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Bought this carry case to keep dolly things in. It has an elegant and vintage feel yet it is brand new. It was half price so also a bargain :-)
Edna is not used to wearing pretty dresses but I think this one suits her. Maybe she will wear pretty dresses more in future.
A return to Bredgar,
I was here in November, and found the fine looking church locked.
We were going fairly nearby to another church, so give it a try?
And good job we did, as I saw as we approached the porch I saw the padlock open and the hasp hanging down.
Yay.
Jools went to the glass shop the other side of the road, and I go to snap the church.
Despite looking large and grand from the outside, inside it was a bit of a disappointment. Tough a large and fine wall mounted monument made up for it somewhat.
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BREDGAR.
OR Bradgare, as it was sometimes spelt, is the next parish southward from Tunstall.
ALTHOUGH the road from Sittingborne to Hollingborne-hill, and thence to Maidstone, passes through it and the village of Bredgar, it is rather an unfrequented place, lying obscurely among the hills, and bounding eastward to the woods. It contains near 1300 acres of land, of which one hundred are wood-grounds. The village, which stands on high ground, nearly in the centre of the parish, having the church and college, or chantry in it, is a healthy and not unpleasant situation, being surrounded mostly by pasture grounds, but the remaining part of the parish is very hilly, the soil poor and chalky, and much covered with flints, being rather a dreary country. At the entrance of the village there is a good house, inhabited for many years by the Beales, the last of whom, Mr. John Beale, of Bredgar, dying s. p. in 1769, gave this among his other estates, among his relations, and this house is now owned by his sister's son, Mr. Pattison; a little distance from hence is a modern fronted house, belonging to the Rev. Mr. Marsh, rector of Bicknor, who resides in it.
The plant Dentaria Major Metthiolo, or the greater toothwort, is mentioned by Mr. Ray, as found by him in this parish.
THE PARAMOUNT MANOR of Milton claims over this parish, as do the subordinate manors of Tunstall and Bobbing likewise over some part of it.
IT APPEARS by antient records, that there was a family resident in this parish, who took their name from it. Robert de Bredgar, resided here in the reign of king Henry III. whose name appears in an antient roll of the benefactors to the monastery of Davington, and bore for their arms, Argent, a bend, gules, fretty, azure, between two lions rampant of the second; and in the reign of king Richard II. Robert de Bredgar, clerk, parson of this parish, founded a chantry or college in the church here, as will be further mentioned hereafter.
BEXON, or Baxton, is a manor, situated in the southern part of this parish, which gives name both to a borough and street in it.
It was antiently in the possession of a family, which assumed its surname from it; one of whom, John de Bexon, was residen there in the reigns of Edward II. and III. whose effigies was formerly painted in the windows of this church, with a scroll underneath. But in the next reign of king Richard II. this manor was become the property of the family of Tong, who were of some account in different parts of East-Kent, as well as in this neighbourhood; for it appears by some antient deeds, that Semanus de Tong, in the 16th year of that reign, was tenant to the Maison Dieu, in Ospringe, for lands at Lorinden, in Challock, and sealed with a bend cotized, argent, between six martlets, gules, in which name this estate continued down to John Tonge, gent. who about the latter end of the reign of king Charles I. alienated it to Mr. Thomas Fearne, who bore for his arms, Per bend, gules, and or, two leopards heads, counterchanged. One of his descendants, Mr. John Fearne, passed it away by sale to Mr. Thomas Best, of Chatham, whose grandson, Thomas Best, esq. of Chilston, dying in 1795. s. p. gave it by his will, among his other estates, to his youngest nephew, George Best, esq. now of Chilston, who is the present possessor of it. (fn. 1)
SWANTON-COURT, now vulgarly called Swan court, is a manor likewise in the southern part of this parish, adjoining to Bicknor, which was formerly part of the possessions of the eminent family of Leyborne, of Leyborne, in this county, in which it continued till Juliana, daughter of Thomas, and heir of her grandfather William de Leyborne, dying s. p. by any of her husbands, all of whom she survived, this estate in the 41st year of king Edward III. escheated to the crown, there being no one found, who could claim it, as heir to her; and it remained there till the king, in his 50th year granted it, among other premises, to the abbey of St. Mary Graces, on Tower-hill, then founded by him, part of the possessions of which it remained till the dissolution of that monastery, in the 30th year of king Henry VIII. when it was surrendered up into the king's hands, together with all the lands and revenues belonging to it.
Soon after which, the king granted this manor to Ralph Fane, esq. who as quickly afterwards parted with it to Sir Thomas Wyatt, who in the 33d year of that reign passed it away to the king, in exchange for other estates, pursuant to an act passed for that purpose the year before.
This manor thus coming into the king's hands, he granted in his 38th year, to Christopher Sampson, esq. to hold in capite by knight's service, who in the 5th year of king Edward VI. alienated it to Thomas Reader, of Bredgar, yeoman, and he having levied a fine of it in the 16th year of queen Elizabeth, afterwards sold it to William Terrey, who in the reign of king James I. partly by sale, and partly on account of alliance, settled it on Mr. William Aldersey, descended from an antient family of that name settled at Aldersey, in Cheshire, who bore for their arms, Gules, on a bend, argent, three leopards heads, vert, between two cinquefoils, or; in chief, a crescent, within a crescent, for disference. (fn. 2) He married Thomasine, daughter of Mr. Roger Terrey, and their descendants continued to reside here, till at length Hugh Aldersey, esq. dying in 1762, s. p. his heirs-at-law alienated it about the year 1767, to John Toke, esq. late of Goddington, in Great Chart, but now of Canterbury, who continues at this time the owner of it.
MANNS is an estate in this parish, which was formerly accounted a manor, and took its name from a family who were possessors of it; one of whom, John Mann, died possessed of it in the 50th year of Edward III. when it was found by inquisition, that he held it of the king, in capite, by knight's service, and that Joane was his daughter and next heir. How it passed afterwards I have not found; but the next that I find it in the possession of, is the family, of Isley, one of whom, Thomas Isley, possessor of this manor, left five daughters and coheirs, viz. Mary, married to Francis Spelman; Frances, to William Boys, esq. Elizabeth, to Anthony Mason, esq. Anne, to George Delves, esq. and Jane, to Francis Haute, esq. After which, Francis Spelman, and Mary his wife, in 1583, alienated their fifth part to Robert and Thomas Whytfield, and their heirs male.
In the reign of king James I. William Hales, esq. of Nackington, was possessed of the principal messuage called Manns, with the lands belonging to it, and in 1640, together with his son William Hales the younger, passed it away by sale to Tho. Godfrey the younger, of Lid, esq. who seems to have parted with it to Clarke, whose family was possessed of lands here some time before this, for Humphry Clarke, alias Woodchurch, of Bredgar, esq. grandson of Humphry Clarke, of Kingsnoth, resided here in the reign of king James I. and dying in 1608, was buried in the north isle of this church, bearing for his arms, Paly, wavy of six pieces, ermine, and gules. (fn. 3) He alienated it to Reader, who bore for his arms, Three crescents, on a canton, a lion's head erased, all within a bordure, ermine, in whose descendants it continued down to Mr. John Reader, who died possessed of it, and his heir-at-law alienated it to Mr. James Chapman, gent. of Milton, the youngest son of Edward Chapman, esq. of Molash, and his grandson James Chapman, esq. is the present possessor of it.
In the 16th year of king Richard II. Robert de Bradgare, rector of this church, John Burbache, clerk, and others, founded, with the king's licence, A CHANTRY or SMALL COLLEGE in this church of Bredgar, in honor of the Holy Trinity, which consisted of a chaplain or secular priest, in holy orders, and two scholar clerks or confreers, who were to govern it, and celebrate divine officers, continually there in future, excepting at those times when the scholars should be employed in their studies: and they endowed it with different houses, rents, and lands, in this and the adjoining parishes, to hold to them and their successors for ever; and in 1398 the above-mentioned Robert de Bradagare, with the consent of archbishop Arundel, who then confirmed this foundation, gave them, under his seal, rules and statutes, for the better government of it. At which time there appears to have been a building already erected, called the college, for them to reside in, almost adjoining to the church of Bredgar.
In which situation this chantry or hospital continued, till the reign of king Henry VIII. when it was surrendered up with all its possessions, into the king's hands. Soon after which the scite of it, by the name of the chantry house of Bredgar, with sundry premises belonging to it, in Bredgar, Borden, and Bicknor, was granted by the king to George Harpur, esq. who afterwards, in the 33d year of that reign, exchanged it with the king for other estates in this and other counties. After which it seems to have remained in the hands of the crown, till queen Elizabeth, in her third year, having taken into her hands several manors, lands, &c. parcel of the see of Canterbury, by her letters patent that year, granted to archbishop Parker, and his successors, several rectories, parsonages, and other premises, in lieu of them, among which was this dissolved college of Bredgar, then valued at 13l. 6s. 8d. Since which it has continued parcel of the possessions of the archbishopric, and remains so at this time. The tenths payable to the crown receiver from this dissolved chantry are 1l. 17s. 7¾d.
William Sherman, esq. was lessee in 1643, at the yearly rent of 13l. 6s. 8d. Edward Jeffrey is the present lessee, he new fronted and much improved the chantry-house, in which he resides.
Charities.
THREE TENEMENTS and sixty-five perches of land, at the Bush, in Silver-street, in Bredgar, let to the overseers at 20s. per annum. was given for the repair of the church. One acre and an half of land in Hinkins crost, let at 12s. was given for the like purpose. A small piece of land, called the Playstool, let at 2s. 6d. per annum, was given for the like purpose.
AN ANNUITY of 10s. per annum was given for the use of the poor, to be paid out of a field called Whitebread, at Deanshill, which now belongs to Messrs, Thomas and William May.
AN ANNUITY of 20s. was given by Mr. Humphry Clarks, for the use of the poor, payable out of a house in Bredgarstreet, belonging now to the heirs of Edward Chapman, gent.
WILLIAM TERRY, gent. by deed anno 17 James I. granted to Francis Clarke, and others, 31. per annum out of a house called Black-end, and an orchard belonging to it, and a piece of land called Mascalls, all in Bredgar-street, in trust, to be distributed among the poor inhabitants.
MR. THATCHER, citizen of London, in 1718 gave by deed 100l. which with that of 30l. added to it by the parishioners, was laid out in lands at Torry-hill, containing twenty-eight acres, lying in Milsted and Lenham, which were purchased in trust, for the minister and churchwardens to pay from thence 5l. per annum, for a master or mistress to reach eight poor children of this parish to read, and to instruct them in the church catechism; the overplus to be distributed to the poor of the parish. The children to be appointed by the minister; now of the annual produce of 6l. 10s. 4d.
The poor relieved constantly are about twenty-five; casually forty.
BREDGAR is within the ECCLESIASTICAL JURISDICTION of the diocese of Canterbury, and deanry of Sittingborne.
The church is dedicated to St. John Baptist. It consists of three isles and one chancel, and has a square beacon tower at the west end, in which hang five bells. On the west side of the tower there is a fine Saxon door-case, with zig-zag ornaments; on the capitals of the pillars are carved two heads of a very ludicrous from. By the injudicious digging of a vault for Mrs. Murton of this parish, in 1791, two of the columns gave way, and the main arch between the body and chancel came down, but this damage has been since repaired.
In this church there are several memorials for the Tongs, and Fearnes of Bexon, particularly of John Fearne, obt. 1713; of the Readers, as late as 1705. In the north isle a monument for Humphry Clarke, alias Woodchurch, esq. obt. 1608. Memorials of the Alderseys, of Swanton, particularly of Hugh Aldersey, obt. 1762, and Mary Thurston his wife. In the church yard, at the east end of it, are several tomb-stones of the Beales and Thurstons. There is a very antient tomb-stone near the south porch, on which was once a portrait in brass, on the east end of the stone there is carved a cross in relief.
King Henry III. gave this church in pure and perpetual alms, to the leprous women of the hospital of St. James, alias St. Jacob, at the end of Wincheap, near Canterbury, so that Mr. Firman, then master of it, should enjoy it for his life, but there was no vicarage endowed in it till archbishop Courtney, in the 15th year of king Richard II. endowed one in it.
After which this church appropriate, as well as the advowson, continued part of the possessions of the hospital, till the surrendry of it in 1551, anno 5 king Edward VI. at which time there appeared to be a manor called
FILCHER, alias FILTER, belonging to the rectory of Bredgar appropriate; all which, together with the advowson, seem to have remained in the hands of the hands of the crown, till queen Elizabeth granted them to Thomas Reader, who possessed them in 1578. He afterwards sold them to Mr. William Terrey, who in the reign of king James I. passed them away to his kinsman, William Aldersey, of Swanton-court, in whose descendants they continued till Hugh Aldersey, esq. of Bredgar, about the beginning of George II.'s reign, alienated them to Mr. John Tappenden, whose son, of the same name, sold them to Sir Edward Dering, bart. of Surrenden, whose son Sir Edward Dering, bart. is the present owner of this manor and rectory, with the advowson of the vicarage of the church of Bredgar.
In 1578, the communicants here were one hundred and fifty-five. Houses in this parish fifty. In the reign of queen Anne, the vicarage was worth thirty pounds per annum.
It is now a discharged living in the king's books, of the clear yearly certified valued of thirty-six pounds, the yearly tenths of which are eighteen shillings.
¶John atte-Vyse, one of the founders of the college, in 1398, ordained, that each year in future for ever, after his death, on the feast of the Holy Cross, there should be paid to the vicar of Bradgare, for the oblations of that day, six-pence; to the keeper to the goods of the church here, six-pence; to the parishclerk and sacrist, four-pence, and 5s. 4d. to the poor parishioners of Bredgar.
In spring of 2007, the Albertina also received the previously based in Salzburg "Batliner Collection" as unrestricted permanent loan. The collection of Rita and Herbert Batliner includes important works by modern masters, from French impressionism to German expressionism of the "Blue Rider" and the "bridge" to works of the Fauvist or the Russian avant-garde from Chagall to Malevich.
de.wikipedia.org / wiki / Albertina_ (Vienna)
The Albertina
The architectural history of the Palais
(Pictures you can see by clicking on the link at the end of page!)
Image: The oldest photographic view of the newly designed Palais Archduke Albrecht, 1869
"It is my will that the expansion of the inner city of Vienna with regard to a suitable connection of the same with the suburbs as soon as possible is tackled and at this on Regulirung (regulation) and beautifying of my Residence and Imperial Capital is taken into account. To this end I grant the withdrawal of the ramparts and fortifications of the inner city and the trenches around the same".
This decree of Emperor Franz Joseph I, published on 25 December 1857 in the Wiener Zeitung, formed the basis for the largest the surface concerning and architecturally most significant transformation of the Viennese cityscape. Involving several renowned domestic and foreign architects a "master plan" took form, which included the construction of a boulevard instead of the ramparts between the inner city and its radially upstream suburbs. In the 50-years during implementation phase, an impressive architectural ensemble developed, consisting of imperial and private representational buildings, public administration and cultural buildings, churches and barracks, marking the era under the term "ring-street style". Already in the first year tithe decided a senior member of the Austrian imperial family to decorate the facades of his palace according to the new design principles, and thus certified the aristocratic claim that this also "historicism" said style on the part of the imperial house was attributed.
Image: The Old Albertina after 1920
It was the palace of Archduke Albrecht (1817-1895), the Senior of the Habsburg Family Council, who as Field Marshal held the overall command over the Austro-Hungarian army. The building was incorporated into the imperial residence of the Hofburg complex, forming the south-west corner and extending eleven meters above street level on the so-called Augustinerbastei.
The close proximity of the palace to the imperial residence corresponded not only with Emperor Franz Joseph I and Archduke Albert with a close familial relationship between the owner of the palace and the monarch. Even the former inhabitants were always in close relationship to the imperial family, whether by birth or marriage. An exception here again proves the rule: Don Emanuel Teles da Silva Conde Tarouca (1696-1771), for which Maria Theresa in 1744 the palace had built, was just a close friend and advisor of the monarch. Silva Tarouca underpins the rule with a second exception, because he belonged to the administrative services as Generalhofbaudirektor (general court architect) and President of the Austrian-Dutch administration, while all other him subsequent owners were highest ranking military.
In the annals of Austrian history, especially those of military history, they either went into as commander of the Imperial Army, or the Austrian, later kk Army. In chronological order, this applies to Duke Carl Alexander of Lorraine, the brother-of-law of Maria Theresa, as Imperial Marshal, her son-in-law Duke Albert of Saxe-Teschen, also field marshal, whos adopted son, Archduke Charles of Austria, the last imperial field marshal and only Generalissimo of Austria, his son Archduke Albrecht of Austria as Feldmarschalil and army Supreme commander, and most recently his nephew Archduke Friedrich of Austria, who held as field marshal from 1914 to 1916 the command of the Austro-Hungarian troops. Despite their military profession, all five generals conceived themselves as patrons of the arts and promoted large sums of money to build large collections, the construction of magnificent buildings and cultural life. Charles Alexander of Lorraine promoted as governor of the Austrian Netherlands from 1741 to 1780 the Academy of Fine Arts, the Théâtre de Ja Monnaie and the companies Bourgeois Concert and Concert Noble, he founded the Academie royale et imperial des Sciences et des Lettres, opened the Bibliotheque Royal for the population and supported artistic talents with high scholarships. World fame got his porcelain collection, which however had to be sold by Emperor Joseph II to pay off his debts. Duke Albert began in 1776 according to the concept of conte Durazzo to set up an encyclopedic collection of prints, which forms the core of the world-famous "Albertina" today.
Image : Duke Albert and Archduchess Marie Christine show in family cercle the from Italy brought along art, 1776. Frederick Henry Füger.
1816 declared to Fideikommiss and thus in future indivisible, inalienable and inseparable, the collection 1822 passed into the possession of Archduke Carl, who, like his descendants, it broadened. Under him, the collection was introduced together with the sumptuously equipped palace on the Augustinerbastei in the so-called "Carl Ludwig'schen fideicommissum in 1826, by which the building and the in it kept collection fused into an indissoluble unity. At this time had from the Palais Tarouca by structural expansion or acquisition a veritable Residenz palace evolved. Duke Albert of Saxe-Teschen was first in 1800 the third floor of the adjacent Augustinian convent wing adapted to house his collection and he had after 1802 by his Belgian architect Louis de Montoyer at the suburban side built a magnificent extension, called the wing of staterooms, it was equipped in the style of Louis XVI. Only two decades later, Archduke Carl the entire palace newly set up. According to scetches of the architect Joseph Kornhäusel the 1822-1825 retreaded premises presented themselves in the Empire style. The interior of the palace testified from now in an impressive way the high rank and the prominent position of its owner. Under Archduke Albrecht the outer appearance also should meet the requirements. He had the facade of the palace in the style of historicism orchestrated and added to the Palais front against the suburbs an offshore covered access. Inside, he limited himself, apart from the redesign of the Rococo room in the manner of the second Blondel style, to the retention of the paternal stock. Archduke Friedrich's plans for an expansion of the palace were omitted, however, because of the outbreak of the First World War so that his contribution to the state rooms, especially, consists in the layout of the Spanish apartment, which he in 1895 for his sister, the Queen of Spain Maria Christina, had set up as a permanent residence.
Picture: The "audience room" after the restoration: Picture: The "balcony room" around 1990
The era of stately representation with handing down their cultural values found its most obvious visualization inside the palace through the design and features of the staterooms. On one hand, by the use of the finest materials and the purchase of masterfully manufactured pieces of equipment, such as on the other hand by the permanent reuse of older equipment parts. This period lasted until 1919, when Archduke Friedrich was expropriated by the newly founded Republic of Austria. With the republicanization of the collection and the building first of all finished the tradition that the owner's name was synonymous with the building name:
After Palais Tarouca or tarokkisches house it was called Lorraine House, afterwards Duke Albert Palais and Palais Archduke Carl. Due to the new construction of an adjacently located administration building it received in 1865 the prefix "Upper" and was referred to as Upper Palais Archduke Albrecht and Upper Palais Archduke Frederick. For the state a special reference to the Habsburg past was certainly politically no longer opportune, which is why was decided to name the building according to the in it kept collection "Albertina".
Picture: The "Wedgwood Cabinet" after the restoration: Picture: the "Wedgwood Cabinet" in the Palais Archduke Friedrich, 1905
This name derives from the term "La Collection Albertina" which had been used by the gallery Inspector Maurice von Thausing in 1870 in the Gazette des Beaux-Arts for the former graphics collection of Duke Albert. For this reason, it was the first time since the foundation of the palace that the name of the collection had become synonymous with the room shell. Room shell, hence, because the Republic of Austria Archduke Friedrich had allowed to take along all the movable goods from the palace in his Hungarian exile: crystal chandeliers, curtains and carpets as well as sculptures, vases and clocks. Particularly stressed should be the exquisite furniture, which stems of three facilities phases: the Louis XVI furnitures of Duke Albert, which had been manufactured on the basis of fraternal relations between his wife Archduchess Marie Christine and the French Queen Marie Antoinette after 1780 in the French Hofmanufakturen, also the on behalf of Archduke Charles 1822-1825 in the Vienna Porcelain Manufactory by Joseph Danhauser produced Empire furnitures and thirdly additions of the same style of Archduke Friedrich, which this about 1900 at Portois & Ffix as well as at Friedrich Otto Schmidt had commissioned.
The "swept clean" building got due to the strained financial situation after the First World War initially only a makeshift facility. However, since until 1999 no revision of the emergency equipment took place, but differently designed, primarily the utilitarianism committed office furnitures complementarily had been added, the equipment of the former state rooms presented itself at the end of the 20th century as an inhomogeneous administrative mingle-mangle of insignificant parts, where, however, dwelt a certain quaint charm. From the magnificent state rooms had evolved depots, storage rooms, a library, a study hall and several officed.
Image: The Albertina Graphic Arts Collection and the Philipphof after the American bombing of 12 März 1945.
Image: The palace after the demolition of the entrance facade, 1948-52
Worse it hit the outer appearance of the palace, because in times of continued anti-Habsburg sentiment after the Second World War and inspired by an intolerant destruction will, it came by pickaxe to a ministerial erasure of history. In contrast to the graphic collection possessed the richly decorated facades with the conspicuous insignia of the former owner an object-immanent reference to the Habsburg past and thus exhibited the monarchial traditions and values of the era of Francis Joseph significantly. As part of the remedial measures after a bomb damage, in 1948 the aristocratic, by Archduke Albert initiated, historicist facade structuring along with all decorations was cut off, many facade figures demolished and the Hapsburg crest emblems plunged to the ground. Since in addition the old ramp also had been cancelled and the main entrance of the bastion level had been moved down to the second basement storey at street level, ended the presence of the old Archduke's palace after more than 200 years. At the reopening of the "Albertina Graphic Collection" in 1952, the former Hapsburg Palais of splendour presented itself as one of his identity robbed, formally trivial, soulless room shell, whose successful republicanization an oversized and also unproportional eagle above the new main entrance to the Augustinian road symbolized. The emocratic throw of monuments had wiped out the Hapsburg palace from the urban appeareance, whereby in the perception only existed a nondescript, nameless and ahistorical building that henceforth served the lodging and presentation of world-famous graphic collection of the Albertina. The condition was not changed by the decision to the refurbishment because there were only planned collection specific extensions, but no restoration of the palace.
Image: The palace after the Second World War with simplified facades, the rudiment of the Danubiusbrunnens (well) and the new staircase up to the Augustinerbastei
This paradigm shift corresponded to a blatant reversal of the historical circumstances, as the travel guides and travel books for kk Residence and imperial capital of Vienna dedicated itself primarily with the magnificent, aristocratic palace on the Augustinerbastei with the sumptuously fitted out reception rooms and mentioned the collection kept there - if at all - only in passing. Only with the repositioning of the Albertina in 2000 under the direction of Klaus Albrecht Schröder, the palace was within the meaning and in fulfillment of the Fideikommiss of Archduke Charles in 1826 again met with the high regard, from which could result a further inseparable bond between the magnificent mansions and the world-famous collection. In view of the knowing about politically motivated errors and omissions of the past, the facades should get back their noble, historicist designing, the staterooms regain their glamorous, prestigious appearance and culturally unique equippment be repurchased. From this presumption, eventually grew the full commitment to revise the history of redemption and the return of the stately palace in the public consciousness.
Image: The restored suburb facade of the Palais Albertina suburb
The smoothed palace facades were returned to their original condition and present themselves today - with the exception of the not anymore reconstructed Attica figures - again with the historicist decoration and layout elements that Archduke Albrecht had given after the razing of the Augustinerbastei in 1865 in order. The neoclassical interiors, today called after the former inhabitants "Habsburg Staterooms", receiving a meticulous and detailed restoration taking place at the premises of originality and authenticity, got back their venerable and sumptuous appearance. From the world wide scattered historical pieces of equipment have been bought back 70 properties or could be returned through permanent loan to its original location, by which to the visitors is made experiencable again that atmosphere in 1919 the state rooms of the last Habsburg owner Archduke Frederick had owned. The for the first time in 80 years public accessible "Habsburg State Rooms" at the Palais Albertina enable now again as eloquent testimony to our Habsburg past and as a unique cultural heritage fundamental and essential insights into the Austrian cultural history. With the relocation of the main entrance to the level of the Augustinerbastei the recollection to this so valuable Austrian Cultural Heritage formally and functionally came to completion. The vision of the restoration and recovery of the grand palace was a pillar on which the new Albertina should arise again, the other embody the four large newly built exhibition halls, which allow for the first time in the history of the Albertina, to exhibit the collection throughout its encyclopedic breadh under optimal conservation conditions.
Image: The new entrance area of the Albertina
64 meter long shed roof. Hans Hollein.
The palace presents itself now in its appearance in the historicist style of the Ringstrassenära, almost as if nothing had happened in the meantime. But will the wheel of time should not, cannot and must not be turned back, so that the double standards of the "Albertina Palace" said museum - on the one hand Habsburg grandeur palaces and other modern museum for the arts of graphics - should be symbolized by a modern character: The in 2003 by Hans Hollein designed far into the Albertina square cantilevering, elegant floating flying roof. 64 meters long, it symbolizes in the form of a dynamic wedge the accelerated urban spatial connectivity and public access to the palace. It advertises the major changes in the interior as well as the huge underground extensions of the repositioned "Albertina".
Christian Benedictine
Art historian with research interests History of Architecture, building industry of the Hapsburgs, Hofburg and Zeremonialwissenschaft (ceremonial sciences). Since 1990 he works in the architecture collection of the Albertina. Since 2000 he supervises as director of the newly founded department "Staterooms" the restoration and furnishing of the state rooms and the restoration of the facades and explores the history of the palace and its inhabitants.
The Albertina
The architectural history of the Palais
(Pictures you can see by clicking on the link at the end of page!)
Image: The oldest photographic view of the newly designed Palais Archduke Albrecht, 1869
"It is my will that the expansion of the inner city of Vienna with regard to a suitable connection of the same with the suburbs as soon as possible is tackled and at this on Regulirung (regulation) and beautifying of my Residence and Imperial Capital is taken into account. To this end I grant the withdrawal of the ramparts and fortifications of the inner city and the trenches around the same".
This decree of Emperor Franz Joseph I, published on 25 December 1857 in the Wiener Zeitung, formed the basis for the largest the surface concerning and architecturally most significant transformation of the Viennese cityscape. Involving several renowned domestic and foreign architects a "master plan" took form, which included the construction of a boulevard instead of the ramparts between the inner city and its radially upstream suburbs. In the 50-years during implementation phase, an impressive architectural ensemble developed, consisting of imperial and private representational buildings, public administration and cultural buildings, churches and barracks, marking the era under the term "ring-street style". Already in the first year tithe decided a senior member of the Austrian imperial family to decorate the facades of his palace according to the new design principles, and thus certified the aristocratic claim that this also "historicism" said style on the part of the imperial house was attributed.
Image: The Old Albertina after 1920
It was the palace of Archduke Albrecht (1817-1895), the Senior of the Habsburg Family Council, who as Field Marshal held the overall command over the Austro-Hungarian army. The building was incorporated into the imperial residence of the Hofburg complex, forming the south-west corner and extending eleven meters above street level on the so-called Augustinerbastei.
The close proximity of the palace to the imperial residence corresponded not only with Emperor Franz Joseph I and Archduke Albert with a close familial relationship between the owner of the palace and the monarch. Even the former inhabitants were always in close relationship to the imperial family, whether by birth or marriage. An exception here again proves the rule: Don Emanuel Teles da Silva Conde Tarouca (1696-1771), for which Maria Theresa in 1744 the palace had built, was just a close friend and advisor of the monarch. Silva Tarouca underpins the rule with a second exception, because he belonged to the administrative services as Generalhofbaudirektor (general court architect) and President of the Austrian-Dutch administration, while all other him subsequent owners were highest ranking military.
In the annals of Austrian history, especially those of military history, they either went into as commander of the Imperial Army, or the Austrian, later kk Army. In chronological order, this applies to Duke Carl Alexander of Lorraine, the brother-of-law of Maria Theresa, as Imperial Marshal, her son-in-law Duke Albert of Saxe-Teschen, also field marshal, whos adopted son, Archduke Charles of Austria, the last imperial field marshal and only Generalissimo of Austria, his son Archduke Albrecht of Austria as Feldmarschalil and army Supreme commander, and most recently his nephew Archduke Friedrich of Austria, who held as field marshal from 1914 to 1916 the command of the Austro-Hungarian troops. Despite their military profession, all five generals conceived themselves as patrons of the arts and promoted large sums of money to build large collections, the construction of magnificent buildings and cultural life. Charles Alexander of Lorraine promoted as governor of the Austrian Netherlands from 1741 to 1780 the Academy of Fine Arts, the Théâtre de Ja Monnaie and the companies Bourgeois Concert and Concert Noble, he founded the Academie royale et imperial des Sciences et des Lettres, opened the Bibliotheque Royal for the population and supported artistic talents with high scholarships. World fame got his porcelain collection, which however had to be sold by Emperor Joseph II to pay off his debts. Duke Albert began in 1776 according to the concept of conte Durazzo to set up an encyclopedic collection of prints, which forms the core of the world-famous "Albertina" today.
Image : Duke Albert and Archduchess Marie Christine show in family cercle the from Italy brought along art, 1776. Frederick Henry Füger.
1816 declared to Fideikommiss and thus in future indivisible, inalienable and inseparable, the collection 1822 passed into the possession of Archduke Carl, who, like his descendants, it broadened. Under him, the collection was introduced together with the sumptuously equipped palace on the Augustinerbastei in the so-called "Carl Ludwig'schen fideicommissum in 1826, by which the building and the in it kept collection fused into an indissoluble unity. At this time had from the Palais Tarouca by structural expansion or acquisition a veritable Residenz palace evolved. Duke Albert of Saxe-Teschen was first in 1800 the third floor of the adjacent Augustinian convent wing adapted to house his collection and he had after 1802 by his Belgian architect Louis de Montoyer at the suburban side built a magnificent extension, called the wing of staterooms, it was equipped in the style of Louis XVI. Only two decades later, Archduke Carl the entire palace newly set up. According to scetches of the architect Joseph Kornhäusel the 1822-1825 retreaded premises presented themselves in the Empire style. The interior of the palace testified from now in an impressive way the high rank and the prominent position of its owner. Under Archduke Albrecht the outer appearance also should meet the requirements. He had the facade of the palace in the style of historicism orchestrated and added to the Palais front against the suburbs an offshore covered access. Inside, he limited himself, apart from the redesign of the Rococo room in the manner of the second Blondel style, to the retention of the paternal stock. Archduke Friedrich's plans for an expansion of the palace were omitted, however, because of the outbreak of the First World War so that his contribution to the state rooms, especially, consists in the layout of the Spanish apartment, which he in 1895 for his sister, the Queen of Spain Maria Christina, had set up as a permanent residence.
Picture: The "audience room" after the restoration: Picture: The "balcony room" around 1990
The era of stately representation with handing down their cultural values found its most obvious visualization inside the palace through the design and features of the staterooms. On one hand, by the use of the finest materials and the purchase of masterfully manufactured pieces of equipment, such as on the other hand by the permanent reuse of older equipment parts. This period lasted until 1919, when Archduke Friedrich was expropriated by the newly founded Republic of Austria. With the republicanization of the collection and the building first of all finished the tradition that the owner's name was synonymous with the building name:
After Palais Tarouca or tarokkisches house it was called Lorraine House, afterwards Duke Albert Palais and Palais Archduke Carl. Due to the new construction of an adjacently located administration building it received in 1865 the prefix "Upper" and was referred to as Upper Palais Archduke Albrecht and Upper Palais Archduke Frederick. For the state a special reference to the Habsburg past was certainly politically no longer opportune, which is why was decided to name the building according to the in it kept collection "Albertina".
Picture: The "Wedgwood Cabinet" after the restoration: Picture: the "Wedgwood Cabinet" in the Palais Archduke Friedrich, 1905
This name derives from the term "La Collection Albertina" which had been used by the gallery Inspector Maurice von Thausing in 1870 in the Gazette des Beaux-Arts for the former graphics collection of Duke Albert. For this reason, it was the first time since the foundation of the palace that the name of the collection had become synonymous with the room shell. Room shell, hence, because the Republic of Austria Archduke Friedrich had allowed to take along all the movable goods from the palace in his Hungarian exile: crystal chandeliers, curtains and carpets as well as sculptures, vases and clocks. Particularly stressed should be the exquisite furniture, which stems of three facilities phases: the Louis XVI furnitures of Duke Albert, which had been manufactured on the basis of fraternal relations between his wife Archduchess Marie Christine and the French Queen Marie Antoinette after 1780 in the French Hofmanufakturen, also the on behalf of Archduke Charles 1822-1825 in the Vienna Porcelain Manufactory by Joseph Danhauser produced Empire furnitures and thirdly additions of the same style of Archduke Friedrich, which this about 1900 at Portois & Ffix as well as at Friedrich Otto Schmidt had commissioned.
The "swept clean" building got due to the strained financial situation after the First World War initially only a makeshift facility. However, since until 1999 no revision of the emergency equipment took place, but differently designed, primarily the utilitarianism committed office furnitures complementarily had been added, the equipment of the former state rooms presented itself at the end of the 20th century as an inhomogeneous administrative mingle-mangle of insignificant parts, where, however, dwelt a certain quaint charm. From the magnificent state rooms had evolved depots, storage rooms, a library, a study hall and several officed.
Image: The Albertina Graphic Arts Collection and the Philipphof after the American bombing of 12 März 1945.
