty - is probably related to the intricacy of the bas relief carvings found on the walls and the tiny dimensions of the buildings themselves. Some have speculated that it relates to the many devatas carved into the walls of the buildings.

EXPANSION & REDICATION

Bantãy Srĕi was subject to further expansion and rebuilding work in the eleventh century. At some point it came under the control of the king and had its original dedication changed; the inscription K 194 from Phnoṃ Sandak, dated Monday, the 14th or 28 July 1119 A.D. records (line B 13) the temple being given to the priest Divākarapaṇḍita and being rededicated to Śiva. It remained in use at least until the fourteenth century according to the last known inscription K 569, dated Thursday, 8 August 1303 A.D.

RESTAURATION

The temple was rediscovered only in 1914, and was the subject of a celebrated case of art theft when André Malraux stole four devatas in 1923 (he was soon arrested and the figures returned). The incident stimulated interest in the site, which was cleared the following year, and in the 1930s Banteay Srei was restored through the first important use of anastylosis at Angkor whereby a ruined building or monument is restored using the original architectural elements to the greatest degree possible. Until the discovery of the foundation stela in 1936, it had been assumed that the extreme decoration indicated a later date than was in fact the case. To prevent the site from water damage, the joint Cambodian-Swiss Banteay Srei Conservation Project installed a drainage system between 2000 and 2003. Measures were also taken to prevent damage to the temples walls from nearby trees.

Unfortunately, the temple has been ravaged by pilfering and vandalism. When toward the end of the 20th century authorities removed some original statues and replaced them with concrete replicas, looters took to attacking the replicas. A statue of Shiva and his shakti Uma, removed to the National Museum in Phnom Penh for safekeeping, was assaulted in the museum itself.

MATERIALS & STYLE

Banteay Srei is built largely of a hard red sandstone that can be carved like wood. Brick and laterite were used only for the enclosure walls and some structural elements. The temple is known for the beauty of its sandstone lintels and pediments.

A pediment is the roughly triangular space above a rectangular doorway or openings. At Banteay Srei, pediments are relatively large in comparison to the openings below, and take a sweeping gabled shape. For the first time in the history of Khmer architecture, whole scenes of mythological subject-matter are depicted on the pediments.

A lintel is a horizontal beam spanning the gap between two posts. Some lintels serve a structural purpose, serving to support the weight of the superstructure, while others are purely decorative in purpose. The lintels at Banteay Srei are beautifully carved, rivalling those of the 9th century Preah Ko style in quality.

Noteworthy decorative motifs include the kala (a toothy monster symbolic of time), the guardian dvarapala (an armed protector of the temple) and devata (demi-goddess), the false door, and the colonette. Indeed, decorative carvings seem to cover almost every available surface. According to pioneering Angkor scholar Maurice Glaize, "Given the very particular charm of Banteay Srei – its remarkable state of preservation and the excellence of a near perfect ornamental technique – one should not hesitate, of all the monuments of the Angkor group, to give it the highest priority." At Banteay Srei, wrote Glaize, "the work relates more closely to the art of the goldsmith or to carving in wood than to sculpture in stone".

THE SITE

The site consists of three concentric rectangular enclosures constructed on an east-west axis. A causeway situated on the axis leads from an outer gopura, or gate, to the third or outermost of the three enclosures. The inner enclosure contains the sanctuary, consisting of an entrance chamber and three towers, as well as two buildings conventionally referred to as libraries.

THE OUTER GOPURA

The gopura is all that remains of the outer wall surrounding the town of Isvapura. The wall is believed to have measured approximately 500 m square, and may have been constructed of wood. The gopura's eastern pediment shows Indra, who was associated with that direction, mounted on his three-headed elephant Airavata. The 67 m causeway with the remains of corridors on either side connects the gopura with the third enclosure. North and south of this causeway are galleries with a north-south orientation.

THE THIRD (OUTER) ENCLOSURE

The third enclosure is 95 by 110 m; it is surrounded by a laterite wall breached by gopuras at the eastern and western ends. Neither pediment of the eastern gopura is in situ. The west-facing pediment is now located in the Musée Guimet in Paris. It depicts a scene from the Mahabhārata in which the Asura brothers Sunda and Upasunda fight over the Apsara Tilottama. The east-facing pediment is lying on the ground. It depicts a scene from the Rāmāyaṇa in which a demon seizes Rama's wife Sita. Most of the area within the third enclosure is occupied by a moat divided into two parts by causeways to the east and west.

THE SECOND ENCLOSURE

The second enclosure sits between an outer laterite wall measuring 38 by 42 m, with gopuras at the eastern and western ends, and a brick inner enclosure wall, measuring 24 by 24 m. The western gopura features an interesting bas relief depicting the duel of the monkey princes Vāli and Sugriva, as well as Rāma's intervention on Sugrīva's behalf. The inner enclosure wall has collapsed, leaving a gopura at the eastern end and a brick shrine at the western. The eastern pediment of the gopura shows Śiva Nataraja; the west-facing pediment has an image of Durga. Likewise, the laterite galleries which once filled the second enclosure (one each to north and south, two each to east and west) have partially collapsed. A pediment on one of the galleries shows the lion-man Narasiṃha clawing the demon Hiranyakashipu.

THE FIRST (INNER) ENCLOSURE

Between the gopuras on the collapsed inner wall are the buildings of the inner enclosure: a library in the south-east corner and another in the north-east corner, and in the centre the sanctuary set on a T-shaped platform 0.9 m high. Besides being the most extravagantly decorated parts of the temple, these have also been the most successfully restored (helped by the durability of their sandstone and their small scale). In 2010, the first enclosure is open to visitors again, but the inner temples are roped off and inaccessible.

THE LIBRARIES

The two libraries are of brick, laterite and sandstone. Each library has two pediments, one on the eastern side and one on the western. According to Maurice Glaize, the four library pediments, "representing the first appearance of tympanums with scenes, are works of the highest order. Superior in composition to any which followed, they show true craftsmanship in their modelling in a skilful blend of stylisation and realism."

The east-facing pediment on the southern library shows Śiva seated on the summit of Mount Kailāsa, his mythological abode. His consort Umā sits on his lap and clings anxiously to his torso. Other beings are also present on the slopes of the mountain, arranged in a strict hierarchy of three tiers from top to bottom. In the top tier sit bearded wise men and ascetics, in the middle tier mythological figures with the heads of animals and the bodies of humans, and in the bottom tier large animals, including a number of lions. In the middle of the scene stands the ten-headed demon king Rāvaṇa. He is shaking the mountain in its very foundations as the animals flee from his presence and as the wise men and mythological beings discuss the situation or pray. According to the legend, Śiva stopped Rāvaṇa from shaking the mountain by using his toe to press down on the mountain and to trap Rāvana underneath for 1000 years.

The west-facing pediment on southern library shows Śiva again seated on the summit of Mount Kailāsa. He is looking to his left at the god of love Kāma, who is aiming an arrow at him. Umā sits to Śiva's right; he is handing her a chain of beads. The slopes of the mountain are crowded with other beings, again arranged in a strict hierarchy from top to bottom. Just under Śiva sit a group of bearded wise men and ascetics, under whom the second tier is occupied by the mythological beings with the heads of animals and the bodies of humans; the lowest tier belongs the common people, who mingle sociably with tame deer and a large gentle bull. According to the legend, Kāma fired an arrow at Śiva in order to cause Śiva to take an interest in Umā. Śiva, however, was greatly angered by this provocation, and punished Kāma by gazing upon him with his third eye, frying Kāma to cinders.

The east-facing pediment on the northern library shows the god of the sky Indra creating rain to put out a forest fire started by the god of fire Agni for purposes of killing the nāga king Takshaka who lived in Khandava Forest. The Mahābhāratan heroes Kṛṣṇa and Arjuna are shown helping Agni by firing a dense hail of arrows to block Indra's rain. Takṣaka's son Aśvasena is depicted attempting to escape from the conflagration, while other animals stampede about in panic.

The west-facing pediment on the southern library depicts Kṛṣṇa slaying his wicked uncle Kamsa.

THE SANCTUARY

The sanctuary is entered from the east by a doorway only 1.08 m in height: inside is an entrance chamber (or maṇḍapa) with a corbelled brick roof, then a short corridor leading to three towers to the west: the central tower is the tallest, at 9.8 m. Glaize notes the impression of delicacy given the towers by the antefixes on each of their tiers. The six stairways leading up to the platform were each guarded by two kneeling statues of human figures with animal heads; most of those now in place are replicas, the originals having been stolen or removed to museums.

___________________________

Angkor is a region of Cambodia that served as the seat of the Khmer Empire, which flourished from approximately the 9th to 15th centuries. The Angkorian period began in AD 802, when the Khmer Hindu monarch Jayavarman II declared himself a universal monarch and god-king, and lasted until the late 14th century, first falling under Ayutthayan suzerainty in 1351. A Khmer rebellion resulted in the 1431 sacking of Angkor by Ayutthaya, causing its population to migrate south to Longvek.

The ruins of Angkor are located amid forests and farmland to the north of the Great Lake (Tonlé Sap) and south of the Kulen Hills, near modern-day Siem Reap city, in Siem Reap Province. The temples of the Angkor area number over one thousand, ranging in scale from nondescript piles of brick rubble scattered through rice fields to the magnificent Angkor Wat, said to be the world's largest single religious monument. Many of the temples at Angkor have been restored, and together, they comprise the most significant site of Khmer architecture. Visitor numbers approach two million annually, and the entire expanse, including Angkor Wat and Angkor Thom is collectively protected as a UNESCO World Heritage Site. This popularity of the site among tourists presents multiple challenges to the preservation of the ruins.

In 2007, an international team of researchers using satellite photographs and other modern techniques concluded that Angkor had been the largest preindustrial city in the world, with an elaborate infrastructure system connecting an urban sprawl of at least 1,000 square kilometres to the well-known temples at its core. The closest rival to Angkor, the Mayan city of Tikal in Guatemala, was between 100 and 150 square kilometres in total size. Although its population remains a topic of research and debate, newly identified agricultural systems in the Angkor area may have supported up to one million people.

The Angkorian period may be said to have begun shortly after 800 AD, when the Khmer King Jayavarman II announced the independence of Kambujadesa (Cambodia) from Java and established his capital of Hariharalaya (now known as Roluos) at the northern end of Tonlé Sap. Through a program of military campaigns, alliances, marriages and land grants, he achieved a unification of the country bordered by China to the north, Champa (now Central Vietnam) to the east, the ocean to the south and a place identified by a stone inscription as the land of cardamoms and mangoes to the west. In 802, Jayavarman articulated his new status by declaring himself universal monarch and, in a move that was to be imitated by his successors and that linked him to the cult of Siva, taking on the epithet of god-king (devaraja). Before Jayavarman, Cambodia had consisted of a number of politically independent principalities collectively known to the Chinese by the names Funan and Chenla.