Image: The palace after the demolition of the entrance facade, 1948-52
Worse it hit the outer appearance of the palace, because in times of continued anti-Habsburg sentiment after the Second World War and inspired by an intolerant destruction will, it came by pickaxe to a ministerial erasure of history. In contrast to the graphic collection possessed the richly decorated facades with the conspicuous insignia of the former owner an object-immanent reference to the Habsburg past and thus exhibited the monarchial traditions and values of the era of Francis Joseph significantly. As part of the remedial measures after a bomb damage, in 1948 the aristocratic, by Archduke Albert initiated, historicist facade structuring along with all decorations was cut off, many facade figures demolished and the Hapsburg crest emblems plunged to the ground. Since in addition the old ramp also had been cancelled and the main entrance of the bastion level had been moved down to the second basement storey at street level, ended the presence of the old Archduke's palace after more than 200 years. At the reopening of the "Albertina Graphic Collection" in 1952, the former Hapsburg Palais of splendour presented itself as one of his identity robbed, formally trivial, soulless room shell, whose successful republicanization an oversized and also unproportional eagle above the new main entrance to the Augustinian road symbolized. The emocratic throw of monuments had wiped out the Hapsburg palace from the urban appeareance, whereby in the perception only existed a nondescript, nameless and ahistorical building that henceforth served the lodging and presentation of world-famous graphic collection of the Albertina. The condition was not changed by the decision to the refurbishment because there were only planned collection specific extensions, but no restoration of the palace.
Image: The palace after the Second World War with simplified facades, the rudiment of the Danubiusbrunnens (well) and the new staircase up to the Augustinerbastei
This paradigm shift corresponded to a blatant reversal of the historical circumstances, as the travel guides and travel books for kk Residence and imperial capital of Vienna dedicated itself primarily with the magnificent, aristocratic palace on the Augustinerbastei with the sumptuously fitted out reception rooms and mentioned the collection kept there - if at all - only in passing. Only with the repositioning of the Albertina in 2000 under the direction of Klaus Albrecht Schröder, the palace was within the meaning and in fulfillment of the Fideikommiss of Archduke Charles in 1826 again met with the high regard, from which could result a further inseparable bond between the magnificent mansions and the world-famous collection. In view of the knowing about politically motivated errors and omissions of the past, the facades should get back their noble, historicist designing, the staterooms regain their glamorous, prestigious appearance and culturally unique equippment be repurchased. From this presumption, eventually grew the full commitment to revise the history of redemption and the return of the stately palace in the public consciousness.
Image: The restored suburb facade of the Palais Albertina suburb
The smoothed palace facades were returned to their original condition and present themselves today - with the exception of the not anymore reconstructed Attica figures - again with the historicist decoration and layout elements that Archduke Albrecht had given after the razing of the Augustinerbastei in 1865 in order. The neoclassical interiors, today called after the former inhabitants "Habsburg Staterooms", receiving a meticulous and detailed restoration taking place at the premises of originality and authenticity, got back their venerable and sumptuous appearance. From the world wide scattered historical pieces of equipment have been bought back 70 properties or could be returned through permanent loan to its original location, by which to the visitors is made experiencable again that atmosphere in 1919 the state rooms of the last Habsburg owner Archduke Frederick had owned. The for the first time in 80 years public accessible "Habsburg State Rooms" at the Palais Albertina enable now again as eloquent testimony to our Habsburg past and as a unique cultural heritage fundamental and essential insights into the Austrian cultural history. With the relocation of the main entrance to the level of the Augustinerbastei the recollection to this so valuable Austrian Cultural Heritage formally and functionally came to completion. The vision of the restoration and recovery of the grand palace was a pillar on which the new Albertina should arise again, the other embody the four large newly built exhibition halls, which allow for the first time in the history of the Albertina, to exhibit the collection throughout its encyclopedic breadh under optimal conservation conditions.
Image: The new entrance area of the Albertina
64 meter long shed roof. Hans Hollein.
The palace presents itself now in its appearance in the historicist style of the Ringstrassenära, almost as if nothing had happened in the meantime. But will the wheel of time should not, cannot and must not be turned back, so that the double standards of the "Albertina Palace" said museum - on the one hand Habsburg grandeur palaces and other modern museum for the arts of graphics - should be symbolized by a modern character: The in 2003 by Hans Hollein designed far into the Albertina square cantilevering, elegant floating flying roof. 64 meters long, it symbolizes in the form of a dynamic wedge the accelerated urban spatial connectivity and public access to the palace. It advertises the major changes in the interior as well as the huge underground extensions of the repositioned "Albertina".
Christian Benedictine
Art historian with research interests History of Architecture, building industry of the Hapsburgs, Hofburg and Zeremonialwissenschaft (ceremonial sciences). Since 1990 he works in the architecture collection of the Albertina. Since 2000 he supervises as director of the newly founded department "Staterooms" the restoration and furnishing of the state rooms and the restoration of the facades and explores the history of the palace and its inhabitants.
St Brandon’s is the parish church serving Brancepeth village and the surrounding area.
Our purpose as a church is both to worship God and to share the love of God that we celebrate here, through our activities as a church and as individual Christians. Church members meet to worship God each week and at special times throughout the
Christian year, and all are always welcome.
Brancepeth is a village and civil parish in County Durham, in England. It is situated about 8 km (5 mi) from Durham on the A690 road between Durham and Weardale. The population of the civil parish taken at the 2011 census was 414.
The name likely derives from "Bran's Path", after St Brandon, the parish church's patron saint. According to another story, the village's name is said to derive from "Brawn's Path". There is a legend that Brancepeth was once terrorised by an enormous brawn (boar), which was eventually killed by a knight named Sir Roger de Ferie in 1208. A commemorative stone marks the traditional location of the brawn's death.
Brancepeth Castle was until 1570 the fortress of the Neville Earls of Westmorland. The castle was extensively modified and rebuilt in the 19th century by Viscount Boyne (later Baron Brancepeth). It was later a military hospital.
St Brandon's Church was famed for its exceptional 17th-century woodwork, until it was destroyed in a major fire in 1998; the church has since been restored and reroofed.
In 1924, Harry Colt laid out a golf course on the deer park which formed part of the estate surrounding the castle. A club house was created from the old coach house and stables and remains in use by Brancepeth Castle Golf Club.
Notable residents
Arthur Prowse (1907–1981)
Frederick William Sanderson (1857–1922)
County Durham, officially simply Durham is a ceremonial county in North East England. The county borders Northumberland and Tyne and Wear to the north, the North Sea to the east, North Yorkshire to the south, and Cumbria to the west. The largest settlement is Darlington, and the county town is the city of Durham.
The county has an area of 2,721 km2 (1,051 sq mi) and a population of 866,846. The latter is concentrated in the east; the south-east is part of the Teesside built-up area, which extends into North Yorkshire. After Darlington (92,363), the largest settlements are Hartlepool (88,855), Stockton-on-Tees (82,729), and Durham (48,069). For local government purposes the county comprises three unitary authority areas—County Durham, Darlington, and Hartlepool—and part of a fourth, Stockton-on-Tees. The county historically included the part of Tyne and Wear south of the River Tyne, and excluded the part of County Durham south of the River Tees.
The west of the county contains part of the North Pennines uplands, a national landscape. The hills are the source of the rivers Tees and Wear, which flow east and form the valleys of Teesdale and Weardale respectively. The east of the county is flatter, and contains by rolling hills through which the two rivers meander; the Tees forms the boundary with North Yorkshire in its lower reaches, and the Wear exits the county near Chester-le-Street in the north-east. The county's coast is a site of special scientific interest characterised by tall limestone and dolomite cliffs.
What is now County Durham was on the border of Roman Britain, and contains survivals of this era at sites such as Binchester Roman Fort. In the Anglo-Saxon period the region was part of the Kingdom of Northumbria. In 995 the city of Durham was founded by monks seeking a place safe from Viking raids to house the relics of St Cuthbert. Durham Cathedral was rebuilt after the Norman Conquest, and together with Durham Castle is now a World Heritage Site. By the late Middle Ages the county was governed semi-independently by the bishops of Durham and was also a buffer zone between England and Scotland. County Durham became heavily industrialised in the nineteenth century, when many collieries opened on the Durham coalfield. The Stockton and Darlington Railway, the world's first public railway to use steam locomotives, opened in 1825. Most collieries closed during the last quarter of the twentieth century, but the county's coal mining heritage is remembered in the annual Durham Miners' Gala.
Remains of Prehistoric Durham include a number of Neolithic earthworks.
The Crawley Edge Cairns and Heathery Burn Cave are Bronze Age sites. Maiden Castle, Durham is an Iron Age site.
Brigantia, the land of the Brigantes, is said to have included what is now County Durham.
There are archaeological remains of Roman Durham. Dere Street and Cade's Road run through what is now County Durham. There were Roman forts at Concangis (Chester-le-Street), Lavatrae (Bowes), Longovicium (Lanchester), Piercebridge (Morbium), Vindomora (Ebchester) and Vinovium (Binchester). (The Roman fort at Arbeia (South Shields) is within the former boundaries of County Durham.) A Romanised farmstead has been excavated at Old Durham.
Remains of the Anglo-Saxon period include a number of sculpted stones and sundials, the Legs Cross, the Rey Cross and St Cuthbert's coffin.
Around AD 547, an Angle named Ida founded the kingdom of Bernicia after spotting the defensive potential of a large rock at Bamburgh, upon which many a fortification was thenceforth built. Ida was able to forge, hold and consolidate the kingdom; although the native British tried to take back their land, the Angles triumphed and the kingdom endured.
In AD 604, Ida's grandson Æthelfrith forcibly merged Bernicia (ruled from Bamburgh) and Deira (ruled from York, which was known as Eforwic at the time) to create the Kingdom of Northumbria. In time, the realm was expanded, primarily through warfare and conquest; at its height, the kingdom stretched from the River Humber (from which the kingdom drew its name) to the Forth. Eventually, factional fighting and the rejuvenated strength of neighbouring kingdoms, most notably Mercia, led to Northumbria's decline. The arrival of the Vikings hastened this decline, and the Scandinavian raiders eventually claimed the Deiran part of the kingdom in AD 867 (which became Jórvík). The land that would become County Durham now sat on the border with the Great Heathen Army, a border which today still (albeit with some adjustments over the years) forms the boundaries between Yorkshire and County Durham.
Despite their success south of the river Tees, the Vikings never fully conquered the Bernician part of Northumbria, despite the many raids they had carried out on the kingdom. However, Viking control over the Danelaw, the central belt of Anglo-Saxon territory, resulted in Northumbria becoming isolated from the rest of Anglo-Saxon Britain. Scots invasions in the north pushed the kingdom's northern boundary back to the River Tweed, and the kingdom found itself reduced to a dependent earldom, its boundaries very close to those of modern-day Northumberland and County Durham. The kingdom was annexed into England in AD 954.
In AD 995, St Cuthbert's community, who had been transporting Cuthbert's remains around, partly in an attempt to avoid them falling into the hands of Viking raiders, settled at Dunholm (Durham) on a site that was defensively favourable due to the horseshoe-like path of the River Wear. St Cuthbert's remains were placed in a shrine in the White Church, which was originally a wooden structure but was eventually fortified into a stone building.
Once the City of Durham had been founded, the Bishops of Durham gradually acquired the lands that would become County Durham. Bishop Aldhun began this process by procuring land in the Tees and Wear valleys, including Norton, Stockton, Escomb and Aucklandshire in 1018. In 1031, King Canute gave Staindrop to the Bishops. This territory continued to expand, and was eventually given the status of a liberty. Under the control of the Bishops of Durham, the land had various names: the "Liberty of Durham", "Liberty of St Cuthbert's Land" "the lands of St Cuthbert between Tyne and Tees" or "the Liberty of Haliwerfolc" (holy Wear folk).
The bishops' special jurisdiction rested on claims that King Ecgfrith of Northumbria had granted a substantial territory to St Cuthbert on his election to the see of Lindisfarne in 684. In about 883 a cathedral housing the saint's remains was established at Chester-le-Street and Guthfrith, King of York granted the community of St Cuthbert the area between the Tyne and the Wear, before the community reached its final destination in 995, in Durham.
Following the Norman invasion, the administrative machinery of government extended only slowly into northern England. Northumberland's first recorded Sheriff was Gilebert from 1076 until 1080 and a 12th-century record records Durham regarded as within the shire. However the bishops disputed the authority of the sheriff of Northumberland and his officials, despite the second sheriff for example being the reputed slayer of Malcolm Canmore, King of Scots. The crown regarded Durham as falling within Northumberland until the late thirteenth century.
Following the Battle of Hastings, William the Conqueror appointed Copsig as Earl of Northumbria, thereby bringing what would become County Durham under Copsig's control. Copsig was, just a few weeks later, killed in Newburn. Having already being previously offended by the appointment of a non-Northumbrian as Bishop of Durham in 1042, the people of the region became increasingly rebellious. In response, in January 1069, William despatched a large Norman army, under the command of Robert de Comines, to Durham City. The army, believed to consist of 700 cavalry (about one-third of the number of Norman knights who had participated in the Battle of Hastings), entered the city, whereupon they were attacked, and defeated, by a Northumbrian assault force. The Northumbrians wiped out the entire Norman army, including Comines, all except for one survivor, who was allowed to take the news of this defeat back.
Following the Norman slaughter at the hands of the Northumbrians, resistance to Norman rule spread throughout Northern England, including a similar uprising in York. William The Conqueror subsequently (and successfully) attempted to halt the northern rebellions by unleashing the notorious Harrying of the North (1069–1070). Because William's main focus during the harrying was on Yorkshire, County Durham was largely spared the Harrying.
Anglo-Norman Durham refers to the Anglo-Norman period, during which Durham Cathedral was built.
Matters regarding the bishopric of Durham came to a head in 1293 when the bishop and his steward failed to attend proceedings of quo warranto held by the justices of Northumberland. The bishop's case went before parliament, where he stated that Durham lay outside the bounds of any English shire and that "from time immemorial it had been widely known that the sheriff of Northumberland was not sheriff of Durham nor entered within that liberty as sheriff. . . nor made there proclamations or attachments". The arguments appear to have prevailed, as by the fourteenth century Durham was accepted as a liberty which received royal mandates direct. In effect it was a private shire, with the bishop appointing his own sheriff. The area eventually became known as the "County Palatine of Durham".
Sadberge was a liberty, sometimes referred to as a county, within Northumberland. In 1189 it was purchased for the see but continued with a separate sheriff, coroner and court of pleas. In the 14th century Sadberge was included in Stockton ward and was itself divided into two wards. The division into the four wards of Chester-le-Street, Darlington, Easington and Stockton existed in the 13th century, each ward having its own coroner and a three-weekly court corresponding to the hundred court. The diocese was divided into the archdeaconries of Durham and Northumberland. The former is mentioned in 1072, and in 1291 included the deaneries of Chester-le-Street, Auckland, Lanchester and Darlington.
The term palatinus is applied to the bishop in 1293, and from the 13th century onwards the bishops frequently claimed the same rights in their lands as the king enjoyed in his kingdom.
The historic boundaries of County Durham included a main body covering the catchment of the Pennines in the west, the River Tees in the south, the North Sea in the east and the Rivers Tyne and Derwent in the north. The county palatinate also had a number of liberties: the Bedlingtonshire, Islandshire and Norhamshire exclaves within Northumberland, and the Craikshire exclave within the North Riding of Yorkshire. In 1831 the county covered an area of 679,530 acres (2,750.0 km2) and had a population of 253,910. These exclaves were included as part of the county for parliamentary electoral purposes until 1832, and for judicial and local-government purposes until the coming into force of the Counties (Detached Parts) Act 1844, which merged most remaining exclaves with their surrounding county. The boundaries of the county proper remained in use for administrative and ceremonial purposes until the Local Government Act 1972.
Boldon Book (1183 or 1184) is a polyptichum for the Bishopric of Durham.
Until the 15th century, the most important administrative officer in the Palatinate was the steward. Other officers included the sheriff, the coroners, the Chamberlain and the chancellor. The palatine exchequer originated in the 12th century. The palatine assembly represented the whole county, and dealt chiefly with fiscal questions. The bishop's council, consisting of the clergy, the sheriff and the barons, regulated judicial affairs, and later produced the Chancery and the courts of Admiralty and Marshalsea.
The prior of Durham ranked first among the bishop's barons. He had his own court, and almost exclusive jurisdiction over his men. A UNESCO site describes the role of the Prince-Bishops in Durham, the "buffer state between England and Scotland":
From 1075, the Bishop of Durham became a Prince-Bishop, with the right to raise an army, mint his own coins, and levy taxes. As long as he remained loyal to the king of England, he could govern as a virtually autonomous ruler, reaping the revenue from his territory, but also remaining mindful of his role of protecting England’s northern frontier.
A report states that the Bishops also had the authority to appoint judges and barons and to offer pardons.
There were ten palatinate barons in the 12th century, most importantly the Hyltons of Hylton Castle, the Bulmers of Brancepeth, the Conyers of Sockburne, the Hansards of Evenwood, and the Lumleys of Lumley Castle. The Nevilles owned large estates in the county. John Neville, 3rd Baron Neville de Raby rebuilt Raby Castle, their principal seat, in 1377.
Edward I's quo warranto proceedings of 1293 showed twelve lords enjoying more or less extensive franchises under the bishop. The repeated efforts of the Crown to check the powers of the palatinate bishops culminated in 1536 in the Act of Resumption, which deprived the bishop of the power to pardon offences against the law or to appoint judicial officers. Moreover, indictments and legal processes were in future to run in the name of the king, and offences to be described as against the peace of the king, rather than that of the bishop. In 1596 restrictions were imposed on the powers of the chancery, and in 1646 the palatinate was formally abolished. It was revived, however, after the Restoration, and continued with much the same power until 5 July 1836, when the Durham (County Palatine) Act 1836 provided that the palatine jurisdiction should in future be vested in the Crown.
During the 15th-century Wars of the Roses, Henry VI passed through Durham. On the outbreak of the Great Rebellion in 1642 Durham inclined to support the cause of Parliament, and in 1640 the high sheriff of the palatinate guaranteed to supply the Scottish army with provisions during their stay in the county. In 1642 the Earl of Newcastle formed the western counties into an association for the King's service, but in 1644 the palatinate was again overrun by a Scottish army, and after the Battle of Marston Moor (2 July 1644) fell entirely into the hands of Parliament.
In 1614, a Bill was introduced in Parliament for securing representation to the county and city of Durham and the borough of Barnard Castle. The bishop strongly opposed the proposal as an infringement of his palatinate rights, and the county was first summoned to return members to Parliament in 1654. After the Restoration of 1660 the county and city returned two members each. In the wake of the Reform Act of 1832 the county returned two members for two divisions, and the boroughs of Gateshead, South Shields and Sunderland acquired representation. The bishops lost their secular powers in 1836. The boroughs of Darlington, Stockton and Hartlepool returned one member each from 1868 until the Redistribution of Seats Act 1885.
The Municipal Corporations Act 1835 reformed the municipal boroughs of Durham, Stockton on Tees and Sunderland. In 1875, Jarrow was incorporated as a municipal borough, as was West Hartlepool in 1887. At a county level, the Local Government Act 1888 reorganised local government throughout England and Wales. Most of the county came under control of the newly formed Durham County Council in an area known as an administrative county. Not included were the county boroughs of Gateshead, South Shields and Sunderland. However, for purposes other than local government, the administrative county of Durham and the county boroughs continued to form a single county to which the Crown appointed a Lord Lieutenant of Durham.
Over its existence, the administrative county lost territory, both to the existing county boroughs, and because two municipal boroughs became county boroughs: West Hartlepool in 1902 and Darlington in 1915. The county boundary with the North Riding of Yorkshire was adjusted in 1967: that part of the town of Barnard Castle historically in Yorkshire was added to County Durham, while the administrative county ceded the portion of the Borough of Stockton-on-Tees in Durham to the North Riding. In 1968, following the recommendation of the Local Government Commission, Billingham was transferred to the County Borough of Teesside, in the North Riding. In 1971, the population of the county—including all associated county boroughs (an area of 2,570 km2 (990 sq mi))—was 1,409,633, with a population outside the county boroughs of 814,396.
In 1974, the Local Government Act 1972 abolished the administrative county and the county boroughs, reconstituting County Durham as a non-metropolitan county. The reconstituted County Durham lost territory to the north-east (around Gateshead, South Shields and Sunderland) to Tyne and Wear and to the south-east (around Hartlepool) to Cleveland. At the same time it gained the former area of Startforth Rural District from the North Riding of Yorkshire. The area of the Lord Lieutenancy of Durham was also adjusted by the Act to coincide with the non-metropolitan county (which occupied 3,019 km2 (1,166 sq mi) in 1981).
In 1996, as part of 1990s UK local government reform by Lieutenancies Act 1997, Cleveland was abolished. Its districts were reconstituted as unitary authorities. Hartlepool and Stockton-on-Tees (north Tees) were returned to the county for the purposes of Lord Lieutenancy. Darlington also became a third unitary authority of the county. The Royal Mail abandoned the use of postal counties altogether, permitted but not mandatory being at a writer wishes.
As part of the 2009 structural changes to local government in England initiated by the Department for Communities and Local Government, the seven district councils within the County Council area were abolished. The County Council assumed their functions and became the fourth unitary authority. Changes came into effect on 1 April 2009.
On 15 April 2014, North East Combined Authority was established under the Local Democracy, Economic Development and Construction Act 2009 with powers over economic development and regeneration. In November 2018, Newcastle City Council, North Tyneside Borough Council, and Northumberland County Council left the authority. These later formed the North of Tyne Combined Authority.
In May 2021, four parish councils of the villages of Elwick, Hart, Dalton Piercy and Greatham all issued individual votes of no confidence in Hartlepool Borough Council, and expressed their desire to join the County Durham district.
In October 2021, County Durham was shortlisted for the UK City of Culture 2025. In May 2022, it lost to Bradford.
Eighteenth century Durham saw the appearance of dissent in the county and the Durham Ox. The county did not assist the Jacobite Rebellion of 1715. The Statue of Neptune in the City of Durham was erected in 1729.
A number of disasters happened in Nineteenth century Durham. The Felling mine disasters happened in 1812, 1813, 1821 and 1847. The Philadelphia train accident happened in 1815. In 1854, there was a great fire in Gateshead. One of the West Stanley Pit disasters happened in 1882. The Victoria Hall disaster happened in 1883.
One of the West Stanley Pit disasters happened in 1909. The Darlington rail crash happened in 1928. The Battle of Stockton happened in 1933. The Browney rail crash happened in 1946.
The First Treaty of Durham was made at Durham in 1136. The Second Treaty of Durham was made at Durham in 1139.
The county regiment was the Durham Light Infantry, which replaced, in particular, the 68th (Durham) Regiment of Foot (Light Infantry) and the Militia and Volunteers of County Durham.
RAF Greatham, RAF Middleton St George and RAF Usworth were located in County Durham.
David I, the King of Scotland, invaded the county in 1136, and ravaged much of the county 1138. In 17 October 1346, the Battle of Neville's Cross was fought at Neville's Cross, near the city of Durham. On 16 December 1914, during the First World War, there was a raid on Hartlepool by the Imperial German Navy.
Chroniclers connected with Durham include the Bede, Symeon of Durham, Geoffrey of Coldingham and Robert de Graystanes.
County Durham has long been associated with coal mining, from medieval times up to the late 20th century. The Durham Coalfield covered a large area of the county, from Bishop Auckland, to Consett, to the River Tyne and below the North Sea, thereby providing a significant expanse of territory from which this rich mineral resource could be extracted.
King Stephen possessed a mine in Durham, which he granted to Bishop Pudsey, and in the same century colliers are mentioned at Coundon, Bishopwearmouth and Sedgefield. Cockfield Fell was one of the earliest Landsale collieries in Durham. Edward III issued an order allowing coal dug at Newcastle to be taken across the Tyne, and Richard II granted to the inhabitants of Durham licence to export the produce of the mines, without paying dues to the corporation of Newcastle. The majority was transported from the Port of Sunderland complex, which was constructed in the 1850s.
Among other early industries, lead-mining was carried on in the western part of the county, and mustard was extensively cultivated. Gateshead had a considerable tanning trade and shipbuilding was undertaken at Jarrow, and at Sunderland, which became the largest shipbuilding town in the world – constructing a third of Britain's tonnage.[citation needed]
The county's modern-era economic history was facilitated significantly by the growth of the mining industry during the nineteenth century. At the industry's height, in the early 20th century, over 170,000 coal miners were employed, and they mined 58,700,000 tons of coal in 1913 alone. As a result, a large number of colliery villages were built throughout the county as the industrial revolution gathered pace.
The railway industry was also a major employer during the industrial revolution, with railways being built throughout the county, such as The Tanfield Railway, The Clarence Railway and The Stockton and Darlington Railway. The growth of this industry occurred alongside the coal industry, as the railways provided a fast, efficient means to move coal from the mines to the ports and provided the fuel for the locomotives. The great railway pioneers Timothy Hackworth, Edward Pease, George Stephenson and Robert Stephenson were all actively involved with developing the railways in tandem with County Durham's coal mining industry. Shildon and Darlington became thriving 'railway towns' and experienced significant growths in population and prosperity; before the railways, just over 100 people lived in Shildon but, by the 1890s, the town was home to around 8,000 people, with Shildon Shops employing almost 3000 people at its height.
However, by the 1930s, the coal mining industry began to diminish and, by the mid-twentieth century, the pits were closing at an increasing rate. In 1951, the Durham County Development Plan highlighted a number of colliery villages, such as Blackhouse, as 'Category D' settlements, in which future development would be prohibited, property would be acquired and demolished, and the population moved to new housing, such as that being built in Newton Aycliffe. Likewise, the railway industry also began to decline, and was significantly brought to a fraction of its former self by the Beeching cuts in the 1960s. Darlington Works closed in 1966 and Shildon Shops followed suit in 1984. The county's last deep mines, at Easington, Vane Tempest, Wearmouth and Westoe, closed in 1993.
Postal Rates from 1801 were charged depending on the distance from London. Durham was allocated the code 263 the approximate mileage from London. From about 1811, a datestamp appeared on letters showing the date the letter was posted. In 1844 a new system was introduced and Durham was allocated the code 267. This system was replaced in 1840 when the first postage stamps were introduced.
According to the Encyclopædia Britannica Eleventh Edition (1911): "To the Anglo-Saxon period are to be referred portions of the churches of Monk Wearmouth (Sunderland), Jarrow, Escomb near Bishop Auckland, and numerous sculptured crosses, two of which are in situ at Aycliffe. . . . The Decorated and Perpendicular periods are very scantily represented, on account, as is supposed, of the incessant wars between England and Scotland in the 14th and 15th centuries. The principal monastic remains, besides those surrounding Durham cathedral, are those of its subordinate house or "cell," Finchale Priory, beautifully situated by the Wear. The most interesting castles are those of Durham, Raby, Brancepeth and Barnard. There are ruins of castelets or peel-towers at Dalden, Ludworth and Langley Dale. The hospitals of Sherburn, Greatham and Kepyer, founded by early bishops of Durham, retain but few ancient features."
The best remains of the Norman period include Durham Cathedral and Durham Castle, and several parish churches, such as St Laurence Church in Pittington. The Early English period has left the eastern portion of the cathedral, the churches of Darlington, Hartlepool, and St Andrew, Auckland, Sedgefield, and portions of a few other churches.
'Durham Castle and Cathedral' is a designated UNESCO World Heritage Site. Elsewhere in the County there is Auckland Castle.
On 28th August 2015 59204 passes the site of Wootton Bassett station having just cleared the junction with 7b12 11:33 Merehead Quarry - Wootton Bassett FY en route Swindon for RR and to FY terminal left-hand side out of sight.
Consist: 20 IIA - a uniform rake still fairly new and no too long before spilt up. Totally graffiti free - a far cry from current state.
59204 shorn of it's Vale of Glamorgan nameplates fitted in a ceremony at Aberthaw Power Station 18th November 1996. In it's third livery - NP to EWS then DB. Unbranded red and Freightliner to follow. Sister 59202 has been named September 2022 Pride of Ferrybridge at Leeds Midland Rd so perhaps same for other 4 nameless in future? Plans were mooted to reopen Wootton Bassett and Corsham stations, both closed 1965 but so far have come to nothing.
Lower East Side, Manhattan, New York City, New York, United States
The Loew’s Canal Street Theatre at 31 Canal Street on Manahattan’s Lower East Side was constructed as a neighborhood movie house in 1926-27 at the beginning of what is generally regarded as the Golden Age of Cinema. It was commissioned by Loew’s Inc., which was one of the so-called Big Five within the Hollywood Studio System, and was designed by the nationally-known firm of Thomas W. Lamb, Inc.
The emergence of the motion picture industry coincided closely with the growth of the Lower East Side as the city’s most prominent immigrant district. The earliest experiments in the medium began in the 1870s and the first commercial exhibitions took place in the 1890s, right as hundreds of thousands of newcomers—many of Jewish faith—were settling in the area. By the early 20th century the neighborhood could claim the nation’s densest concentration of both human population and movie houses.
Marcus Loew, the founder of the theater chain, was born to immigrant parents on the Lower East Side and became involved in film exhibition during its earliest days as a peep-show novelty. He started as an operator of penny arcades and soon moved on to larger nickelodeons and then to small-time vaudeville theaters. In the 1920s he acquired several film production companies and created the Metro-Goldwyn-Mayer, or MGM, studio. The parent company Loew’s Inc. remained one of the largest and most important film monopolies into the 1950s, when it was broken up following a federal anti-trust case against the Hollywood studios.
From the earliest days of cinema the Lower East Side contained one of the highest concentrations of motion picture theaters in the country. The Loew’s Canal Street Theatre was one of several large movie houses constructed in the neighborhood during the 1920s as the national chain competed against the smaller M. & S. Circuit for control of the local market. Of these theaters, the Loew’s Canal Street was one of the largest and most architecturally distinguished, with an exuberant terra-cotta facade facing bustling Canal Street. It is also certainly the best preserved.
DESCRIPTION AND ANALYSIS
Manhattan’s Lower East Side1
The Lower East Side of Manhattan is one of New York’s, and the country’s, most storied neighborhoods. Historically defined as the area east of Broadway, extending from the vicinity of the Brooklyn Bridge north to 14th Street, its name is synonymous with the American immigrant experience. Although immigrants from around the world, from East Asia to Western Europe, have settled on the Lower East Side since the mid-nineteenth century, the neighborhood is most strongly associated with Jewish history and culture; from the 1880s to the 1920s, it was the country’s center of Jewish life and “the single largest Jewish community in the world, unrivaled…in terms of the sheer number of Jews who lived in close proximity to each other.” The historic core of this community was present-day Straus Square, located at the intersection of Canal Street, Essex Street, and East Broadway, just steps away from the site of the Loew’s Canal Street Theatre.
The city grew rapidly northward during the early 19th century and by the 1830s virtually the entire Lower East Side had been transformed into a bustling urban neighborhood of Federal-style residences and commercial buildings. A decade later, however, the same expansion had pushed the fashionable residential district above Houston Street into what is now the East Village and the older houses of the Lower East Side were being converted for multi-family use, largely by recently arrived immigrants. Many of these newcomers were Irish-Americans; Irish immigration to New York rapidly increased following the beginning of Ireland’s Great Famine in 1845. Soon afterward, German immigrants, fleeing unemployment, religious oppression, famine, and the European Revolutions of 1848, also moved into the area. The city’s German population grew from about 24,000 in the mid-1840s to over 400,000 by 1880; by then, almost the entire Lower East Side was known as Kleindeutschland, or “Little Germany.”
Up to the 1870s, no distinctly Jewish neighborhood existed in New York; German Jews, who accounted for most of the city’s Jewish population, generally settled within the larger Kleindeutschland community. That would change as hundreds of thousands of Jews, primarily from Russia and Poland, started fleeing pogroms and poverty in their homelands in the early 1880s. From 1881 to 1924—the year in which the so-called “Quota Law” drastically cut immigration to the United States from Eastern Europe—one-third of Eastern Europe’s Jews left their homes, with most seeking refuge in America. Between 1880 and 1910, approximately 1.1 million Jews moved to New York City, and between 1880 and 1890, three-quarters of these newcomers settled on the “East Side,” as the Lower East Side was commonly called at that time. Within the neighborhood, Jewish immigrants typically lived within defined ethnic quarters with others from their home regions; the Loew’s Canal Street Theatre was erected within the largest of these enclaves, which housed Russian, Ukrainian, Polish, and Lithuanian Jews, and covered most of the area east of the Bowery and south of Grand Street. Although late-19th- and early-20th-century transportation improvements efficiently dispersed much of the Lower East Side’s Jewish population to Yorkville, Harlem, Brooklyn, and the Bronx, more than 300,000 Jews continued to occupy the neighborhood’s tenements at the dawn of World War I, with some living at densities of more than 1,000 persons per acre.
The Early History of the Motion Picture3
The emergence of the motion picture as the dominant form of popular entertainment in America coincided almost exactly with the growth of the Lower East Side as a Jewish immigrant
district. Many of the most important figures in the early history of the movies were in fact raised in the neighborhood, which for much of the early twentieth century was also home to the greatest concentration of movie houses in the nation. The earliest experiments in capturing motion with a photographic device occurred in the late 1870s when Eadward Muybridge was contracted to make a series of images of a trotting race horse. Muybridge’s technical advancements were refined by other innovators, including Étienne-Jule Marey—who in 1882 introduced what is widely considered the first motion picture camera—and Thomas Edison—whose laboratory perfected the perforated strip film that was to become the basic medium of the motion picture industry.
In 1894, ten of Edison’s new Kinetoscope machines debuted at the Holland Brother’s entertainment parlor in New York City in what is generally considered the first commercial exploitation of motion pictures in the United States. The earliest movies that played in these machines—which were viewed by a single person at a time—lasted little more than a minute in length and often showed simple scenes from everyday life. In spite of these limitations the devices proved to be a great commercial success and were installed wherever they could make a profit, including the penny arcades that were popping up in urban immigrant neighborhoods such as the Lower East Side.
The first commercial exhibition of a projected movie before a mass audience in America occurred in April 1896 at Koster & Bial’s Music Hall on 34th Street in Manhattan using the Edison-branded Vitascope.7 Other vaudeville venues soon picked up on the innovation and short motion pictures became a popular novelty accompaniment to the usual variety program. While vaudeville was largely patronized by a wealthy clientele, smaller venues in working-class neighborhoods also adopted the medium of projected motion pictures, often exhibiting films in partitioned-off sections at the rear of existing entertainment establishments and sometimes in newly-converted storefront theaters—which by 1905 had taken the popular name of nickelodeons and had become a national phenomenon.8
Marcus Loew and the Novelty Short Film from Penny Arcades to Small-Time Vaudeville
One of the most successful operators of these venues was Marcus Loew , who was born and raised on the Lower East Side to an immigrant Jewish Austrian waiter and his German-born wife. He began work selling newspapers on the street, eventually published his own paper, and later became a relatively successful furrier. Around the turn of the century Loew met Adolph Zukor, also in the fur business, and the two soon became friends and neighbors on the Upper West Side. In the early 1900s Zukor established the Automatic Vaudeville Company and opened a lavish penny arcade on East 14th Street. Loew briefly invested in his friend’s business in 1904 but quickly struck out on his own, creating the People’s Vaudeville Company in partnership with actor David Warfield and opening a penny arcade on West 23rd Street.
While opening another penny arcade in Cincinnati, Ohio in 1905, Loew had the chance to visit a small projection movie theater in a converted dwelling in Covington, Kentucky. He saw the commercial possibilities of the format and installed projection devices in his own establishments. A couple of years later in 1907 Loew purchased an actual theater building in Brooklyn and converted it for use as a movie house. The Royal Theatre opened in January 1908 showing a mixed bill of short motion pictures and vaudeville acts at a ticket price of ten cents, a format that came to be known as small-time vaudeville.
Loew’s business began to expand rapidly in 1909 when he landed the financial backing of prominent legitimate theater owners the Shubert brothers.12 Near the end of the year Loew had taken control of several large theaters in Manhattan—including the Yorkville, Lincoln Square, 59th Street Plaza, and the Majestic—from both Morris and the Shuberts. That September Loew also secured a lease on the Grand Theatre on the Lower East Side, which may have been his first venture back into his childhood neighborhood. He took his company public in 1910 under the name Loews Consolidated Enterprises, with Adolph Zukor as treasurer and Nicholas Schenck secretary. That same year the firm began construction on the flagship 2,800-seat National Theatre in the Bronx, the first theater building erected for specifically for Loew’s company. In 1911 he completed the acquisition of the Morris vaudeville circuit which gained him interest in 100 theaters nation-wide including the prominent American Theatre on 42nd Street in Times Square; the firm was subsequently reorganized as Loew’s Theatrical Enterprises.
Loew continued to aggressively grow his company in subsequent years, opening a number of large theaters throughout Manhattan and Greater New York City. On the Lower East Side he opened the 1,700-seat Delancey Theatre in 1912 and the following year erected the Loew’s Avenue B on the site of the tenement in which he had been raised.
The latter building—which Loew claimed was “the most pretentious of the houses on our string, because my better judgment was over-balanced by my sentimentalism” for his childhood neighborhood—was designed by the firm of Thomas W. Lamb and featured an elaborate terra-cotta facade that perhaps established the architectural form for many of Loew’s later theaters.
Loew’s Inc. and the Hollywood Studio System during the Golden Age of Cinema
Loew continued to show a mixed bill of short one- and two-reel motion pictures interspersed with variety acts, throughout the 1910s. By the middle of the decade, however, a number of motion picture firms had begun to produce feature-length films that were meant to be exhibited as complete entertainments in their own right rather than as an adjunct to a stage show. Loew’s associate Adolph Zukor helped introduce the format to America through his Famous Players Film Company. In 1912 it financed the French production Queen Elizabeth, which starred noted stage actor Sarah Bernhardt; this was soon followed in 1913 by film versions of The Count of Monte Cristo and The Prisoner of Zenda, widely considered the first feature films to be produced in America.18 Others soon followed including David W. Griffith’s thematically problematic but technically innovation Birth of a Nation in 1915.
By the end of the decade Loew had become convinced that feature films would play a pivotal role in the future of his business and he began another expansion that would turn his company into the largest producer of movies in the country.
The firm was reorganized as Loews Inc. in 1919 and the following year it acquired the Metro Pictures Corporation, an existing studio, in order to ensure a steady supply of feature films to the company’s continually expanding circuit of theaters. In 1924 the firm purchased the Goldwyn Pictures Corporation and Louis B. Mayer Pictures, merging the three studios into the Metro-Goldwyn Pictures Corporation—later renamed Metro-Goldwyn-Mayer . The production company’s first major success came in 1925 with the release of Ben-Hur and The Big Parade.
With the consolidation of MGM under Loew’s corporate umbrella, the company controlled every aspect of film production, distribution, and exhibition. Loew was eventually joined by Zukor’s Paramount Pictures Corporation, the Fox Film Corporation , RKO Radio Pictures, and Warner Bros. in constituting what has been termed the “Big Five” of the Hollywood Studio System. While these firms never fully eliminated outside competition, they continued to dominate the film industry from the 1920s into the late 1940s.
A significant consequence of the advent of the studio system was the establishment of the “run-zone-clearance” method of film distribution and exhibition. Under this scheme the studios divided the national market into a number of geographic zones; the theaters in each zone were in turn classified according to importance and profitability, with the most prominent having the privilege of showing films on their first run while smaller neighborhood venues were given subsequent runs after a certain period of time—known as the “clearance.” In New York City, the large movie palaces around Times Square were undisputedly at the top of this hierarchy, with the 3,330-seat Loew’s State Theatre and 5,000-seat Capitol Theatre serving as the twin flagships of the Loew’s chain.
The ultimate triumph of the Hollywood Studio System, however, was the final realization of feature films accompanied by synchronized sound—a goal that had eluded movie makers for decades as far back as Edison. The first of these “talkies” to be commercially exhibited was Al Jolson’s 1927 The Jazz Singer, produced by the Warner Bros. studio. The other major studios soon began producing talking films of their own and by the early 1930s nearly all of the movies produced in the country had sound. Hollywood was soon realizing heretofore unknown success and the Golden Age of Cinema had begun.
Loew’s Canal Street Theatre and the Movie Houses of the Lower East Side
While Marcus Loew was born and raised on the Lower East Side, his earliest penny arcades and nickelodeons were all located farther uptown in established entertainment corridors such as 23rd, 116th, and 125th Streets. He did gain an important entrée into the neighborhood in 1909 when he took over the lease of the Grand Theatre, and further expanded his interests in the area in the early 1910s with the erection of the Delancey and Avenue B Theatres, but throughout the early 20th century the Lower East Side remained largely the domain of the independent film exhibitor. Prominent amongst these small-time operators was Charles Steiner, who first entered the movie business in 1908 when he turned his father’s stable on Essex Street into a 250-seat nickelodeon showing a bill of several short films along with illustrated songs and Yiddish vaudeville acts.
The limited size of Steiner’s converted storefront theater was typical of the neighborhood’s early movie houses and contrasted greatly with the palatial theaters that Marcus Loew was beginning to open. The humble nature of these venues was partially a matter of economics and partially due to the constraints of the area’s existing building stock. It was also a result of the New York City building code that, prior to 1913, allowed movie theaters to operate either under an expensive theatrical license—which imposed rigid health and safety regulations but allowed much larger seating capacities—or under the much less costly common show license that had fewer requirements but restricted audience sizes to fewer than 300 people.
These limitations were eased somewhat by the July 1913 passage of the so-called “Folks Ordinance,” the city’s first set of laws aimed specifically at regulating motion picture theaters. Under the new ordinance, movie houses without stages or other provisions for live acts were allowed to accommodate up to 600 spectators. Theater operators on the Lower East Side were quick to take advantage; Steiner and his business partners opened five new theaters in the area between 1914 and 1917, each with a maximum seating capacity of slightly fewer than 600 patrons. The Greater M. & S. Circuit, as Steiner’s group eventually came to be known, quickly became the largest exhibitor of motion pictures on the Lower East Side.
The conglomerate soon expanded into other immigrant neighborhoods throughout the city as well as into larger theater buildings designed perhaps to compete more directly with the national chains that were beginning to emerge as part of the Hollywood Studio System.29 The circuit instituted its most aggressive building campaign in 1925 when it started construction on seven theaters throughout the Lower East Side. The undisputed crown jewel of the system was the 2,800-seat Commodore—located on Second Avenue in the heart of what has been termed the Jewish Rialto.
By the start of 1926 it had become clear that Loew’s Inc. was also looking to expand its presence on the Lower East Side. In January of that year the company began to compile a large parcel on Canal and Ludlow Streets and soon hired the firm of Thomas W. Lamb to draw up plans for a 2,300-seat theater building to occupy the site. Construction was begun that fall by the contracting firm of M. Shapiro & Son and the following year the Loew’s Canal Street Theatre opened its doors for business.
Some accounts note that Loew’s renewed interest in the Lower East Side was actually focused on the Commodore, due to its favorable location on the Lower East Side’s legitimate theater district. The firm apparently tried to lease the property from the Greater M. & S. Circuit even before its completion but was rebuffed by the local conglomerate. In response Loew’s filed plans for a new movie house of their own three blocks south of the Commodore on Second Avenue, but for reasons unknown these were never carried out.35 In this context it is possible that the Loew’s Canal Street Theatre was, at least in part, built as a sort of bargaining chip to force or persuade the neighborhood chain into giving up its centerpiece. The exact mechanism of the transaction between the two companies is unclear, but by October 1928—just over a year after it had opened—Loew’s had sold the Canal Street Theatre to the Greater M. & S. Circuit and gained control of the Commodore.
The Greater M. & S. Circuit in turn operated the Canal Street Theatre for just over a year. Towards the end of 1929 the chain apparently ran into financial difficulties and the building on Canal Street was sold back to Loew’s at auction following foreclosure proceedings instituted by the national corporation. Although weakened by the Great Depression, the Greater M. & S. Circuit—later renamed the Belle Theatre Circuit—continued to operate a number of venues on the Lower East Side and remained a viable local competitor throughout the early years of the Golden Age of Cinema.
From the time of its construction the Loew’s Canal Street Theatre was the one of the largest movie theaters in the neighborhood, surpassed in seating capacity only by the Commodore. It was also one of the more lavishly decorated with a lively terra-cotta facade designed by a nationally-noted architecture firm. Yet the Canal Street Theatre appears to have been relegated to the lower echelons within the hierarchy of the run-zone-clearance system of movie exhibition. The theater was occasionally mentioned in the local press for minor incidents such as projector fires or neighborhood premieres, but it was rarely, if ever, featured in the New York Times listings of show times, which tended to focus on the chain’s flagship theaters in Times Square and the more prominent local venues such as the Commodore.37
Thomas W. Lamb and the Design of the Canal Street Theatre38
Thomas White Lamb was born in Dundee, Scotland, although by 1883 his family had moved to New York City where his father worked as an engineer. Lamb opened an architectural office around 1892, before he had undertaken any particular architectural training. He began a degree in general science at the Cooper Union in 1894, graduated in 1898, and worked for a time as a building inspector and plan examiner. Lamb’s earliest known commissions as an architect were for a three-story hotel on 125th Street in Harlem and for the clubhouse of the Pastime Athletic Club on 79th Street in 1903.
Like Marcus Loew—who was born only a year earlier and who would eventually become a close business associate—Lamb soon aligned himself with the entertainment industry and in particular the emerging motion picture business. His first known theater-related job was a minor alteration in 1904 to the existing Gotham Theatre at 165 East 125th Street. This led to a number of other alteration projects and eventually to commissions for entirely new theater buildings. In 1908, Lamb designed a storefront movie house in the Bronx for the Nicoland Amusement Company. As the name suggests, this was a small nickelodeon of the type that had proliferated throughout the city since 1905.
Lamb quickly went from designing humble nickelodeons to large movie palaces. In 1909 he was hired by William Fox—who like Loew and Adolph Zukor would go on to found one of the Big Five Hollywood studios—to draw up plans for the opulent City Theatre located in the heart of the entertainment district on 14th Street. Fox continued to employ Lamb’s services on subsequent projects, including the Washington Theatre in 1910 and the Audubon Theatre and Ballroom in 1912. Other theatrical chains soon took notice of the architect; Loew’s first commission from Lamb may have been the Orpheum Theatre in 1911, which was followed in 1912 by the Loew’s Avenue B on the Lower East Side, the Loew’s Boulevard in the Bronx, and the Loew’s Bedford in Brooklyn.
As business continued to grow, Lamb incorporated his architectural firm under the name Thomas W. Lamb, Inc. in 1914. That same year the firm’s Strand Theatre near Times Square in Manhattan, widely considered one of the earliest and most influential of the “de-lux” Midtown theaters, was opened. Lamb’s firm also received commissions for the Rialto in 1916, the Rivoli and the Capitol—which was first American theater with more than 5,000 seats—in 1917, and the Loew’s State Theatre Building in 1921, all of which were deluxe theaters situated at the top of the theater hierarchy under the run-zone-clearance system of film exhibition.
While Lamb’s firm won international renown for its Times Square movie palaces and legitimate theater buildings, the office was also responsible for a significant number of neighborhood theaters. Many of these had seating capacities nearly as large as their prominent first-run counterparts but were designed more for economy rather than national prestige. To minimize expenditures on real estate, it was not unusual for these local movie houses to be situated on irregularly shaped sites with a narrow lobby structure facing onto a busy commercial thoroughfare while the auditorium itself was located on less-expensive land fronting onto an adjacent side street. This plan had the added benefit of reducing the primary facade to the width of a single building lot, further lowering the building and maintenance costs, although the use of terra cotta allowed architects to achieve impressive results that recalled the grandeur of the Times Square movie palaces.
The general design of the Loew’s Canal Street Theatre’s primary facade is typical of the neighborhood theaters produced by Lamb’s office. The ground floor consists almost entirely of a large rectangular opening that was once fitted with a series of doors flanking a central box office. The upper floors are completely clad in terra cotta with projecting piers running along the full height of the building’s corners. The blind openings on the second story, which are fitted with rare black terra cotta designed to mimic window panes, hide the mechanical equipment of what was originally the theater’s fan room. The most flamboyant ornamentation—which particularly distinguishes the Canal Street Theatre from earlier designs produced by Lamb’s firm—is reserved for the cornice line.46 Griffons, eagles, and fanciful sea monsters are interspersed with garlands, festoons, and other foliate motifs in an exuberant explosion of terra-cotta decoration.
Later History of the Loew’s Canal Street Theatre
The opening of the Loew’s Canal Street Theatre coincided with the beginning of the Golden Age of Cinema and also with the decline of the Lower East Side as the locus of the city’s immigrant population. The influx of Eastern Europeans to the area slowed dramatically in 1924 following the passage of the so-called “Quota Law,” which placed strict limits on the number of immigrants allowed to enter the country. Additionally, the expansion of the subway system, the construction of affordable and more spacious housing in the other boroughs and other areas of Manhattan, and the movement of the city’s garment industry to the streets of the West 30s, led to the precipitous decline of the Jewish population of the Lower East Side—and the neighborhood’s population in general—in the 1920s.
In spite of the loss of local population, as well as the economic woes of the Great Depression, the movie theaters of the Lower East Side apparently thrived throughout the 1930s and 1940s as the talking films produced by the Hollywood studios continued to draw large crowds. That began to change in 1948 following a major federal anti-trust court case filed against the Big Five studios that determined, amongst other things, that the exhibition and production branches of the companies should be split up. Loew’s was the last of the major studios to comply with these directives when it finally divorced MGM from its parent company in 1954. Within a few years nearly all of the Loew’s theaters on the Lower East Side had been removed from operation. The Loew’s Canal Street Theatre permanently shut its doors in the late 1950s and the building was eventually sold off in October 1960. The following year alteration permits were filed with the Department of Buildings to convert the lobby facing Canal Street into retail space, while the auditorium was slated for light industrial use.
Description
The Loew’s Canal Street Theatre is approximately four stories in height and 22 feet in width, and is clad almost entirely in highly-ornamented terra cotta. The ground floor has two terra-cotta piers at the building’s corners framing the primary entrance opening. A projecting terra-cotta beltcourse with egg-and-dart molding runs the width of the facade above the entrance opening and separates the ground floor from the upper stories. A pair of slightly projecting terra-cotta piers run the height of the upper stories along the building’s corners, from the projecting beltcourse to the building’s cornice. The piers are decorated with bas-relief urns, grotesques, festoons, rosettes, and cornucopia. The metal rings that once supported the building’s marquee are still installed in the piers. Set just above the projecting beltcourse is a series of three double-height, round-arched blind window openings framed by turned pilasters and lintels decorated with garlands of acanthus leaves; the openings are fitted with panels of rare black terra cotta set within strips of narrow white terra cotta, meant to resemble multi-paned casement windows with transoms above. The intersection of the muntins in these blind windows are decorated with small rosettes. Rosettes are also located in the spandrels between the round-arched heads of the blind windows. The facade above the three blind windows consists of rusticated terra-cotta blocks. A large cartouche ornamented with a fleur-de-lis and a pair of garlands is centered on the facade above the middle window and just below a wide frieze set within the piers and under the building’s cornice. The frieze is ornamented with series of bas-relief panels; the central panel depicts an urn, while the flanking panels contain a pair of stately griffons.
Above the frieze a cornice runs the width of the facade and is decorated with a dentil course, an egg-and-dart molding, and an acanthus-leaved molding. Above the cornice is a sculptural balustrade parapet featuring two substantial posts at the building’s corners and two smaller posts set in line with the pilasters separating the blind windows below. The larger corner posts consist of a single square terra-cotta block ornamented with acanthus leaves with a festooned urn set above. The smaller middle posts consist of two square terra-cotta blocks ornamented with acanthus leaves, topped with a sphere wrapped in acanthus leaves. The balustrade consists of pairs of fanciful sea monsters interspersed with turned balusters. An original vent structure is located on the roof and is set back several feet from the building’s facade. Significant alterations to the building have been limited to the removal of the original entrance doors and fames and their replacement with an infill storefront covered by metal roll-down security gates; the removal of the original marquee that ran along the fascia above the entrance opening and its replacement with a signboard; the removal of the vertical sign that ran the height of the upper floors perpendicular to the plane of the building’s facade; the installation of a metal support structure for a projecting sign at the left of the facade at the height of the projecting beltcourse; and the installation of a through-wall utility box installed at the base of the central blind window opening.
- From the 2010 NYCLPC Landmark Designation Report
NASA Astronaut Steven Smith visited the U.S. Mission Geneva to share his experience in space and the lessons he's learned in his work on the international space station. He visited schools in the area and encouraged children to follow their dreams whatever obstacles they might face. Mr. Smith also spoke to an audience of scientists and diplomats at the U.S. Mission to discuss the importance of collaboration by the international community in future endeavors into space.
U.S. Mission photo: Eric Bridiers
The Finale to the BARC Club Car Championships Weekender at Brands Hatch and after a Very Thrilling set of both Qualifying Sessions and Races which took place on the Saturday it was Time once again for each Driver to strap in and get ready for some high speed Racing Action thought the Sunday.
In Tribute to the Marshall who was Tragically Killed on the Saturday Some Car and Driver Pairings were Racing with Orange Hearts on their Cars as a Tribute to all of Motorsports Family of Marshalls for who without Racing would not be possible. Thank You!
So Lets get started and see what the days events Haver to Offer and who can Push their Machinery to the Limits and beyond for a Victory.
Britcar Endurance Championship - Trophy Category (Race 1 Results FINAL)
The Britcar Endurance Trophy was the First up and it was time to see who could claim that elusive Pole Position and to see if anyone else could challenge the Top Three Drivers Lets see how things turned out.
In First Place was the Pairing Of (Datum Motorsport's Axel Van Nederveen and Adriano Medeiros) in their Ginetta G55A with a Best Lap Time of 52:193 and an Average Speed of 64.75mph. Congratulations Axel and Adriano a Really Fantastic Drive and A Super Victory.
In Second Place was (SVG's Mark Lee) in his Ginetta G56A with a Best Lap Time of 52.086 and an Average Speed of 64.70mph. Amazing Drive Mark Keeping that Ginetta on the Track and Taking Second Place while Nearly Matching the Speed of Axel and Adriano. Well Done.
In Third Place was (Terry Stephens) in his Peugeot 308 with a Best Lap Time of 53.421 and an Average Speed of 64.50mph. Well Fought Terry a Fantastic Finish in Third Place and Staying Ahead by just over 11 seconds to the Pair of Jasver and Bryan in 4th. Amazing Job.
A Really Enjoyable and Exciting First Race of the Sunday with High Speed Action and Incredible Victories on Track. Congratulations Axel Adriano Mark and Terry. Lets see what Race 2 Brings in terms of the Action.
Britcar Endurance Championship - Trophy Category (Race 2 Results FINAL)
Race 2 For Britcar Next and after a Very Fast and Action Packed First Race Will we see a New Face on the Top Step of the Podium? Lets find out.
In First Place was the Pairing of (Woodrow Motorsport's Simon Baker and Kevin Clarke) in their BMW 1 Series with a Best Lap Time of 51.837 and an Average Speed of 78.22mph. Amazing work Simon and Kevin who have Beaten the Pairing Of (Datum Motorsport's Axel Van Nederveen and Adriano Medeiros) to Victory. An Incredible Drive by Both of them Well Done.
In Second Place was (SVG Mark Lee) in his Ginetta G56A with a Best Lap Time of 52.281 and an Average Speed of 76.89mph. Again a Huge Congratulations to Mark Lee for hanging onto that Second Place Despite Fierce Competition during The Race. Amazing Drive.
In Third Place was (Simon Green Motorsport's Pairing of Jasver Sapra and Brian Branson) in their BMW M3 E46 with a Best Lap Time of 52.718 and an Average Speed of 76.88mph. Congratulations Jasver and Brain Brilliant Drive and well Defended to keep that Third Place in Tact.
Two Incredible Races with Two Very Different Outcomes of Race Winners and Runners Up The Britcar Endurance Trophy is Proving to be Very Competitive this Year.
A Huge Congratulations to Simon Kevin Mark Jasver and Brain for some Amazing Racing and Victories and Good Luck to All Other Drivers. Keep working Hard and Pushing for that All Important Victory.
CTCRC Edmundson Electrical Classic / Historic Thunder Saloons (Race 1 Result FINAL)
Next Up was the CTCRC Electrical and Historic Thunder Saloons and After a Thrilling Qualifying Session Yesterday Lets see what Each Driver has got and who can Push to the Limits for that All Important Victory.
In First Place was (Jason West) in his BMW E46 M3 3200 with a Best Lap Time of 51.907 and an Average Speed of 59.84mph. Congratulations Jason for Another Incredible Drive for First Place and a well Deserved Victory Amongst some Stiff Competition.
In Second Place was (Andrew Wilson) in his Holden Monaro 7000 with a Best Lap Time of 52.418 and an Average Speed of 59.96mph. Well Done Andrew Fantastic Driving and a Super Defensive Drive for Second Place.
In Third Place was (Samuel Wilson) in his Aston Martin V8 Vantage with a Best Lap Time of 52.699 and an Average Speed of 59.50mph. Amazing Work Samuel and a Beautiful Example of the Aston Martin V8 Vantage on Display Showing its Raw Power and Racing Pedigree to Finish in Third Place.
A Fantastic Finish to The Historic and Electrical Thunder Saloons Racing at The Weekend. A Huge Congratulations to Our Top Three Finishers Jason Andrew and Samuel. Fantastic Racing from all Three of you and Good Luck to all other Drivers Keep Tuning and Working Hard and I'm sure Victory Will not be too Far Away from you.
CTCRC JEC Saloon & GT Championship & Burton Power BOSS (Race 2 Results FINAL)
Next Up CTCRC Saloon and GT Championships and with some Fierce Competition on Display during not only Qualifying but also Their First Race on the Saturday Which saw Malcom Harding Storm to an Insane Victory who Will be able to Take him on and Potentially Steal his Crown during the Next Race Today? Lets See.
In First Place was (Malcom Harding) in his Ford Escort MK2 Zakspeed 2500 with a Best Lap Time of 53.888 and an Average Speed of 78.49mph. Another Incredible Victory for Malcom that Highly Modified Zakspeed Escort Really Shows off the Power and Performance of a True Champion and a Fantastic Driver. Congratulations Malcom.
In Second Place was (Steven Goldsmith) in his Ford Anglia 105e 260 with a Best Lap Time of 54.335 and an Average Speed of 78.21mph. Another Storming Drive to Achieve Second Place for Steven. Fantastic Driving and Amazing Car Control through Every Corner. Congratulations Steven.
In Third Place was (Tom Robinson) in his Jaguar XJ6 4000 with a Best Lap Time of 55.481 and an Average Speed of 55.481mph. Congratulations Tom Superb Display of Driving Ability behind the Jag and a Well Deserved Third Place for Him.
Another Incredible Weekend of Racing for the CTCRC Saloon and GT Championships with Some New and Some Old Drivers Stepping onto the Podium. Massive Congratulations to Malcolm Steven and Tom for their First Second And Third Place Finishes. Keep Up the Good Work and Never Stop Trying.
CTCRC Laser Tools Pre 93 & Simply Serviced Pre 03 Touring Cars (Race 1 Results FINAL)
Now Its Time for The Laser Tools Pre 93 and Simply Serviced Pre 03 Touring Cars to make their way back onto The Track for what Looked to be a Spectacular Race. A Whole Range of Different Cars to Race Against and Stiff Competition after Qualifying Proves that This Race will be One not to be Missed. Lets See what Unfolded.
In First Place was (Gary Prebble) in his Honda Civic EG 2000 with a Best Lap Time of 54.100mph and an Average Speed of 78.60mph. Well Done Gary a Really Well Deserved First Place Victory and an Amazing Drive to the Flag.
In Second Place was (David Griffith) in his BMW E36 M3 3058 with a Best Lap Time of 54.558 and an Average of 78.42mph. Incredible Drive their David Pushing that BMW For Everything that it Has got to Achieve Second Place.
In Third Place was (Kam Tunio) in his Honda Civic EK9 1595 with a Best Lap Time of 55.347 and an Average Speed of 77.05mph. Well Driven Kam Super Driving on Display and a Well Deserved Third Place Finish.
Another Amazing Race for The Pre 93 and Pre 03 Touring Cars and a Huge Congratulations to Gary David and Kam for their First Second and Third Place Victories. Keep up the Hard Work and Good Luck to everyone Else wherever your Next Races take you.
CTCRC Poultec Classic Race Engines Pre 66 Touring Cars (Race 1 Results)
Now it was Time for the Fan Favourite to Enter onto the Brands Hatch Circuit with the Pre 66 Touring Cars Championship. With Mini's Lotus Cortina's and Ford Falcons. This was One Race that No One Wanted to Miss. After a Very Fast Paced Qualifying Session on the Saturday Which saw (Alan Greenhalgh) take Pole Position who Will be able to Challenge Him During the Race and Snatch Victory Away from Him.
In First Place was (Alan Greenhalgh) in his Ford Falcon with A Best Lap Time of 58.707 and an Average Speed of 72.63mph. Congratulations Alan A Beautiful Example of the Ford Falcon and Certainly a Very Fast One too. Congratulations on Your Victory.
In Second Place was (Robyn Slater) in his Ford Anglia 1550 with a Best Lap Time of 58.992 and an Average Speed of 72.06mph. Very Good Drive their From Robyn to Secure Second Place in The First Race of the Day for the Pre 66 Touring Cars.
In Third Place was (Barry Sime) in his Morris Mini Cooper S 1293 with a Best Lap Time of 59.116 and an Average Speed of 71.95mph. Fantastic Work their Barry Keeping that Little Rocket on The Track looked to be Very Challenging but A Very Well Deserved Third Place.
What A First Race for The Historic Pre 66 Touring Cars showing The Power and Pride Each Driver takes in Both Racing and Preservation on Their Beloved Racing Machines. Congratulations to Alan Robyn and Barry on their First Second and Third Place Finishes. Lets See what New Challenges Await Them in Race 2 The Final Race of The Day for Them.
CTCRC Poultec Classic Race Engines Pre 66 Touring Cars (Race 2 Results FINAL)
The Epic FINALE To The Pre 66 Touring Cars Race was A Race in Wet Conditions Making it even more Challenging for The Top Three Drivers. Who would Win and be able to Retain if not Take on thease Three Giants of Touring Car Racing in thease Conditions. Lets See How Things Concluded.
In First Place was (Barry Sime) in his Morris Mini Cooper S 1293 with a Best Lap Time of 1:11.482 and an Average Speed of 58.62mph. Amazing Work Barry to take Home a Superb Victory and a Brilliant Bit of Wet Weather Driving in The Mini Well Done.
In Second Place was (John Davies) in his Austin Mini Cooper S 1293 with a Best Lap Time of 1:11.416 and an Average Speed of 58.38mph. Amazing Work John Racing A Mini in thease Conditions is Very Tricky and Yet both You and Barry made it look Easy.
In Third Place was (James Ibbotson) in his Hillman Imp Super 998 with a Best Lap Time of 1:11.518 and an Average Speed of 58.12mph. Well Done James Sliding that Imp around in the Wet for a Magnificent Third Place was Well Deserved.
What A Race to End the Day for the Pre 66 Touring Cars and with So many Old and New Winners Lets Hope we Get to see More Races like This One Thought the Rest of the 2021 Season. A Big Congratulations to Barry John and James on their Respective Victories and Keep Trying Everyone Else The Hard Work will Pay off.
CTCRC Shell Oils Pre 83 Touring Cars (Race 1 FINAL)
Up Next The Pre 83 Touring Cars took to the Track for Their Only Race of The Day and from what We Have Seen Already This Race also looks like its going to be a Very Strong Battle for First Second and Third Place. Lets See who Came First and Took that All Important Victory.
In First Place was (Mark Lucock) in his Ford Escort MK1 RS2000 2040 with a Best Lap Time of 57.687 and an Average Speed of 74.53mph. Amazing work there Mark Pushing All the Power the RS2000 Engine Has and Keeping it on Track to Score an Amazing Victory.
In Second Place was (Stephen Primett) in his Ford Escort MK1 2037 with a Best Lap Time of 57.503 and an Average Speed of 74.52mph. Another Brilliant Drive from the Likes of Stephen Keep the Pace with Mark and Making for some Fierce Competition Thought the Race.
In Third Place was (Mike Luck in his BMW E21 320 1998 with a Best Lap Time of 57.236 and an Average Speed of 74.46mph. Super Driving there Mike to take Third Place and a Very Classic Looking BMW Indeed.
What A Race from the Pre 83 Touring Cars showcasing Speed Power and What a Touring Car was Made to do around a Race Track. A Big Congratulations to Mark Stephen and Mike on their First Second and Third Place Finishes. Keep Racing and Keep Having Fun Out There.
Junior Saloon Car Championship (Race 1 Result FINAL)
The Junior Saloon Car Championship was Up Next and Even Though the Age Range of thease Next Drivers Taking to the Circuit Might Shock you at The Fact that Many of them are as Young as 15 Years of age don't be Fooled Because thease Guys Know how to Race Having been brought up from Carting since the age of 4. They are always a Fan Favourite and After Qualifying on the Saturday its Anyone's Game as to Who Wins and Who Losses in Thease Races.
In First Place was (Ruben Hage) in his Citroen Saxo VTR 1600 with a Best Lap Time of 59.967 and an Average Speed of 65.65mph. Congratulations Ruben What A Drive and an Incredible Run for First Place Fending off the Other On Coming Drivers. Truly a Championship Winning Drive.
In Second Place was (Harvey Caton) in his Citroen Saxo VTR 1600 with a Best Lap Time of 59.629 and an Average Speed of 65.64mph. Very Well Driven there Harvey Staying very Close to Ruben in First Place and Keeping Him on His Toes Thought the Entire Race.
In Third Place was (Charlie Hand) in his Citroen Saxo VTR 1600 with a Lap Time of 1:00.006 and an Average Speed of 65.57mph. Solid Third Place there Charlie Keep Up the Momentum and Never Give Up Chasing Your Dreams.
What a Fantastic Race from the Junior Saloon Car Championship with New Winners on the Podium and Some Close Wheel to Wheel Action Thought the Race Thease Guys will be Fantastic To see in Future Racing Series All Over The World. Congratulations to Ruben Harvey and Charlie for First Second and Third Place and Good Luck to All Other Aspiring Young Drivers Following in the Footsteps of Your Greatest Racing Heroes.
Kumho BMW Championship (Race 1 Results)
Finally it was Time for the Last Two Races of the Day the Kumo BMW Championship. Featuring The Makes and Models of Many BMW'S taking to the Circuit for Race 1. After a Busy Day Qualifying on Saturday Lets See what Each Driver Cando in The Frist of Two Races for their Championship.
In First Place was (Niall Bradley) in his BMW E46 M3 with a Best Lap Time of 50.920 and an Average Speed of 83.60mph. Brilliant Driving There Niall Pushing the Power of the BMW Engine to Max and Putting the Pedal to the Metal the Whole Race. A Superb Victory.
In Second Place was (Michael Vitulli) in his BMW E36 M3 3200 with a Best Lap Time of 51.158 and an Average Speed of 83.45mph. Another Incredible Driver Pushing Hard and Taking Second Place. Well Done Michael.
In Third Place was (James Card) in his BMW E46 M3 3200 with a Best Lap Time of 51.154 and an Average Speed of 83.42mph. Very Well Done their James Keep Pushing.
Three Fantastic Drivers in Niall Michael and James all Fighting for that Victory and Showing The Racer Inside each and Everyone of them. Lets see what Their Final Race of the Day Brings Them.
Kumho BMW Championship (Race 2 Results FINAL)
In First Place was (Niall Bradley) in his BMW E46 M3 with a Best Lap Time of 53.581 and an Average Speed of 77.79mph. Another Well Deserved First Place Finish to Round of The Days Racing. Congratulations Niall Go and Celebrate with The Team In Style.
In Second Place was (Darren Morgan Owen) in his BMW E46 M3 3200 with a Best Lap Time of 53.200 and an Average Speed of 77.43mph. Super Drive There Darren for Second Place and a New Winner onto The Podium.
In Third Place was (Brad Sheean) in his BMW E46 M3 3200 with a Best Lap Time of 53.227 and an Average Speed of 77.13mph. Fantastic Drive there Brad and Some Incredible Car Control thought the Entire Race to Finish Third.
And That Concludes Racing for the Kumho BMW Championship with 4 Different Winners Across two Races and A lot of Really Fast Action you could not Have Asked for a better Finish to The End of The Days Racing. Massive Congratulations to Niall Darren and Brad and Good Luck to all Other Competing Drivers who are still Looking for that almighty Victory.
That Concludes Racing for The BARC Club Car Championships Weekend A Big Congratulations to All of the Drivers of Every Team and a Huge Thank You to Marshalls Far and Wide as Without Your Support Events like This and Champion Drivers May Never Get to Achieve Their Dreams.
See You All At The Next One!
The Albertina
The architectural history of the Palais
(Pictures you can see by clicking on the link at the end of page!)
Image: The oldest photographic view of the newly designed Palais Archduke Albrecht, 1869
"It is my will that the expansion of the inner city of Vienna with regard to a suitable connection of the same with the suburbs as soon as possible is tackled and at this on Regulirung (regulation) and beautifying of my Residence and Imperial Capital is taken into account. To this end I grant the withdrawal of the ramparts and fortifications of the inner city and the trenches around the same".