In 889, Yasovarman ascended to the throne. A great king and an accomplished builder, he was celebrated by one inscription as "a lion-man; he tore the enemy with the claws of his grandeur; his teeth were his policies; his eyes were the Veda." Near the old capital of Hariharalaya, Yasovarman constructed a new city, called Yasodharapura. In the tradition of his predecessors, he also constructed a massive reservoir called baray. The significance of such reservoirs has been debated by modern scholars, some of whom have seen in them a means of irrigating rice fields, and others of whom have regarded them as religiously charged symbols of the great mythological oceans surrounding Mount Meru, the abode of the gods. The mountain, in turn, was represented by an elevated temple, in which the "god-king" was represented by a lingam. In accordance with this cosmic symbolism, Yasovarman built his central temple on a low hill known as Phnom Bakheng, surrounding it with a moat fed from the baray. He also built numerous other Hindu temples and ashrams, or retreats for ascetics.

Over the next 300 years, between 900 and 1200, the Khmer Empire produced some of the world's most magnificent architectural masterpieces in the area known as Angkor. Most are concentrated in an area approximately 24 km east to west and 8.0 km north to south, although the Angkor Archaeological Park, which administers the area, includes sites as far away as Kbal Spean, about 48 km to the north. Some 72 major temples or other buildings are found within this area, and the remains of several hundred additional minor temple sites are scattered throughout the landscape beyond. Because of the dispersed, low-density nature of the medieval Khmer settlement pattern, Angkor lacks a formal boundary, and its extent is therefore difficult to determine. However, a specific area of at least 1,000 qkm beyond the major temples is defined by a complex system of infrastructure, including roads and canals that indicate a high degree of connectivity and functional integration with the urban core. In terms of spatial extent (although not in terms of population), this makes it the largest urban agglomeration in human history prior to the Industrial Revolution, easily surpassing the nearest claim, that of the Mayan city of Tikal.

The principal temple of the Angkorian region, Angkor Wat, was built between 1113 and 1150 by King Suryavarman II. Suryavarman ascended to the throne after prevailing in a battle with a rival prince. An inscription says that, in the course of combat, Suryavarman leapt onto his rival's war elephant and killed him, just as the mythical bird-man Garuda slays a serpent.

WIKIPEDIA

This was a catalog given to store managers, a vendor catalog, with manufacturing numbers so they could order items to sell. All items in this catalog should have a packaging date of 1996. Remember these are like "production" or "prototype" information so the actual dolls and fashions sold in store might be slightly different have different colors, etc. This is especially true for the cheaper items and playsets. special editions and store exclusives won't be included here. Items in this catalog include Hula Hair Barbie, Angel Princess Barbie, Splash N Color Barbie, Great Date Ken, Flower Fun Barbie, Prince Ken, Rapunzel Barbie. Big Brother Ken, Potty Training Kelly, Lil Friends of Kelly Cool Fun Kelly, Teen Skipper, Clueless dolls and Fashions Fashion Avenue Boutique. There may be some fashions and playsets produced directly by ARCO Toys company that are not included in this catalog. If you found this usefull please stop by BarbieReference.com and click an ad to support the site. More pages from this catalog are only available on BarbieReference.com

Given the metal working skills of BiH artisans, it was not long after the war that empty cases were being decorated as souvenirs, a late 20th Century "trench art". This erstwhile carrier of death is decorated and stamped "Sarajevo" for the tourist trade.

Given to the College by the widow of Thomas Combe after his death in 1873. A small side chapel was built to house the painting.

In Pre-Raphaelitism and the Pre-Raphaelite Brotherhood Hunt explained the other points of symbolism in The Light of the World :

The closed door was the obstinately shut mind, the weeds the cumber of daily neglect, the accumulated hindrances of sloth; the orchard the garden of delectable fruit for the dainty feast of the soul. The music of the still small voice was the summons to the sluggard to awaken and become a zealous labourer under the Divine Master; the bat flitting about only in darkness was a natural symbol of ignorance; the kingly and priestly dress of Christ, the sign of His reign over the body and the soul, to them who could give their allegiance to Him and acknowledge God's overrule. In making it a night scene, lit mainly by the lantern carried by Christ, I had followed metaphorical explanation in the Psalms, "Thy word is a lamp unto my feet, and a light unto my path,' with also the accordant allusions by St. Paul to the sleeping soul, "The night is far spent, the day is at hand." (I.350-51)

For the painter it was a matter of great importance that the iconography of the picture "was not based upon ecclesiastical or archaic symbolism, but derived from obvious reflectiveness." According to Hunt, his symbols "were of natural figures such as language had originally employed to express transcendental ideas" (I.350). In other words, he believed that The Light of the World created its symbolic language in precisely the same way that men had formed language to express abstract and spiritual ideas. The important point is that, since the symbolism derives from what he takes to be essential habits of mind, it would be immediately comprehensible to any audience, because such "natural" symbolism does not require any knowledge of iconographic traditions. Nonetheless, since his method was unusual, he had worked "with no confidence" that his symbols would interest anyone else. The fact that The Light of the World has "in the main been interpreted truly" without any additional assistance from him convinced Hunt that his method had been successful (I.351).

The almost astonishing popularity of this picture in nineteenth-century England and America appears not only in the fact that many took it to be the single most important contemporary portrayal of Christ but also in its influence upon popular poetry and book illustration. Like Tennyson's In Memoriam ,The Light of the World succeeded in reaching a large audience, eventually becoming an element of popular culture. The picture became known beyond the narrow confines of the art world by means of its engraved version, and it was popularized even farther by sermons and devotional poetry (See, for example, Richard Glover, The Light of the World;" or, Holman Hunt's Great Allegorical Picture Translated into Words, which, according to Fredeman, saw editions of 1862, 1863, and 1871.). Because John L. Tupper was a close friend of the painter, one obviously cannot claim that his poem entitled "The Light of the World" exemplifies the picture's popularity; but its appearance in the 1855 Crayon suggests that many became aware of Hunt's subject, and the very fact that Tupper was moved enough by his friend's painting to write a poem about it suggests the effect it had upon many Victorians. The poem, which the editors accompanied by an extract from Ruskin's letter to The Times, astutely takes the form of a dream vision.

This is a photograph from both of the races in the 8th annual Longwood Village 10KM and 5KM Road Races and Fun Runs which were held in Longwood Village, Longwood, Co. Meath, Ireland on Sunday 22nd October 2017 at 11:00. The races are held annually to support the development of the local GAA club while also supporting local charities. The race has support from Trim AC which sees the race have full AAI premit status. These races have grown steadily over the years and this year almost 400 participants to part in the two races. This is an impressive statistic given that a very large number of local runners will be preparing for the Dublin City marathon 7 days from now. However both races provide marathon runners and all other runners, joggers and walkers with an ideal opportunity to race on a very fair course in a beautiful rural setting. Barry Clarke of Longwood GAA and Trim AC and his very large group of volunteers deserve the highest of praise for the very high standard of organisation immediately apparent to anyone taking part in the race. Overall the whole day was a great success with the hard work put in by the organising committee ensuring that participants enjoyed their race experience. Both routes were accurately measured, kilometer points clearly marked, junctions well stewarded, and electronic timing provided. The event provided many local runners, joggers, fun runners and walkers with a local event to support whilst at the same time providing runners preparing for events such as the Dublin marathon with an opportunity to race a short, fast, distance in the lead up to marathon day. The GAA club provided excellent stewarding and traffic management all around the course. The race had a professional feel to it and it is sure to grow next year given the very positive feedback from many of the participants today. The weather in the week leading up to the race was hardly ideal with both Storm Ophelia and Storm Brian bringing windy and rainy conditions to Ireland all week. The weather for race day was more suitable for running. Dry, with a fresh breeze, the weather remained dry for both races with the sun making an appearance also.

We have an extensive set of photographs from all of the races today in the following Flickr Album: www.flickr.com/photos/peterm7/albums/72157661720601468

Timing and event management was provided by PopUpRaces.ie. Results are available on their website at www.popupraces.ie/

Our photographs from Longwood 5KM and 10KM 2016: www.flickr.com/photos/peterm7/albums/72157672030705623

Our photographs from Longwood 5KM and 10KM 2015: www.flickr.com/photos/peterm7/sets/72157660017638535

Our photographs from Longwood 5KM and 10KM 2014: www.flickr.com/photos/peterm7/sets/72157648845224981/

Our photographs from Longwood 5KM and 10KM 2013: www.flickr.com/photos/peterm7/sets/72157636477484093/

Our photographs from Longwood 5KM 2012: www.flickr.com/photos/peterm7/sets/72157631820426332/

Our photographs from Longwood 5KM 2011: www.flickr.com/photos/peterm7/sets/72157627782257481/

Our photographs from Longwood 5KM 2010: www.flickr.com/photos/peterm7/sets/72157625058772687/

Longwood is a small village in South East Co. Meath and is close to the town of Enfield with access to the M4 Motorway.

5KM Course: The 5KM started in Longwood village. Runners then took a left turn in the Village down St. Oliver's Road. This straight section of road brings runners to a left turn onto a very well maintained boreen road for less than one kilometer. The race then emerges and joins with the 10KM at Stoneyford where the runners take a left and then another left before arriving back at the finish line in Longwood GAA club. Overall this is a very fast and flat 5KM with no hills to speak of.

10KM Course: The 10KM event begins in Longwood Village outside Dargan's Pub and proceeds westward out of the village. There are some interesting points along this part of the course. At the 2KM point the runners will run under the double bridges - an aquaduct for the Royal Canal and a bridge carrying the Dublin Sligo Railway line. The race then enters county Kildare just before the 3km and after taking a right turn at the four-cross roads known locally as Lally's Cross it returns to County Meath on top of the River Boyne Bridge (Ashfield Bridge) which forms the county boundary. The race follows a straight road for the next 2KM until runners encounter Blackshade bridge which is the toughest climb on the route. As a point of interest Blackshade bridge brings runners back over the Royal Canal and the Railway line. The race then crosses the River Boyne again at Stoneyford before taking a right which will bring runners on a testing two kilometer stretch with some short hills. The 10KM course then joins with the 5Km course for the final 1.5KM back to Longwood GAA club for the finish.

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 directly to: email, Facebook, Instagram, 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.

BUT..... Wait there a minute....

We take these photographs as a hobby and as a contribution to the running community in Ireland. We do not charge for our photographs. Our only "cost" is that we request that if you are using these images: (1) on social media sites such as Facebook, Tumblr, Pinterest, Twitter,LinkedIn, Google+, VK.com, Vine, Meetup, Tagged, Ask.fm,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 or acknowledge us as the original photographers.

This also extends to 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 this photographic image here directly 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. Have a look for a down-arrow symbol 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 takes 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.

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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.

Let's get a bit technical: 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.

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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.

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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

I heard on the radio a few months back, about places in Britain that sound like they should be elsewhere, I can't remember the examples given. But for me, Luddenham sounds as Norfolk as it is possible to get. And yet it is a parish and small village here in Kent.

Were it not for the sat nav, I don't think I would have found Luddenham, not without someone reading the map anyway. From Burham it was a half hour blast down the M2 to Faversham, then taking roads that got ever narrower, I left Faversham, drove though a wood, then out onto the Oare Marshes.

Out over the marshes down a narrow single-track lane, winding round the edge of fields to a large farm that was once a manor house, and beside it was St Mary.

What warmth there had been in the day was now long gone, and the wind had turned to the north east and increased. As I stood inside the half-empty church, I could hear the wind whistling round the tower outside.

Highlight for me here was a fine collection of Victorian tiles, including a design each for one of the gospel saints, and a wonderful stone coffin lid depicting a face with two hands holding it.