This decree of Emperor Franz Joseph I, published on 25 December 1857 in the Wiener Zeitung, formed the basis for the largest the surface concerning and architecturally most significant transformation of the Viennese cityscape. Involving several renowned domestic and foreign architects a "master plan" took form, which included the construction of a boulevard instead of the ramparts between the inner city and its radially upstream suburbs. In the 50-years during implementation phase, an impressive architectural ensemble developed, consisting of imperial and private representational buildings, public administration and cultural buildings, churches and barracks, marking the era under the term "ring-street style". Already in the first year tithe decided a senior member of the Austrian imperial family to decorate the facades of his palace according to the new design principles, and thus certified the aristocratic claim that this also "historicism" said style on the part of the imperial house was attributed.
Image: The Old Albertina after 1920
It was the palace of Archduke Albrecht (1817-1895), the Senior of the Habsburg Family Council, who as Field Marshal held the overall command over the Austro-Hungarian army. The building was incorporated into the imperial residence of the Hofburg complex, forming the south-west corner and extending eleven meters above street level on the so-called Augustinerbastei.
The close proximity of the palace to the imperial residence corresponded not only with Emperor Franz Joseph I and Archduke Albert with a close familial relationship between the owner of the palace and the monarch. Even the former inhabitants were always in close relationship to the imperial family, whether by birth or marriage. An exception here again proves the rule: Don Emanuel Teles da Silva Conde Tarouca (1696-1771), for which Maria Theresa in 1744 the palace had built, was just a close friend and advisor of the monarch. Silva Tarouca underpins the rule with a second exception, because he belonged to the administrative services as Generalhofbaudirektor (general court architect) and President of the Austrian-Dutch administration, while all other him subsequent owners were highest ranking military.
In the annals of Austrian history, especially those of military history, they either went into as commander of the Imperial Army, or the Austrian, later kk Army. In chronological order, this applies to Duke Carl Alexander of Lorraine, the brother-of-law of Maria Theresa, as Imperial Marshal, her son-in-law Duke Albert of Saxe-Teschen, also field marshal, whos adopted son, Archduke Charles of Austria, the last imperial field marshal and only Generalissimo of Austria, his son Archduke Albrecht of Austria as Feldmarschalil and army Supreme commander, and most recently his nephew Archduke Friedrich of Austria, who held as field marshal from 1914 to 1916 the command of the Austro-Hungarian troops. Despite their military profession, all five generals conceived themselves as patrons of the arts and promoted large sums of money to build large collections, the construction of magnificent buildings and cultural life. Charles Alexander of Lorraine promoted as governor of the Austrian Netherlands from 1741 to 1780 the Academy of Fine Arts, the Théâtre de Ja Monnaie and the companies Bourgeois Concert and Concert Noble, he founded the Academie royale et imperial des Sciences et des Lettres, opened the Bibliotheque Royal for the population and supported artistic talents with high scholarships. World fame got his porcelain collection, which however had to be sold by Emperor Joseph II to pay off his debts. Duke Albert began in 1776 according to the concept of conte Durazzo to set up an encyclopedic collection of prints, which forms the core of the world-famous "Albertina" today.
Image : Duke Albert and Archduchess Marie Christine show in family cercle the from Italy brought along art, 1776. Frederick Henry Füger.
1816 declared to Fideikommiss and thus in future indivisible, inalienable and inseparable, the collection 1822 passed into the possession of Archduke Carl, who, like his descendants, it broadened. Under him, the collection was introduced together with the sumptuously equipped palace on the Augustinerbastei in the so-called "Carl Ludwig'schen fideicommissum in 1826, by which the building and the in it kept collection fused into an indissoluble unity. At this time had from the Palais Tarouca by structural expansion or acquisition a veritable Residenz palace evolved. Duke Albert of Saxe-Teschen was first in 1800 the third floor of the adjacent Augustinian convent wing adapted to house his collection and he had after 1802 by his Belgian architect Louis de Montoyer at the suburban side built a magnificent extension, called the wing of staterooms, it was equipped in the style of Louis XVI. Only two decades later, Archduke Carl the entire palace newly set up. According to scetches of the architect Joseph Kornhäusel the 1822-1825 retreaded premises presented themselves in the Empire style. The interior of the palace testified from now in an impressive way the high rank and the prominent position of its owner. Under Archduke Albrecht the outer appearance also should meet the requirements. He had the facade of the palace in the style of historicism orchestrated and added to the Palais front against the suburbs an offshore covered access. Inside, he limited himself, apart from the redesign of the Rococo room in the manner of the second Blondel style, to the retention of the paternal stock. Archduke Friedrich's plans for an expansion of the palace were omitted, however, because of the outbreak of the First World War so that his contribution to the state rooms, especially, consists in the layout of the Spanish apartment, which he in 1895 for his sister, the Queen of Spain Maria Christina, had set up as a permanent residence.
Picture: The "audience room" after the restoration: Picture: The "balcony room" around 1990
The era of stately representation with handing down their cultural values found its most obvious visualization inside the palace through the design and features of the staterooms. On one hand, by the use of the finest materials and the purchase of masterfully manufactured pieces of equipment, such as on the other hand by the permanent reuse of older equipment parts. This period lasted until 1919, when Archduke Friedrich was expropriated by the newly founded Republic of Austria. With the republicanization of the collection and the building first of all finished the tradition that the owner's name was synonymous with the building name:
After Palais Tarouca or tarokkisches house it was called Lorraine House, afterwards Duke Albert Palais and Palais Archduke Carl. Due to the new construction of an adjacently located administration building it received in 1865 the prefix "Upper" and was referred to as Upper Palais Archduke Albrecht and Upper Palais Archduke Frederick. For the state a special reference to the Habsburg past was certainly politically no longer opportune, which is why was decided to name the building according to the in it kept collection "Albertina".
Picture: The "Wedgwood Cabinet" after the restoration: Picture: the "Wedgwood Cabinet" in the Palais Archduke Friedrich, 1905
This name derives from the term "La Collection Albertina" which had been used by the gallery Inspector Maurice von Thausing in 1870 in the Gazette des Beaux-Arts for the former graphics collection of Duke Albert. For this reason, it was the first time since the foundation of the palace that the name of the collection had become synonymous with the room shell. Room shell, hence, because the Republic of Austria Archduke Friedrich had allowed to take along all the movable goods from the palace in his Hungarian exile: crystal chandeliers, curtains and carpets as well as sculptures, vases and clocks. Particularly stressed should be the exquisite furniture, which stems of three facilities phases: the Louis XVI furnitures of Duke Albert, which had been manufactured on the basis of fraternal relations between his wife Archduchess Marie Christine and the French Queen Marie Antoinette after 1780 in the French Hofmanufakturen, also the on behalf of Archduke Charles 1822-1825 in the Vienna Porcelain Manufactory by Joseph Danhauser produced Empire furnitures and thirdly additions of the same style of Archduke Friedrich, which this about 1900 at Portois & Ffix as well as at Friedrich Otto Schmidt had commissioned.
The "swept clean" building got due to the strained financial situation after the First World War initially only a makeshift facility. However, since until 1999 no revision of the emergency equipment took place, but differently designed, primarily the utilitarianism committed office furnitures complementarily had been added, the equipment of the former state rooms presented itself at the end of the 20th century as an inhomogeneous administrative mingle-mangle of insignificant parts, where, however, dwelt a certain quaint charm. From the magnificent state rooms had evolved depots, storage rooms, a library, a study hall and several officed.
Image: The Albertina Graphic Arts Collection and the Philipphof after the American bombing of 12 März 1945.
Image: The palace after the demolition of the entrance facade, 1948-52
Worse it hit the outer appearance of the palace, because in times of continued anti-Habsburg sentiment after the Second World War and inspired by an intolerant destruction will, it came by pickaxe to a ministerial erasure of history. In contrast to the graphic collection possessed the richly decorated facades with the conspicuous insignia of the former owner an object-immanent reference to the Habsburg past and thus exhibited the monarchial traditions and values of the era of Francis Joseph significantly. As part of the remedial measures after a bomb damage, in 1948 the aristocratic, by Archduke Albert initiated, historicist facade structuring along with all decorations was cut off, many facade figures demolished and the Hapsburg crest emblems plunged to the ground. Since in addition the old ramp also had been cancelled and the main entrance of the bastion level had been moved down to the second basement storey at street level, ended the presence of the old Archduke's palace after more than 200 years. At the reopening of the "Albertina Graphic Collection" in 1952, the former Hapsburg Palais of splendour presented itself as one of his identity robbed, formally trivial, soulless room shell, whose successful republicanization an oversized and also unproportional eagle above the new main entrance to the Augustinian road symbolized. The emocratic throw of monuments had wiped out the Hapsburg palace from the urban appeareance, whereby in the perception only existed a nondescript, nameless and ahistorical building that henceforth served the lodging and presentation of world-famous graphic collection of the Albertina. The condition was not changed by the decision to the refurbishment because there were only planned collection specific extensions, but no restoration of the palace.
Image: The palace after the Second World War with simplified facades, the rudiment of the Danubiusbrunnens (well) and the new staircase up to the Augustinerbastei
This paradigm shift corresponded to a blatant reversal of the historical circumstances, as the travel guides and travel books for kk Residence and imperial capital of Vienna dedicated itself primarily with the magnificent, aristocratic palace on the Augustinerbastei with the sumptuously fitted out reception rooms and mentioned the collection kept there - if at all - only in passing. Only with the repositioning of the Albertina in 2000 under the direction of Klaus Albrecht Schröder, the palace was within the meaning and in fulfillment of the Fideikommiss of Archduke Charles in 1826 again met with the high regard, from which could result a further inseparable bond between the magnificent mansions and the world-famous collection. In view of the knowing about politically motivated errors and omissions of the past, the facades should get back their noble, historicist designing, the staterooms regain their glamorous, prestigious appearance and culturally unique equippment be repurchased. From this presumption, eventually grew the full commitment to revise the history of redemption and the return of the stately palace in the public consciousness.
Image: The restored suburb facade of the Palais Albertina suburb
The smoothed palace facades were returned to their original condition and present themselves today - with the exception of the not anymore reconstructed Attica figures - again with the historicist decoration and layout elements that Archduke Albrecht had given after the razing of the Augustinerbastei in 1865 in order. The neoclassical interiors, today called after the former inhabitants "Habsburg Staterooms", receiving a meticulous and detailed restoration taking place at the premises of originality and authenticity, got back their venerable and sumptuous appearance. From the world wide scattered historical pieces of equipment have been bought back 70 properties or could be returned through permanent loan to its original location, by which to the visitors is made experiencable again that atmosphere in 1919 the state rooms of the last Habsburg owner Archduke Frederick had owned. The for the first time in 80 years public accessible "Habsburg State Rooms" at the Palais Albertina enable now again as eloquent testimony to our Habsburg past and as a unique cultural heritage fundamental and essential insights into the Austrian cultural history. With the relocation of the main entrance to the level of the Augustinerbastei the recollection to this so valuable Austrian Cultural Heritage formally and functionally came to completion. The vision of the restoration and recovery of the grand palace was a pillar on which the new Albertina should arise again, the other embody the four large newly built exhibition halls, which allow for the first time in the history of the Albertina, to exhibit the collection throughout its encyclopedic breadh under optimal conservation conditions.
Image: The new entrance area of the Albertina
64 meter long shed roof. Hans Hollein.
The palace presents itself now in its appearance in the historicist style of the Ringstrassenära, almost as if nothing had happened in the meantime. But will the wheel of time should not, cannot and must not be turned back, so that the double standards of the "Albertina Palace" said museum - on the one hand Habsburg grandeur palaces and other modern museum for the arts of graphics - should be symbolized by a modern character: The in 2003 by Hans Hollein designed far into the Albertina square cantilevering, elegant floating flying roof. 64 meters long, it symbolizes in the form of a dynamic wedge the accelerated urban spatial connectivity and public access to the palace. It advertises the major changes in the interior as well as the huge underground extensions of the repositioned "Albertina".
Christian Benedictine
Art historian with research interests History of Architecture, building industry of the Hapsburgs, Hofburg and Zeremonialwissenschaft (ceremonial sciences). Since 1990 he works in the architecture collection of the Albertina. Since 2000 he supervises as director of the newly founded department "Staterooms" the restoration and furnishing of the state rooms and the restoration of the facades and explores the history of the palace and its inhabitants.
Florenz - Kathedrale
seen from Piazzale Michelangelo
gesehen vom seen Piazzale Michelangelo
Florence Cathedral (Italian: Duomo di Firenze), formally the Cathedral of Saint Mary of the Flower (Italian: Cattedrale di Santa Maria del Fiore [katteˈdraːle di ˈsanta maˈriːa del ˈfjoːre]), is the cathedral of Florence, Italy. It was begun in 1296 in the Gothic style to a design of Arnolfo di Cambio and was structurally completed by 1436, with the dome engineered by Filippo Brunelleschi. The exterior of the basilica is faced with polychrome marble panels in various shades of green and pink, bordered by white, and has an elaborate 19th-century Gothic Revival façade by Emilio De Fabris.
The cathedral complex, in Piazza del Duomo, includes the Baptistery and Giotto's Campanile. These three buildings are part of the UNESCO World Heritage Site covering the historic centre of Florence and are a major tourist attraction of Tuscany. The basilica is one of Italy's largest churches, and until the development of new structural materials in the modern era, the dome was the largest in the world. It remains the largest brick dome ever constructed.
The cathedral is the mother church of the Archdiocese of Florence, whose archbishop is Giuseppe Betori.
History
Santa Maria del Fiore was built on the site of Florence's second cathedral dedicated to Saint Reparata; the first was the Basilica di San Lorenzo di Firenze, the first building of which was consecrated as a church in 393 by St. Ambrose of Milan.The ancient structure, founded in the early 5th century and having undergone many repairs, was crumbling with age, according to the 14th-century Nuova Cronica of Giovanni Villani, and was no longer large enough to serve the growing population of the city. Other major Tuscan cities had undertaken ambitious reconstructions of their cathedrals during the Late Medieval period, such as Pisa and particularly Siena where the enormous proposed extensions were never completed.
City council approved the design of Arnolfo di Cambio for the new church in 1294. Di Cambio was also architect of the church of Santa Croce and the Palazzo Vecchio. He designed three wide naves ending under the octagonal dome, with the middle nave covering the area of Santa Reparata. The first stone was laid on 9 September 1296, by Cardinal Valeriana, the first papal legate ever sent to Florence. The building of this vast project was to last 140 years; Arnolfo's plan for the eastern end, although maintained in concept, was greatly expanded in size.
After Arnolfo died in 1302, work on the cathedral slowed for almost 50 years. When the relics of Saint Zenobius were discovered in 1330 in Santa Reparata, the project gained a new impetus. In 1331, the Arte della Lana, the guild of wool merchants, took over patronage for the construction of the cathedral and in 1334 appointed Giotto to oversee the work. Assisted by Andrea Pisano, Giotto continued di Cambio's design. His major accomplishment was the building of the campanile. When Giotto died on 8 January 1337, Andrea Pisano continued the building until work was halted due to the Black Death in 1348.
In 1349, work resumed on the cathedral under a series of architects, starting with Francesco Talenti, who finished the campanile and enlarged the overall project to include the apse and the side chapels. In 1359, Talenti was succeeded by Giovanni di Lapo Ghini (1360–1369) who divided the centre nave in four square bays. Other architects were Alberto Arnoldi, Giovanni d'Ambrogio, Neri di Fioravanti and Andrea Orcagna. By 1375, the old church Santa Reparata was pulled down. The nave was finished by 1380, and only the dome remained incomplete until 1418.
On 19 August 1418, the Arte della Lana announced an architectural design competition for erecting Neri's dome. The two main competitors were two master goldsmiths, Lorenzo Ghiberti and Filippo Brunelleschi, the latter of whom was supported by Cosimo de Medici. Ghiberti had been the winner of a competition for a pair of bronze doors for the Baptistery in 1401 and lifelong competition between the two remained sharp. Brunelleschi won and received the commission.
Ghiberti, appointed coadjutor, drew a salary equal to Brunelleschi's and, though neither was awarded the announced prize of 200 florins, was promised equal credit, although he spent most of his time on other projects. When Brunelleschi became ill, or feigned illness, the project was briefly in the hands of Ghiberti. But Ghiberti soon had to admit that the whole project was beyond him. In 1423, Brunelleschi was back in charge and took over sole responsibility.
Work on the dome began in 1420 and finished in 1436. The cathedral was consecrated by Pope Eugene IV on 25 March 1436, (the first day of the year according to the Florentine calendar). It was the first 'octagonal' dome in history to be built without a temporary wooden supporting frame. It was one of the most impressive projects of the Renaissance. During the consecration in 1436, Guillaume Dufay's motet Nuper rosarum flores was performed.
The decoration of the exterior of the cathedral, begun in the 14th century, was not completed until 1887, when the polychrome marble façade was completed with the design of Emilio De Fabris. The floor of the church was relaid in marble tiles in the 16th century.
The exterior walls are faced in alternate vertical and horizontal bands of polychrome marble from Carrara (white), Prato (green), Siena (red), Lavenza and a few other places. These marble bands had to repeat the already existing bands on the walls of the earlier adjacent baptistery the Battistero di San Giovanni and Giotto's Bell Tower. There are two side doors: the Doors of the Canonici (south side) and the Door of the Mandorla (north side) with sculptures by Nanni di Banco, Donatello, and Jacopo della Quercia. The six side windows, notable for their delicate tracery and ornaments, are separated by pilasters. Only the four windows closest to the transept admit light; the other two are merely ornamental. The clerestory windows are round, a common feature in Italian Gothic.
Exterior
Plan and structure
The cathedral of Florence is built as a basilica, having a wide central nave of four square bays, with an aisle on either side. The chancel and transepts are of identical polygonal plan, separated by two smaller polygonal chapels. The whole plan forms a Latin cross. The nave and aisles are separated by wide pointed Gothic arches resting on composite piers.
The dimensions of the building are enormous: building area 8,300 m2 (89,340 sq ft), length 153 m (502 ft), width 38 m (125 ft), width at the crossing 90 m (300 ft). The height of the arches in the aisles is 23 m (75 ft). The height of the dome is 114.5 m (375.7 ft). It has the fifth tallest dome in the world.
Planned sculpture for the exterior
The Overseers of the Office of Works of Florence Cathedral the Arte della Lana, had plans to commission a series of twelve large Old Testament sculptures for the buttresses of the cathedral. Donatello, then in his early twenties, was commissioned to carve a statue of David in 1408, to top one of the buttresses of Florence Cathedral, though it was never placed there. Nanni di Banco was commissioned to carve a marble statue of Isaiah, at the same scale, in the same year. One of the statues was lifted into place in 1409, but was found to be too small to be easily visible from the ground and was taken down; both statues then languished in the workshop of the opera for several years. In 1410 Donatello made the first of the statues, a figure of Joshua in terracotta. In 1409–1411 Donatello made a statue of Saint John the Evangelist which until 1588 was in a niche of the old cathedral façade. Between 1415 and 1426, Donatello created five statues for the campanile of Santa Maria del Fiore in Florence, also known as the Duomo. These works are the Beardless Prophet; Bearded Prophet (both from 1415); the Sacrifice of Isaac (1421); Habbakuk (1423–25); and Jeremiah (1423–26); which follow the classical models for orators and are characterized by strong portrait details. A figure of Hercules, also in terracotta, was commissioned from the Florentine sculptor Agostino di Duccio in 1463 and was made perhaps under Donatello's direction. A statue of David by Michelangelo was completed 1501–1504 although it could not be placed on the buttress because of its six-ton weight. In 2010 a fiberglass replica of "David" was placed for one day on the Florence cathedral.
Dome
After a hundred years of construction and by the beginning of the 15th century, the structure was still missing its dome. The basic features of the dome had been designed by Arnolfo di Cambio in 1296. His brick model, 4.6 m (15.1 ft) high, 9.2 m (30.2 ft) long, was standing in a side aisle of the unfinished building, and had long been sacrosanct. It called for an octagonal dome higher and wider than any that had ever been built, with no external buttresses to keep it from spreading and falling under its own weight.
The commitment to reject traditional Gothic buttresses had been made when Neri di Fioravanti's model was chosen over a competing one by Giovanni di Lapo Ghini. That architectural choice, in 1367, was one of the first events of the Italian Renaissance, marking a break with the Medieval Gothic style and a return to the classic Mediterranean dome. Italian architects regarded Gothic flying buttresses as ugly makeshifts. Furthermore, the use of buttresses was forbidden in Florence, as the style was favored by central Italy's traditional enemies to the north. Neri's model depicted a massive inner dome, open at the top to admit light, like Rome's Pantheon, partly supported by the inner dome, but enclosed in a thinner outer shell, to keep out the weather. It was to stand on an unbuttressed octagonal drum. Neri's dome would need an internal defense against spreading (hoop stress), but none had yet been designed.
The building of such a masonry dome posed many technical problems. Brunelleschi looked to the great dome of the Pantheon in Rome for solutions. The dome of the Pantheon is a single shell of concrete, the formula for which had long since been forgotten. The Pantheon had employed structural centring to support the concrete dome while it cured. This could not be the solution in the case of a dome this size and would put the church out of use. For the height and breadth of the dome designed by Neri, starting 52 m (171 ft) above the floor and spanning 44 m (144 ft), there was not enough timber in Tuscany to build the scaffolding and forms. Brunelleschi chose to follow such design and employed a double shell, made of sandstone and marble. Brunelleschi would have to build the dome out of brick, due to its light weight compared to stone and being easier to form, and with nothing under it during construction. To illustrate his proposed structural plan, he constructed a wooden and brick model with the help of Donatello and Nanni di Banco, a model which is still displayed in the Museo dell'Opera del Duomo. The model served as a guide for the craftsmen, but was intentionally incomplete, so as to ensure Brunelleschi's control over the construction.
Brunelleschi's solutions were ingenious. The spreading problem was solved by a set of four internal horizontal stone and iron chains, serving as barrel hoops, embedded within the inner dome: one at the top, one at the bottom, with the remaining two evenly spaced between them. A fifth chain, made of wood, was placed between the first and second of the stone chains. Since the dome was octagonal rather than round, a simple chain, squeezing the dome like a barrel hoop, would have put all its pressure on the eight corners of the dome. The chains needed to be rigid octagons, stiff enough to hold their shape, so as not to deform the dome as they held it together.
Each of Brunelleschi's stone chains was built like an octagonal railroad track with parallel rails and cross ties, all made of sandstone beams 43 cm (17 in) in diameter and no more than 2.3 m (7.5 ft) long. The rails were connected end-to-end with lead-glazed iron splices. The cross ties and rails were notched together and then covered with the bricks and mortar of the inner dome. The cross ties of the bottom chain can be seen protruding from the drum at the base of the dome. The others are hidden. Each stone chain was supposed to be reinforced with a standard iron chain made of interlocking links, but a magnetic survey conducted in the 1970s failed to detect any evidence of iron chains, which if they exist are deeply embedded in the thick masonry walls. Brunelleschi also included vertical "ribs" set on the corners of the octagon, curving towards the center point. The ribs, 4 m (13 ft) deep, are supported by 16 concealed ribs radiating from center.The ribs had slits to take beams that supported platforms, thus allowing the work to progress upward without the need for scaffolding.
A circular masonry dome can be built without supports, called centering, because each course of bricks is a horizontal arch that resists compression. In Florence, the octagonal inner dome was thick enough for an imaginary circle to be embedded in it at each level, a feature that would hold the dome up eventually, but could not hold the bricks in place while the mortar was still wet. Brunelleschi used a herringbone brick pattern to transfer the weight of the freshly laid bricks to the nearest vertical ribs of the non-circular dome.
The outer dome was not thick enough to contain embedded horizontal circles, being only 60 cm (2 ft) thick at the base and 30 cm (1 ft) thick at the top. To create such circles, Brunelleschi thickened the outer dome at the inside of its corners at nine different elevations, creating nine masonry rings, which can be observed today from the space between the two domes. To counteract hoop stress, the outer dome relies entirely on its attachment to the inner dome and has no embedded chains.
A modern understanding of physical laws and the mathematical tools for calculating stresses were centuries in the future. Brunelleschi, like all cathedral builders, had to rely on intuition and whatever he could learn from the large scale models he built. To lift 37,000 tons of material, including over 4 million bricks, he invented hoisting machines and lewissons for hoisting large stones. These specially designed machines and his structural innovations were Brunelleschi's chief contribution to architecture. Although he was executing an aesthetic plan made half a century earlier, it is his name, rather than Neri's, that is commonly associated with the dome.
Brunelleschi's ability to crown the dome with a lantern was questioned and he had to undergo another competition, even though there had been evidence that Brunelleschi had been working on a design for a lantern for the upper part of the dome. The evidence is shown in the curvature, which was made steeper than the original model. He was declared the winner over his competitors Lorenzo Ghiberti and Antonio Ciaccheri. His design (now on display in the Museum Opera del Duomo) was for an octagonal lantern with eight radiating buttresses and eight high arched windows. Construction of the lantern was begun a few months before his death in 1446. Then, for 15 years, little progress was possible, due to alterations by several architects. The lantern was finally completed by Brunelleschi's friend Michelozzo in 1461. The conical roof was crowned with a gilt copper ball and cross, containing holy relics, by Verrocchio in 1469. This brings the total height of the dome and lantern to 114.5 m (376 ft). This copper ball was struck by lightning on 17 July 1600 and fell down. It was replaced by an even larger one two years later.
The commission for this gilt copper ball [atop the lantern] went to the sculptor Andrea del Verrocchio, in whose workshop there was at this time a young apprentice named Leonardo da Vinci. Fascinated by Filippo's [Brunelleschi's] machines, which Verrocchio used to hoist the ball, Leonardo made a series of sketches of them and, as a result, is often given credit for their invention.
Leonardo might have also participated in the design of the bronze ball, as stated in the G manuscript of Paris "Remember the way we soldered the ball of Santa Maria del Fiore".
The decorations of the drum gallery by Baccio d'Agnolo were never finished after being disapproved by no one less than Michelangelo.
A huge statue of Brunelleschi now sits outside the Palazzo dei Canonici in the Piazza del Duomo, looking thoughtfully up towards his greatest achievement, the dome that would forever dominate the panorama of Florence. It is still the largest masonry dome in the world.
The building of the cathedral had started in 1296 with the design of Arnolfo di Cambio and was completed in 1469 with the placing of Verrochio's copper ball atop the lantern. But the façade was still unfinished and would remain so until the 19th century.
Facade
The original façade, designed by Arnolfo di Cambio and usually attributed to Giotto, was actually begun twenty years after Giotto's death. A mid-15th-century pen-and-ink drawing of this so-called Giotto's façade is visible in the Codex Rustici, and in the drawing of Bernardino Poccetti in 1587, both on display in the Museum of the Opera del Duomo. This façade was the collective work of several artists, among them Andrea Orcagna and Taddeo Gaddi. This original façade was completed in only its lower portion and then left unfinished. It was dismantled in 1587–1588 by the Medici court architect Bernardo Buontalenti, ordered by Grand Duke Francesco I de' Medici, as it appeared totally outmoded in Renaissance times. Some of the original sculptures are on display in the Museum Opera del Duomo, behind the cathedral. Others are now in the Berlin Museum and in the Louvre.
The competition for a new façade turned into a huge corruption scandal. The wooden model for the façade of Buontalenti is on display in the Museum Opera del Duomo. A few new designs had been proposed in later years, but the models (of Giovanni Antonio Dosio, Giovanni de' Medici with Alessandro Pieroni and Giambologna) were not accepted. The façade was then left bare until the 19th century.
In 1864, a competition held to design a new façade was won by Emilio De Fabris (1808–1883) in 1871. Work began in 1876 and was completed in 1887. This neo-gothic façade in white, green and red marble forms a harmonious entity with the cathedral, Giotto's bell tower and the Baptistery, but some think it is excessively decorated.
The whole façade is dedicated to the Mother of Christ.
Cracking of the dome
The unreinforced masonry that Brunelleschi used to construct the dome is weak in tension which leads to cracking when tensile stresses exceed the limited masonry tensile strength. The material is especially susceptible to damage from seismic loading due to its heterogeneity and many surfaces between different materials (stones to mortar connection).
Cracking of the dome was observed even before its construction was completed. It is possible that the first cracks were caused by a strong earthquake in 1453.[
The first written evidence about the presence of cracks appears in a report by Gherardo Silvani report dated 18 September 1639 which refers to "peli" ("hairs"). In 1694 Gianbattista Nelli and Vincenzo Viviani surveyed the cracks with Nelli recording that there were two major cracks with a maximum width of 29 mm (1.1 in). They believed that the cracks were caused by the weight of the dome, and the resulting the horizontal thrusts on the pillars. A commission, headed by Vincenzo Viviani carried out investigations in 1695 and came to the conclusion that the cracking was due to the dead weight of the buildings, it was proposed that the dome be strengthened by installing four large iron belts; three on the outside of the dome between the bugling area of the dome and the circular windows, while the fourth would be installed internally in the second walkway between the two shells. This was similar to what had been done on the dome of St. Peter's in Rome. After a long debate, a decision was made to leave the dome as it was.
The first most complete survey of the cracks was published in 1757 by the Jesuit Leonardo Ximenes (1716–1786). In his document he described 13 different crack typologies. In 1934, Pier Luigi Nervi, who was head of a special commission established by the Opera del Duomo to study the cracking observed that the cracks opened and closed with the seasons. In the winter, the dome's stone and bricks would contract causing the cracks to widen while over the summer the materials would expand and the cracks would close up. While modern buildings by design incorporate expansion joints, the cathedral's dome does not include any and so subsequently developed its own expansion joints in the form of these cracks which allowed the structure to "breathe". To date they have not caused any catastrophic damage to the dome.
In 1955 the Opera del Duomo installed 22 mechanical deformometers, which were read four times a year to record the variations in the width of the major cracks in the inner dome. At the same time the dome's internal and external temperatures were also recorded. This remained in service until 2009.
In 1975 a commission was appointed by the Italian government to safeguard the dome. In 1978 a government culture agency decided to restore the frescoes. Brunelleschi left forty eight 600 mm (24 in) holes in the base of the dome. They are open on the inside and covered by the outer skin of the dome. It has long been assumed that the holes simply served as mounts for the scaffold used when frescoes were painted on the inside of the dome. While the holes had been able to support the scaffolding used for the creation of the frescos on the interior of the dome they were not strong enough for the network of modern metal scaffolding necessary to provide access for the restoration work undertaken on the frescos between 1979 and 1995. To strengthen the scaffolding, the private company contracted to build scaffolding for the work was allowed in 1982 to fill the holes with concrete so that steel beams could be anchored in them.
In 1985 local architect Lando Bartoli noticed that additional cracks were forming around the sealed holes. It was theorized at the time that in summer the four major masses separated by the "A" cracks expanded into the fissures, but now, at the base of the dome, the masses come up against the unyielding concrete that now fills the 48 holes acts as a fulcrum which causes the energy that was once dissipated with the closing of the fissures and into the holes to be transferred into the upper areas of the dome. However analysis by Andrea Chiarugi, Michele Fanelli and Giuseppetti (published in 1983) found that the principal source of the cracks was a dead-weight effect due to the geometry of the dome, its weight (estimated to be 25,000 tons) and the insufficient resistance of the ring beam, while thermal variations, has caused fatigue loading and thus expanding of the structure. This is a well-known collapse mechanism typical of domed structures: a lowering of the top of the structure under its own weight with significant horizontal thrusts on the bearing elements.
In 1985 a commission established by the Italian Ministry of Cultural and Monumental Heritage accepted this theory. The debate about the filling of the scaffolding holes was finally settled in 1987 when it was demonstrated that closing the 48 holes had had no impact on the expansion and contraction of the dome. A survey completed in 1984 counted a total of 493 cracks of various sizes, sorted into categories identified by the letters "A" through "D". These are as follows:
Type A. These are sub-vertical major cracks that start from the ring beam and continue upwards for approximately two-thirds of the height of the dome; they pass through both the internal and external layer of the even webs and their range in thickness from 55 mm (2.2 in) to 60 mm (2.4 in) (webs 4 and 6) and 25 mm (0.98 in) to 30 mm (1.2 in) (webs 2 and 8). The dome has eight webs numbered counter clockwise from 1, which faces the main nave of the cathedral. These effectively divide the dome into quarters and never completely close in summer. There is a theory that the plaster used to patch the cracks over the years and crumbling building materials have jammed the fissures.
Type B. These sub-vertical minor cracks are located near the circular windows.
Type C. These are sub-vertical minor cracks that are present around the eight edges of the dome.
Type D. These are four sub-vertical minor cracks in the internal part of the odd webs. They do not pass through the width of the dome.
All have formed in a symmetrical pattern.
The development of the Type "A" cracks means that the dome now permanently behaves as four drifting half-arches linked below the upper oculus. The abutments of these half-arches are constituted by the pillars, the chapels and the nave of the church. The differences in the cracking patterns between even and odd webs is believed to be due to variations in the stiffness of the supporting ring beam structure under the dome as it is supported by four heavy pillars which line up with the even webs while the odd webs are located over four arches which connect the pillars.
In 1987 a second and more comprehensive digital system (which automatically collects data every six hours) was installed by ISMES (in cooperation with the "Soprintendenza", the local branch of the Ministry of Culture, which is responsible for the conservation of all historical monuments in Florence) in 1987. It consists of 166 instruments, among which are 60 thermometers measuring the masonry and air temperature at various locations, 72 inductive type displacement transducers (deformometers) at various levels on the main cracks of the inner and outer domes; eight plumb-lines at the centre of each web, which measure the relative displacements between pillars and tambour; eight livellometers and two piezometers, one near the web 4 and the other below the nave which register the variation of the underground water level. A linear regression analysis of the recorded data has shown that the major cracks are widening by approximately 3 mm (0.12 in) per century. Another source quotes a movement of 5.5mm.
Using software that had been used to model the structures of large dam a computer model of the dome was developed in 1980 in a collaboration between Italian National Agency for Electric Power and Structural and Hydraulic Research Centre (CRIS) by a group of researcher leaded by Michele Fanelli and Gabriella Giuseppetti in cooperation with the Department of Civil Engineering of the University of Florence, under the supervision of Andrea Chiarugi. Because of limited computational resources and for reasons of symmetry only a quarter of the dome was modelled. The resulting finite elements analysis confirmed that the main cracks was essentially being created by self-weight of the dome. Since then series of numerical models of increasing complexity have been developed. To assist in monitoring of the dome an extensive photogrammetric and topographical survey of the entire dome was commissioned in 1992 by the "Soprintendenza". The results of this survey were then used to further develop the finite elements model of the dome.
(Wikipedia)
Die Kathedrale Santa Maria del Fiore (italienisch Cattedrale metropolitana di Santa Maria del Fiore) in Florenz ist die Bischofskirche des Erzbistums Florenz und somit Metropolitankirche der Kirchenprovinz Florenz. Sie wurde von Papst Eugen IV. am 24. März 1436 geweiht und trägt den Titel einer Basilica minor. Das Kirchenschiff fasst circa 4.000–5.000 Personen. Ihre gewaltige Kuppel, das Hauptwerk Brunelleschis, gilt als technische Meisterleistung der frühen Renaissance.
Dimensionen
Der Florentiner Dom ist, bezogen auf die Länge des Längsschiffs, nach dem Petersdom im Vatikan, St Paul’s Cathedral in London und dem Mailänder Dom die viertgrößte Kirche in Europa (nach der bebauten Fläche rangiert allerdings noch die Kathedrale von Sevilla in Spanien an dritter Stelle). Seine Abmessungen: 153 m Länge, 38 m Breite, Breite des Kuppelfundaments 90 m. Die Seitenschiffe haben eine Gewölbehöhe von 23 m, das Mittelschiff ist um etwa 12 Meter höher. Die lichte Höhe der Kuppel beträgt vom Boden bis zur Laterne 90 m. Außen ist die Kuppel mit Laterne mehr als 114 m hoch.
Baugeschichte
Bis ins 13. Jahrhundert hatten den Bewohnern der Stadt das Baptisterium San Giovanni sowie einige kleine Kirchen zur Repräsentation genügt. Erst 1296 entschloss man sich zum Bau eines Doms nach Plänen von Arnolfo di Cambio. Der Bau sollte Ausmaße haben, wie sie die Toskana nie zuvor gesehen hatte. Der Entschluss kam nicht aus einem religiösen Impuls, sondern aus dem Wunsch nach einem weithin sichtbaren Monument, nicht zuletzt in Konkurrenz zu Venedig, Pisa und zum 1229 begonnenen Dombau in Siena.
Baubeginn
Noch im gleichen Jahre wurde mit der Errichtung der Westfassade begonnen. Die ursprüngliche Bischofskirche, Santa Reparata, wurde dabei zunächst von dem Neubau umgeben und weiter liturgisch genutzt. Nach dem Tod Arnolfos kamen die Arbeiten zum Erliegen, da die Ressourcen zum Bau der dritten Stadtmauer und zur Errichtung des Palazzo della Signoria genutzt wurden. Von der Fassade war nach Arnolfos Entwürfen bis dahin nur der untere Teil vollendet.
Der Campanile Giottos
Erst die spätere Berufung Giottos brachte neue Impulse. Doch Giotto, schon 68 Jahre alt, richtete seine ganze Energie auf den Campanile, der in kürzerer Zeit zu vollenden war. So wollte er Florenz wenigstens mit dem Campanile ein alles überragendes Wahrzeichen schenken.
Die Turmfundamente waren bereits 1298 zu Beginn der Bauarbeiten an der neuen Kathedrale unter Arnolfo di Cambio gelegt worden. Die für die italienische Gotik ungewöhnliche Position des Glockenturms – in einer Linie mit der Westfassade – wird zum einen als Indiz für die besondere Betonung der Vertikalen als Zentrum der Bischöflichen Insel gewertet, andererseits wollte man die Sichtachse auf die geplante große Kuppel freihalten.
Giotto di Bondone entwarf einen Campanile, der eine pyramidenförmige Spitze mit einer Höhe von 50 florentinischen Braccia (Armlängen), also etwa 30 Metern gehabt hätte; insgesamt wäre er 110–115 Meter hoch geworden. Bei Giottos Tod im Jahr 1337 war erst das erste Geschoss fertiggestellt. Andrea Pisano und Francesco Talenti beendeten den Bau 1359 mit einigen Änderungen. Der Turm bekam ein niedriges Pyramidendach und wurde nur 85 m hoch.
Im Turm sind insgesamt zwölf Kirchenglocken untergebracht. Eine Glocke befindet sich abgestellt auf dem Boden des Glockengeschosses. Sie ist die 1516 von Lodovico di Guglielmo gegossene 2500 Kilogramm schwere Apostolica. Zudem hängen auf allen vier Seiten, jeweils zwischen Glockenstube und Fenster vier kleinere Glocken (Beona, Maria Anna, Campana Piccola, Campana Più Piccola), die nicht geläutet werden können. Die übrigen sieben Glocken bilden das Hauptgeläut, das seit 2000/2001 über einen neuen elektrischen Läuteantrieb verfügt.
Wiederaufnahme der Bauarbeiten am Dom
Ab 1330 übernahm die Wollweberzunft die Verantwortung für den Dombau. Neue Baumeister modifizierten die Pläne immer wieder, bis sie 1368 gebilligt und das danach entstandene Ziegelmodell (Maßstab 1:10) für verbindlich erklärt wurden. Der Bau konnte nun schneller vorangetrieben werden. Schon 1379 wurde das Langhaus für den Gottesdienst in Gebrauch genommen.
Fassade
Die unter Arnolfo di Cambio begonnene Fassade wurde schon 1588 als unzeitgemäß empfunden und abgerissen, um Platz für eine neue Fassadengestaltung zu schaffen, für die die Mittel dann allerdings nicht ausreichten. Die heutige Westfassade ist eine neogotische Vervollständigung des späten 19. Jahrhunderts, die den Stil des Langhauses, die Gestaltung in dreifarbigem Marmor, fortsetzt. Sie wurde nach Entwürfen von Emilio de Fabris und Guglielmo Calderini (Obergeschoss) bis 1887 vollendet.
Kuppel
Brunelleschis Kuppel
1417 legte Brunelleschi sein erstes Kuppelmodell vor, nachdem vorher beschlossen worden war, eine noch prächtigere und größere Kuppel zu erstellen, als das erste Modell vorgesehen hatte. Der Bau der 107 Meter hohen Kuppel mit einem Durchmesser von 45 Metern dauerte 16 Jahre (1418 bis 1434). Von Anfang an trug die aus zwei Schalen bestehende Konstruktion sich selbst und wurde ohne Lehrgerüst errichtet. Aufgrund ihrer Einzigartigkeit wird sie noch heute als Höhepunkt der Renaissance gesehen. Der Dom wurde nach der Fertigstellung der Kuppel am 25. März 1436 in Anwesenheit von Donatello, Brunelleschi, Ghiberti, Michelozzo und Alberti durch Papst Eugen IV. geweiht. Für die Ausführung der Glasfenster wurde 1436 der Glasmaler Francesco Livi aus Lübeck nach Florenz berufen. Die Laterne wurde nach einem Entwurf Brunelleschis von 1446 bis 1461, zuletzt unter der Aufsicht von Michelozzo, erbaut. Bis zum Ende des 16. Jahrhunderts gab es immer wieder kleinere Arbeiten am Dom.
Ausmalung der Kuppel
Die Innenbemalung der Kuppel war nach früherer einhelliger Meinung der Kunsthistoriker missglückt. Kein Geringerer als Giorgio Vasari, der Vater der Kunstgeschichtsschreibung und der Schöpfer des gleichnamigen Korridors über den Ponte Vecchio, hatte 1572 dieses Fresko begonnen, das 1579 von Federico Zuccari vollendet wurde. Es ist in seinen Ausmaßen riesig und gilt nach der Fläche als der größte Fresken-Zyklus zu einem christlichen Thema. Hunderte von Kolossalfiguren gruppieren sich auf insgesamt 4000 m² um den Weltenrichter, den man in der unteren Mitte mühsam erkennen kann. Vasaris Traum soll es gewesen sein, Michelangelos Jüngstes Gericht in der Sixtinischen Kapelle zu übertreffen.
Das Riesenwerk ist nicht unproblematisch. Denn es ist so weit vom Boden entfernt, dass man kaum ein Detail hinreichend erkennen kann – der Kuppelraum ist normalerweise dunkler als auf den Fotos –, und vor allem: Das Fresko Vasaris lässt die Kuppel nicht höher erscheinen, sondern niedriger. Das Kuppelfresko wurde seit 1979 restauriert und ist 1994 wieder enthüllt worden, wobei die beiden Kunsthistorikerinnen Cristina Acidini und Cristina Danti bisher ungewürdigte künstlerische Qualitäten dokumentiert haben.
Vasari war schon krank, als er 1572 im Alter von 61 Jahren das Gerüst zur Ausmalung der Kuppel bestieg und starb bereits zwei Jahre danach 1574 lange vor der Vollendung des Freskos. Federico Zuccari übermalte und modernisierte teilweise Vasaris Malerei. Dabei unterliefen ihm auch einige Fehler. So bekam beispielsweise ein Esel die massigen Beine eines Bären, der seinerseits mit Hufen ausgestattet wurde, was vom Boden der Kathedrale aus jedoch nicht sichtbar ist.
Einzelne Aspekte zum Florentiner Kuppelbau
Vorgeschichte
Die Kuppel des Domes von Florenz ist nicht die Bekrönung der Vierung eines lateinischen Kreuzes, also einer Kreuzung von Langhaus und Querhaus, sondern einer Drei-Konchen-Anlage, somit also ein Zentralbau, der erste der Renaissance. Zumindest hieß es so lange Zeit in der Fachliteratur. Aber dieser Zentralbau ist eine Idee der Gotik und seine Durchführung wurde mit gotischen Mitteln erreicht. Man sagt also besser: Dieser gotische Plan kam den Tendenzen der Renaissance entgegen.
Die Bewunderung für das antike römische Pantheon und die architektonische Tradition hatten sich vereint, um die Kuppel zum idealen und zentralen Bestandteil der Kirche zu machen. Es scheint, dass man auch in jenen Fällen, in denen man keinen Zentralbau durchführen konnte, weil – wie hier am Florentiner Dom – ein Langhaus bereits vorgegeben war, sich als Ersatz dafür im Ostbau wenigstens die Illusion eines Zentralbaus mit der Kuppel als wichtigstem Bestandteil hat verschaffen wollen.
Dabei gab es eine prinzipielle Schwierigkeit in der Renaissance bei der Verbindung des Zentralbauideals mit rein liturgischen Erfordernissen. Sollte ein Zentralbau eine Kuppel erhalten, dann konnte er nicht allzu groß werden, weil die Konstruktion der Kuppel das schwierigste von allem war. Deshalb wurde das Ideal des reinen Zentralbaus meistens bei kleineren Kirchen erfüllt.
In großen Kirchen sollten aber auch viele Menschen zusammenkommen, und das widersprach den technischen Grenzen des Zentralbaus. Deshalb wurden häufig Kompromisse gebildet, indem man an einen zentralbauähnlichen Ostteil ein Langhaus anschloss. Jetzt konnten zwar viele Gläubige im Innenraum zusammengefasst werden, aber ein idealer Zentralbau war das nicht, wie man am Grundriss sehen kann.
Besonders dramatisch waren später diese Auseinandersetzungen beim Neubau von St. Peter in Rom. Auch hier siegte im Endeffekt die politische Wirkung eines solchen bedeutenden Baues über das architektonische Ideal Michelangelos. Und die Politik spielte auch hier in Florenz eine Rolle.
Die Kuppel als Träger der Staatsidee
Von jeher war Architektur in den italienischen Stadtstaaten dazu ausersehen, Träger der Staatsideen zu werden. Und die Kuppel des Florentiner Doms hier war der deutlich sichtbare Ausdruck eines neuen Machtanspruchs einer Stadt, die mit 50.000 Einwohnern so viele Bewohner hatte wie London. Durch Brunelleschi wurde die Kuppel zu einer neuen Pathosformel erhoben – und das merkt man bis hin zum Kapitol in Washington von 1857. Im Mittelalter war der Turm oder die Turmgruppe das höchste architektonische Zeichen städtischer Majestät. Jetzt in der Neuzeit, in der Renaissance, wurde die Kuppel das Symbol staatlicher Macht.
Hier spielt sicher auch eine Rolle, dass zur damaligen Zeit Florenz mit Kunstwerken deutlich weniger ausgestattet war als seine italienischen Konkurrenten. Nach den Zeiten der Protorenaissance im 11. Jahrhundert gab es seltsamerweise eine lange Pause in der Entwicklung der Kunst. Erst 1246 mit der Dominikanerkirche Santa Maria Novella wurde wieder eine neue Periode in der Kunstgeschichte der Stadt eröffnet.
Im ganzen 12. Jahrhundert und noch im frühen 13. Jahrhundert, als in Pisa bereits der Dom erweitert wurde, der Campanile, das Baptisterium und der Camposanto erbaut wurden, als man in Lucca, in Pistoia, in Prato und später auch in Arezzo und Siena Dome und Kirchen errichtete, entstand in Florenz kein Bauwerk gleichen Ranges. Während sich Pisa und Lucca zu Zentren der Bildhauerkunst und der Malerei entfalteten, ist für Florenz kaum eine Skulptur und kein Gemälde bezeugt. In dieser fast 150 Jahre dauernden Pause schuf Florenz stattdessen die wirtschaftlichen und politischen Voraussetzungen für seine spätere Vormachtstellung, die dann durch den Bau des Domes und vor allem durch die dominierende Kuppel neuen, majestätischen Ausdruck erhalten sollte. Also: Die Kuppel des Doms hatte für Florenz wortwörtlich überragende Bedeutung. Hier musste mit einem Schlag ein langer künstlerischer Rückstand übersprungen werden. Florenz hatte gleichsam keine Wahl. Die Kuppel musste gelingen.
Das Interessante daran ist, dass möglicherweise bereits Arnolfo di Cambio, der 1296 mit dem Bau begonnen hatte, eine solche Kuppel vorgesehen hatte. Inspiriert war diese Idee sicher damals schon vom Baptisterium und von den gigantischen Kuppelbauten der römischen Antike, vor allem auch hier vom Pantheon in Rom und von der Hagia Sophia in Byzanz. Als weiteres Vorbild darf sicher die Kuppel des Pisaner Domes angenommen werden und die des Doms von Siena, einer Stadt, zu der Florenz in besonderer Konkurrenz stand. Aber die Verbindung dieser Idee einer so gigantischen Kuppel mit einem gotischen Langhaus war neu.
Die Probleme eines Kuppelbaus
Der Plan zu einer riesigen Kuppel war auch 1367 vorherrschend, als nach langer Bauunterbrechung eine Kommission der Baumeister und Maler die Ausdehnung der Vierung selbstbewusst auf 42 Meter erhöhte und eine Gewölbehöhe der noch zu bauenden Kuppel von 83 Metern vorsah] Damit sollte die Florentiner Kuppel nicht nur die breiteste, sondern auch die höchste jemals errichtete Kuppel werden. Man hatte dabei sicher das Pantheon in Rom vor Augen, dessen Kuppeldurchmesser 42,70 Meter beträgt, also fast identisch mit den Florentiner Plänen.
Die aus diesen gewaltigen Ausmaßen resultierenden Schwierigkeiten erkannte man erst später. Denn man wusste nicht, wie man ein solch riesiges Gewölbe von 42 Metern Durchmesser über dem achteckigen Grundriss errichten konnte. Es erwies sich nämlich beispielsweise als unmöglich, die Gerüstbalken zu beschaffen, die für den Bau einer solchen Wölbung benötigt wurden. Denn man war zuvor – 1410–1413 – auf die kühne Idee gekommen, auf das 42 Meter hohe oktogonale Grundgeschoss noch ein Tambourgeschoß von knapp zehn Metern Höhe und 4½ Metern Dicke aufzusetzen, so dass die Kuppel erst in der unglaublichen Höhe von 52 Metern ansetzte, also in einer Höhe, die über den höchsten Gewölben der französischen gotischen Kathedralen lag – das höchste gotische Gewölbe hat die Kathedrale von Beauvais mit 48 Metern.
Übrigens erhielt die Kirche erst jetzt ihren heutigen Namen Santa Maria del Fiore. Bis dahin hieß sie wie die Vorgängerkirche Santa Reparata.
Und damit niemand auf die Idee kam, diesen neuen, kühnen Plan von 1367 zugunsten älterer, einfacherer Lösungen zu verlassen und damit den neuen Machtanspruch von Florenz zu reduzieren, vernichtete man alle älteren Dokumente, die sich mit dem Dombau befassten. Man hat also gleichsam alle Brücken hinter sich abgebrochen. Entweder diese neue Kuppel mit bisher noch nie erreichter Höhe – oder gar keine. Daher ist nur unzulänglich bekannt, wie sich Arnolfo di Cambio und seine frühen Nachfolger den Dom eigentlich vorgestellt hatten.
Die Konkurrenzsituation
Damals, in der 2. Hälfte des 14. Jahrhunderts herrschte eine scharfe Konkurrenz zwischen den großen norditalienischen Städten in Bezug auf ihre zentralen großen Kirchenbauten. In Florenz wurden teilweise über acht Prozent der gesamten Staatseinkünfte für den Bau des Domes aufgewandt.
1388 wurde in Bologna der Dom San Petronio begonnen, der den im Bau befindlichen Florentiner Dom noch übertreffen sollte, aber nie vollendet wurde. Zwei Jahre zuvor, 1386, war der Mailänder Dom begonnen worden, der nicht nur die italienischen, sondern alle Kathedralen des Abendlandes übertreffen sollte – allerdings ohne große Türme und ohne Kuppel. Die Kuppelwölbung war das große Problem und sie blieb es bis in unsere Zeit hinein, daher auch ihre große Bedeutung für die Repräsentation. Noch in der Nikolaikirche in Potsdam in der Mitte des 19. Jahrhunderts, im Kapitol von Washington 1857 und in den Großmacht-Fantasien des NS-Architekten Albert Speer für das Neue Berlin der 40er Jahre des 20. Jahrhunderts wirkte diese Idee nach.
1414 war in Florenz der Bau wieder ins Stocken geraten. Als vorerst letztes Glied wurde der zehn Meter hohe achteckige Tambour mit seinen runden Lichtöffnungen von 3,5 Meter Durchmesser errichtet. Die oktogonale Basis als Auflager für die Dachkonstruktion war damit vorgegeben.
Der Wettbewerb
Das Problem wurde über einen Wettbewerb im Jahr 1418 gelöst. Man schrieb am 19. August einen Wettbewerb aus, den Brunelleschi nach diversen Widerständen mit einem Rohentwurf gewann.
Die revolutionäre Idee Brunelleschis bestand darin, das Baugerüst gar nicht auf dem Boden aufsetzen zu lassen, sondern als Klettergerüst innerhalb der noch zu bauenden Kuppel zu verankern. Die Gutachterkommission lehnte seinen Vorschlag zunächst mehrmals ab. Brunelleschi bestand aber auf seinem Plan, teilweise so beharrlich, dass man ihn mehrmals aus den Sitzungen der Gutachterkommission hinaustragen musste. Außerdem war Brunelleschi nicht bei einem Baumeister in die Lehre gegangen, sondern bei einem Goldschmied, gehörte also nicht zur Gilde der Steinmetze, sondern derjenigen der Seidenweber an, die sich mit den Goldschmieden zusammengeschlossen hatten.
Erst als auf Seiten der Stadt keine brauchbare Alternative zu Brunelleschis Plan gefunden wurde, ließ man sich doch auf dessen Idee ein. Brunelleschi wurde nach der Annahme seines Rohentwurfes gebeten, einen genauen Plan auszuarbeiten. Ihm wurde zwar die Bauleitung übertragen, aber als unerfahrenem Baumeister wurde ihm – zur Vorsicht – Lorenzo Ghiberti an die Seite gestellt, was ihn sehr geärgert haben muss. Beide sollen sich zeitlebens wenig verstanden haben, nachdem 1401 Brunelleschi im Wettbewerb um die zweite Bronzetür des Baptisteriums Ghiberti unterlegen war. Trotzdem arbeiteten sie 18 Jahre lang an der Kuppel des Florentiner Domes zusammen, anfangs mit gleichem Gehalt. Um Ghibertis Inkompetenz bloßzustellen, soll Brunelleschi eine Krankheit fingiert haben, deretwegen die Bauarbeiten ins Stocken kamen.
Der Baubeginn der Kuppel
Der Baubeginn der Kuppel fand am 7. August 1420 in 52 Metern Höhe statt. Im gleichen Jahr war Brunelleschi mit einer weiteren genialen Idee aufgetreten. Er übernahm ein Bauprinzip aus der nordeuropäischen Gotik, die Rippenwölbung. Er verlegte Rippen an jeder Ecke des Oktogons und jeweils zwei zusätzliche im Innern jeder Gewölbekappe, also insgesamt 24, die miteinander durch waagerechte Querbalken verbunden waren. Die äußeren sind die weithin sichtbaren acht großen Marmorrippen mit einem Maß von 4,4 × 3,5 Metern. Jedes der acht Segmente der Kuppelschale ist an seiner Basis 17 Meter breit, 3,50 Meter dick und vollwandig aus massivem Kalksandstein geschichtet.
Durch diese insgesamt 24 Rippen entstand ein Skelettsystem, das mit zwei Ziegelschalen, einer inneren und einer äußeren, ausgefugt wurde. Die Schalen aus Ziegeln wurden in einzelnen Ringen von unten nach oben aufgemauert; die Kuppel wurde ohne Lehrgerüst errichtet. Das Deckenloch wurde zuerst wie im Pantheon in Rom offen gelassen. Später wurde die Laterne aufgesetzt.
Um einen Begriff davon zu bekommen, um welche Dimensionen an Hölzern es sich hier handelte: Für die Halbkuppel der südlichen Apsis, die im Jahr 1418 mit einem solchen Lehrgerüst konstruiert wurde, benötigte man 32 Baumstämme, die in Bohlen von insgesamt 280 Metern Länge und 135 Balken zersägt wurden. Die Halbkuppel ist aber weitaus kleiner im Vergleich zur Vierungskuppel, für die nach einer Schätzung zwanzig Mal so viel Holz benötigt wurde.
Das waren bis dahin kaum vorstellbare und schwerlich finanzierbare Dimensionen, und auch die technische Realisierbarkeit blieb weiterhin fraglich. Brunelleschi, der sich in antiker Architektur auskannte, nahm die alte Idee der Doppelschaligkeit auf und erfand ganz neue Techniken für die einzelnen Arbeitsschritte.
Zugringe aus Stein
Eine doppelschalige Kuppelkonstruktion entsprach der antiken Tradition. Auch das Baptisterium besitzt in Ansätzen eine solche doppelte Schale. Die Idee stammt aus dem mittelalterlichen Persien und stellte das typische Merkmal islamischer Moscheen dar. Trotz der Doppelschaligkeit blieben bauliche Schwierigkeiten.
Die Kuppel musste – auch als Rippenkonstruktion – zusätzlich abgestützt werden, genauso wie in der gotischen Architektur Nordeuropas, wo diese Idee herkam. Aber in Italien gibt es außer beim Mailänder Dom kein äußeres, stützendes Strebewerk wie in Frankreich oder Deutschland. Die riesige Kuppel in Florenz kann seitlich nicht abgestützt werden, da sie in zu großer Höhe thront. Um den horizontalen Schub des Gewölbes zu neutralisieren und nur noch Vertikalkräfte in die Tambourwände einzuleiten, erfand Brunelleschi „ein System so genannter Steinketten, um die beiden Gewölbeschalen zusammenzuhalten. Sie setzen an den Rippen an und sind durch Metallklammern verbunden, so dass sie Zugspannung aufnehmen können. Ohne sie würden die Rippen unter der Gesteinslast nach außen gedrückt“ und bersten.
Die Kuppel: Gotik oder Renaissance?
Die Kuppelkonstruktion hatte nachhaltige Konsequenzen für die Architektur der gesamten Renaissance. Deswegen setzte die Kunstgeschichte den Beginn der Renaissance lange Zeit auf diesen Kuppelbau von 1420 bis 1436.
Gegen diese Sichtweise ist aber einiges einzuwenden. Die Kuppel war unzweifelhaft eine Glanzleistung, die von niemandem übertroffen worden ist, auch nicht von Michelangelo später am Petersdom in Rom. Aber in diesem Fall war Brunelleschi in erster Linie als Ingenieur gefordert, die in der Planung bereits festgelegte Vierungskuppel zu erbauen. „Das ganze Werk hat bezeichnenderweise ein spitzbogiges, gotisches Profil, denn es ist nach dem gotischen Prinzip der tragenden Rippen erbaut. Selbst wenn Brunelleschi die Kuppel des Pantheon studiert hat, um seine Technik zu vervollkommnen, haben die beiden Werke doch nichts miteinander gemein: die Kuppel des Pantheon ist eine echte Halbkugel, […], die von den riesigen Mauern getragen wird. […] Die Florentiner Kuppel ist ein ins Gigantische gesteigertes Spitzbogengewölbe, das als Kuppel getarnt ist. Nur in den untergeordneten Bauelementen erscheint der Stil Brunelleschis – und damit Renaissancekunst.“ Auch das Motiv des Kapellenkranzes, der sich um die Vierung herumlegt, kommt aus der nordeuropäischen Architektur, ist also Gotik (oder sogar Romanik) und keine Renaissance.
Das erste wirkliche Renaissance-Bauwerk Brunelleschis ist die nicht weit entfernte Kirche von San Lorenzo.
Es ist wahrscheinlich nicht so, dass sich Brunelleschi von Anfang an über alle Details der Konstruktion im Klaren war. Auf viele Ideen kam er erst während der 16-jährigen Bauzeit. Und der obere spätere Teil der Kuppel war der schwierigere, weil hier die Wölbung wesentlich stärker ist. Genaue Informationen über Brunelleschis Pläne und Phantasien sind nicht bekannt, weil er in dieser Hinsicht schweigsam war. Er befürchtete, dass andere ihm seine Ideen stehlen könnten. Deshalb informierte er nur seine nächsten Mitarbeiter über seine Pläne – und das auch nur spät. Brunelleschi ist in Sichtweite des Domes aufgewachsen, kannte von Kindesbeinen an die Probleme, die seine Vorgänger mit der Wölbung hatten, informierte sich jahrelang auch in Rom über antike Architektur und hatte mit Sicherheit diverse Pläne im Kopf, wie eine solche Kuppel zu konstruieren sei. Aber er wusste, dass er der einzige war, der so etwas konnte, und behielt sein Wissen möglichst bei sich. Wenn er für sich selbst Pläne aufzeichnete, bediente er sich einer Geheimschrift, die niemand anderer lesen konnte.
Eisenkette
So gibt es beispielsweise seit ewigen Zeiten Gerüchte über eine Eisenkette, die Brunelleschi angeblich zusätzlich zu den bekannten Steinketten um den Sockel der Kuppel hat legen lassen. Eine magnetische Untersuchung, die in den 1970er Jahren durchgeführt wurde, erbrachte keinen Beweis, dass diese Ketten tatsächlich existieren.
Holzkette
Was es aber außer den vier Steinketten wirklich gibt, ist eine 1424 hinzugefügte Holzkette 7½ Meter über der untersten Steinkette – bestehend aus Balken aus Kastanienholz von sechs Metern Länge und einem Querschnitt von 30 × 30 Zentimetern. Dieses Holz musste gefunden und sorgfältig mit einem speziellen Verfahren verarbeitet werden, was mehrere Jahre in Anspruch nahm. Dass man außer an Stein- auch an Holzketten dachte, hat damit zu tun, dass man eine solche Holzkonstruktion für widerstandsfähiger bei Erdbeben hielt. Bei der Hagia Sophia in Konstantinopel war man so vorgegangen und bei einigen anderen Bauten in den gefährdeten Gebieten beispielsweise in Persien. Und tatsächlich erlitt die cupola bei den Erdbeben von 1510, 1675 und 1895 keine Schäden. Die Holzkette musste übrigens im 18. Jahrhundert ausgetauscht werden, weil das Holz zu verrotten begann.
Baumaschinen
Zu Brunelleschis Glanzleistungen zählen unter anderem auch die Maschinen, die er entworfen hat, um mit ihnen die Steine in die Höhe zu ziehen. Hier waren Konstruktionen notwendig, die zur damaligen Zeit noch nicht existierten. Die Materialaufzüge und Kräne, die Filippo entwarf, wurden zu den meistbewunderten mechanischen Geräten der Renaissance. Das Seil für den Lastenaufzug wurde in Pisa bestellt, einer Hochburg des Schiffbaus. Aber auch die dortigen Fachleute sahen sich einer neuen Aufgabe gegenüber, denn es wurde das längste und schwerste Seil benötigt, das jemals angefertigt worden war: 180 Meter lang, mehr als sieben Zentimeter dick und mit einem Gewicht von nahezu einer halben Tonne. Dieser Aufzug bewegte täglich ca. 50 Mal die Steine in die Höhe, also ungefähr eine Fuhre alle zehn Minuten.
Bevor die einzelnen Steine in der Kuppel eingesetzt wurden, mussten sie natürlich genau zugehauen werden. Die Schablonen dafür wurden auf einem Grundstück hergestellt, das Brunelleschi im Sommer 1420 flussabwärts auf einem Uferbereich des Arno auf einer Fläche von 800 m² präpariert hatte. Dort wurde ein Plan der Kuppel im Verhältnis 1:1 in den Sand geritzt. Bei den gotischen Kathedralen Nordeuropas war man ähnlich vorgegangen. Diese Schablonen von über 2½ Metern Größe wurden anschließend am Mauerwerk der inneren Kuppelschale befestigt und dienten als Richtmaß.
Ziegel
Bei der Herstellung der Ziegel ging man ebenfalls von Schablonen aus, da nicht nur einheitliche Maße benutzt wurden, sondern auch außergewöhnliche – dreieckige Formen, Ziegel mit Verzahnungen oder mit hervorstehendem Rand, Ziegel, die genau in die Ecken passten etc. Aber bis es überhaupt so weit war, musste ein langer Weg zurückgelegt werden.
Die Brennöfen befanden sich nicht in der Stadt, sondern auf dem Land in der Nähe der Tongruben. Es war natürlich etwas anderes, ob man Ziegel brauchte für ein kleines Haus, die man im Bedarfsfalle leicht ersetzen konnte, oder ob es sich um Ziegel handelte für die Riesenkuppel von Florenz, wo ein kleiner Fehler massive Konsequenzen haben könnte. Jedenfalls gab es umfangreiche Regeln dafür, wie und wo und wann der Ton gewonnen werden sollte, wie lange er vor dem Brennen trocknen sollte – das konnte bis zu zwei Jahren dauern –, wie der Mörtel beschaffen sein sollte usw.
Der geknetete Ton wurde in entsprechenden Holzformen an der Luft getrocknet und vorgehärtet. Danach erfolgte das Brennen, das mehrere Tage dauerte. Da die Temperatur im Ofen um 1000 Grad Celsius betrug, ließ man die Ziegel zwei Wochen abkühlen, damit sie bruchfester wurden, bevor man sie zur Baustelle transportierte. Ein Brennofen konnte im Durchschnitt 20.000 Ziegel aufnehmen; wurde er alle drei Wochen befeuert, ergab dies eine jährliche Kapazität von mehr als 300.000 Ziegeln. Doch selbst bei dieser Leistung hätte es mit nur einem Brennofen mehr als 13 Jahre gedauert, die für den Bau der Kuppel erforderlichen vier Millionen Ziegel herzustellen.
Das Tempo der acht Maurermannschaften wurde durch das Abbinden des Mörtels im zuletzt gemauerten Horizontalring auf weniger als einen Ring pro Woche begrenzt. Die Kuppel wuchs somit jeden Monat um ungefähr 30 Zentimeter in die Höhe.
Trotz der schwierigen Arbeitsbedingungen soll während der 16-jährigen Bauzeit der Kuppel nur ein einziger Arbeiter ums Leben gekommen sein.
Loggia
Am Ansatz der Kuppel wurde 1508–12 versucht, eine Loggia anzubringen, die den gesamten Ostbau plastisch aufgelockert hätte und die auch zu Brunelleschis Plan gehörte. Aber deren Gestaltung ist zu zierlich geraten und – der Überlieferung nach – soll Michelangelo sich sehr abschätzig über diese Idee geäußert haben – sie sehe aus „wie ein Grillenkäfig“ –, weshalb der Plan nicht vollendet wurde.Quelle?
Risse
Insgesamt wiegt allein die Kuppel ca. 37.000 Tonnen und hat bis heute gehalten, trotz der insgesamt 1.500 Haarrisse, die mittlerweile aufgetreten sind. Das Phänomen der Risse ist an sich nicht neu. Angeblich sollen schon um 1500, also kurz nach Fertigstellung des Bauwerks, solche Risse aufgetreten sein. Jetzt scheinen die Risse so zahlreich zu werden, dass man überlegt, Maßnahmen zu ihrer Beseitigung zu ergreifen.
Man weiß nicht, wie Brunelleschi selber dieses Problem gesehen hat, denn er hat keinerlei Aufzeichnungen hinterlassen. Michelangelo hat bei der Konstruktion der Kuppel des Petersdomes in Rom eine schwere Eisenkette um deren Sockelzone vorgesehen. Als Grund für die jetzt zunehmend auftretenden Risse in Florenz werden von fachlicher Seite die normalen Temperaturschwankungen angegeben, die im Laufe der Jahrhunderte dem Mauerwerk langsam zugesetzt hätten. Eine Lösung des Problems ist trotz zahlreicher Kommissionen offenbar noch nicht in Sicht, deren erste bereits 1934 angetreten war. Aktuell wird die Kuppel durch ständiges Deformationsmonitoring überwacht, um kleinste Veränderungen sofort nachvollziehen zu können.
Andererseits gilt: „Da in der Regel schon beim Ausschalen des Gewölbes solche Spannungen auftreten und erste Risse provozieren, ist der gerissene Zustand als der normale anzusehen und das jeweilige Rißbild im Gewölbe Zeichen einer letztlich individuellen Statik.“
Treppensystem
Brunelleschi baute die Kuppel auf einem hohen Tambour in den besagten zwei Schalen, wobei die innere Schale die dickere ist. Die äußere dient lediglich der Bedachung. Zwischen beiden Schalen liegt ein Treppensystem, das über 463 Stufen begehbar ist und auf die Laterne an der Kuppelspitze in 106 Meter Höhe führt.
Nachwirkungen des Florentiner Kuppelbaus
Dieser gewaltige Kirchenbau, dessen Konzeption bereits 1367 festgelegt war, sollte Ausdruck des Stolzes einer Stadt sein, die damals ein außerordentliches Maß an Macht und Reichtum erworben hatte. Florenz zählte gegen Ende des 13. Jahrhunderts mit ungefähr 100.000 Einwohnern zu den größten Städten der damaligen Welt.
Von vergleichbarer Größe ist die ebenfalls doppelschalige Kuppel des Petersdoms (1590) mit 42,3 Metern Durchmesser, das größte freitragende Ziegelbauwerk der Erde, und das Pantheon (118) mit der größten in unbewehrtem Beton gegossenen Kuppel von 43,2 Metern, beide in Rom. Einen größeren Durchmesser hatte mit 108 Metern erst die zur Weltausstellung 1873 gebaute Rotunde in Wien aus Stahl, die 1937 einem Brand zum Opfer fiel.