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The familiar country scene of Norman church, medieval Court and sprawling farmyard - but the history of Luddenham is far from standard. Here we have a promontory of land which formerly provided wharves off the River Swale some way to the north. Indeed, the place name gets it origin from the Saxon `Lud` meaning a river. The church is now in the care of The Churches Conservation Trust and consists of nave, chancel and south tower. The latter dates from the early nineteenth century and replaced a tower which originally stood to the north of the nave. The west door is a rather weather-beaten twelfth century example. Following redundancy, the church lost most of its furnishings, so its vast spacious interior is something of a surprise to the visitor. There are some medieval tiles in the sanctuary, where graffiti on the glass records those who were probably too poor to have permanent memorials outside. At the back of the church is a fragment of thirteenth century coffin lid brought here from the ruined church at Stone, about a mile to the south west. Rather touchingly it has a heart clasped by two hands in its crisp carving. The church is usually open.

www.kentchurches.info/church.asp?p=Luddenham

LIES the next parish north-westward from Ore, and was, in the reign of the Conqueror, called Cildresham, by which name it is described in the survey of Domesday.

IT is situated about a mile northward of the high London road from Judde-hill, the southern part of it reaching up to Bizing wood, part of which is within it. It lies very low and flat; the arable lands in it, which consist of about three hundred and ninety-six acres, and the upland, meadow, and pasture, of about two hundred acres, are very rich and fertile; near one half of it is marsh land, which reaches to the waters of the Swale, which are its northern boundary.

The church stands nearly in the middle of the upland part of it, and the parsonage-house, which has a mote round it, near half a mile southward of it, close to Bysing-wood. There is no village, and not more than ten houses in the parish, the unhealthiness of its situation occassions its being but very thinly inhabited, those who risk their lives in it seldom attaining any great age.

THERE ARE some parts of this parish which lie at some distance from the rest of it, several other parishes intervening: in Perry-field, almost opposite the 47th mile-stone on the high London road, but on the other or south side of it, there are twenty-two acres of land, and between Goodneston and Boughton under Blean, there are thirty-two acres of land belonging to this parish. There are many instances of the like in different parts of this county, and in this neighbourhood in particular there are several, for a part of the parish of Morton, near Sittingborne, lies within this parish of Luddenham, and entirely surrounded by it, several other parishes intervening between this part of Murston and the rest of it. Part of Preston parish lies near Davington-hill; Upleez farm, the property of lord Romney, which lies westward of Ore, is in Faversham parish; and part of Ospringe parish lies surrounded by the town of Faversham and its liberties.

MR. JACOB among his Plantæ a Favershamienses, has given a list of a number of scarce plants found by him in this parish, to which the reader is referred for an account of them.

THIS PLACE was part of the vast possessions of Odo, bishop of Baieux, under the general title of whose lands it is thus entered in the survey of Domesday:

Anssrid holds of the bishop of Baieux Cildresham. It was taxed at one suling. The arable land is three carucates. In demesne there is one carucate and an half. There are five servants, and two acres of meadow. There is wood, but it pays nothing.

Upon the bishop's disgrace, about four years afterwards, this estate came to the crown, among the rest of this possessions, whence it was granted by the king, among other lands, to Fulbert de Dover, for his assistance, in the defence of Dover castle. These lands were held of the king in capite by barony, the tenant being bound by his tenure to maintain a certain number of soldiers, from time to time, for the defence of the castle.

Of Fulbert de Dover and his heirs, this place was held, as one knight's fee, of the honour of Chilham, which they made the caput baroniæ, or chief seat of their barony.

THE MANOR OF LUDDENHAM came afterwards into the possession of a family who fixed their name on it. William de Luddenham, in the 13th year of king John's reign, held it as one knight's see, of the honor of Chilham, in manner as before mentioned. His heirs, in the next reign of Henry III. sold this manor to the Northwoods, one of whom, Sir Roger de Northwood, in the 41st year of that reign, procured licence to alter the tenure of his lands from gavelkind to that of knight's service, of which there is a recapitulation in the Book of Aid, and among them mention is made of ninety acres of marsh land, which lay partly in his manor of Luddenham, and partly in Iwase.

From the family of Northwood this manor passed into that of Frogenhall; John de Frogenhall, at the latter end of king Edward the IIId.'s reign, died possessed of it, with an appendage called Bishopsbush. After which it at length descended in the beginning of king Edward the IVth.'s reign to Thomas Frogenhall, who married Joane, daughter and heir of William de Apulderfield, and dying in 1576, being the 17th year of that reign, was buried with his wife in Faversham church; their daughter and sole heir Anne, carried this manor in marriage to Mr. Thomas Quadring, of London, and he in like manner leaving one sole daughter and heir Joane. she entitled her husband Richard Dryland, of Cooksditch, in Faversham, to the possession of it. He alenated the appendage of Bishopsbush above-mentioned, to Crispe, who passed it away to Mr. William Hayward, from which name it went in marriage to Mr. Thomas Southhouse, gent. who possessed it at the end of king Charles I.'s reign; but both the name and situation of the estate have been for some time so totally for gotten, that the most diligent enquiries cannot trace out either of them.

But the manor of Luddenham itself went with Katherine, the sole daughter and heir of Richard Dryland, in marriage to Reginald Norton, of Lees-court, in Sheldwich, from which name it passed by sale, in king James I.'s reign, to Francis Cripps, esq. who sold it to Kirton, from which name it passed, in king James II.'s reign, to John Briant, esq. whose heirs passed it away, in king George I.'s reign, to Mr. John Blaxland, and his heirs alienated it, about the year 1753, to Beversham Filmer, esq. of London, a younger son of Sir Robert Filmer, bart. of East Sutton, and of Lincoln's-inn, barrister-at-law. He died ununmarried, and full of years, in 1763, (fn. 1) having by his will given this manor, among the rest of his lands in this county and elsewhere, to his eldest nephew, Sir John Filmer, bart. of East Sutton, who died s. p. in 1797, and by will devised this estate to his next brother, Sir Bevertham Filmer, bart. the present owner of it. A court baron is held for his manor.

At the court held for the manor of Chilham, the tenant of this manor is constantly presented by the jury for default of service, as being held of it under the notion of one knight's fee, and he is always amerced at two shillings, the payment of which is never with-held by him.

HAM is a principal estate, adjoining to the marshes, at the eastern boundary of this parish, and partly in that part of Preston which is separated from the rest of it by Davington and Ospringe intervening, being within that appendage to the manor of Copton, called from hence Hamme marsh. This estate, for several generations, belonged to the family of Roper, lords Teynham, and was sold in 1766 by Henry Roper, lord Teynham, to Mr. William Chamberlain, of London, who sold it to Benjamin Hatley Foote, Esq. and his son George Talbot Hatley Foote, Esq. now owns it.

NASHES is an estate in this parish, which formerly belonged to the Coppingers; Ambrose Coppinger possessed it in the reign of queen Elizabeth, whence it passed to the Brewsters, who were owners of much land at Linsted, Tenham, and other parts of this neighbourhood; from them it was sold to Mr. James Tassell, of Linsted; after which it became the property of Dr. Dravid Jones, and afterwards of Mr. Anthony Ingles, gent. of Ashford, who in 1776 conveyed it be sale to Mr. James Tappenden, gent. of Faversham, the present owner of it, who is descended from those of this name, who were for several generations resident at Sittingborne, where several of them lie buried, and are said to be extracted from the Denne of Tappenden, in Smarden, and bear for their arms, Or, two lions passant, in chief, and one in base, rampant, azure.

Charities.

Thomas Streynsham, gent. of Faversham, was possessed of a farm of 16l. per annum in this parish, Out of the profits of which, by his will in 1585, he devised 3l. per annum for ever, to the use of the poor of that parish.

The poor constantly relieved are about twenty; casually twelve.

Luddenham is within the ECCLESIASTICAL JURISDICTION of the diocese of Canterbury, and deanry of Ospringe.

The church, which is dedicated to St. Mary, is a small building, consisting of one isle and one chancel, having a tower steeple on the north side of it, in which are three bells.

¶This church was formerly an appendage to the manor of Luddenham, and as such came into the possession of William de Luddenham before-men tioned, lord of it, who, as appears by the leiger-book of the abbey of Faversham, gave this church to the abbot and convent there, which he did by placing his knife on the altar in the church of their convent, and this with the consent of his daughter and heir Matilda, and of Gaysle his wife, in the presence of the convent, and many of the clergy and laity, which gift was confirmed afterwards by Sir William de Insula, who married his daughter; notwithstanding which, William de Insula their son, laid claim to it as part of his inheritance, and a suit was commenced in the beginning of king John's reign, by him, against the abbot and convent, to recover the possession of it, which seems to have been determined in his favor, and the religious were forced to be contented with the pension of 66s. 8d. to be paid to them yearly out of it. (fn. 2). This pension they continued to enjoy from it till the time of their dissolution, in the 30th year of Henry VIII. when it came, with the rest of their possessions, into the king's hands, who settled it, among other premises, in his 33d year, on his new-founded dean and chapter of Canterbury, who continue to receive it from the rector at this time.

The determination of the above-mentioned suit against the religious, did not put them out of hopes of, some time or other, recovering the possession of this church, the appropriation of which they got to be inserted in a confirmation of some of their possessions by pope Gregory X. in 1274; but this did not avail them any thing, for this church still continued unappropriated, as it does at this time, being esteemed a rectory, the patronage of which has been for a great length of time in the crown.

The church of Luddenham is valued in the king's books at 12l. 8s. 4d. and the yearly tenths at 1l. 4s. 10d. In 1578, here were communicants fifty-four. The crown patron.

In 1640 there were communicants sixty-eight. The yearly value of it one hundred pounds. It is now esteemed of the same clear yearly value.

There is a modusclaimed for five hundred and thirtyone acres of the marsh lands in this parish, almost all of which are at two-pence, though there are some few at four-pence per acre.

www.british-history.ac.uk/survey-kent/vol6/pp386-393

MEPs have given the green light to the EU–Ukraine association agreement, which would facilitate trade and deepen political cooperation between the parties. This comes in the midst of the ongoing conflict between Ukraine and Russia, and at a time of mutual trade sanctions between Russia and the EU. In a symbolic step, MEPs in Strasbourg and MP's in the Ukrainian parliament voted simultaneously on the agreement.

More: www.europarl.europa.eu/news/en/news-room/content/20140915...

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Given the combination of a large diagram contained in a small cabin the diagram had to be photographed in two halves, here we see the right hand side of the diagram. The most obvious thing that hits you is the siding, this is the access to Ford’s engine plant and sees a train each day arriving in the early morning. Access was via a ground frame released from the box, more of that later.

At 12.45 hrs on Saturday 9th March 2013 Aberthaw Signal Box would have sent 7 5 5 to Barry Signal Box for the last time were it not for the fact that the block and bells had been removed overnight !

In the end the signaller at Aberthaw telephoned Barry and advised him he was closing the box and signed off duty, the last signaller to do so after 116 years, a bit more of our railway heritage passed into history.

South Wales, like the rest of the country, is being re-signalled with all signalling in this particular area being gradually incorporated into Cardiff IECC.

Aberthaw and Cowbridge Road signal boxes were due to be abolished as part of this re-signalling over the weekend of 26th and 27th January 2013. As is seemingly often the case, the scheme was not on time and the boxes were provisionally due to be abolished over the weekend of 23rd & 24th March 2013. In actuality this date was brought forward.