(Wikipedia)
On Saturday I went with my son and his family to the Bourne National Cemetery on Cape Cod to join with about 1,000 volunteers to place flags on over 52,000 graves. It was a such meaningful experience to be part of. We all decided we'd like to make it a tradition for our family to be part in future years. Pictured here is my grand daughter looking at a grave near her great grandfather's.
Non-motorized boating pilot program comes to an end
LOS ANGELES — When the U.S. Army Corps of Engineers, Los Angeles District, granted a license in July for a seven week non-motorized boating pilot program on the Los Angeles River, the Los Angeles Conservation Corps quickly booked the allotted tours.
“It took about 10 minutes for the 280 tickets to sell, once we posted the announcement on line,” said Yasmin Mero-Corona, program coordinator, Los Angeles Conservation Corps. “We had another 300 on a waiting list to fill any no-shows. One gentleman stood by with his check every weekend until we had a cancellation for him to fill,” Mero-Corona added.
The test program allowed for no more than two trips per day on Friday, Saturday and Sunday beginning August 12 and ending September 25. The program was as much about education as it was access, with many of the tours featuring guest speakers, including Corps personnel, talking about the history of the river and plans for its revitalization.
The Mountains Recreation and Conservation Authority supervised the two-hour canoe and kayak trips covering a 1.5-mile stretch of the river. While most of the trip is a leisurely ride the 'Cattail Shoot' provides a bit of excitement as the staff helps participants and their vessels through a narrow, shallow shoot and one portage point, 'Rocky Rapids,' that requires boaters to exit their crafts and navigate the rocks on foot.
“A mentor of mine when I was a biologist at New York District was fond of saying, touch the resource. That's what accessing the river is to so many urban dwellers in Los Angeles,” said Josephine Axt, Chief, Planning Division, Los Angeles District, during her tour September 16.
“Even though there are nearby mountains where people can enjoy the outdoors, their day to day experience doesn't usually encourage or encompass much of a non-urban environment. Accessing the river is symbolic of a shared vision many LA residents have of the city embracing a more sustainable future,” added Axt.
For many boaters these trips represented their first access to the river and their enthusiasm was not tied to their skill level.
“The participants were nervous at first because for many adults, this was the first time on a canoe or kayak,” said Supervising Ranger III, Fernando Gomez. “However, at the end of the trip, they wanted more and some even said they were going to go out and buy a kayak to continue their experience, not on the LA River of course. For the skilled kayakers, they walked away with the surprise of how beautiful and calming the trip was,” Gomez added.
The Corps is an active partner in revitalizing and preserving the Los Angeles River, however, an important primary mission remains.
“I must be clear, nothing we do can jeopardize human safety or reduce the flood carrying capacity of this river,” said Col. Mark Toy, Los Angeles District Commander, during his opening remarks for the inaugural tour Aug. 8.
Now that the non-motorized boating pilot program has ended, no boating is authorized on the Los Angeles River. The river can, very quickly, become extremely dangerous, especially during the general winter storm season.
The Corps will review trip reports and lessons learned from staff and participants. Working with the stakeholders the Corps will carefully consider all options for boating on the Los Angeles River in future years.
Even in the 21st century, Stodmarsh isn't easy to find, and fewer would visit were it not for the splendid nature reserve between the village and the Stour. There is a direct road from Fordwich, but the road from Grove Ferry passes through two poorly marked junctions, then the lane winds its way round fields as it drops into the village.
Welcome to Stodmarsh.
The church stands on a bend in the road, which is barely wide enough for one car let alone two passing. Just up the street is the village pub, and between the car park for the nature reserve.
I visited here several times over the last two years and found it locked, but was open on a wet and windy Monday morning.
I missed few details, but the memorials needed recording, and a closer look as the braces supporting the bellcote.
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The church stands intimately on a right-hand bend of the road. It is an extremely simple building of solid twelfth- and thirteenth-century construction. The chancel was rebuilt during the latter period. There is a small south porch which shields a doorway on which are carved many so-called Crusaders' Crosses. Like many churches in east Kent Stodmarsh was restored in the 1880s and the roofs of both nave and chancel show this to unfortunate effect. Apart from that the church is a delight. There is a plain Rood Screen on a stone base which is well set off against the cream washed walls of the chancel. At the west end the bell turret is supported internally by a huge X-shaped brace, which is a unique feature in Kent, and far more functional than pretty.
www.kentchurches.info/church.asp?p=Stodmarsh
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STODMARSH.
SOUTH-WESTWARD from Preston, last described, across those marshes within the parish of Wickham, lies Stodmarsh, spelt in antient records, Stodmerch and stodmeres, taking its name from the Saxon word stode, signifying a mare, and merse, a marsh, denoting its situation among the marshes used for the feeding of that kind of cattle. There is only one borough, called the borough of Stodmarsh, in it. A borsholder is chosen at the court leet of this manor.
Stodmarsh is an obscure situation, neither pleasant nor healthy, the village, which is very neat and pretty, stands on a kind of green. It is situated very low, at the extremity of the upland, below which the parish extends over the marshes, called Stodmarsh level, as far as the river Stour. Very near the church is a small stream, which is the boundary of the parish, on each side of which is a large marsh or swamp, overgrown with alders and willows, almost all of which is in Wickham parish. The court-lodge is situated in a bottom, close to the marshes, at no great distance from the village, and above it an open pasture down, over which the road leads to Canterbury. The upland is very hilly, and far from being fertile. There is but one small piece of coppice wood in it, which belongs to Stodmarsh-court. There are about sixteen houses in the parish. A fair used to be held on Whitsun-Tuesday, but it has been for some years discontinued.
Lothaire, king of Kent, in the year 673, gave this manor, by the description of three ploughlands in the marsh called Stodmersh, to St. Augustine's monastery, to hold as free as his predecessors had ever held it. (fn. 1) King Henry III. in his 54th year, granted to the abbot and convent, free-warren in all their demesne lands of Stodmarsch. In the 7th year of king Edward II. in the iter of H. de Stanton and his sociates, justices itinerant, the abbot, upon a a quo warranto, claimed and was allowed free-warren, view of frank-pledge, and wrec of the sea, and other liberties within this manor, among others, as having been granted by divers of the king's predecessors, and confirmed by him in his 6th year, the same having been allowed in the last iter of J. de Berewick and his sociates, justices itinerant, and the liberty of the view of frank-pledge was in particular further confirmed by that king in his 10th year, as all of them were afterwards by king Edward III. by his charter of inspeximus, in his 36th year, among the rest of the possessions and liberties of the abbey, and king Henry VI. likewise confirmed the same. In king Richard II.'s reign, the abbot's possessions in the manor of Stodmarsh were valued at 15l. 4s. 9d. the admeasurement of the lands beings four hundred and eighty-eight acres. After which this manor remained with the abbey till its dissolution anno 30 Henry VIII. when it came into the king's hands, where it staid till the 36th year of that reign, when it was granted to John Master, of East Langdon, to hold in in capite by knight's service, His eldest son Thomas Master, (whose younger brother was of East Langdon) resided at Stodmarshcourt, and died S.p. having by his will devised this manor to his sister Elizabeth, who marrying William Courthope, gent. of Sandwich, entitled him to it. He bore for his arms, Argent, a sess, azure, between three estoiles, Sable. (fn. 2) He afterwards resided here, as did his descendants, down to William Courthope, esq. of Stodmarsh-court, who died in 1727, leaving two daughters his coheirs, Amye, married to John Hugessen, esq. and Sarah, to Mr. John Jull, of Ash, and upon the division of their inheritance, the former became entitled, in his wife's right, to this manor. He was second son of William Hugessen, esq. of Provenders, by Elizabeth, sister of James Adey. He died in 1766, and was buried at Linsted, leaving two sons, William, to whom he gave this manor of Stodmarsh, who married one of the daughters of Walter Hooper, esq. of Stockbury, since deceased, by whom he had no issue; and John, who possessed the manor of Nutstede, and dying in 1772, was buried at Linsted; and two daughters, Amye, married to John Mason, and Elizabeth to Robert Spratt. They bear the same arms as those of Provenders, in Norton. William Hugessen, esq. the eldest son above-mentioned, is now of Stodmarsh-court, and is the present owner of this manor. A court leet and court baron is held for this manor.
There are not any parochial charities. The poor constantly maintained are about three, casually five.
Stodmarsh is within the ecclesiastical jurisdiction of the diocese of Canterbury, and deanry of Bridge.
The church, which is dedicated to St. Mary, is but small, consisting of one isle and a chancel, having a low pointed turret at the west end, in which are two bells; This building is remarkably long and narrow, and seems very antient, especially the chancel. In the isle is a stone, coffin-shaped, having on it a cross with four pomels; near it a stone with an inscription in brass, the figure lost, for William Barnevyle, obt. 1464. In the chancel are several memorials for the family of Courthope, and a monument for William Courthope, esq. of Stodmarsh-court, obt. 1727. In the north-west window of the isle is the figure of the blessed Virgin, crowned, with the child in her arms; and the figure of a woman, with the head of an old man lying on her arm; both beautifully done.
¶This church was antiently appendant to the manor of Stodmarsh, and as such, part of the possessions of the abbot and convent of St. Augustine, and continued so till the year 1243, when Robert, abbot of it, at the instance of archdeacon Simon de Langton, granted it to the hospital of poor priests in Canterbury, together with four acres of their demesne of Stodmarsh, on condition, among other restrictions, that they should not demand in future any tithes of the convent's demesne here, the proctor, or some priest of the hospital being bound yearly to give a waxen taper, of one pound weight, on the altar of the church of St. Augustine, as a token of acknowledgment. After which this church became appropriated to the hospital, the master of which, with the poor priests of it, nominated a curate to serve in it, and allowed him a yearly stipend of 5l. 6s. 8d. In which state it continued till the dissolution of the hospital, which did not happen till the 17th year of queen's Elizabeth, when it was surrendered into the queen's hands, who gave it, with all its revenues, to the mayor and commonalty of the city of Canterbury, for the use of the poor there. But the parsonage and advowson of the church of Stodmarsh seems not to have been included in this grant; for the advowson of it became, not many years afterwards, part of the possessions of the archdeaconry of Canterbury, where it continues at this time; and the parsonage appropriate seems to have been given up and annihilated, though the mayor and commonalty, in 1627, were engaged in a suit at law to maintain their right to it, in which however they were cast. It is now esteemed as a donative, the minister being entitled to all the great and small tithes, excepting from the demesne lands of this manor, the owner of which pays eight pounds as a composition for them, and excepting from 400 acres of marsh, which have time out of mind been exempted whilst they continue grass-land.
After the dissolution of the hospital, it was valued at nine pounds, and in 1640 at sixteen pounds. It is of the clear yearly certified value of thirty pounds, but by the augmentation from Mrs. Taylor's legacy, paid by Sir Philip Boteler, bart. to which was added a like sum from queen Anne's bounty, it is now worth sixty pounds. In 1588 here were sixty-two communicants; in 1640 the like.
St Mary stands on a hill overlooking what was once the sea and sand spit of land that Sandwich still sits. The sea has receded, but St Mary is still there, its wooden cupola topped tower visible for those who look for it, or notice these things in the 21st Century.
This was my third visit to the Blessed Mary, first time I found it locked, second time wardens were preparing it for the Nativity service.
It was open, and even had a welcoming sign hanging near to the gate to the churchyard, always welcome.
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The tower makes this church one of the easiest in Kent to identify. It is capped by a little cupola and wooden balustrade of eighteenth-century date that replaced a medieval spire. During the Middle Ages the church was owned by Leeds Priory which invested heavily in the structure, and was no doubt responsible for the excellent sedilia built in about 1350. The canopy is supported by a quadripartite vault in turn supported by angry little heads. Above the sedilia is the cut-off end of a prickett beam. The east window, of Decorated style stonework, has a thirteenth-century hangover in the form of a shafted rere-arch. There are two excellent modern stained glass windows designed by F.W Cole, which show the Creation (1980) and St Francis (1992). The good altar rails are of Queen Anne's reign, as are the splendid Royal Arms.
www.kentchurches.info/church.asp?p=Woodnesborough
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WOODNESBOROUGH,
¶OR Winsborough, as it is usually called, lies the next parish northward from Eastry, being written in the survey of Domesday, Wanesberge. It took its name according to Verstegan, from the Saxon idol Woden, (and it is spelt by some Wodensborough) whose place of worship was in it; however that may be, the termination of the word berge, or borough, shews it to be of high antiquity.
art of this parish, over which the manor of Boxley claims, is within the jurisdiction of the justices of the town and port of Sandwich, and liberty of the cinque ports; and the residue is in the hundred of Eastry, and jurisdiction of the county of Kent.
There are three boroughs in this parish, viz. Cold Friday, Hamwold, and Marshborough; the borsholders of which are chosen at the petty sessions of the justices, acting at Wingham, for the east division of the lath of St. Augustine.
THIS PARISH is large, being two miles and an half one way, and upwards of a mile and an half the other. The church stands nearly in the centre of it, on high ground. At a small distance from the church is Woodnesborough hill, both of which are sea marks. This hill is a very high mount, seemingly thrown up by art, and consisting of a sandy earth, it has been thought by some to have been the place on which the idol Woden from whom this place is supposed to have taken its name) was worshipped in the time of the Saxons; by others to be the burial place of Vortimer, the Saxon king, who died in 457, whilst others suppose this mount was raised over those who fell in the battle fought between Ceoldred, king of Mercia, and Ina, king of the West Saxons, in the year 715, at Woodnesbeorb, according to the Saxon chronicle, which name Dr. Plot supposes to be Woodnesborough. Vortimer, as our historians tell us, at his death, desired to be buried near the place where the Saxons used to land, being persuaded that his bones would deter them from any attempt in future. Though authors differ much on the place of his burial, yet this mount at Woodnesborough is as probable, or more so, perhaps, than any other, for it was near to, and was cast up so high as to be plainly seen from the Portus Rutupinus, which at that time was the general landing place of the Saxon fleets. Some years ago there were found upon the top of it sundry sepulchral remains, viz. a glass vessel (engraved by the Rev. Mr. Douglas, in his Nænia;) a fibula, (engraved by Mr. Eoys, in his collections for Sandwich;) the head of a spear, and some fragments of Roman vessels. Much of the earth of sand has been lately removed round the sides of it, but nothing further has been found.
At a small distance northward from hence, at the bottom of a short steep hill, lies the village called Woodnesborough-street, and sometimes Cold Fridaystreet, containing thirty four houses. The vicaragehouse is situated in the middle of it, being a new handsome building; almost contiguous to it is a handsome sashed house, belonging to the Jull family, now made use of as a poor-house; through this street the road leads to Sandwich. West ward of the street stands the parsonage-house, late the seat of Oliver Stephens, esq. deceased, and now of his window, as will be further noticed hereafter. Besides the manors and estates in this parish, particularly described, in the western parts of it there are several hamlets, as Somerfield, Barnsole, Coombe, with New-street, Great and Little Flemings, Ringlemere, and the farm of Christians Court.
In the north east part of the parish, the road from Eastry, by the parsonage of Woodnesborough northwestward, divides; one road, which in antient deeds is called Lovekys-street, going towards Ash-street; the other through the hamlet of Marshborough, formerly called Marshborough, alias Stipins, to Each End and Sandwich, the two windmills close to the entrance of which are with in the bounds of this parish. Each, Upper Each, called antiently Upriche, and Each End, antiently called Netheriche, were both formerly accounted manors, and are mentioned as such in the marriage settlement of Henry Whyte, esq. in the beginning of queen Elizabeth's reign. After the Whytes, these manors passed in like manner as Grove, in this parish, to the James's. Upper Each, or Upriche, has for many years belonged to the family of Abbot, of Ramsgate, and is now the property of John Abbot, esq. of Canterbury. Each End, or Netheriche, belongs, one moiety to the heirs or devisees of the late earl of Strafford, and the other moiety to John Matson, esq. of Sandwich.
¶It cannot but occur to the reader how much this parish abounds with Saxon names, besides the name of Wodens borough, the street of Cold Friday, mentioned before, is certainly derived from the Saxon words, Cola, and Friga, which latter was the name of a goddess, worshipped by the Saxons, and her day Frige-deag, from whence our day of Friday is derived; other places in this parish, mentioned before likewise, claim, surely, their original from the same language.
This parish contains about 3000 acres, the whole rents of it being about 3373l. yearly value. It is very bare of coppice wood; the Old Wood, so called, in Ringleton, being the only one in it. The soil of this parish is very rich and fertile, equal to those the most so in this neighbourhood, particularly as to the plantations of hops, which have much increased within these few years past. The middle of the parish is high ground, and is in general a flat open country of arable common fields. West and south-westward the lands are more inclosed with hedges. North and north-westward of the parsonage, towards Sandwich, they are low and wet, consisting of a large level of marsh land, the nearness of which makes the other parts of this parish rather unhealthy, which is not otherwise very pleasant in any part of it. There was a fair held here yearly, on Holy Thursday, but it has been for some time disused.
In Ringleton field, in this parish, there was found about the year 1514, a fine gold coin, weighing about twelve shillings, with a loop of the same metal to hang it by; on one side was the figure of a young man in armour, a helmet on his head, and a spear over his right shoulder; on the reverse, the figure of Victory, with a sword in her hand, the point downwards.
The church, which is dedicated to St. Mary, consists of a nave, and two isles, having a square tower steeple at the west end, with a modern wooden turret and vane at the top of it, in which are five bells, made in 1676. It had a high spire on the tower, which was taken down some years ago. At the east end of the chancel is a marble tablet for John Cason, esq. of this place, justice of the peace, obt. 1718; John Cason, esq. his son, obt. 1755; arms,Argent, a chevron, sable, between three wolves heads, erased, gules, on an escutcheon of pretence, sable, a chevron, between three fleurs de lis, of the field; another for Thomas Blechenden, of the antient family of that name, of Aldington, in Kent, obt. 1661; arms, Azure, a fess nebulee, argent, between three lions heads erased, or, attired, gules, impalingBoys. On the south side, an antient altar monument with gothic pillars and arches, having had shields and arms, now obliterated. Against the wall, under the canopy, two brass plates, which have been removed to this place, from two grave-stones in the chancel; the first for Sir John Parcar, late vicar of this church, who died the v.day of May, a°o dni m° v° xiij° on the second are Latin verses to the memory of Nichs Spencer, esq. obt. 1593. In the middle of the chancel, a gravestone for William Docksey, esq. of Snellston, in Derbyshire, a justice of the peace, obt. 1760; Sarah his wife, youngest daughter of John Cason, esq. obt. 1774; arms,Or, a lion rampant, azure, surmounted of a bend, argent. On a gravestone on the north side of the chancel, on a brass plate, On a chevron, three quatersoils, between three annulets, quartering other coats, now obliterated, for Master Myghell Heyre, sumtyme vicar of this churche, who dyed the xxii day of July, m° v° xxviii. In the north isle are several memorials for the family of Gillow, arms, A lion rampant, in chief, three fleurs de lis. At the entrance into the chancel, on a grave-stone, on a brass plate, John Hill, gent. of the parish of Nassall, in Staffordshire, obt. 1605. A mural monument for William Gibbs, of this parish, obt. 1777; arms,Argent, three battle axes, in fess, sable. In the church-yard are altar tombs to the memory of the Julls, and for Sladden; one for John Verall, gent. sometime mayor of Sandwich, obt. 1610; and another for John Benchkin, of Pouton, obt. 1639.
There were formerly painted in the windows of this church,Or, a chief indented, azure, for John de Sandwich. Several coats of arms, among which were those of Valence and St. Leger,Argent, three leaves in sinster bend, their points downward, proper.— On a canton, azure, three crescents, or, for Grove.— Argent, three escallops in chief, or, in base a crescent, gules, for Helpestone, usually called Hilpurton, bailiff of Sandwich, in 1299. A shield, being Helpeston's badge, another On a fess engrailed, three cinquefoils, between three garbs, for John Hill, of Nasall, in Staffordshire, who lies buried in this church. —A fess engrailed, three lions rampant, in chief, on the fess, a crescent for difference, for Spencer, customer, of Sandwich. — Quarterly, four coats; first, On a chevron, three quaterfoils; second, Per pale, ermine and argent; third, A cross, between four pomegranates, slipped; sourth,Three bars, wavy, for Michael Heyre, vicar here in 1520.
The church of Woodnesborough was given, in the reign of king Henry I. by a religious woman, one Ascelina de Wodensberg, to the priory of Ledes, soon after the foundation of it; to which deed was witness Robert de Crevequer, founder of the priory, Elias his son, and others; which gift was confirmed by the said Robert, who by his charter, released to the priory all his right and title to it. It was likewise confirmed by archbishop Theobald, and several of his successors, and by king Henry III. by his charter of inspeximus in his 41st year.
Archbishop William Corboil, who came to the see of Canterbury, three years after the foundation of Ledes priory, at the instance and petition of Ascelina above mentioned, who resigned this church into his hands for this purpose, appropriated it to the prior and convent, for the finding of necessary cloaths, for the canons there; and a vicarage was accordingly endowed in it.
There was a controversy between the prior and convent, and Adam, vicar of this church, in 1627, anno 14 Henry II. concerning the great tithes arising from the crofts and curtilages within this parish, which was referred to the prior of Rochester, who was the pope's delegate for this purpose, who determined that the prior and convent of Ledes, as rectors of this church, should receive, without any exception, all the great tithes of wheat, barley, oats, beans, peas, and of every fort of corn arising, or to arise from all lands, crofts, curtilages, or other places whatever, situated within the bounds, of this parish; and that the prior and convent should yearly pay to the said vicar, and his successors, half a seam of barley, and half a seam of beans, at the nativity of our Lord. (fn. 10)
¶After which, this parsonage appropriate,(which appears to have been esteemed as a manor) together with the advowson of the vicarage, remained with the prior and convent of Ledes, till its dissolution in the 31st year of king Henry VIII. when it was, with all its lands and possessions, surrendered into the king's hands, who by his dotation charter, in his 33d year, settled both parsonage and advowson on his new-founded dean and chapter of Rochester, with whom they remain at this time. On the dissolution of deans and chapters, after the death of king Charles I. this parsonage was surveyed in 1649, when is appeared that the manor or parsonage of Woodnesborough, with the scite thereof, and all manner of tithes belonging to it, with a garden and orchard of one acre, was valued all together at 300l. that the lessee was to repair the premises, and the chancel of the church; that the vicarage was worth fifty pounds per annum. The then incumbent was under sequestration, and there was none to serve the cure; and that the church was then quite ruinated, and in great decay. (fn. 11)
2 Days International workshop on Strengthening
Culture, of Responsibility Dueal use research
and Bio-security was organized by SBBU.
By: Gul Hamaad Farooqi
CHITRAL: Two days international workshop on strengthening the Culture of Responsibility
dual use research and Bio-Security was held at Auditorium of Abdul Wali Khan University
Chitral Campus. The workshop was organized by Shaheed Benazir Bhutto University
SBBU Shringal and Chitral Campus in collaboration with Quaide Azam University
Islamabad which was sponsored by Pakistan Academy of Science and Higher
Education Commission Islamabad.
Miss Fauzia Bibi member Provincial Assembly (MPA) KPK was chief guest on the
occasion while the ceremony was presided over by Professor Doctor Khan Bahar Marwat Vice chancellor of SBBU. Students
were sensitized about different leaning method and enhancement culture of
responsibility and bio security as well as adopting security measurement in their
research work..
Dr. Anwar Nasem secretary general
Pakistan Academy of science, Professor Dr. Zabita Khan Shenwari Chairman Department of Bio-technology Quaide Azam University and other intellectual
spoke on the occasion. They said that some three species of medicinal plants
from Chitral have been recognized on international level. They stressed on
students that they are heroes and architect of future and should follow concept
of nongovernmental individual. If every Pakistani play vital role with honesty
in development of country we will never dependent upon foreign loans.
Students were divided in 4 groups for group
working and they were given different task for preparation of presentation like
mental and mentality relationship, infectious diseases, Access and Benefit sharing,
collaborative sciences.
Professor Dr. Mushtaq Ahamd presented his
paper on learning mechanism and different aspects of research work. Professor Dr. Bilal briefed the students and
stakeholders about plagiarism, fabrication and falsification and guided the
students how can they avoid from these practices in their research work and practical life. . He said that during the research work
students must to follow bio-safety and bio-security measurement because one of
a scientist was died during research wok
in Laboratory at USA.
Addressing on the occasion Professor Dr.
Khan Bahar said that another sub campus of SBBU will be open in Chitral with
the cost of 500 million
Miss Fauzia Bibi assured vice chancellor and
students for fully support by KPK Government for sub campus as well as a full
fledge university at Chitral. She stressed upon the university administration
to conduct training workshop on these titles in future which is more beneficial
rather than workshop. Students of three universities while talking to this
scribe said that they learn more regarding latest research from this international
workshop. A large number of students,
teachers and people belonging to all walk of life attended the workshop.
G.H. Farooqi C/O
Manager bank Islami Main branch Chitral Pakistan phone No (0092) 0943-320737, 0943-316052, 0943-414418 ,03205989602, 03025989602, 03337069572,
03159698446, 03469002167
email:
gulhamad@gmail.com,ghfarooqi@rediffmail.com, gulhamaad786@yahoo.co.uk,journalist786@outlook.com
This morning we headed to Heart of the Country to wander around their odd forest thing, complete with numerous bits of ‘stuff’ to promote recycling. Juliana was mostly interested in tree stumps and the doll’s houses, but then she is tiny. That said, the pigs were of some interest to her, especially when some people brought apples for them and they munched away.
Our plans for an afternoon in the garden were ruined when the neighbours decided to have what was either an opportunity to accelerate bowel cancer by burning cancerous wood to cook meat, or a BBQ. Either way, positioned about 2 foot from the house the smoke blowing over stunk out our house and the garden was completely unusable for an hour and a half, unless asphyxiation is your bag. I did ask them if they could let us know in future so we can at least close our windows in advance, but no reply. Nice.
ALBUQUERQUE, N.M. —An Albuquerque Model T club is offering a big reward for the recovery of a 90-year-old car stolen during a tour of New Mexico.
Someone took a 1926 Model T speedster early Friday morning from the parking lot at Hotel Elegante, along with the owner's truck and enclosed trailer. Donald Houseman built the classic car and brought it from California for the Model T Ford Club of America's Land of Enchantment Tour 2016.
Dozens of Model T drivers gathered in Albuquerque for the week to drive their antique vehicles around the state for sight seeing and story sharing. Friday was the last day of the tour, but Houseman learned Thursday of a relative's death, so he and his wife decided to leave early.
"One of the people we were touring with said I thought you guys already left because your car wasn't there," Houseman said. "There's a lot of joking between us, but we walked down and it wasn't there."
His friends took action, offering a $5,000 reward and making calls to get police on the case. Russ Grunewald, who is four years younger than his 1926 Model T, said the thief should be afraid of running into him and some of the other drivers.
"We'd probably rough them up if some of us caught them. Then we'd turn them over to the police," he said.
Grunewald and several members of the Model T club said they don't think the person who took the truck and trailer was aware there was a classic car inside. They also don't think the culprit would be able to drive the speedster without some special training.
"Does he know where the throttle is? Does he know how to work the clutches? Because there's forward, low gear and high gear. It's not a clutch like you have in a regular shift car," Grunewald said.
His Model T has three pedals. Houseman's has four.
Houseman said driving with the Model T group helps him get his mind off of suffering from multiple sclerosis. Doctors diagnosed him with the disease in 2002 and he retired not long after as he could no longer continue to work due to his disability.
He built the 1926 Model T speedster in his spare time, and said he can still do some things a few hours a day, but he's limited. He said it is very unlikely he can build another.
"If I have to work hard, I can't. The MS has taken its toll," Houseman said. "It took three years to build the first one, and it would probably, with the way things are now, take 10 years to build the second one. With help."
The friends made through the Model T club lift his spirits, but Houseman's suffered loss each time he's participated in a tour with the group. His dog had to be put down on the first trip and an employee died during the second.
"This tour, we got the phone call that my cousin died, and my car's gone," he said.
However, he said the theft will not keep him from participating in future Model T tours. Houseman has a few other classic cars, but this one has special significance because of the hours and years he invested in building it. He said if something happens to him, the speedster would be the car his wife and daughter want to keep.
He said he's not sure how much the car is worth, possibly $50,000, but said he would not sell it at that price because of how much it means to his family.
Houseman said his wife is struggling with the loss, but he is trying to stay positive.
"I think because of the MS or whatever, those things, it's material things, the people are way more important," he said. "It's life and you have to do the best you can. The people that are here, they're unbelievable. The group we tour with is supportive. Everybody loves everybody; they're close. It's just a good group."
Houseman sometimes has to use a wheelchair for his MS and it was in the trailer too.
The 1926 Model T Ford speedster is parrot green with the number 21 on the sides and California license plate number 5FTA198.
The pickup truck is a maroon 2004 Ford F-250 Super Duty crewcab with diesel engine and California license plate 7U43022. It towed a white 20-foot Haulmark enclosed trailer with a Palm Beach Garage, Watsonville, California, logo on the back door and sides.
The astronaut transfer van, known as the Astrovan during the Space Shuttle era, was a NASA vehicle used at the Kennedy Space Center to transport astronauts from the Operations and Checkout Building to the launch pad before a mission and for launch dress rehearsals, and back to the Operations and Checkout Building following a shuttle landing.
According to driver Ronnie King, the early shuttle astronauts liked the history-filled vehicle, even if it was somewhat old, and even argued against upgrading the vehicle. "We were staged to get a new one," King said, and added that word came that the rookie astronauts wanted to keep the vehicle that was a tradition of the astronauts who traveled those nine miles to the pad before them.
During the twenty-minute drive to the launch pad for shuttle launches, the Astrovan usually stopped at least once along the way. An astronaut rode with the crew and was let off near the Vehicle Assembly Building to board the Shuttle Training Aircraft and assess local weather conditions. Senior NASA managers occasionally rode along as well, and were dropped off at the Launch Control Center.
During Project Mercury a modified semi truck and trailer was used to transport astronauts to the launch pads LC-5 and LC-14.
During Project Gemini a fleet of converted delivery vans were used to transport astronauts to the launch pad LC-19.
A modified Clark-Cortez motorhome was used to transport Apollo-era crews to the launch pad, beginning with Apollo 7 in 1967 and continuing through the Apollo–Soyuz launch in 1975. This vehicle remained in use through STS-6, and is now on display at the Kennedy Space Center Visitor Complex's Apollo/Saturn V Center.
An Itasca Suncruiser M-22RB was used to transport the STS-7 and STS-8 astronauts to the launch pad, as the size of shuttle crews had increased.
A modified 1983 Airstream Excella motorhome, popularly known as the Astrovan, was used from STS-9 through the final Space Shuttle mission (STS-135), and is also on display at the KSC Visitor Center.
On October 21, 2019, the Boeing Company and Airstream announced Astrovan II, a modified Airstream Atlas (with a Mercedes-Benz Sprinter chassis) touring coach to carry Boeing commercial crew astronauts to the launch pad where they will board the CST-100 Starliner on their way to the International Space Station. Astrovan II has seating for up to eight (including the driver), and was built at Airstream's Jackson Center, Ohio production facility.
SpaceX does not use a van to transport astronauts for the SpaceX Dragon 2 missions, instead using a set of specially made Tesla Model X cars.
On April 13, 2022, NASA announced that Canoo Technologies Inc would build three new crew transportation vehicles designed to take the fully suited astronauts, their support team, and their equipment on the nine-mile stretch of road from the Neil Armstrong Operations and Checkout Building to the launch pad for the Artemis program.
In Russia and China cosmonauts and taikonauts have always relied on a bus to take them to the Launch Pad.
The John F. Kennedy Space Center (KSC, originally known as the NASA Launch Operations Center), located on Merritt Island, Florida, is one of the National Aeronautics and Space Administration's (NASA) ten field centers. Since December 1968, KSC has been NASA's primary launch center of American spaceflight, research, and technology. Launch operations for the Apollo, Skylab and Space Shuttle programs were carried out from Kennedy Space Center Launch Complex 39 and managed by KSC. Located on the east coast of Florida, KSC is adjacent to Cape Canaveral Space Force Station (CCSFS). The management of the two entities work very closely together, share resources and operate facilities on each other's property.
Though the first Apollo flights and all Project Mercury and Project Gemini flights took off from the then-Cape Canaveral Air Force Station, the launches were managed by KSC and its previous organization, the Launch Operations Directorate. Starting with the fourth Gemini mission, the NASA launch control center in Florida (Mercury Control Center, later the Launch Control Center) began handing off control of the vehicle to the Mission Control Center in Houston, shortly after liftoff; in prior missions it held control throughout the entire mission.
Additionally, the center manages launch of robotic and commercial crew missions and researches food production and in-situ resource utilization for off-Earth exploration. Since 2010, the center has worked to become a multi-user spaceport through industry partnerships, even adding a new launch pad (LC-39C) in 2015.
There are about 700 facilities and buildings grouped throughout the center's 144,000 acres (580 km2). Among the unique facilities at KSC are the 525-foot (160 m) tall Vehicle Assembly Building for stacking NASA's largest rockets, the Launch Control Center, which conducts space launches at KSC, the Operations and Checkout Building, which houses the astronauts dormitories and suit-up area, a Space Station factory, and a 3-mile (4.8 km) long Shuttle Landing Facility. There is also a Visitor Complex on site that is open to the public.
Since 1949, the military had been performing launch operations at what would become Cape Canaveral Space Force Station. In December 1959, the Department of Defense transferred 5,000 personnel and the Missile Firing Laboratory to NASA to become the Launch Operations Directorate under NASA's Marshall Space Flight Center.
President John F. Kennedy's 1961 goal of a crewed lunar landing by 1970 required an expansion of launch operations. On July 1, 1962, the Launch Operations Directorate was separated from MSFC to become the Launch Operations Center (LOC). Also, Cape Canaveral was inadequate to host the new launch facility design required for the mammoth 363-foot (111 m) tall, 7,500,000-pound-force (33,000 kN) thrust Saturn V rocket, which would be assembled vertically in a large hangar and transported on a mobile platform to one of several launch pads. Therefore, the decision was made to build a new LOC site located adjacent to Cape Canaveral on Merritt Island.
NASA began land acquisition in 1962, buying title to 131 square miles (340 km2) and negotiating with the state of Florida for an additional 87 square miles (230 km2). The major buildings in KSC's Industrial Area were designed by architect Charles Luckman. Construction began in November 1962, and Kennedy visited the site twice in 1962, and again just a week before his assassination on November 22, 1963.
On November 29, 1963, the facility was named by President Lyndon B. Johnson under Executive Order 11129. Johnson's order joined both the civilian LOC and the military Cape Canaveral station ("the facilities of Station No. 1 of the Atlantic Missile Range") under the designation "John F. Kennedy Space Center", spawning some confusion joining the two in the public mind. NASA Administrator James E. Webb clarified this by issuing a directive stating the Kennedy Space Center name applied only to the LOC, while the Air Force issued a general order renaming the military launch site Cape Kennedy Air Force Station.