Situated on the Vale of Glamorgan line between Bridgend and Barry are these two very different boxes. The V O G leaves the former GWR main line at Barry Junction, Bridgend and runs to Barry. Originally built by the Barry Railway Company, the line became part of the mighty Great Western as a consequence of the 1923 Grouping.

Aberthaw East box opened in 1897, built by the Barry Railway Company it is as old as the line it serves.

Cowbridge Road is very clearly a more modern structure having opened on 12th September 1965 in conjunction with the opening of the then state of the art Port Talbot Power Signal Box. It acts as a fringe box to Port Talbot and on opening worked absolute block to Southerndown Road. With the gradual abolition of all the intermediate boxes between Aberthaw East and Cowbridge Road the absolute block section grew in length to a hefty 13 miles. Whilst freight traffic was light this was not a major issue but with the reintroduction of passenger services on 12th June 2005 changes were required thus a small panel was installed in Aberthaw East and track circuit block working (with axle counters)was introduced between Cowbridge Road and Aberthaw on May 9th 2005.

With the demise of Aberthaw West as a signal box in 1962 and later as a ground frame in September 1980 then Aberthaw East ceased to require it’s suffix and became plain “Aberthaw”

The attached set of images was taken during a one day trip down from Nottingham on a dull grey 9th January 2013. Poor light and limited time to cover the three boxes I set out to visit before the daylight went completely meant a limited set of shots was obtained but are posted up here as a record of these two very different boxes. (Barry box will follow in due course).

Ruthwell is a village and parish on the Solway Firth between Dumfries and Annan in Dumfries and Galloway, Scotland.

Thomas Randolph, Earl of Moray, gave Ruthwell to his nephew, Sir William Murray, confirmed to Sir John Murray, of Cockpool, in 1509 by King James VI. He was later given the title Earl of Annandale: their landownings in Ruthwell passed by inheritance to Lord Stormont in 1658, and after 1792 to the Earls of Mansfield.

Ruthwell's most famous inhabitant was the Rev. Henry Duncan. He was a minister, author, antiquarian, geologist, publisher, philanthropist, artist and businessman. In 1810 Dr Duncan opened the world's first commercial savings bank, Ruthwell Savings Bank, paying interest on its investors' modest savings. The Savings Bank Museum tells the story of early home savings in Britain. The museum is on the site of the Ruthwell Savings Bank.

In 1818, Duncan restored the Ruthwell Cross, one of the finest Anglo-Saxon crosses in the United Kingdom, now in Ruthwell church, which had been broken up in the Scottish Reformation. This cross is remarkable for its sculpture and inscriptions in Latin and Old English, some in Anglo-Saxon runes, which include excerpts from The Dream of the Rood, an Old English poem. After the Disruption of 1843 in the Church of Scotland, Dr. Duncan became one of the founding ministers of the Free Church of Scotland.

During his youth, Robert Murray M'Cheyne spent summer holidays at Clarence Cottage in the hamlet of Clarencefield near Ruthwell, the home of his maternal aunt. During these visits he would often call to see "Uncle" Henry Duncan at the manse. M'Cheyne's parents were born in this part of Scotland.

Brow Well

The Brow Well is situated 3 km west of the village of Ruthwell. This well, stained reddish by the high levels of iron salts in the water, is the place where Scottish poet Robert Burns hoped to cure his final illness by drinking the iron-rich water.

The village was once served by Ruthwell railway station.

Dumfries and Galloway is one of the 32 unitary council areas of Scotland, located in the western part of the Southern Uplands. It is bordered by East Ayrshire, South Ayrshire, and South Lanarkshire to the north; Scottish Borders to the north-east; the English ceremonial county of Cumbria, the Solway Firth, and the Irish Sea to the south, and the North Channel to the west. The administrative centre and largest settlement is the town of Dumfries. The second largest town is Stranraer, located 76 miles (122 km) to the west of Dumfries on the North Channel coast.

Dumfries and Galloway corresponds to the historic shires of Dumfriesshire, Kirkcudbrightshire, and Wigtownshire, the last two of which are collectively known as Galloway. The three counties were combined in 1975 to form a single region, with four districts within it. The districts were abolished in 1996, since when Dumfries and Galloway has been a unitary local authority. For lieutenancy purposes, the area is divided into three lieutenancy areas called Dumfries, Wigtown, and the Stewartry of Kirkcudbright, broadly corresponding to the three historic counties.

The Dumfries and Galloway Council region is composed of counties and their sub-areas. From east to west:

Dumfriesshire County

the sub-area of Dumfriesshire – Annandale

the sub-area of Dumfriesshire – Eskdale

the sub-area of Dumfriesshire – Nithsdale

Kirkcudbrightshire County

the sub-area of Kirkcudbrightshire – Stewartry (archaically, Desnes)

Wigtownshire County

the sub-area of Wigtownshire – Machars (archaically, Farines)--divided into census areas (civil parish areas)

the sub-area of Wigtownshire – Rhins of Galloway divided into census areas (civil parish areas)

The term Dumfries and Galloway has been used since at least the 19th century – by 1911 the three counties had a united sheriffdom under that name. Dumfries and Galloway covers the majority of the western area of the Southern Uplands,[1] it also hosts Scotland's most Southerly point, at the Mull of Galloway in the west of the region.

Water systems and transport routes

The region has a number of south running water systems which break through the Southern Uplands creating the main road, and rail, arteries north–south through the region and breaking the hills up into a number of ranges.

River Cree valley carries the A714 north-westward from Newton Stewart to Girvan and Water of Minnoch valley which lies just west of the Galloway Hills carries a minor road northward through Glentrool village into South Ayrshire. This road leaves the A714 at Bargrennan.

Water of Ken and River Dee form a corridor through the hills called the Glenkens which carries the A713 road from Castle Douglas to Ayr. The Galloway Hills lie to the west of this route through the hills and the Carsphairn and Scaur Hills lie to the east.

River Nith rises between Dalmellington and New Cumnock in Ayrshire and runs east then south down Nithsdale to Dumfries. Nithsdale carries both the A76 road and the rail line from Dumfries to Kilmarnock. It separates the Carsphairn and Scaur Hills from the Lowther Hills which lie east of the Nith.

River Annan combines with Evan Water and the River Clyde to form one of the principal routes into central Scotland from England – through Annandale and Clydesdale – carrying the M74 and the west coast railway line. This gap through the hills separates the Lowthers from the Moffat Hills.

River Esk enters the Solway Firth just south of Gretna having travelled south from Langholm and Eskdalemuir. The A7 travels up Eskdale as far as Langholm and from Langholm carries on up the valley of Ewes Water to Teviothead where it starts to follow the River Teviot to Hawick. Eskdale itself heads north west from Langholm through Bentpath and Eskdalemuir to Ettrick and Selkirk.

The A701 branches off the M74 at Beattock, goes through the town of Moffat, climbs to Annanhead above the Devil's Beef Tub (at the source of the River Annan) before passing the source of the River Tweed and carrying on to Edinburgh. Until fairly recent times the ancient route to Edinburgh travelled right up Annandale to the Beef Tub before climbing steeply to Annanhead. The present road ascends northward on a ridge parallel to Annandale but to the west of it which makes for a much easier ascent.

From Moffat the A708 heads north east along the valley of Moffat Water (Moffatdale) on its way to Selkirk. Moffatdale separates the Moffat hills (to the north) from the Ettrick hills to the south.

There are three National scenic areas within this region.

Nith Estuary: this area follows the River Nith southward from just south of Dumfries into the Solway Firth. Dumfries itself has a rich history going back over 800 years as a Royal Burgh (1186). It is particularly remembered as the place where Robert the Bruce murdered the Red Comyn in 1306 before being crowned King of Scotland – and where Robert Burns spent his last years. His mausoleum is in St Michael's graveyard. Going down the east bank is the village of Glencaple, Caerlaverock Castle, Caerlaverock Wild Fowl Trust, an ancient Roman fort on Ward Law Hill and nearby in Ruthwell is the Ruthwell Cross and the Brow Well where Robert Burns "took the waters" and bathed in the Solway just before his death. On the west bank, there are several walks and cycle routes in Mabie Forest, Kirkconnell Flow for the naturalist, the National Museum of Costume just outside New Abbey and Sweetheart Abbey within the village. Criffel (569 metres) offers the hill walker a reasonably modest walk with views across the Solway to the Lake District. The house of John Paul Jones founder of the American Navy is also open to visitors near Kirkbean.

East Stewartry Coast: this takes in the coast line from Balcary Point eastward across Auchencairn Bay and the Rough Firth past Sandyhills to Mersehead. There are several coastal villages within this area – Auchencairn, Kippford, Colvend, Rockcliffe, and Portling. There is also a round tower at Orchardton and the islands of Hestan Isle and Rough Island can be reached at low tide outside the breeding season for birds. Mersehead is a wildfowl reserve. The area has a number of coastal paths.

Fleet Valley: this area takes in Fleet Bay with its holiday destinations of Auchenlarie, Mossyard Bay, Cardoness, Sandgreen and Carrick Shore. The area also includes the town of Gatehouse of Fleet and the historic villages of Anworth and Girthon – there is a castle at Cardoness in the care of Historic Scotland.

The region is known as a stronghold for several rare and protected species of amphibian, such as the Natterjack toad and the Great crested newt. There are also RSPB Nature Reserves at the Mull of Galloway, Wood of Cree (Galloway Forest Park), Ken Dee Marshes (near Loch Ken) and Mereshead (near Dalbeattie on the Solway Firth)

There are five 7Stanes mountain biking centres in Dumfries and Galloway at Dalbeattie, Mabie, Ae, Glentrool and Kirroughtree. The Sustrans Route 7 long distance cycle route also runs through the region. There is excellent hill walking in the Moffat Hills, Lowther Hills the Carsphairn and Scaur Hills and Galloway Hills. The Southern Upland Way coast to coast walk passes through Dumfries and Galloway and the 53-mile long Annandale Way travels from the Solway Firth into the Moffat hills near the Devil's Beef Tub. There is also fresh water sailing on Castle Loch at Lochmaben and at various places on Loch Ken Loch Ken also offers waterskiing and wakeboarding. The Solway Firth coastline offers fishing, caravaning and camping, walking and sailing.

Dumfries and Galloway is well known for its arts and cultural activities as well as its natural environment.[citation needed]

The major festivals include the region-wide Dumfries & Galloway Arts Festival, and Spring Fling Open Studios. Other festivals include Big Burns Supper in Dumfries and the Wigtown Book Festival in Wigtown – Scotland's national book town.

Places of interest

Galloway and List of Category A listed buildings in Dumfries and Galloway

Annandale distillery - Scotch Whisky

Bladnoch Distillery & Visitor Centre - Scotch Whisky

Caerlaverock Castle – Historic Scotland

Caerlaverock NNR (national nature reserve)

WWT Caerlaverock – a reserve of the Wildfowl and Wetlands Trust

Cardoness Castle

Castle of St John, Stranraer

Corsewall Lighthouse, privately owned

Drumlanrig Castle

HM Factory, Gretna, Eastriggs – site of a munitions factory during World War I

Galloway Forest Park, Forestry and Land Scotland

Galloway Hydro Electric Scheme, Scottish Power

Glenlair – home of 19th century physicist James Clerk Maxwell

Glenluce Abbey

Hallhill Covenanter Martyrs Memorial - near Kirkpatrick Irongray Church.

Isle of Whithorn Castle

Kenmure Castle – a seat of the Clan Gordon

Loch Ken

MacLellan's Castle, Kirkcudbright

Motte of Urr

Mull of Galloway – RSPB/ South Rhins Community Development Trust

Ruthwell Cross

Samye Ling Tibetan Monastery

Southern Upland Way – long distance footpath

Sweetheart Abbey, New Abbey

Threave Castle

Prior to 1975, the area that is now Dumfries and Galloway was administered as three separate counties: Dumfriesshire, Kirkcudbrightshire, and Wigtownshire. The counties of Scotland originated as sheriffdoms, which were established from the twelfth century, consisting of a group of parishes over which a sheriff had jurisdiction. An elected county council was established for each county in 1890 under the Local Government (Scotland) Act 1889.

The three county councils were abolished in 1975 under the Local Government (Scotland) Act 1973, which established a two-tier structure of local government across Scotland comprising upper-tier regions and lower-tier districts. A region called Dumfries and Galloway was created covering the area of the three counties, which were abolished as administrative areas. The region contained four districts:

Annandale and Eskdale, covering the eastern part of Dumfriesshire.

Nithsdale, covering the western part of Dumfriesshire and a small part of Kirkcudbrightshire.

Stewartry, covering most of Kirkcudbrightshire.

Wigtown, covering all of Wigtownshire and a small part of Kirkcudbrightshire.

Further local government reform in 1996 under the Local Government etc. (Scotland) Act 1994 saw the area's four districts abolished, with the Dumfries and Galloway Council taking over the functions they had previously performed. The council continues to use the areas of the four abolished districts as committee areas. The four former districts are also used to define the area's three lieutenancy areas, with Nithsdale and Annandale and Eskdale together forming the Dumfries lieutenancy, the Stewartry district corresponding to the Stewartry of Kirkcudbright lieutenancy, and the Wigtown district corresponding to the Wigtown lieutenancy.

The council headquarters is at the Council Offices at 113 English Street in Dumfries, which had been built in 1914 as the headquarters for the old Dumfriesshire County Council, previously being called "County Buildings".

The first election to the Dumfries and Galloway Regional Council was held in 1974, initially operating as a shadow authority alongside the outgoing authorities until the new system came into force on 16 May 1975. A shadow authority was again elected in 1995 ahead of the reforms which came into force on 1 April 1996. Political control of the council since 1975 has been as follows:

Since 2007 the council has been required to designate a leader of the council. The leader may also act as the convener, chairing council meetings, or the council may choose to appoint a different councillor to be convener. Prior to 2007 the council sometimes chose to appoint a leader, and sometimes did not. The leaders since 2007 have been:

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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:

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©All photographs on this site are copyright: ©DESPITE STRAIGHT LINES (Paul Williams) 2011 – 2021 & GETTY IMAGES ®

No license is given nor granted in respect of the use of any copyrighted material on this site other than with the express written agreement of ©DESPITE STRAIGHT LINES (Paul Williams). No image may be used as source material for paintings, drawings, sculptures, or any other art form without permission and/or compensation to ©DESPITE STRAIGHT LINES (Paul Williams)

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I would like to say a huge and heartfelt 'THANK YOU' to GETTY IMAGES, and the 50.689+ Million visitors to my FLICKR site.

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Photograph taken at an altitude of Twelve metres at 10:42am on Saturday 27th January 2024, off the Mall and Horse Guards Road within the grounds of St James's Park in Central London, one of the Royal parks of London situated in South West London.

Here we see a Male Mallard or Wild Duck (Anas platyrhynchos), a dabbling duck that breeds throughout the temperate and subtropical Americas, Eurasia, and North Africa. It has been introduced to New Zealand, Australia, Peru, Brazil, Uruguay, Argentina, Chile, Colombia, the Falkland Islands, and South Africa. It can weigh up to 1.6kg and has a lifespan of 5-10 years in the wild.

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Nikon D850 Focal length 320mm Shutter speed: 1/600s (Mechanical shutter) Aperture f/8.0 ISO: Auto ISO1800 Hand held with Tamron VR Vibration reduction enabled on setting 1. Image area FX (36 x 24) NEF RAW L (8256 x 5504). (14 bit uncompressed file) Focus mode AF-C focus. AF-C Priority Selection: Release. Nikon Back button focusing enabled AF-Area mode: 3D-Tracking Exposure mode: Manual mode Metering mode: Matrix metering White balance on: Natural light Auto, 0, 0 Colour space: RGB. Picture control: Standard (SD) (Sharpening +3.00/Clarity +1.00) Active D-Lighting: Normal High ISO NR: On (Normal)

Tamron SP 150-600mm F/5-6.3 Di VC USD G2. Nikon GP-1 GPS module. Hoodman HEYENRG round eyepiece oversized eyecup.Mcoplus professional MB-D850 multi function battery grip 6960.Two Nikon EN-EL15a batteries (Priority to battery in Battery grip). Black Rapid Curve Breathe strap. My Memory 128GB Class 10 SDXC 80MB/s card. Lowepro Flipside 400 AW camera bag.

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LATITUDE: N 51d 30m 6.10s

LONGITUDE: W 0d 8m 20.10s

ALTITUDE: 12.0m

RAW (TIFF) FILE: 130.00MB NEF: 91.9MB

PROCESSED (JPeg) FILE: 40.00MB

PROCESSING POWER:

Nikon D850 Firmware versions C 1.10 (9/05/2019) LD Distortion Data 2.018 (18/02/20) LF 1.00

HP 110-352na Desktop PC with AMD Quad-Core A6-5200 APU 64Bit processor. Radeon HD8400 graphics. 8 GB DDR3 Memory with 1TB Data storage. 64-bit Windows 10. Verbatim USB 2.0 1TB desktop hard drive. WD My Passport Ultra 1tb USB3 Portable hard drive. Nikon ViewNX-1 64bit Version 1.4.1 (18/02/2020). Nikon Capture NX-D 64bit Version 1.6.2 (18/02/2020). Nikon Picture Control Utility 2 (Version 2.4.5 (18/02/2020). Nikon Transfer 2 Version 2.13.5. Adobe photoshop Elements 8 Version 8.0 64bit.

Last week we were given an exercise with a Boots Disposable camera. Our aim was to shoot of the alloted 27 shots, every shot had to include flash. We also had to provide a statement of intent for our pictures. As I was on-call mine was simple ' within the house or no more than 5 mins away'.

I enlisted Em's help and we did a series of pics both inside and outside, this is one and fits nicely into the 'Emma's Prep' series I've been slowly building.

Given the angular and detail oriented nature of this wheel, we felt it was necessary to create a new finish that would complement those design choices. The result is our brand new Crystal Black Buff finish. With black serving as the base coat, the high gloss clear coat creates a dark mirror-like appearance. The combination of the design of the V802 and this new finish create a synergy that you would be proud to put on your mod list.

Telegram from King George V the President of the United States on the occasion of the burial of the Unknown of World War I 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.

North Toraja (or Toraja Utara) is a regency (kabupaten) of South Sulawesi Province of Indonesia, and the home of the Toraja ethnic group. The local government seat is in Rantepao which is also the center of Toraja culture. Formerly this regency was part of Tana Toraja Regency.

The Tana Toraja boundary was determined by the Dutch East Indies government in 1909. In 1926, Tana Toraja was under the administration of Bugis state, Luwu. The regentschap (or regency) status was given on October 8, 1946, the last regency given by the Dutch. Since 1984, Tana Toraja has been named as the second tourist destination after Bali by the Ministry of Tourism, Indonesia. Since then, hundreds of thousands of foreign visitors have visited this regency. In addition, numerous Western anthropologists have come to Tana Toraja to study the indigenous culture and people of Toraja.

GEOGRAPHY

Tana Toraja is located on the Sulawesi island, 300 km north of Makassar, the provincial capital of South Sulawesi. Its geographical location is between latitude of 2°-3° South and longitude 119°-120° East (center: 3°S 120°ECoordinates: 3°S 120°E). The area of the new North Toraja Regency is 1,151.47 km², about 2.5% of the total area of South Sulawesi province. The topography of Tana Toraja is mountainous; its minimum elevation is 150 m, while the maximum is 3,083 above the sea level.

Tana Toraja Regency (Indonesian for Torajaland or Land of the Toraja, abbreviated Tator) is a regency (kabupaten) of South Sulawesi Province of Indonesia, and home to the Toraja ethnic group. The local government seat is in Makale, while the center of Toraja culture is in Rantepao. But now, Tana Toraja has been divided to two regencies that consist of Tana Toraja with its capital at Makale and North toraja with its capital at Rantepao.

The Tana Toraja boundary was determined by the Dutch East Indies government in 1909. In 1926, Tana Toraja was under the administration of Bugis state, Luwu. The regentschap (or regency) status was given on 8 October 1946, the last regency given by the Dutch. Since 1984, Tana Toraja has been named as the second tourist destination after Bali by the Ministry of Tourism, Indonesia. Since then, hundreds of thousands of foreign visitors have visited this regency. In addition, numerous Western anthropologists have come to Tana Toraja to study the indigenous culture and people of Toraja.

GEOGRAPHY

Tana Toraja is centrally placed in the island of Sulawesi, 300 km north of Makassar, the provincial capital of South Sulawesi. It lies between latitude of 2°-3° South and longitude 119°-120° East (center: 3°S 120°ECoordinates: 3°S 120°E). The total area (since the separation of the new regency of North Toraja) is 2,054.30 km², about 4.4% of the total area of South Sulawesi province. The topography of Tana Toraja is mountainous; its minimum elevation is 150 m, while the maximum is 3,083 above the sea level.

ADMINISTRATION

Tana Toraja Regency in 2010 comprised nineteen administrative Districts (Kecamatan), tabulated below with their 2010 Census population.

The Torajans are an ethnic group indigenous to a mountainous region of South Sulawesi, Indonesia. Their population is approximately 1,100,000, of whom 450,000 live in the regency of Tana Toraja ("Land of Toraja").[1] Most of the population is Christian, and others are Muslim or have local animist beliefs known as aluk ("the way"). The Indonesian government has recognised this animistic belief as Aluk To Dolo ("Way of the Ancestors").

The word Toraja comes from the Buginese language term to riaja, meaning "people of the uplands". The Dutch colonial government named the people Toraja in 1909. Torajans are renowned for their elaborate funeral rites, burial sites carved into rocky cliffs, massive peaked-roof traditional houses known as tongkonan, and colourful wood carvings. Toraja funeral rites are important social events, usually attended by hundreds of people and lasting for several days.

Before the 20th century, Torajans lived in autonomous villages, where they practised animism and were relatively untouched by the outside world. In the early 1900s, Dutch missionaries first worked to convert Torajan highlanders to Christianity. When the Tana Toraja regency was further opened to the outside world in the 1970s, it became an icon of tourism in Indonesia: it was exploited by tourism development and studied by anthropologists. By the 1990s, when tourism peaked, Toraja society had changed significantly, from an agrarian model—in which social life and customs were outgrowths of the Aluk To Dolo—to a largely Christian society. Today, tourism and remittances from migrant Torajans have made for major changes in the Toraja highland, giving the Toraja a celebrity status within Indonesia and enhancing Toraja ethnic group pride.