Located on Merritt Island, Florida, the center is north-northwest of Cape Canaveral on the Atlantic Ocean, midway between Miami and Jacksonville on Florida's Space Coast, due east of Orlando. It is 34 miles (55 km) long and roughly six miles (9.7 km) wide, covering 219 square miles (570 km2). KSC is a major central Florida tourist destination and is approximately one hour's drive from the Orlando area. The Kennedy Space Center Visitor Complex offers public tours of the center and Cape Canaveral Space Force Station.
From 1967 through 1973, there were 13 Saturn V launches, including the ten remaining Apollo missions after Apollo 7. The first of two uncrewed flights, Apollo 4 (Apollo-Saturn 501) on November 9, 1967, was also the first rocket launch from KSC. The Saturn V's first crewed launch on December 21, 1968, was Apollo 8's lunar orbiting mission. The next two missions tested the Lunar Module: Apollo 9 (Earth orbit) and Apollo 10 (lunar orbit). Apollo 11, launched from Pad A on July 16, 1969, made the first Moon landing on July 20. The Apollo 11 launch included crewmembers Neil Armstrong, Michael Collins, and Buzz Aldrin, and attracted a record-breaking 650 million television viewers. Apollo 12 followed four months later. From 1970 to 1972, the Apollo program concluded at KSC with the launches of missions 13 through 17.
On May 14, 1973, the last Saturn V launch put the Skylab space station in orbit from Pad 39A. By this time, the Cape Kennedy pads 34 and 37 used for the Saturn IB were decommissioned, so Pad 39B was modified to accommodate the Saturn IB, and used to launch three crewed missions to Skylab that year, as well as the final Apollo spacecraft for the Apollo–Soyuz Test Project in 1975.
As the Space Shuttle was being designed, NASA received proposals for building alternative launch-and-landing sites at locations other than KSC, which demanded study. KSC had important advantages, including its existing facilities; location on the Intracoastal Waterway; and its southern latitude, which gives a velocity advantage to missions launched in easterly near-equatorial orbits. Disadvantages included: its inability to safely launch military missions into polar orbit, since spent boosters would be likely to fall on the Carolinas or Cuba; corrosion from the salt air; and frequent cloudy or stormy weather. Although building a new site at White Sands Missile Range in New Mexico was seriously considered, NASA announced its decision in April 1972 to use KSC for the shuttle. Since the Shuttle could not be landed automatically or by remote control, the launch of Columbia on April 12, 1981 for its first orbital mission STS-1, was NASA's first crewed launch of a vehicle that had not been tested in prior uncrewed launches.
In 1976, the VAB's south parking area was the site of Third Century America, a science and technology display commemorating the U.S. Bicentennial. Concurrent with this event, the U.S. flag was painted on the south side of the VAB. During the late 1970s, LC-39 was reconfigured to support the Space Shuttle. Two Orbiter Processing Facilities were built near the VAB as hangars with a third added in the 1980s.
KSC's 2.9-mile (4.7 km) Shuttle Landing Facility (SLF) was the orbiters' primary end-of-mission landing site, although the first KSC landing did not take place until the tenth flight, when Challenger completed STS-41-B on February 11, 1984; the primary landing site until then was Edwards Air Force Base in California, subsequently used as a backup landing site. The SLF also provided a return-to-launch-site (RTLS) abort option, which was not utilized. The SLF is among the longest runways in the world.
On October 28, 2009, the Ares I-X launch from Pad 39B was the first uncrewed launch from KSC since the Skylab workshop in 1973.
Beginning in 1958, NASA and military worked side by side on robotic mission launches (previously referred to as unmanned), cooperating as they broke ground in the field. In the early 1960s, NASA had as many as two robotic mission launches a month. The frequent number of flights allowed for quick evolution of the vehicles, as engineers gathered data, learned from anomalies and implemented upgrades. In 1963, with the intent of KSC ELV work focusing on the ground support equipment and facilities, a separate Atlas/Centaur organization was formed under NASA's Lewis Center (now Glenn Research Center (GRC)), taking that responsibility from the Launch Operations Center (aka KSC).
Though almost all robotics missions launched from the Cape Canaveral Space Force Station (CCSFS), KSC "oversaw the final assembly and testing of rockets as they arrived at the Cape." In 1965, KSC's Unmanned Launch Operations directorate became responsible for all NASA uncrewed launch operations, including those at Vandenberg Space Force Base. From the 1950s to 1978, KSC chose the rocket and payload processing facilities for all robotic missions launching in the U.S., overseeing their near launch processing and checkout. In addition to government missions, KSC performed this service for commercial and foreign missions also, though non-U.S. government entities provided reimbursement. NASA also funded Cape Canaveral Space Force Station launch pad maintenance and launch vehicle improvements.
All this changed with the Commercial Space Launch Act of 1984, after which NASA only coordinated its own and National Oceanic and Atmospheric Administration (NOAA) ELV launches. Companies were able to "operate their own launch vehicles" and utilize NASA's launch facilities. Payload processing handled by private firms also started to occur outside of KSC. Reagan's 1988 space policy furthered the movement of this work from KSC to commercial companies. That same year, launch complexes on Cape Canaveral Air Force Force Station started transferring from NASA to Air Force Space Command management.
In the 1990s, though KSC was not performing the hands-on ELV work, engineers still maintained an understanding of ELVs and had contracts allowing them insight into the vehicles so they could provide knowledgeable oversight. KSC also worked on ELV research and analysis and the contractors were able to utilize KSC personnel as a resource for technical issues. KSC, with the payload and launch vehicle industries, developed advances in automation of the ELV launch and ground operations to enable competitiveness of U.S. rockets against the global market.
In 1998, the Launch Services Program (LSP) formed at KSC, pulling together programs (and personnel) that already existed at KSC, GRC, Goddard Space Flight Center, and more to manage the launch of NASA and NOAA robotic missions. Cape Canaveral Space Force Station and VAFB are the primary launch sites for LSP missions, though other sites are occasionally used. LSP payloads such as the Mars Science Laboratory have been processed at KSC before being transferred to a launch pad on Cape Canaveral Space Force Station.
On 16 November 2022, at 06:47:44 UTC the Space Launch System (SLS) was launched from Complex 39B as part of the Artemis 1 mission.
As the International Space Station modules design began in the early 1990s, KSC began to work with other NASA centers and international partners to prepare for processing before launch onboard the Space Shuttles. KSC utilized its hands-on experience processing the 22 Spacelab missions in the Operations and Checkout Building to gather expectations of ISS processing. These experiences were incorporated into the design of the Space Station Processing Facility (SSPF), which began construction in 1991. The Space Station Directorate formed in 1996. KSC personnel were embedded at station module factories for insight into their processes.
From 1997 to 2007, KSC planned and performed on the ground integration tests and checkouts of station modules: three Multi-Element Integration Testing (MEIT) sessions and the Integration Systems Test (IST). Numerous issues were found and corrected that would have been difficult to nearly impossible to do on-orbit.
Today KSC continues to process ISS payloads from across the world before launch along with developing its experiments for on orbit. The proposed Lunar Gateway would be manufactured and processed at the Space Station Processing Facility.
The following are current programs and initiatives at Kennedy Space Center:
Commercial Crew Program
Exploration Ground Systems Program
NASA is currently designing the next heavy launch vehicle known as the Space Launch System (SLS) for continuation of human spaceflight.
On December 5, 2014, NASA launched the first uncrewed flight test of the Orion Multi-Purpose Crew Vehicle (MPCV), currently under development to facilitate human exploration of the Moon and Mars.
Launch Services Program
Educational Launch of Nanosatellites (ELaNa)
Research and Technology
Artemis program
Lunar Gateway
International Space Station Payloads
Camp KSC: educational camps for schoolchildren in spring and summer, with a focus on space, aviation and robotics.
The KSC Industrial Area, where many of the center's support facilities are located, is 5 miles (8 km) south of LC-39. It includes the Headquarters Building, the Operations and Checkout Building and the Central Instrumentation Facility. The astronaut crew quarters are in the O&C; before it was completed, the astronaut crew quarters were located in Hangar S at the Cape Canaveral Missile Test Annex (now Cape Canaveral Space Force Station). Located at KSC was the Merritt Island Spaceflight Tracking and Data Network station (MILA), a key radio communications and spacecraft tracking complex.
Facilities at the Kennedy Space Center are directly related to its mission to launch and recover missions. Facilities are available to prepare and maintain spacecraft and payloads for flight. The Headquarters (HQ) Building houses offices for the Center Director, library, film and photo archives, a print shop and security. When the KSC Library first opened, it was part of the Army Ballistic Missile Agency. However, in 1965, the library moved into three separate sections in the newly opened NASA headquarters before eventually becoming a single unit in 1970. The library contains over four million items related to the history and the work at Kennedy. As one of ten NASA center libraries in the country, their collection focuses on engineering, science, and technology. The archives contain planning documents, film reels, and original photographs covering the history of KSC. The library is not open to the public but is available for KSC, Space Force, and Navy employees who work on site. Many of the media items from the collection are digitized and available through NASA's KSC Media Gallery Archived December 6, 2020, at the Wayback Machine or through their more up-to-date Flickr gallery.
A new Headquarters Building was completed in 2019 as part of the Central Campus consolidation. Groundbreaking began in 2014.
The center operated its own 17-mile (27 km) short-line railroad. This operation was discontinued in 2015, with the sale of its final two locomotives. A third had already been donated to a museum. The line was costing $1.3 million annually to maintain.
The Neil Armstrong Operations and Checkout Building (O&C) (previously known as the Manned Spacecraft Operations Building) is a historic site on the U.S. National Register of Historic Places dating back to the 1960s and was used to receive, process, and integrate payloads for the Gemini and Apollo programs, the Skylab program in the 1970s, and for initial segments of the International Space Station through the 1990s. The Apollo and Space Shuttle astronauts would board the astronaut transfer van to launch complex 39 from the O&C building.
The three-story, 457,000-square-foot (42,500 m2) Space Station Processing Facility (SSPF) consists of two enormous processing bays, an airlock, operational control rooms, laboratories, logistics areas and office space for support of non-hazardous Space Station and Shuttle payloads to ISO 14644-1 class 5 standards. Opened in 1994, it is the largest factory building in the KSC industrial area.
The Vertical Processing Facility (VPF) features a 71-by-38-foot (22 by 12 m) door where payloads that are processed in the vertical position are brought in and manipulated with two overhead cranes and a hoist capable of lifting up to 35 short tons (32 t).
The Hypergolic Maintenance and Checkout Area (HMCA) comprises three buildings that are isolated from the rest of the industrial area because of the hazardous materials handled there. Hypergolic-fueled modules that made up the Space Shuttle Orbiter's reaction control system, orbital maneuvering system and auxiliary power units were stored and serviced in the HMCF.
The Multi-Payload Processing Facility is a 19,647 square feet (1,825.3 m2) building used for Orion spacecraft and payload processing.
The Payload Hazardous Servicing Facility (PHSF) contains a 70-by-110-foot (21 by 34 m) service bay, with a 100,000-pound (45,000 kg), 85-foot (26 m) hook height. It also contains a 58-by-80-foot (18 by 24 m) payload airlock. Its temperature is maintained at 70 °F (21 °C).[55]
The Blue Origin rocket manufacturing facility is located immediately south of the KSC visitor complex. Completed in 2019, it serves as the company's factory for the manufacture of New Glenn orbital rockets.
Launch Complex 39 (LC-39) was originally built for the Saturn V, the largest and most powerful operational launch vehicle until the Space Launch System, for the Apollo crewed Moon landing program. Since the end of the Apollo program in 1972, LC-39 has been used to launch every NASA human space flight, including Skylab (1973), the Apollo–Soyuz Test Project (1975), and the Space Shuttle program (1981–2011).
Since December 1968, all launch operations have been conducted from launch pads A and B at LC-39. Both pads are on the ocean, 3 miles (4.8 km) east of the VAB. From 1969 to 1972, LC-39 was the "Moonport" for all six Apollo crewed Moon landing missions using the Saturn V, and was used from 1981 to 2011 for all Space Shuttle launches.
Human missions to the Moon required the large three-stage Saturn V rocket, which was 363 feet (111 meters) tall and 33 feet (10 meters) in diameter. At KSC, Launch Complex 39 was built on Merritt Island to accommodate the new rocket. Construction of the $800 million project began in November 1962. LC-39 pads A and B were completed by October 1965 (planned Pads C, D and E were canceled), the VAB was completed in June 1965, and the infrastructure by late 1966.
The complex includes: the Vehicle Assembly Building (VAB), a 130,000,000 cubic feet (3,700,000 m3) hangar capable of holding four Saturn Vs. The VAB was the largest structure in the world by volume when completed in 1965.
a transporter capable of carrying 5,440 tons along a crawlerway to either of two launch pads;
a 446-foot (136 m) mobile service structure, with three Mobile Launcher Platforms, each containing a fixed launch umbilical tower;
the Launch Control Center; and
a news media facility.
Launch Complex 48 (LC-48) is a multi-user launch site under construction for small launchers and spacecraft. It will be located between Launch Complex 39A and Space Launch Complex 41, with LC-39A to the north and SLC-41 to the south. LC-48 will be constructed as a "clean pad" to support multiple launch systems with differing propellant needs. While initially only planned to have a single pad, the complex is capable of being expanded to two at a later date.
As a part of promoting commercial space industry growth in the area and the overall center as a multi-user spaceport, KSC leases some of its properties. Here are some major examples:
Exploration Park to multiple users (partnership with Space Florida)
Shuttle Landing Facility to Space Florida (who contracts use to private companies)
Orbiter Processing Facility (OPF)-3 to Boeing (for CST-100 Starliner)
Launch Complex 39A, Launch Control Center Firing Room 4 and land for SpaceX's Roberts Road facility (Hanger X) to SpaceX
O&C High Bay to Lockheed Martin (for Orion processing)
Land for FPL's Space Coast Next Generation Solar Energy Center to Florida Power and Light (FPL)
Hypergolic Maintenance Facility (HMF) to United Paradyne Corporation (UPC)
The Kennedy Space Center Visitor Complex, operated by Delaware North since 1995, has a variety of exhibits, artifacts, displays and attractions on the history and future of human and robotic spaceflight. Bus tours of KSC originate from here. The complex also includes the separate Apollo/Saturn V Center, north of the VAB and the United States Astronaut Hall of Fame, six miles west near Titusville. There were 1.5 million visitors in 2009. It had some 700 employees.
It was announced on May 29, 2015, that the Astronaut Hall of Fame exhibit would be moved from its current location to another location within the Visitor Complex to make room for an upcoming high-tech attraction entitled "Heroes and Legends". The attraction, designed by Orlando-based design firm Falcon's Treehouse, opened November 11, 2016.
In March 2016, the visitor center unveiled the new location of the iconic countdown clock at the complex's entrance; previously, the clock was located with a flagpole at the press site. The clock was originally built and installed in 1969 and listed with the flagpole in the National Register of Historic Places in January 2000. In 2019, NASA celebrated the 50th anniversary of the Apollo program, and the launch of Apollo 10 on May 18. In summer of 2019, Lunar Module 9 (LM-9) was relocated to the Apollo/Saturn V Center as part of an initiative to rededicate the center and celebrate the 50th anniversary of the Apollo Program.
Historic locations
NASA lists the following Historic Districts at KSC; each district has multiple associated facilities:
Launch Complex 39: Pad A Historic District
Launch Complex 39: Pad B Historic District
Shuttle Landing Facility (SLF) Area Historic District
Orbiter Processing Historic District
Solid Rocket Booster (SRB) Disassembly and Refurbishment Complex Historic District
NASA KSC Railroad System Historic District
NASA-owned Cape Canaveral Space Force Station Industrial Area Historic District
There are 24 historic properties outside of these historic districts, including the Space Shuttle Atlantis, Vehicle Assembly Building, Crawlerway, and Operations and Checkout Building.[71] KSC has one National Historic Landmark, 78 National Register of Historic Places (NRHP) listed or eligible sites, and 100 Archaeological Sites.
Further information: John F. Kennedy Space Center MPS
Other facilities
The Rotation, Processing and Surge Facility (RPSF) is responsible for the preparation of solid rocket booster segments for transportation to the Vehicle Assembly Building (VAB). The RPSF was built in 1984 to perform SRB operations that had previously been conducted in high bays 2 and 4 of the VAB at the beginning of the Space Shuttle program. It was used until the Space Shuttle's retirement, and will be used in the future by the Space Launch System[75] (SLS) and OmegA rockets.
Foundation stone 23 Dec 1862 by Henry Ayers, closed 1964. Some buildings have been retained for their heritage, while others demolished to make way for commercial & residential development.
“the company in London. . . the whole of the plant will be prepared and forwarded to this colony, ready for erection immediately. The plant ordered comprises a gasometer or holder 70 feet in diameter and 20 feet deep, with lime purifiers, atmospheric condensers, retorts, hydraulic main, dip and ascension pipes, station meter, and, in fact, all the requisite fittings and machinery of a first-class gaswork. About 13 miles of mains have likewise been ordered, which alone will cost about £6,000, and arrangements will also be made for a large supply of house meters.” [Advertiser 22 Jan 1862]
“The South Australian Gas Company's works are situated at Brompton, about two miles north-west of Adelaide. The Company chose this site in consequence of its convenient distance from the city, and its close proximity to the Bowden Railway Station. It is hoped that the Railway authorities will be induced to construct a siding from the Port line of railway to the works, when it is expected coals will be delivered at a cheaper rate than by the drays on the Port-road. The ground occupied by the works is about four acres in extent, enclosed by a substantial rabble-stone wall six feet high. . . The gasholder tank is in course of construction. . . The buildings will consist of the retort house and coal store, a large chimney, purifying house, station, meter house, governor house, photometer room and office, a store, blacksmith's shop, and a manager's residence. . . The chimney will be 100 feet in height, and will serve as a beacon to travellers to point out where the once obscure but now busy little village of Brompton stands. Many of the inhabitants in the neighbourhood complain that the smell and smoke arising from the works will operate injuriously upon health, and be detrimental to the value of property, but we are told that not the slightest inconvenience will arise from either smell or smoke.” [Advertiser 17 Dec 1862]
“The ceremony of laying the foundation-stone of the South Australian Gas Company's works at Brompton was performed by the Hon. Henry Ayers, on Tuesday, December 23. . . About 4 o'clock the company repaired to the foundations of the chimney-stack, where the ceremony was to be performed. The Hon. H. Ayers stepped upon the foundation. . . He had been given to understand that in such matters as that the foundation-stone should form a part of the stack, as that was the most prominent portion of the building.” [Register 24 Dec 1862]
“The second anniversary of the introduction and use of gas from the Brompton Gasworks to the city occurred on the 20th instant. The event was celebrated at the works by a dinner ' given by Mr. George Anderson, the Engineer and Manager, to the workmen and their families, numbering about 30 persons.” [Register 27 Jun 1865]
“A party consisting of over a hundred gentlemen, including a large number of members of both branches of the Legislature (several members of the Ministry being among them) and many other prominent citizens, paid a visit to the premises of the South Australian Gas Company, at Brompton, on Saturday afternoon, August 30. The principal occasion of the visit was the turning of the first sod of a piece of ground on which the Company are about to erect a new gasholder. . . The party were next shown a new retort-house, which is 250 feet in length and 65 feet in height, and has been erected recently in consequence of the increased demand for gas. It has been designed to hold three sets of retorts, bt only one of these has been fitted up at present, although the others are quite ready for use when need arises. These retorts are provided with six furnaces, and contain all the latest improvements, including lids which are self-closing.” [Express & Telegraph 1 Sep 1879]
“The additional sidings and other railway facilities at the Brompton works have been completed and storage accommodation has been provided for a much larger stock of coal than was formerly kept. . . The retort house has been enlarged, a new coal store built, and an additional gasholder and tank are in course of construction.” [Advertiser 27 Aug 1891]
“On Friday morning, at 2.50, the Hindmarsh Volunteer Fire Brigade received a call from the West street, Brompton, signal. Simultaneously the Gasworks hooter sounded, and the brigade was out by about the time the hooter had finished its doleful tune. In journeying towards the signal a huge volume of flame and smoke was observed in a northerly direction. Upon arrival it was discovered that a large stack of wood stored in one of Messrs. J. Hallett and Sons' brickyards, near the Metropolitan Brick Company's works, had caught alight. The wood was uncomfortably close to the lain attachments and the sheds, all of which were in immediate danger. The firemen set to work with a will and the fire was soon extinguished. The brigade turned out in good force, and deserve credit for their prompt arrival at such an early hour.” [Evening Journal 25 Feb 1910]
“A municipal poll was conducted . . . That the Corporation of the Town of Hindmarsh be authorized to take legal steps to close that part of First street, Brompton, between Chief street and East street, with a view of its sale to the South Australian Gas Company for £5,000.” [Register 3 Sep 1917]
“First sreet, Brompton. . . For eight years negotiations have been proceeding from time to time between the S.A. Gas Company and the local town council for the purchase by the company of the street named, which divides the two blocks of land upon which the gasworks stand; Twice the proposal to sell has been submitted to the ratepayers for confirmation or otherwise, and on both occasions a large majority of those who voted favoured the sale. However, there was nearly always some impediment to the completion of the transaction, until a few months ago. . . and after considerable negotiations the question has now been definitely settled. . . a few days ago the council received a. cheque for £5,000. In addition to this amount, the company had to expend a considerable sum in the purchase of property abutting the street named, the owners of which had lodged objections to the proposed sale, and in compensating other objectors whose properties were not purchased. There has always been a small section of the ratepayers opposed to the sale. . . the voting resulting:— For, 842; against, 393; a majority of 449 in favour of the sale to the company.” [Register 10 Jul 1918]
“It is about 44 years since the S.A. Gas Company started their gasworks at Brompton on a small block of land alongside the Port railway with only one small holder capable of containing 70,000 ft. of gas. The company now have 8½ acres, and a great part of this is covered with works, inclusive of two other holders. The largest of the three holders will contain one million cubic feet of gas. The latest addition is the new retort-house on the Chief-street alignment. . . The outer walls are built of Tapley’s Hill stone, with brick pillars. . . The chimney, which is sufficiently large for a duplicate of the new retort-house, is 70 ft. in height.” [Advertiser 7 Jul 1906]
“For many years the sounding of the hooter at the Brompton gasworks at irregular times has been a signal for the Hindmarsh Volunteer Fire Brigade to turn out to a fire. The alteration of the hours of the men starting and leaving off at the works will commence to-day, and the hooter will sound in future at 7.30 a.m., noon, 12.48 p.m., and 5 p m. on five days, and on Saturday at 7.30 a.m. and noon.” [Advertiser 17 Oct 1910]
“Adelaide had its first stay-in strike this week. The trouble began at the South Australian Gas Company's works at Brompton at 8 pm. on Monday and ended abruptly at 1.30 am. on Tuesday, when the men accepted a compromise. . . It was stated that at the time the men went on strike there was only a 24-hours supply of gas available for the public.” [Chronicle 5 Aug 1937]
“There was a burst of flame at the Brompton gasworks at 8.30 a.m. today when the horizontal retorts were fired to put them in production for the first time since the strike began on December 5.” [News 20 Jan 1947]
Image: The proms finished with a spectacular fireworks display.
More than a thousand people enjoyed the first Imjin Proms on Saturday.
The concert and outdoor festival event raised money for three military service charity associations with entertainment ranging from a musically choreographed Spitfire display to children's activities.
"The weather's held off and it's been a fantastic evening, with a fantastic range of music, with parachutists, and airplanes, and it's all just been going very well from my point of view," said Simon Footer, the main event coordinator from the Royal Air Force Benevolent Fund.
Imjin Barracks, a Royal Air Force base that served for decades, has been home since 2010 to the event's other main host, NATO's Allied Rapid Reaction Corps
Lt.Gen. Tim Evans, ARRC commander, welcomed the crowd with gratitude, wishing everyone a splendid evening, and thanking Aramark and other sponsors. The general envisioned the event more than a year ago to be a way for Imjin and other nearby military communities to share a memorable evening with Gloucestershire.
Sharing the experience of the Spitfire display brought many emotions to the diverse crowd. Presenter Peter Dickson said he was moved by the arial display, as that plane holds a special place in British hearts, answering a call in the 1940's with young pilots when "our backs were really against the wall, it delivered the effect we needed." Remembering them and the sacrifice of so many is important and one theme for the evening, he continued. The whole night has "surpassed expectation."
"I've painted many of them as a kid, but that's the first time I've ever seen one," said presenter Lewis Macleod, in a sincere moment backstage when he wasn't keeping the crowd laughing with his voice impressions between acts. "It was really beautiful."
The plane flew to classical music played by The Band of the Royal Air Force College, who also lit up the evening with a finale and fireworks around 10 pm. Other music included a pop-music cover set by the Adjutant Generals Corps' Band who got people up and dancing from their picnic blankets and chairs. The crowd also witnessed the precision of The Royal Marines Band and 19th Regimental Royal Artillery Pipes and Drums.
Children representing their school's talent, the Innsworth Military Wives Choir, and many others performed during the evening to the local crowd. The event succeeded in opening the gates of Imjin to the community and there is a hope to see more of these kinds of events in future.
A few weeks ago, I made a list of churches that were on the Grade I list at least, so enabling me to pick a couple of churches to visit.
We did this, but finding two targets closed, Jools looked at the map and compared the list and found that Nettlestead was nearby despite being a different postal area.
It happens.
So, we drove over, heading out of Maidstone heading west, the church should have been on our left hand side. As we neared the church, I spotted the lych gate on the road with a footpath heading down the valley side.
I parked on the side of the road and go to investigate, down the path to the row of trees, and through a gap in a wall was the chuchyard with the church standing stark against the grey sky.
The tower looked Norman, large and squat, but the question was: would the porch door be unlocked?
It was!
Inside was dark and gloomy, so much so I could hardly see into eh chancel. I found a light switch that turned on two lights at the west end, then spent ten minutes looking for the main bank of switches, finding it at last behind the organ.
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Tucked away down a straight path, to the north of Nettlestead Place and west of the River Medway, this small church is intriguing and full of character. The oldest part of the church is the tower, dating from the thirteenth century. This is now attached to a church completely rebuilt in the first half of the fifteenth century by the Pympe family, great supporters of the Woodville family and tenants of threw Dukes of Buckingham. The reason why everyone should visit the church is to see the contemporary glass installed in the huge Perpendicular windows which march down the nave. The Pympes arms may be seen, as well as those of their overlords and other families with whom they were associated. Reginald Pympe (1448-1530) was seen as a threat to Richard III but he lived to enjoy happy times in the reign of Henry VII. What was broken at the Reformation was skilfully restored and augmented by Ward and Hughes in the early 20th century. There are two lovely monuments on the east wall of the nave - to Katherine and Elizabeth Scott, one 16th and one 17th century.
www.kentchurches.info/church.asp?p=Nettlestead
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NETTLESTED.
SOUTHWARD from watringbury lies Nettlested, called in Domesday, Nedested.
This PARISH lies on the western bank of the Medway, which is its eastern boundary, whence the ground rises up to the grounds of Roydon-hall, at the opposite side of it. It is within the district of the Weald. The situation is low, and rather of a gloomy aspect, from the number of spreading and losty oaks, and elm trees interspersed throughout it; the soil a fertile clay, consisting much of it of rich grazing land like that already described in the adjoining parish of East Peckham, though it is equally fertile for the growth of corn and hops in the upper parts of it. The high road from Maidstone through Watringbury to Tunbridge, branches off from Watringbury, and leads through this parish, not far from the bank of the river; in the northern part of it is the church, and at some distance from it the remains of the antient Place bonse, by which it appears to have been built of stone, with handsome sized gothic windows; on a stone portal, in the west front is the date 1587, probably that of some large repair or addition made to it, as the other parts of the building carry with them marks of much greater antiquity. The grand entrance to the house from the river is yet standing. The form of the antient gardens with the ponds are yet remaining. The mansion appears to have been spacious and noble, equal to the respectable families who once resided in it, though now it is for the most part over-run with weeds and spontaneous shrubs, and bears with it every mark of that vicissitude and ruin which is the inevitable lot of the transitous labours of man, however his utmost endeavours may have been exerted to prevent it. It is now made use of as an oast to dry hops, and for a labourere to dwell in, the occupier of the manor farm living in a modern house between it and the church, hence the road leads through the village built at Nettlested-green, whence it divides, that to the left leading towards the river at Twyfordbridge, and the other strait forward through Hailstreet to it at Brandt-bridge, both leading towards the southern parts of the Weald and Suffex. The groves of young oaks, elms, and other trees, planted along the borders of the river Medway, contribute greatly to the beauty of the scenery, which is considerably heightened by the rich gardens of hops, and the dif ferent dwellings and cottages intervening at frequent spaces between them.
This parish, with others in this neighbourhood, was antiently bound to contribute to the repair of the fifth pier of Rochester bridge.
IN THE REIGN of William the Conqueror, this place was part of the possessions of the king's halfbrother, Odo, bishop of Baieux and earl of Kent, under the general title of whose lands it is thus entered in the survey of Domesday, taken about the year 1080.
Haimo holds of the bishop (of Baieux) Nedestede. It was taxed at three sulings. The arable land is six carucates. In demesne there is one, and fourteen villeins, having five carucates. There is a church, and fourteen servants, and two mills of fourteen shillings, and a fishery of two shillings, and seven acres of meadow. Wood for the pannage of thirty-five bogs. In the time of king Edward the Confessor, it was worth eight pounds, afterwards six pounds, now eight pounds and five shillings. Norman held it of king Edward.
Of this manor the bishop has thirty shillings and two houses.
And again in another place, in the same record:
Adam holds of the bishop (of Baieux) one yoke in Pimpa. The arable land is . . . He has there half a carucate, with two servants, and four acres of meadow and half a fishery, untaxed; wood for the pannage of six bogs. In the time of king Edward the Confessor it was worth six shillings, and afterwards five shillings, now ten shillings, yet it pays fifteen shillings. Godric held it of king Edward.
By another entry in the same book it appears, that Rayner, or Rannulf de Columbels, who held the manor of West Farleigh under the bishop, as one suling, held likewise another part of this estate, for after the description of his holding that manor it thus continues.
Of this suling Rayner (de Columbus) holds one yoke of the bishop in the manor of Pimpe, and he has there one carucate with nine servants, and three acres of meadow. Wood for the pannage of four hogs. In the time of king Edward the Confessor, and afterwards, it was worth twenty shillings, now forty shillings. Alnod Cilt held it of king Edward.
On the disgrace of the bishop of Baieux, about four years after the taking of the above survey, all his estates became confiscated to the crown, and these mentioned above, which comperhended the manors of Nettlested, with those of Hylth and Pimpe, were afterwards held of the Clares, earls of Gloucester, as chief lords of the fee, by the eminent family of Pimpe, who took their name from the latter of them, making it the principal seat of their residence, though they had another seat afterwards in East Farleigh, in this neighbourhood, and a third at Alhallows, in the hundred of Hoo. They bore for their arms, Gules, two bars argent, a chief vaire, as they now remain painted in the windows of this church.
Richard de Pimpe held these manors in the reigns of king Edward I. and II. and his descendant, Sir Philip de Pimpe, was a man of eminence and property in this county, as appears by his being one of those, who in the 11th year of king Edward III. were, in respect to their estates, assessed to furnish a guard for the defence of the sea coasts; towards which Sir Philip was ordered to provide two men at arms. (fn. 1)
His widow Joane married John de Coloigne, who, together with her son, Sir Thomas de Pimpe, paid respective aid for their lands in Nettlested, and adjoining to it, in the 20th year of king Edward III. that is to say,
"For the manor of Nettlested, the manor of Hylth and Hylth park, with other lands in Nettlested and Hylth, for the manor of Pimpe, in Nettlested, Crongebery, and Pimpe, all which were held of the earl of Gloucester, as chief lord of the see.
William, son of Sir Thomas de Pimpe, possessed Nettlested, and kept his Shrievalty here in the 37th, 45th, and 49th years of king Edward III. in which year he died, and his son, Reginald de Pimpe, of Pimpe's-court, in East Farleigh, on his death, served that office the remainder of that year.
His descendants continued to reside at Pimpe'scourt, in this parish, two of whom, Reginald and John Pimpe, unsuccessfully engaging, with others, in assisting Henry, duke of Buckingham, against king Richard III. were attainted, and their estates were declared forfeited to the crown. But on the death of king Richard, and the earl of Richmond's attaining the crown, they were restored in blood and estates. Reginald Pimpe died without male issue, leaving an only daughter and heir Anne, for whom an act had passed in the 1st year of that reign, and she married to Sir John Scott, of Scotts-hall, and John Pimpe, in the 2d year of king Henry VII. kept his Shrievalty at Pimpe's-court, in East Farleigh. He died in the 11th year of that reign, anno 1495, being then possessed of the manor, with the advowson of the church of Nettlested, the manor of Hilthe, and also the manor of Pimpe, with its appurtenances, in this parish and Yalding, and certain other lands and tenements in Yalding, all held of the duchess of Buckingham. He left an only daughter and heir, Winifred, married to Sir John Rainsford, who in her right possessed this manor. He died S.P. 1st Elizabeth, leaving his wife surviving, who appears by the escheat rolls to have been a lunatie, and to have died possessed of these manors and estates in the 18th year of that reign; when Sir Thomas Scott, of Scotts-hall, (grandson of Sir John Scott above-mentioned) seems to have succeeded to them, as her next of kin, and his second son, Sir John Scott, possessed it afterwards, and resided at Nettlested, which by the date remaining on the ruins of it, he seems to have made great additions to. He was twice married, but left issue by neither of his wives, and these manors and their appurtenances, came on his death to his brother, Edward Scott, esq. of Scottshall, whose descendant, George Scott, esq. of Scottshall, alienated the manors of Nettlested, Health and Pimpe, with the mansion and advowson of the church of Nettlested, by authority of an act of parliament passed anno 10 and 11 William III. to Sir Philip Boteler, bart. of Teston, whose son, Sir Philip Boteler, bart. died possessed of them in 1772, having by his will devised one moiety of his estates to Mrs. Elizabeth Bouverie, of Chart Sutton, and the other moiety to Elizabeth, viscountess dowager of Folkestone, and William Bouverie, earl of Radnor, both since deceased; and on a partition of his estates between them, the manors and estates of Nettlested, with the appendant advowson, were among others. allotted to Mrs. Elizabeth Bouverie, now of T'eston, the present possessor of them.
THE MANOR of LOMEWOOD, alias Laysers, formerly called Lomewood, alias Bromes, in this parish, was part of the possessions of the family of Clare, earls of Gloucester, and was settled by one of them on the priory of Black Canons, at Tunbridge, in this county.