ETHNIC IDENTITY

The Torajan people had little notion of themselves as a distinct ethnic group before the 20th century. Before Dutch colonisation and Christianisation, Torajans, who lived in highland areas, identified with their villages and did not share a broad sense of identity. Although complexes of rituals created linkages between highland villages, there were variations in dialects, differences in social hierarchies, and an array of ritual practices in the Sulawesi highland region. "Toraja" (from the coastal languages' to, meaning people; and riaja, uplands) was first used as a lowlander expression for highlanders. As a result, "Toraja" initially had more currency with outsiders—such as the Bugis and Makassarese, who constitute a majority of the lowland of Sulawesi—than with insiders. The Dutch missionaries' presence in the highlands gave rise to the Toraja ethnic consciousness in the Sa'dan Toraja region, and this shared identity grew with the rise of tourism in the Tana Toraja Regency. Since then, South Sulawesi has four main ethnic groups—the Bugis (the majority, including shipbuilders and seafarers), the Makassarese (lowland traders and seafarers), the Mandarese (traders and fishermen), and the Toraja (highland rice cultivators).

HISTORY

From the 17th century, the Dutch established trade and political control on Sulawesi through the Dutch East Indies Company. Over two centuries, they ignored the mountainous area in the central Sulawesi, where Torajans lived, because access was difficult and it had little productive agricultural land. In the late 19th century, the Dutch became increasingly concerned about the spread of Islam in the south of Sulawesi, especially among the Makassarese and Bugis peoples. The Dutch saw the animist highlanders as potential Christians. In the 1920s, the Reformed Missionary Alliance of the Dutch Reformed Church began missionary work aided by the Dutch colonial government. In addition to introducing Christianity, the Dutch abolished slavery and imposed local taxes. A line was drawn around the Sa'dan area and called Tana Toraja ("the land of Toraja"). Tana Toraja was first a subdivision of the Luwu kingdom that had claimed the area. In 1946, the Dutch granted Tana Toraja a regentschap, and it was recognised in 1957 as one of the regencies of Indonesia.

Early Dutch missionaries faced strong opposition among Torajans, especially among the elite, because the abolition of their profitable slave trade had angered them. Some Torajans were forcibly relocated to the lowlands by the Dutch, where they could be more easily controlled. Taxes were kept high, undermining the wealth of the elites. Ultimately, the Dutch influence did not subdue Torajan culture, and only a few Torajans were converted. In 1950, only 10% of the population had converted to Christianity.

In the 1930s, Muslim lowlanders attacked the Torajans, resulting in widespread Christian conversion among those who sought to align themselves with the Dutch for political protection and to form a movement against the Bugis and Makassarese Muslims. Between 1951 and 1965 (following Indonesian independence), southern Sulawesi faced a turbulent period as the Darul Islam separatist movement fought for an Islamic state in Sulawesi. The 15 years of guerrilla warfare led to massive conversions to Christianity.

Alignment with the Indonesian government, however, did not guarantee safety for the Torajans. In 1965, a presidential decree required every Indonesian citizen to belong to one of five officially recognised religions: Islam, Christianity (Protestantism and Catholicism), Hinduism, or Buddhism. The Torajan religious belief (aluk) was not legally recognised, and the Torajans raised their voices against the law. To make aluk accord with the law, it had to be accepted as part of one of the official religions. In 1969, Aluk To Dolo ("the way of ancestors") was legalised as a sect of Agama Hindu Dharma, the official name of Hinduism in Indonesia.

SOCIETY

There are three main types of affiliation in Toraja society: family, class and religion.

FAMILY AFFILIATION

Family is the primary social and political grouping in Torajan society. Each village is one extended family, the seat of which is the tongkonan, a traditional Torajan house. Each tongkonan has a name, which becomes the name of the village. The familial dons maintain village unity. Marriage between distant cousins (fourth cousins and beyond) is a common practice that strengthens kinship. Toraja society prohibits marriage between close cousins (up to and including the third cousin)—except for nobles, to prevent the dispersal of property. Kinship is actively reciprocal, meaning that the extended family helps each other farm, share buffalo rituals, and pay off debts.

Each person belongs to both the mother's and the father's families, the only bilateral family line in Indonesia. Children, therefore, inherit household affiliation from both mother and father, including land and even family debts. Children's names are given on the basis of kinship, and are usually chosen after dead relatives. Names of aunts, uncles and cousins are commonly referred to in the names of mothers, fathers and siblings.

Before the start of the formal administration of Toraja villages by the Tana Toraja Regency, each Toraja village was autonomous. In a more complex situation, in which one Toraja family could not handle their problems alone, several villages formed a group; sometimes, villages would unite against other villages. Relationship between families was expressed through blood, marriage, and shared ancestral houses (tongkonan), practically signed by the exchange of water buffalo and pigs on ritual occasions. Such exchanges not only built political and cultural ties between families but defined each person's place in a social hierarchy: who poured palm wine, who wrapped a corpse and prepared offerings, where each person could or could not sit, what dishes should be used or avoided, and even what piece of meat constituted one's share.

CLASS AFFILIATION

In early Toraja society, family relationships were tied closely to social class. There were three strata: nobles, commoners, and slaves (slavery was abolished in 1909 by the Dutch East Indies government). Class was inherited through the mother. It was taboo, therefore, to marry "down" with a woman of lower class. On the other hand, marrying a woman of higher class could improve the status of the next generation. The nobility's condescending attitude toward the commoners is still maintained today for reasons of family prestige.

Nobles, who were believed to be direct descendants of the descended person from heaven, lived in tongkonans, while commoners lived in less lavish houses (bamboo shacks called banua). Slaves lived in small huts, which had to be built around their owner's tongkonan. Commoners might marry anyone, but nobles preferred to marry in-family to maintain their status. Sometimes nobles married Bugis or Makassarese nobles. Commoners and slaves were prohibited from having death feasts. Despite close kinship and status inheritance, there was some social mobility, as marriage or change in wealth could affect an individuals status. Wealth was counted by the ownership of water buffaloes.

Slaves in Toraja society were family property. Sometimes Torajans decided to become slaves when they incurred a debt, pledging to work as payment. Slaves could be taken during wars, and slave trading was common. Slaves could buy their freedom, but their children still inherited slave status. Slaves were prohibited from wearing bronze or gold, carving their houses, eating from the same dishes as their owners, or having sex with free women—a crime punishable by death.

RELIGIOUS AFFILATION

Toraja's indigenous belief system is polytheistic animism, called aluk, or "the way" (sometimes translated as "the law"). In the Toraja myth, the ancestors of Torajan people came down from heaven using stairs, which were then used by the Torajans as a communication medium with Puang Matua, the Creator. The cosmos, according to aluk, is divided into the upper world (heaven), the world of man (earth), and the underworld. At first, heaven and earth were married, then there was a darkness, a separation, and finally the light. Animals live in the underworld, which is represented by rectangular space enclosed by pillars, the earth is for mankind, and the heaven world is located above, covered with a saddle-shaped roof. Other Toraja gods include Pong Banggai di Rante (god of Earth), Indo' Ongon-Ongon (a goddess who can cause earthquakes), Pong Lalondong (god of death), and Indo' Belo Tumbang (goddess of medicine); there are many more.

The earthly authority, whose words and actions should be cleaved to both in life (agriculture) and death (funerals), is called to minaa (an aluk priest). Aluk is not just a belief system; it is a combination of law, religion, and habit. Aluk governs social life, agricultural practices, and ancestral rituals. The details of aluk may vary from one village to another. One common law is the requirement that death and life rituals be separated. Torajans believe that performing death rituals might ruin their corpses if combined with life rituals. The two rituals are equally important. During the time of the Dutch missionaries, Christian Torajans were prohibited from attending or performing life rituals, but were allowed to perform death rituals. Consequently, Toraja's death rituals are still practised today, while life rituals have diminished.

CULTURE

TONGKONAN

Tongkonan are the traditional Torajan ancestral houses. They stand high on wooden piles, topped with a layered split-bamboo roof shaped in a sweeping curved arc, and they are incised with red, black, and yellow detailed wood carvings on the exterior walls. The word "tongkonan" comes from the Torajan tongkon ("to sit").

Tongkonan are the center of Torajan social life. The rituals associated with the tongkonan are important expressions of Torajan spiritual life, and therefore all family members are impelled to participate, because symbolically the tongkonan represents links to their ancestors and to living and future kin. According to Torajan myth, the first tongkonan was built in heaven on four poles, with a roof made of Indian cloth. When the first Torajan ancestor descended to earth, he imitated the house and held a large ceremony.

The construction of a tongkonan is laborious work and is usually done with the help of the extended family. There are three types of tongkonan. The tongkonan layuk is the house of the highest authority, used as the "center of government". The tongkonan pekamberan belongs to the family members who have some authority in local traditions. Ordinary family members reside in the tongkonan batu. The exclusivity to the nobility of the tongkonan is diminishing as many Torajan commoners find lucrative employment in other parts of Indonesia. As they send back money to their families, they enable the construction of larger tongkonan.

Architecture in the style of a tongkonan is still very common. Various administration buildings were built in this style in recent years, e.g. the Kecamatan building in Rantepao.

WOOD CARVINGS

To express social and religious concepts, Torajans carve wood, calling it Pa'ssura (or "the writing"). Wood carvings are therefore Toraja's cultural manifestation.

Each carving receives a special name, and common motifs are animals and plants that symbolise some virtue. For example, water plants and animals, such as crabs, tadpoles and water weeds, are commonly found to symbolise fertility. In some areas noble elders claim these symbols refer to strength of noble family, but not everyone agrees. The overall meaning of groups of carved motifs on houses remains debated and tourism has further complicated these debates because some feel a uniform explanation must be presented to tourists. Torajan wood carvings are composed of numerous square panels, each of which can represent various things, for example buffaloes as a wish of wealth for the family; a knot and a box, symbolizing the hope that all of the family's offspring will be happy and live in harmony; aquatic animals, indicating the need for fast and hard work, just like moving on the surface of water.

Regularity and order are common features in Toraja wood carving (see table below), as well as abstracts and geometrical designs. Nature is frequently used as the basis of Toraja's ornaments, because nature is full of abstractions and geometries with regularities and ordering. Toraja's ornaments have been studied in ethnomathematics to reveal their mathematical structure, but Torajans base this art only on approximations. To create an ornament, bamboo sticks are used as a geometrical tool.

FUNERAL RITES

In Toraja society, the funeral ritual is the most elaborate and expensive event. The richer and more powerful the individual, the more expensive is the funeral. In the aluk religion, only nobles have the right to have an extensive death feast. The death feast of a nobleman is usually attended by thousands and lasts for several days. A ceremonial site, called rante, is usually prepared in a large, grassy field where shelters for audiences, rice barns, and other ceremonial funeral structures are specially made by the deceased's family. Flute music, funeral chants, songs and poems, and crying and wailing are traditional Toraja expressions of grief with the exceptions of funerals for young children, and poor, low-status adults.

The ceremony is often held weeks, months, or years after the death so that the deceased's family can raise the significant funds needed to cover funeral expenses. Torajans traditionally believe that death is not a sudden, abrupt event, but a gradual process toward Puya (the land of souls, or afterlife). During the waiting period, the body of the deceased is wrapped in several layers of cloth and kept under the tongkonan. The soul of the deceased is thought to linger around the village until the funeral ceremony is completed, after which it begins its journey to Puya.

Another component of the ritual is the slaughter of water buffalo. The more powerful the person who died, the more buffalo are slaughtered at the death feast. Buffalo carcasses, including their heads, are usually lined up on a field waiting for their owner, who is in the "sleeping stage". Torajans believe that the deceased will need the buffalo to make the journey and that they will be quicker to arrive at Puya if they have many buffalo. Slaughtering tens of water buffalo and hundreds of pigs using a machete is the climax of the elaborate death feast, with dancing and music and young boys who catch spurting blood in long bamboo tubes. Some of the slaughtered animals are given by guests as "gifts", which are carefully noted because they will be considered debts of the deceased's family. However, a cockfight, known as bulangan londong, is an integral part of the ceremony. As with the sacrifice of the buffalo and the pigs, the cockfight is considered sacred because it involves the spilling of blood on the earth. In particular, the tradition requires the sacrifice of at least three chickens. However, it is common for at least 25 pairs of chickens to be set against each other in the context of the ceremony.

There are three methods of burial: the coffin may be laid in a cave or in a carved stone grave, or hung on a cliff. It contains any possessions that the deceased will need in the afterlife. The wealthy are often buried in a stone grave carved out of a rocky cliff. The grave is usually expensive and takes a few months to complete. In some areas, a stone cave may be found that is large enough to accommodate a whole family. A wood-carved effigy, called Tau tau, is usually placed in the cave looking out over the land. The coffin of a baby or child may be hung from ropes on a cliff face or from a tree. This hanging grave usually lasts for years, until the ropes rot and the coffin falls to the ground.

In the ritual called Ma'Nene, that takes place each year in August, the bodies of the deceased are exhumed to be washed, groomed and dressed in new clothes. The mummies are then walked around the village.

DANNCE AND MUSIC

Torajans perform dances on several occasions, most often during their elaborate funeral ceremonies. They dance to express their grief, and to honour and even cheer the deceased person because he is going to have a long journey in the afterlife. First, a group of men form a circle and sing a monotonous chant throughout the night to honour the deceased (a ritual called Ma'badong). This is considered by many Torajans to be the most important component of the funeral ceremony. On the second funeral day, the Ma'randing warrior dance is performed to praise the courage of the deceased during life. Several men perform the dance with a sword, a large shield made from buffalo skin, a helmet with a buffalo horn, and other ornamentation. The Ma'randing dance precedes a procession in which the deceased is carried from a rice barn to the rante, the site of the funeral ceremony. During the funeral, elder women perform the Ma'katia dance while singing a poetic song and wearing a long feathered costume. The Ma'akatia dance is performed to remind the audience of the generosity and loyalty of the deceased person. After the bloody ceremony of buffalo and pig slaughter, a group of boys and girls clap their hands while performing a cheerful dance called Ma'dondan.

As in other agricultural societies, Torajans dance and sing during harvest time. The Ma'bugi dance celebrates the thanksgiving event, and the Ma'gandangi dance is performed while Torajans are pounding rice. There are several war dances, such as the Manimbong dance performed by men, followed by the Ma'dandan dance performed by women. The aluk religion governs when and how Torajans dance. A dance called Ma'bua can be performed only once every 12 years. Ma'bua is a major Toraja ceremony in which priests wear a buffalo head and dance around a sacred tree.

A traditional musical instrument of the Toraja is a bamboo flute called a Pa'suling (suling is an Indonesian word for flute). This six-holed flute (not unique to the Toraja) is played at many dances, such as the thanksgiving dance Ma'bondensan, where the flute accompanies a group of shirtless, dancing men with long fingernails. The Toraja have indigenous musical instruments, such as the Pa'pelle (made from palm leaves) and the Pa'karombi (the Torajan version of a jaw harp). The Pa'pelle is played during harvest time and at house inauguration ceremonies.

COGENDER VIEWS

Among the Saʼadan (eastern Toraja) in the island of Sulawesi (Celebes), Indonesia, there are homosexual male toburake tambolang shamans; although among their neighbors the Mamasa (western Toraja) there are instead only heterosexual female toburake shamanesses.

LANGUAGE

The ethnic Toraja language is dominant in Tana Toraja with the main language as the Sa'dan Toraja. Although the national Indonesian language is the official language and is spoken in the community, all elementary schools in Tana Toraja teach Toraja language.

Language varieties of Toraja, including Kalumpang, Mamasa, Tae, Talondo, Toala, and Toraja-Sa'dan, belong to the Malayo-Polynesian language from the Austronesian family. At the outset, the isolated geographical nature of Tana Toraja formed many dialects between the Toraja languages themselves. After the formal administration of Tana Toraja, some Toraja dialects have been influenced by other languages through the transmigration program, introduced since the colonialism period, and it has been a major factor in the linguistic variety of Toraja languages.

A prominent attribute of Toraja language is the notion of grief. The importance of death ceremony in Toraja culture has characterised their languages to express intricate degrees of grief and mourning. The Toraja language contains many terms referring to sadness, longing, depression, and mental pain. Giving a clear expression of the psychological and physical effect of loss is a catharsis and sometimes lessens the pain of grief itself.

ECONOMY

Prior to Suharto's "New Order" administration, the Torajan economy was based on agriculture, with cultivated wet rice in terraced fields on mountain slopes, and supplemental cassava and maize crops. Much time and energy were devoted to raising water buffalo, pigs, and chickens, primarily for ceremonial sacrifices and consumption. Coffee was the first significant cash crop produced in Toraja, and was introduced in the mid 19th century, changing the local economy towards commodity production for external markets and gaining an excellent reputation for quality in the international market.

With the commencement of the New Order in 1965, Indonesia's economy developed and opened to foreign investment. In Toraja, a coffee plantation and factory was established by Key Coffee of Japan, and Torajan coffee regained a reputation for quality within the growing international specialty coffee sector Multinational oil and mining companies opened new operations in Indonesia during the 1970s and 1980s. Torajans, particularly younger ones, relocated to work for the foreign companies—to Kalimantan for timber and oil, to Papua for mining, to the cities of Sulawesi and Java, and many went to Malaysia. The out-migration of Torajans was steady until 1985. and has continued since, with remittances sent back by emigre Torajans performing an important role within the contemporary economy.

Tourism commenced in Toraja in the 1970s, and accelerated in the 1980s and 1990s. Between 1984 and 1997, a significant number of Torajans obtained their incomes from tourism, working in and owning hotels, as tour guides, drivers, or selling souvenirs. With the rise of political and economic instability in Indonesia in the late 1990s—including religious conflicts elsewhere on Sulawesi—tourism in Tana Toraja has declined dramatically. Toraja continues to be a well known origin for Indonesian coffee, grown by both smallholders and plantation estates, although migration, remittances and off-farm income is considered far more important to most households, even those in rural areas.

TOURISM AND CULTURAL CHANGE

Before the 1970s, Toraja was almost unknown to Western tourism. In 1971, about 50 Europeans visited Tana Toraja. In 1972, at least 400 visitors attended the funeral ritual of Puang of Sangalla, the highest-ranking nobleman in Tana Toraja and the so-called "last pure-blooded Toraja noble." The event was documented by National Geographic and broadcast in several European countries. In 1976, about 12,000 tourists visited the regency and in 1981, Torajan sculpture was exhibited in major North American museums. "The land of the heavenly kings of Tana Toraja", as written in the exhibition brochure, embraced the outside world.

In 1984, the Indonesian Ministry of Tourism declared Tana Toraja Regency the prima donna of South Sulawesi. Tana Toraja was heralded as "the second stop after Bali". Tourism was increasing dramatically: by 1985, a total number of 150,000 foreigners had visited the Regency (in addition to 80,000 domestic tourists), and the annual number of foreign visitors was recorded at 40,000 in 1989. Souvenir stands appeared in Rantepao, the cultural center of Toraja, roads were sealed at the most-visited tourist sites, new hotels and tourist-oriented restaurants were opened, and an airstrip was opened in the Regency in 1981.

Tourism developers have marketed Tana Toraja as an exotic adventure—an area rich in culture and off the beaten track. Western tourists expected to see stone-age villages and pagan funerals. Toraja is for tourists who have gone as far as Bali and are willing to see more of the wild, "untouched" islands. However, they were more likely to see a Torajan wearing a hat and denim, living in a Christian society. Tourists felt that the tongkonan and other Torajan rituals had been preconceived to make profits, and complained that the destination was too commercialised. This has resulted in several clashes between Torajans and tourism developers, whom Torajans see as outsiders.

A clash between local Torajan leaders and the South Sulawesi provincial government (as a tourist developer) broke out in 1985. The government designated 18 Toraja villages and burial sites as traditional tourist attractions. Consequently, zoning restrictions were applied to these areas, such that Torajans themselves were barred from changing their tongkonans and burial sites. The plan was opposed by some Torajan leaders, as they felt that their rituals and traditions were being determined by outsiders. As a result, in 1987, the Torajan village of Kété Kesú and several other designated tourist attractions closed their doors to tourists. This closure lasted only a few days, as the villagers found it too difficult to survive without the income from selling souvenirs.

Tourism has also transformed Toraja society. Originally, there was a ritual which allowed commoners to marry nobles (puang) and thereby gain nobility for their children. However, the image of Torajan society created for the tourists, often by "lower-ranking" guides, has eroded its traditional strict hierarchy. High status is not as esteemed in Tana Toraja as it once was. Many low-ranking men can declare themselves and their children nobles by gaining enough wealth through work outside the region and then marrying a noble woman.

WIKIPEDIA

Visitors were given the opportunity to cross the plaza and place a flower in front of the Tomb of the Unknown Soldier during the second Flowers of Remembrance Day at Arlington National Cemetery, Arlington, Va., May 28, 2023.

This event pays homage to the first official Decoration Day, now known as Memorial Day, which originally took place at the cemetery in 1868 as a way to honor the sacrifices of those who fought and died in the Civil War.

(U.S. Army photo by Sgt. Ethan Scofield)

Hibakusha is the name given to the survivors of the atomic bombings of Hiroshima and Nagasaki. It was one of my greatest joys to be a host organizer and to do the press work for the 40th anniversary Hibakusha tour of the United States, August 1985. This was the decade of Reagan's great push for nuclear superiority, and the rise of populist citizen actions resisting nuclear proliferation.

The Southern California Mobilization for Survival was joined by Sane/Freeze, Physicians for Social Responsibility, and many other groups in planning the events. This was the first time that a "shadow" campaign was planned; it was based on the fact that those close to ground zero for the bomb were vaporized, leaving only their shadows.

Lines from a poem:

" Imagination is captured

By the figure of a girl

Skipping in boundless childhood joy

Seared into the pavement of the bridge..."

Brigades of people set out just after midnight August 5--6 to paint "shadows" on the streets of Los Angeles and many other cities across the country. But I beleive Reagan's team heard about the plans and 'successfully' set out to counteract our powerful, symbolic graphic effort to highlight the effects of nuclear weapons. I have no proof for my opinion here, but the events just seemed too synchronistic to be random.

The day before the anniversary, Reagan's friend Peter Uberoff, Baseball Commissioner and head of the 1984 Olympic Games in LA called a baseball strike for August 6th. That became the news of the day, successfully moving any coverage or photos of the 'Shadow

Project' to an inside page. The strike only lasted one day, but it had Reagan's desired effect of minimizing the coverage of the horrendous nature of nuclear weapons.

The shawl was made by Hibakusha in a hospital in Nagoya in 1987. Japan has separate hospitals just for survivors of the bombs. Several of them got together to write their prayers, wishes and hopes for a nuclear free world on the shawl. I wear it at this time of year every year as memory and dedication to work for a peaceful world, to work against allowing these horrors to come to any more people.

Yet, as I write, Fukushima, Three Mile Island, Chernobyl, the above ground testing, and ongoing emissions have turned all of Humankind into atomic survivors. We are all Hibakusha now!

-30-

Lines of a poem are from a very long poem by yours truly, 7 pages, called "Shadow Poem for Carmen".

I'm going to send you a graphic that hammers home the point here, but it will take me some time to look for it. No need to publish this graphic, so don't wait if I don't find it in time. It is more for emphasis.

Delete any of this you want. I am very, very wordy, always.

Love,

Sydney

St George, Stowlangtoft, Suffolk

Given that our parish churches almost without exception underwent restorations in the 19th Century, it should be obvious that when we enter a medieval church, we are encountering a Victorian vision of the medieval. Even when the actual furnishings and fittings are medieval, the whole piece is still a Victorian conception.

Inevitably, the question arises of what was there before the restoration and what wasn't. The obvious answer is that we must assume that nothing is as it first appears.

A prime example of a church that assumes a continuity that may not actually be the truth is here in the flat fields between Woolpit and Ixworth. This part of Suffolk can be rather bleak in winter, but in summer the churchyard here is verdant and golden, as beautiful a place as any in the county. The church is large, and yet unusually narrow. It sits on a mound that has been cut down on one side by the road. In the churchyard you'll find the well-known memorial to the art critic Peter Fuller and his unborn son, killed in a car crash in 1990.

In the churchyard wall there is what appears to be broken medieval window tracery, which is worth noticing, for hereby hangs a tale.

St George is one of the great Suffolk churches. Although it may externally appear a little severe, and is by no means as grand as Blythburgh, Long Melford and the rest, it is a treasure house of the medieval inside. Unusually for a church of its date, it was all rebuilt in one go, in the late 14th century, and the perpendicular windows are not yet full of the 'walls of glass' confidence that the subsequent century would see. The tracery appears to have been repaired, and possibly even renewed, which may explain the tracery in the churchyard wall. However, it doesn't take much to see that the tracery in the wall is not perpendicular at all, but decorated. So it may be that the broken tracery is from the original church that the late 14th century church replaced. But the wall itself isn't medieval, so where had it been all those years? Is it possible that the current window tracery is not medieval at all?

Stowlangtoft church featured in Simon Jenkins' book England's Thousand Best Churches, which sends plenty of visitors to its locked door, and may help stave off the inevitable for a while, for there is no real congregation here any more and the church is moribund. Regular services are held across the fields at Pakenham, and St George is now only used on special occasions. The key is kept across the road, where the very nice lady told me in February 2018 that the church is now headed for redundancy. It seems likely that care of it will be conveyed into the hands of the Churches Conservation Trust.

You step in through the chancel door (the lock here is very awkward, but do persevere) and if you are anything like me you will head straight down to the west end where you will find the font. Likethe window tracery, it asks some questions. Unusually, it features a Saint on seven of the panels, Christ being on the westwards face. Mortlock dates it to the early 14th century, and the Saints it shows are familiar cults from that time: St Margaret, St Catherine, St Peter and St Paul, and less commonly St George. The cult of St George was at its height in the early years of the 14th century. Mortlock describes the font as mutilated, and it certainly isn't looking its best. But I think there is more going on here than meets the eye. Fonts were plastered over in Elizabethan times, and only relief that stood proud of the plaster was mutilated. These are all shallow reliefs, and I do not think they have been mutilated at all. To my eye at least, this stonework appears weathered. I wonder if this font was removed from the church, probably in the mid-17th century, and served an outdoor purpose until it was returned in the 19th century.

The story of this church in the 19th century is well-documented. In 1832, as part of his grand tour of Suffolk, David Davy visited, and was pleased to find that the church was at last undergoing repair. The chancel had been roofless, and the nave used for services. A new Rectory was being built. Who was the catalyst behind all this? His name was Samuel Rickards, and he was Rector here for almost the middle forty years of the 19th century. Roy Tricker notes that he was a good friend of John Henry Newman, the future Cardinal, and they often corresponded on the subject of the pre-Reformation ordering of English churches. It is interesting to think how, at this seminal moment, Rickards might have informed the thought of the Oxford Movement. Sadly, when Newman became a Catholic, Rickards broke off all correspondence with him.

During the course of the 1840s and 1850s, Rickards transformed Stowlangtoft church. He got the great Ipswich woodcarver Henry Ringham in to restore, replicate and complete the marvellous set of bench ends - Ringham did the same thing at Woolpit, a few miles away. Ringham's work is so good that it is sometimes hard for the inexperienced eye to detect it. However, as at Woolpit, Ringham only copied animals here, and the weirder stuff is all medieval, and probably dates from the rebuilding of the church. The glory of Stowlangtoft's bench ends is partly the sheer quantity - there are perhaps 60 carvings - but also that there are several unique subjects.

The carvings appear to be part of the same group as Woolpit and Tostock - you will recognise the unicorn, the chained bear, the bull playing a harp, the bird with a man's head, from similar carvings elsewhere. And then hopefully that little alarm bell in your heard should start to go "Hmmmm....." because some of the carvings here are clearly not from the same group. It is hard to believe that the mermaid and the owl, for example, are from the same workshop, or even from the same decade. The benches themselves are no clue, as it was common practice in the 19th century to replace medieval bench ends on modern benches, or on medieval benches, or even on modern benches made out of medieval timber (as happened at Blythburgh). Could it be that Samuel Rickards found some of these bench ends elsewhere? Could he have been the kind of person to do a thing like that?

Well, yes he could. As Roy Tricker recalls, the medieval roof at the tractarian Thomas Mozley's church at Cholderton in Wiltshire is East Anglian. Rickards acquired it after finding it in storage in Ipswich docks. It presumably came from one of the Ipswich churches. In the ferment of the great 19th century restoration of our English churches, there was loads of medieval junk lying around, much of it going begging. But was Samuel Rickards the kind of person to counterfeit his church's medieval inheritance?

Well, yes he probably was. The faux-medieval roundels in the windows of the nave are clearly not medieval at all, but were in fact the work of the young Lucy Rickards, daughter of Samuel Rickards himself. Some are clearly to the young girl's design, and Pevsner notes that others are copied from medieval manuscript illustrations in the British Museum, although the Holy Kinship and Presentation in the Temple roundels at least are very close copies of the Flemish roundels of the same subjects in Nowton church on the other side of Bury St Edmunds.

Truly medieval is the vast St Christopher wall-painting still discernible on the north wall. It was probably one of the last to be painted. The bench ends are medieval, of course, as is the fine rood-screen dado, albeit repainted. There is even some medieval figure glass in the upper tracery of some of the windows, including St Agnes holding a lamb and four Old Testament prophets. The laughable stone pulpit is Rickard's commission, and the work of William White. What can Rickards have been thinking of? But we step through into the chancel, and suddenly the whole thing moves up a gear. For here are some things that are truly remarkable.

In a county famous for its woodwork, the furnishings of Stowlangtoft's chancel are breathtaking, even awe-inspiring. Behind the rood screen dado is Suffolk's most complete set of return stalls. Most striking are the figures that form finials to the stall ends. They are participants in the Mass, including two Priests, two servers and two acolytes. The figure of the Priest at a prayer desk must be one of the best medieval images in Suffolk, and Mortlock thought the stalls the finest in England.

The benches that face eastwards are misericords, and beneath them are wonderful things: angels, lions and wodewoses, evangelistic symbols and crowned heads. A hawk captures a hare, a dragon sticks out its tongue. Between the seats are weird oriental faces.

Now, you know what I am going to ask next. How much of this is from this church originally? It all appears medieval work, and there is no reason to believe it might not have been moved elsewhere in the church when the chancel was open to the elements. What evidence have we got?

Firstly, we should notice that the only other Suffolk church with such a large number of medieval misericords of this quality is just a mile away, at Norton. I don't ask you to see this as significant, merely to notice it in passing. Secondly, I am no carpenter, but it does look to me as though two sets of furnishings have been cobbled together; the stalls that back on to the screen appear to have been integrated into the larger structure of stalls and desks that front them and the north and south walls.

However, if you look closely at the figures of the two Deacons, you will see that they are bearing shields of the Ashfield and Peche families. The Ashfield arms also appear on the rood screen, and the Ashfields were the major donors when the church was rebuilt in the 14th century. So on balance I am inclined to think that the greater part of the stall structure was in this church originally from when it was rebuilt. And the misericords? Well, I don't know. But I think they have to be considered as part of the same set as those at Norton. In which case they may have come from the same church, which may have been this one, but may not have been. Almost certainly, the stalls at Norton did not come from Norton church, and folklore has it that they were originally in the quire of Bury Abbey.

Other remarkable things in St George include FE Howard's beautiful war memorial in the former north doorway, and in the opposite corner of the nave Hugh Easton's unexpectedly gorgeous St George, which serves the same purpose. He's not an artist I usually admire, but it is as good as his work at Elveden. Back up in the chancel is a delightful painted pipe organ which was apparently exhibited at, and acquired from, the Great Exhibition of 1851.

But St George at Stowlangtoft is, of course, most famous for the Flemish carvings that flank the rather heavy altarpiece. They were given to the church by Henry Wilson of Stowlangtoft Hall, who allegedly found them in an Ixworth junk shop. They show images from the crucifixion story, but are not Stations of the Cross as some guides suggest. They date from the 1480s, and were almost certainly the altarpiece of a French or Flemish monastery that was sacked during the French Revolution. The carvings were once brightly painted, and piled up in a block rather than spread out in a line. The niches, and crowning arches above them, are 19th century.

One cold winter's night in January 1977, a gang of thieves broke into this locked church and stole them. Nothing more was seen or heard of them until 1982, when they were discovered on display in an Amsterdam art gallery. Their journey had been a convoluted one. Taken to Holland, they were used as security for a loan which was defaulted upon. The new owner was then burgled, and the carvings were fenced to an Amsterdam junk dealer. They were bought from his shop, and taken to the museum, which immediately identified them as 15th century carvings. They put them on display, and a Dutch woman who had read about the Stowlangtoft theft recognised them.

The parish instituted legal proceedings to get them back. An injunction was taken out to stop the new owner removing them from the museum. The parish lost the case, leaving them with a monstrous legal bill, but the story has a happy ending. A Dutch businessman negotiated their purchase from the owner, paid off the legal bills, and returned the carvings to Stowlangtoft. Apparently this was all at vast cost, but the businessman gave the gift in thanks for Britain's liberation of Holland from the Nazis. No, thank you, sir.

Today, the carvings are fixed firmly in place and alarmed, so they won't be going walkabout again. But a little part of me wonders if they really should be here at all. Sure, they are medieval, but they weren't here originally, and they weren't even in England originally. Wouldn't it be better if they were displayed somewhere safer, where people could pay to see them, and provide some income for the maintenance of the church building? And then, whisper it, when St George is taken on by the CCT they might even be able to leave it open.