This manor continued part of the revenues of the above priory till its dissolution in the 16th year of king Henry VIII. After which the king, in his 17th year, granted the above priory, with others then suppressed for the like purpose, together with all their manors, lands, and possessions, to Cardinal Wolsey, for the better endowment of his college, called Cardinal college, in Oxford.
But four years afterwards, the cardinal being cast in a præmunire, all the possessions of the college, which through want of time had not been firmly settled on it, became forfeited to the crown, (fn. 2) and the king, in his 27th year, granted this manor of Lomewood, alias Le Bromys, with all lands, &c. belonging to it in this parish, to Sir Edward Nevill, third son of George Nevill, lord Abergavenny, who, in consideration of a marriage to be had between his daughter Katherine, and George Roydon, son and heir apparent of Thomas Roydon, esq. of East Peckham, and of a certain sum paid to him, conveyed it, by the name of Cardinals lands, called Bromes, in Lomewood, to Thomas Roydon above-mentioned.
On the death of whose sons without issue, his five daughters became his coheirs; the second of whom, Elizabeth, as part of her share of the inheritance, entitled her husband, William Twysden, esq. of Chelmington, to this manor, then held in capite, and in his descendants it has continued down to Sir William Jarvis Twysden, bart. of Roydon-hall, in East Peckham, who is the present possessor of it.
Charities.
JOHN THUNDER, about the year 1756, gave by will 5s. worth of bread, to be distributed yearly on Good Friday, to the poor of this parish for forty years, which term is now expired.
Nettlested is within the ECCLESIASTICAL JURISDICTION of the dioceseof Rochester and deanryof Malling.
The church, which stands at the east side of the village, is dedicated to St. Mary. It is a small but handsome building, with a low pointed tower or steeple. There are good remains of painted glass in it.
The church of Nettlested was always esteemed an appendage to the manor, and as such is now in the patronage of Mrs. Elizabeth Bouverie, of Teston.
¶Edmund, bishop of Rochester, anno 1486, at the instance of John Pimpe, esq. lord of the manor, and patron of the church of Barmingjett, united that church to this of Nettlested; and decreed, that after such union the former should not be esteemed as a church, but as a chapel, dependent, united, and annexed to this church of Nettlested; the rector of which and his successors should for the future have and enjoy all profits, tithes, and emoluments, &c. belonging to the church of Barmingjett, and convert and freely dispose of the same to his and their own proper uses for ever. And he decreed, that the rector and his successors should in future pay yearly to the bishop of Rochester and his successors, twenty pence, and to the archdeacon twelve pence yearly, in lieu of such payments as belonged to them of antient custom from the church of Barmingjett, before the annexing and consolidating of the same. (fn. 3)
In which situation it continues at this time; the rector of Nettlested being presented, instituted and inducted to, the rectory of Nettlested, with the chapel of Barmingjett annexed.
It is valued in the king's books, with the chapel of Barmingjett annexed, at 12l. 10s. 10d. and the yearly tenths at 1l. 5s. 1d.
The learned Sir Roger Twysden, who lived in the reigns of king James and Charles I. in his discourse on the Weald, says, that in the time of the lady Golding, who hired the tithes of this parish, Nettlested was held to be in the Weald, and she denied the tithe of wood accordingly; yet the rector of it affirmed then to Sir Roger, that all, who had wood in the parish, paid tithe of it at that time to him, excepting himself.
The parsonage-house is a large antient well timbered building, having a court-yard before it, and an antient gateway, through which is the entrance to it from the high road.
[ 1123 CPP batch scan 007 ]
These are a few archival examples from my CPP project. I recently posted my Flickr post number 1,000, a current example from the experiment. I'm incredibly pleased that the project is active again (a bit more about that below). ^_^
This particular piece, shot in collaboration with Melina Teresa, my former fiance, is of one of my collages.
Anyway, here are a couple of other CPP images shot in collaboration with Melina:
www.flickr.com/photos/trona/2607352/in/set-97568/
www.flickr.com/photos/trona/15878557/in/set-97568/
www.flickr.com/photos/trona/15875254/in/set-97568/
www.flickr.com/photos/trona/18464902/in/set-97568/
www.flickr.com/photos/trona/18464057/in/set-97568/
www.flickr.com/photos/trona/2605829/in/set-97568/
www.flickr.com/photos/trona/2605872/in/set-97568/
www.flickr.com/photos/trona/32026033/in/set-97568/
www.flickr.com/photos/trona/2903618/in/set-97568/
OK. And now for something completely..… familiar. Pasted below is some info RE the experiment, and please feel free to Flickr-mail me w/ any questions:
This is a part of an ongoing & experimental double exposure photo project entitled "Corpse Photo-Poetics (CPP).” It was conceived as a sort of abstraction of the Surrealist game, "Exquisite Corpse."
I still can't locate my formal description of the project (D’OH), but here’s an attempt to succinctly state the simplicity of CPP:
With E.C., partipants divide a piece of a paper into thirds or quaters, choosing, for instance, the human form. Each participant chooses a section of the form to complete, covering their work, leaving only lines to give the next player a starting point for the next section of the piece. The result can be something quite surprising and, sometimes, even good! ;)
I chose to use double exposure photographs. The CPP images have mostly been produced directly in the camera (35mm). With no fixed form in mind, participants grab an image to be integrated with the photograph of another in the camera, and hopefully the result is just as surprising and, sometimes, even good!
Well, thank you for taking a look, reading about this crazy project, & please LMK (again) if you are interested.
(BTW, I want to thank Denim again for giving this monster some new life, and I indeed look forward to seeing what other buried treasure we might find in future CPP rolls! Here is a link to the first photo that I've posted from our collaboration. She posted something recently as well! =)
You can read more about the CPP project here.
1/76 scale diecast models of Mercedes Sprinter, long wheelbase high roof vans, depicting Transport Scotland and the Trunk Roads Incident Support Service (TRISS) operated by BEAR.
I had wanted to depict TRISS in model form, but couldn’t find any decals/transfers. However a seller on eBay, whom I had bought from previously, is open to suggestions. Imagine my surprise to be told within 24 hours that the decal set was ready for sale. 3 days later and I was applying them. I also bought a set of Vinyl decals of Variable Message Signs, commonly seen at the side of motorways, but importantly - fitted to the roof of TRISS vehicles.
I have modelled one van with its Variable Message board fully extended. The second van is depicted mid way through extending the board.
If I can find cheap donor models of the Oxford Diecast BTP Camera van, I may add extendable CCTV poles to these models in future.
All DVD and VHS copies of 1992’s Tom and Jerry: The Movie will all be smashed into pieces
and recycled into brand new Blue’s Clues Handy Dandy Notebook prop replicas due to that 1992's Tom and Jerry: The Movie upsets a lot of Blue's Clues Steve fans with a fake exaggerated house demolition with a nasty old pear-shaped wrecking ball at the beginning and the house at the beginning of 1992's Tom and Jerry: The Movie is yellow and has a red roof just like The Blue's Clues house and that fake exaggerated house demolition with a nasty old pear-shaped wrecking ball at the beginning has upset over billions of Blue's Clues Steve fans extremely bad and reminding them of when Steve left and Joe taking over but at least they continued on making Steve notebooks forever and will always make Steve notebooks just like all of my favorite buildings in New Jersey will always be around. And the other reason why all DVD and VHS copies of 1992’s Tom and Jerry: The Movie will all be smashed into pieces and recycled into brand new Blue’s Clues Handy Dandy Notebook prop replicas is also because 1992's Tom and Jerry the movie is also a huge plagiarism from Disney ripping off the 1977 animated film The Rescuers. So we will never ever have to see this BAD OLD Tom and Jerry Movie in the future. And this will help make better economy with more important goods in our stores such as Crayola Kid's First Jumbo Washable Crayons, Green Chalkboards, Jumbo Chalks, Electric Mechanical wall bells, prop accurate Blue's Clues Handy Dandy Notebooks, Little Golden Books, Disney Snow White and Pinocchio stuff, etc. And some bratts were getting bad advice from this movie with convience taking over good old fashioned traditional stuff is the exaggerated house demolition in 1992's Tom and Jerry the movie with a pear-shaped wrecking ball destroying the beautiful old fashioned living house and replacing it with a garage full of ice cream trucks with the bad old outdated confusing misleading red trapezoid children slow crossing warning blades that word IF-SAFE STOP THEN-GO which is extremely mean-spirited and is a yield sign that says stop which is extremely wrong and confusing to people who are deaf, color blind, can't read, or don't speak English. Also old fashined traditional stuff are extremely important not just conviences. Good thing I am making safety collaborations by updating all ice cream trucks to all have the current updated yellow trapezoid children slow crossing warning blades that word children slow crossing and or school bus swing arm stop signs which are octagon shaped especially I know for a fact in all traffic signs the shape is the most important not just the word and color especially in all stop signs the octagon shape is the most important not just the word and color. In the 2000s, Warner Bros reviving 1992's Tom and Jerry the movie and and selling too many DVD copies of that movie surpassing Corduroy the Bear and his buttons was all McDonald's corporation and Bogen Communication's fault because the super size at McDonald's was brainwashing many people by reviving the bad old 1992 Tom and Jerry movie and popularizing Bogen Multicom 2000 and their mean spirited bell tones that are haunted chimes that don't sound like a bell at all scaring off kids especially kids with autism and making them not want to go to school and abandoning my golden toddler stuff like Corduroy the Bear with two buttons on his green corduroy overalls but good thing I am undoing all of the bad influence the super size gave us by restoring my golden toddlerhood, safety improvements, kindness improvements, reviving Nelvana's version of Corduroy the Bear with the premiere of Two Buttons again and Forever fixing Betty Quan's upsetting mistake for good by showing that they did get Corduroy's button out of the storm drain and put Corduroy's button back on Corduroy the Bear's green corduroy overalls and that corduroy the bear does have two buttons on his green corduroy overalls forever and bringing back all nostalgic inducing stuff like green chalkboards and electric mechanical wall bells etc and create a nostalgic inducing future. So this is why all broadcasts of The Simpsons MUST BE BY LAW MANDATED to be ONLY reruns of classic Simpsons (first 18 seasons of The Simpsons). This is why all schools MUST BE BY LAW MANDATED to be set up like Middleborough, Hilltop School from Timothy Goes to School, and or my DeVry building in North Brunswick, NJ and all with green chalkboards, electric mechanical wall bells, and Corbeil school buses and other school buses with electric stop arms, and only kind-spirited stuff like Disney Snow White and Pinocchio stuff and Corduroy the Bear with two buttons on his green corduroy overalls and Steve Notebooks etc, and no mean-spirited stuff like Bogen Multicom 2000 and that mean scary looking grumpy face with the freaky spikey eyelashes and triangular eyes and razor blade forehead wrinkles they used to have on Gordon in the old live action model version of Thomas and Friends and no processed foods in the school lunches. This is why McDonald's restaurants MUST BE BY LAW MANDATED to be McEyebrows with the yellow and orange striped awnings, arch wedge the new aluminum exterior I have created, or the original 1970s version of the iconic double sloped mansard roof and better and safe updated indoor PlayPlaces with low and safe steps and slides and green chalkboards and or just the dining room option (no playplace), This is why all ice cream trucks MUST BE BY LAW MANDATED to be all updated to the current updated yellow trapezoid children slow crossing warning blades that word CHILDREN SLOW CROSSING and or school bus stop signs and that all ice cream trucks MUST BE BY LAW MANDEDTED TO GET RID of the bad old outdated red trapezoid children slow crossing warning blades that word IF-SAFE STOP THEN-GO for good, This is why Crayola Crayon boxes MUST BE BY LAW MANDATED to be new modern 1997 boxes. This is why school PA systems MUST BE BY LAW MANDATED to be Rauland Telecenter or PA systems with no bell tones. And this is why Nelvana and Hanna-Barbera MUST TAKE OVER Warner Bros. Animation Tom and Jerry: The Movie (1992) MUST BE BANNED never ever get revived in the future because Tom and Jerry: The Movie (1992) does have an upsetting unrealistic house demolition with an old fashioned pear-shaped wrecking ball destroying a beautiful old fashioned living house because of it being decades old ruining nostalgia and ruining my golden toddlerhood and abused many Blue's Clues Steve fans making them think the wrecking ball destroyed the handy dandy notebooks which we all love because the destroyed house at the beginning of Tom and Jerry: The Movie (1992) does look slightly identical to the Blue's Clues House and now even the destroyed Handy Dandy Notebooks are getting mended back together. So I hereby Tom and Jerry: The Movie (1992) to BE BANNED FOREVER due to abusing Blue's Clues Steve Fans like me. Tom and Jerry: The Movie MUST BE BANNED because it has an unrealistic house demolition with a very bad old fashioned wrecking ball that upsets people so bad and abused many Blue's Clues Steve Fans and some bratts were getting bad advice from this movie with convience taking over good old fashioned traditional stuff is the exaggerated house demolition in 1992's Tom and Jerry the movie with a pear-shaped wrecking ball destroying the beautiful old fashioned living house and replacing it with a garage full of ice cream trucks with the bad old outdated confusing misleading red trapezoid children slow crossing warning blades that word IF-SAFE STOP THEN-GO which is extremely mean-spirited and is a yield sign that says stop which is extremely wrong and confusing to people who are deaf, color blind, can't read, or don't speak English. Also old fashined traditional stuff are extremely important not just conviences. Good thing I am making safety collaborations by updating all ice cream trucks to all have the current updated yellow trapezoid children slow crossing warning blades that word children slow crossing and or school bus swing arm stop signs which are octagon shaped especially I know for a fact in all traffic signs the shape is the most important not just the word and color especially in all stop signs the octagon shape is the most important not just the word and color.
. Similar to modern Simpsons (seasons 19 and Later) 1992's Tom and Jerry the movie is another bad media showing convience taking over good important traditional stuff with a pear-shaped wrecking ball destroying a beautiful old fashioned living house and replace the house with convient high rise appartment building with a garage full of ice cream trucks with the bad old oudated confusing misleading red trapezoid children slow crossing warning blades that word IF-SAFE STOP THEN-GO which was mean-spirited and ruining my golden toddlerhood. In the 2000s, Warner Bros reviving 1992's Tom and Jerry the movie and and selling too many DVD copies of that movie surpassing Corduroy the Bear and his buttons was all McDonald's corporation and Bogen Communication's fault because the super size at McDonald's was brainwashing many people by reviving the bad old 1992 Tom and Jerry movie and popularizing Bogen Multicom 2000 and their mean spirited bell tones that are haunted chimes that don't sound like a bell at all scaring off kids especially kids with autism and making them not want to go to school and abandoning my golden toddler stuff like Corduroy the Bear with two buttons on his green corduroy overalls but good thing I am undoing all of the bad influence the super size gave us by restoring my golden toddlerhood, safety improvements, kindness improvements, reviving Nelvana's version of Corduroy the Bear with the premiere of Two Buttons again and Forever fixing Betty Quan's upsetting mistake for good by showing that they did get Corduroy's button out of the storm drain and put Corduroy's button back on Corduroy the Bear's green corduroy overalls and that corduroy the bear does have two buttons on his green corduroy overalls forever and bringing back all nostalgic inducing stuff like green chalkboards and electric mechanical wall bells etc and create a nostalgic inducing future. So this is why all broadcasts of The Simpsons MUST BE BY LAW MANDATED to be ONLY reruns of classic Simpsons (first 18 seasons of The Simpsons). This is why all schools MUST BE BY LAW MANDATED to be set up like Middleborough, Hilltop School from Timothy Goes to School, and or my DeVry building in North Brunswick, NJ and all with green chalkboards, electric mechanical wall bells, and Corbeil school buses and other school buses with electric stop arms, and only kind-spirited stuff like Disney Snow White and Pinocchio stuff and Corduroy the Bear with two buttons on his green corduroy overalls and Steve Notebooks etc, and no mean-spirited stuff like Bogen Multicom 2000 and that mean scary looking grumpy face with the freaky spikey eyelashes and triangular eyes and razor blade forehead wrinkles they used to have on Gordon in the old live action model version of Thomas and Friends and no processed foods in the school lunches. This is why McDonald's restaurants MUST BE BY LAW MANDATED to be McEyebrows with the yellow and orange striped awnings, arch wedge the new aluminum exterior I have created, or the original 1970s version of the iconic double sloped mansard roof and better and safe updated indoor PlayPlaces with low and safe steps and slides and green chalkboards and or just the dining room option (no playplace), This is why all ice cream trucks MUST BE BY LAW MANDATED to be all updated to the current updated yellow trapezoid children slow crossing warning blades that word CHILDREN SLOW CROSSING and or school bus stop signs and that all ice cream trucks MUST BE BY LAW MANDEDTED TO GET RID of the bad old outdated red trapezoid children slow crossing warning blades that word IF-SAFE STOP THEN-GO for good, This is why Crayola Crayon boxes MUST BE BY LAW MANDATED to be new modern 1997 boxes. This is why school PA systems MUST BE BY LAW MANDATED to be Rauland Telecenter or PA systems with no bell tones. And this is why Nelvana and Hanna-Barbera MUST TAKE OVER Warner Bros. Animation. The reality is that demolition are based on how bad the building is damaged not on how old the building is like in 1992's Tom and Jerry the movie. Tom and Jerry: The Movie (1992) MUST BE BANNED never ever get revived in the future because Tom and Jerry: The Movie (1992) does have an upsetting unrealistic house demolition with an old fashioned pear-shaped wrecking ball destroying a beautiful old fashioned living house because of it being decades old ruining nostalgia and ruining my golden toddlerhood and abused many Blue's Clues Steve fans making them think the wrecking ball destroyed the handy dandy notebooks which we all love because the destroyed house at the beginning of Tom and Jerry: The Movie (1992) does look slightly identical to the Blue's Clues House and now even the destroyed Handy Dandy Notebooks are getting mended back together. So I hereby Tom and Jerry: The Movie (1992) to BE BANNED FOREVER due to abusing Blue's Clues Steve Fans like me. Tom and Jerry: The Movie MUST BE BANNED because it has an unrealistic house demolition with a very bad old fashioned wrecking ball that upsets people so bad and abused many Blue's Clues Steve Fans and some bratts were getting bad advice from this movie with convience taking over good old fashioned traditional stuff is the exaggerated house demolition in 1992's Tom and Jerry the movie with a pear-shaped wrecking ball destroying the beautiful old fashioned living house and replacing it with a garage full of ice cream trucks with the bad old outdated confusing misleading red trapezoid children slow crossing warning blades that word IF-SAFE STOP THEN-GO which is extremely mean-spirited and is a yield sign that says stop which is extremely wrong and confusing to people who are deaf, color blind, can't read, or don't speak English. Also old fashined traditional stuff are extremely important not just conviences and even polluting andhaving Eastern cottontail rabbits extinct. Good thing I am making safety collaborations by updating all ice cream trucks to all have the current updated yellow trapezoid children slow crossing warning blades that word children slow crossing and or school bus swing arm stop signs which are octagon shaped especially I know for a fact in all traffic signs the shape is the most important not just the word and color especially in all stop signs the octagon shape is the most important not just the word and color.
. Similar to modern Simpsons (seasons 19 to 30) 1992's Tom and Jerry the movie is another bad media showing convience taking over good important traditional stuff with a pear-shaped wrecking ball destroying a beautiful old fashioned living house and replace the house with convient high rise appartment building with a garage full of ice cream trucks with the bad old oudated confusing misleading red trapezoid children slow crossing warning blades that word IF-SAFE STOP THEN-GO which was mean-spirited and ruining my golden toddlerhood. In the 2000s, Warner Bros reviving 1992's Tom and Jerry the movie and and selling too many DVD copies of that movie surpassing Corduroy the Bear and his buttons was all McDonald's corporation and Bogen Communication's fault because the super size at McDonald's was brainwashing many people by reviving the bad old 1992 Tom and Jerry movie and popularizing Bogen Multicom 2000 and their mean spirited bell tones that are haunted chimes that don't sound like a bell at all scaring off kids especially kids with autism and making them not want to go to school and abandoning my golden toddler stuff like Corduroy the Bear with two buttons on his green corduroy overalls but good thing I am undoing all of the bad influence the super size gave us by restoring my golden toddlerhood, safety improvements, kindness improvements, reviving Nelvana's version of Corduroy the Bear with the premiere of Two Buttons again and Forever fixing Betty Quan's upsetting mistake for good by showing that they did get Corduroy's button out of the storm drain and put Corduroy's button back on Corduroy the Bear's green corduroy overalls and that corduroy the bear does have two buttons on his green corduroy overalls forever and bringing back all nostalgic inducing stuff like green chalkboards and electric mechanical wall bells etc and create a nostalgic inducing future. So this is why all broadcasts of The Simpsons MUST BE BY LAW MANDATED to be ONLY reruns of classic Simpsons (first 18 seasons of The Simpsons). This is why all schools MUST BE BY LAW MANDATED to be set up like Middleborough, Hilltop School from Timothy Goes to School, and or my DeVry building in North Brunswick, NJ and all with green chalkboards, electric mechanical wall bells, and Corbeil school buses and other school buses with electric stop arms, and only kind-spirited stuff like Disney Snow White and Pinocchio stuff and Corduroy the Bear with two buttons on his green corduroy overalls and Steve Notebooks etc, and no mean-spirited stuff like Bogen Multicom 2000 and that mean scary looking grumpy face with the freaky spikey eyelashes and triangular eyes and razor blade forehead wrinkles they used to have on Gordon in the old live action model version of Thomas and Friends and no processed foods in the school lunches. This is why McDonald's restaurants MUST BE BY LAW MANDATED to be McEyebrows with the yellow and orange striped awnings, arch wedge the new aluminum exterior I have created, or the original 1970s version of the iconic double sloped mansard roof and better and safe updated indoor PlayPlaces with low and safe steps and slides and green chalkboards and or just the dining room option (no playplace), This is why all ice cream trucks MUST BE BY LAW MANDATED to be all updated to the current updated yellow trapezoid children slow crossing warning blades that word CHILDREN SLOW CROSSING and or school bus stop signs and that all ice cream trucks MUST BE BY LAW MANDEDTED TO GET RID of the bad old outdated red trapezoid children slow crossing warning blades that word IF-SAFE STOP THEN-GO for good, This is why Crayola Crayon boxes MUST BE BY LAW MANDATED to be new modern 1997 boxes. This is why school PA systems MUST BE BY LAW MANDATED to be Rauland Telecenter or PA systems with no bell tones. And this is why Nelvana and Hanna-Barbera MUST TAKE OVER Warner Bros. Animation. The reality is that demolition are based on how bad the building is damaged not on how old the building is like in 1992's Tom and Jerry the movie.
"Now that is what I call a Re-enactment!
Bartimaeus the blind beggar
May the Peace of the Risen Christ be with you! Easter is here.
We had a most successful Re-enactment of Our Lord's Passion. After so many months of preparation, sewing machines running hot updating costumes, actors learning lines, sound systems being upgraded and more, there we stood at 11am on Good Friday with microphone in hand: "Welcome to the 2018 Re-enactment of Our Lord's Passion!" And so it began.
How do we measure "success" in regards to our re-enactment?
On one measure you can use crowd numbers, donations, "Likes" and Shares and that would be appropriate if this was just a normal play. Even on that basis our event would certainly be considered a success with somewhere around 5,000 people participating and lots of great feedback and support.
But how do you measure success for a play that tries to be an authentic re-enactment of the Passion of Jesus Christ based on scripture and tradition of the Church? In this case we were told by the Pauline Fathers that many people came back and they were hearing confessions the whole day.
We saw many people following the play and praying along with us.
Crowning with Thorns
Many came up to us after the play thanking us for such an invigorating presentation of our Lord's Passion. Here are some of the early tales we have been told of the day.
One of the biggest challenges with a moving play is the safety of actors, crew and pilgrims as the play moves from scene to scene. We try many methods such as fixed tape and ropes as well as rope held by our marshalls. Enforcement for keeping the crowd back tends to fall towards the soldiers who, like in a theatre restaurant, instruct the crowd to move back for their own safety. Our photographer, eager to get "the photo", allowed a little old lady to sneak past the barriers so she could touch the cloak of Jesus. As the Centurion swung his arm giving orders to his soldiers, this lady who stood upright under his swing moved forward. "What the?" cried the Centurion and firmly moved her back with instructions. I thought she would be concerned at the firm treatment but she was grinning ear to ear and holding her bag telling her family, "I touched his cloak!"
I touched Jesus' Robes!
Some of our Marshalls volunteered to help on the day. Often these had not experienced the fluid intensity of a moving play like this and even though they were holding on to the rope barrier, found themselves sucked into the crowd. When the Centurion or one of the soldiers noticed their lost marshall and we heard the cry, "Get him out of there!" as they reached in and brought him back into line.
Our marshalls and soldiers request people to stay back for their own safety. When the Roman soldiers and Jewish guards broke out into another scuffle we heard the cry, "They're fighting again!" and the crowd suddenly made space. "Please stand back for your own safety," we once more cried as the procession moved on.
When Jesus was being scourged, the process started with one Roman making a few lashes. Then he gets moved back with the cry, "Let someone do it properly!" The primary flogging Roman soldier let fly with the whip dipped in the fake blood. Drops of blood flew in an arc and the soft straps struck Jesus with a satisfying slap and Jesus cried out. The crowd stopped chattering with an audible gasp.
One of our new actors had not actually attended the play in past years so this was all an amazing experience. When Jesus was being scourged and mocked, tears came to her eyes, but the Woman of Jerusalem in charge held her and said, "Don't cry yet. We have to call for his crucifixion in the next scene." So she held back her tears and like a trooper joined the crowd calling for Jesus' crucifixion. As she said afterwards, it won't be the same contemplating the story of Jesus' Passion in future.
At the start of the play we made sure the actors and crew knew that this was a "Live" play. That meant no retakes, no pause to re-do the scene, no stepping in to try again. "The play must go on!" we instructed. "After all, the pilgrims haven't read the script and the story won't be affected if your lines are not exact. So long as we get the important bits in the right order, no-one will know." That was good advice.
When Pontius Pilate was standing majestically on the balcony addressing the crowd, the sign of Roman Superiority detached from the balcony railing and fell to the ground with a crash. Pontius Pliate's eyes opened wide for a brief moment and then he turned his gaze back to the Crowd and Caiaphas and the Jews and continued as if nothing was wrong. The crew quickly removed the sign and all moved on as if this was part of play. We were told afterwards how clever this was, the falling of the sign representing the fall of Roman Justice. The play must go on.
Although we have a script which covers all the main dialogue and actions, the flavour comes from the interactions and improvised dialogue of the actors. Insults between the Jews and Romans provided occasional humour too. At the crucifixion, one of the Jewish Chief Priests called out "How many Romans does it take to Crucify someone?" Being sick of their taunts a Roman Guard approached them and said, "I have room for one more. Are you ready?" The Chief Priest stepped back behind the Jewish Guards and replied, "I have an appointment tomorrow and can't today."
We will report further tales as they come to light, but I want to end this post-play post with some heartfelt thanks. When organising an event like this where there are months of preparation involving over 100 cast, crew and support organisations, the whole thing only works when people do their part. This year worked so well because everyone did their part, no matter how small that part may have appeared. The actors didn't just remember their lines, but they also worked with their fellow actors and added their own ideas for their character. For example, the actor playing the blind beggar Bartimeus had the idea of having a blindfold and sat in his spot near the start of the play, begging for alms for about 20 minutes before the play reached him. Then he improvised with many calls for alms and requests about what the commotion was. It was a great job which really brought out the character of the blind beggar. It may have only been a bit part, but it formed part of the greater whole.
The same applied for each of the roles, from the primary speaking parts through to the behind the scenes actors of the Women of Jerusalem and Apostles before and after the abandonment of Jesus.
So many people have done their parts and done them well I am very proud to have been able to assist in co-ordinating and directing the play. An event like this generates a great camaraderie and fellowship and fosters a deeper understanding of not just this critical point in salvation history, but also the very human element that is the point of the whole Passion. Every actor and member of the crew and supporters must know that all the work and effort has been worthwhile to so many people.
Thank you.
~David Bruggeman"
Copied from goodfridaypassionplay.blogspot.com.au/
For more information please visit www.paulinefathers.org.au
No need to meditate or imagine, this event will take you to Calvary!
Images by Giovanni Portelli Photography © 2018.
Plot - Alex Katz, Georg Baselitz, Iris (Detail), 2009, Albertina - Sammlung Batliner
The Albertina
The architectural history of the Palais
(Pictures you can see by clicking on the link at the end of page!)
Image: The oldest photographic view of the newly designed Palais Archduke Albrecht, 1869
"It is my will that the expansion of the inner city of Vienna with regard to a suitable connection of the same with the suburbs as soon as possible is tackled and at this on Regulirung (regulation) and beautifying of my Residence and Imperial Capital is taken into account. To this end I grant the withdrawal of the ramparts and fortifications of the inner city and the trenches around the same".
This decree of Emperor Franz Joseph I, published on 25 December 1857 in the Wiener Zeitung, formed the basis for the largest the surface concerning and architecturally most significant transformation of the Viennese cityscape. Involving several renowned domestic and foreign architects a "master plan" took form, which included the construction of a boulevard instead of the ramparts between the inner city and its radially upstream suburbs. In the 50-years during implementation phase, an impressive architectural ensemble developed, consisting of imperial and private representational buildings, public administration and cultural buildings, churches and barracks, marking the era under the term "ring-street style". Already in the first year tithe decided a senior member of the Austrian imperial family to decorate the facades of his palace according to the new design principles, and thus certified the aristocratic claim that this also "historicism" said style on the part of the imperial house was attributed.
Image: The Old Albertina after 1920
It was the palace of Archduke Albrecht (1817-1895), the Senior of the Habsburg Family Council, who as Field Marshal held the overall command over the Austro-Hungarian army. The building was incorporated into the imperial residence of the Hofburg complex, forming the south-west corner and extending eleven meters above street level on the so-called Augustinerbastei.
The close proximity of the palace to the imperial residence corresponded not only with Emperor Franz Joseph I and Archduke Albert with a close familial relationship between the owner of the palace and the monarch. Even the former inhabitants were always in close relationship to the imperial family, whether by birth or marriage. An exception here again proves the rule: Don Emanuel Teles da Silva Conde Tarouca (1696-1771), for which Maria Theresa in 1744 the palace had built, was just a close friend and advisor of the monarch. Silva Tarouca underpins the rule with a second exception, because he belonged to the administrative services as Generalhofbaudirektor (general court architect) and President of the Austrian-Dutch administration, while all other him subsequent owners were highest ranking military.
In the annals of Austrian history, especially those of military history, they either went into as commander of the Imperial Army, or the Austrian, later kk Army. In chronological order, this applies to Duke Carl Alexander of Lorraine, the brother-of-law of Maria Theresa, as Imperial Marshal, her son-in-law Duke Albert of Saxe-Teschen, also field marshal, whos adopted son, Archduke Charles of Austria, the last imperial field marshal and only Generalissimo of Austria, his son Archduke Albrecht of Austria as Feldmarschalil and army Supreme commander, and most recently his nephew Archduke Friedrich of Austria, who held as field marshal from 1914 to 1916 the command of the Austro-Hungarian troops. Despite their military profession, all five generals conceived themselves as patrons of the arts and promoted large sums of money to build large collections, the construction of magnificent buildings and cultural life. Charles Alexander of Lorraine promoted as governor of the Austrian Netherlands from 1741 to 1780 the Academy of Fine Arts, the Théâtre de Ja Monnaie and the companies Bourgeois Concert and Concert Noble, he founded the Academie royale et imperial des Sciences et des Lettres, opened the Bibliotheque Royal for the population and supported artistic talents with high scholarships. World fame got his porcelain collection, which however had to be sold by Emperor Joseph II to pay off his debts. Duke Albert began in 1776 according to the concept of conte Durazzo to set up an encyclopedic collection of prints, which forms the core of the world-famous "Albertina" today.
Image : Duke Albert and Archduchess Marie Christine show in family cercle the from Italy brought along art, 1776. Frederick Henry Füger.
1816 declared to Fideikommiss and thus in future indivisible, inalienable and inseparable, the collection 1822 passed into the possession of Archduke Carl, who, like his descendants, it broadened. Under him, the collection was introduced together with the sumptuously equipped palace on the Augustinerbastei in the so-called "Carl Ludwig'schen fideicommissum in 1826, by which the building and the in it kept collection fused into an indissoluble unity. At this time had from the Palais Tarouca by structural expansion or acquisition a veritable Residenz palace evolved. Duke Albert of Saxe-Teschen was first in 1800 the third floor of the adjacent Augustinian convent wing adapted to house his collection and he had after 1802 by his Belgian architect Louis de Montoyer at the suburban side built a magnificent extension, called the wing of staterooms, it was equipped in the style of Louis XVI. Only two decades later, Archduke Carl the entire palace newly set up. According to scetches of the architect Joseph Kornhäusel the 1822-1825 retreaded premises presented themselves in the Empire style. The interior of the palace testified from now in an impressive way the high rank and the prominent position of its owner. Under Archduke Albrecht the outer appearance also should meet the requirements. He had the facade of the palace in the style of historicism orchestrated and added to the Palais front against the suburbs an offshore covered access. Inside, he limited himself, apart from the redesign of the Rococo room in the manner of the second Blondel style, to the retention of the paternal stock. Archduke Friedrich's plans for an expansion of the palace were omitted, however, because of the outbreak of the First World War so that his contribution to the state rooms, especially, consists in the layout of the Spanish apartment, which he in 1895 for his sister, the Queen of Spain Maria Christina, had set up as a permanent residence.
Picture: The "audience room" after the restoration: Picture: The "balcony room" around 1990
The era of stately representation with handing down their cultural values found its most obvious visualization inside the palace through the design and features of the staterooms. On one hand, by the use of the finest materials and the purchase of masterfully manufactured pieces of equipment, such as on the other hand by the permanent reuse of older equipment parts. This period lasted until 1919, when Archduke Friedrich was expropriated by the newly founded Republic of Austria. With the republicanization of the collection and the building first of all finished the tradition that the owner's name was synonymous with the building name:
After Palais Tarouca or tarokkisches house it was called Lorraine House, afterwards Duke Albert Palais and Palais Archduke Carl. Due to the new construction of an adjacently located administration building it received in 1865 the prefix "Upper" and was referred to as Upper Palais Archduke Albrecht and Upper Palais Archduke Frederick. For the state a special reference to the Habsburg past was certainly politically no longer opportune, which is why was decided to name the building according to the in it kept collection "Albertina".
Picture: The "Wedgwood Cabinet" after the restoration: Picture: the "Wedgwood Cabinet" in the Palais Archduke Friedrich, 1905
This name derives from the term "La Collection Albertina" which had been used by the gallery Inspector Maurice von Thausing in 1870 in the Gazette des Beaux-Arts for the former graphics collection of Duke Albert. For this reason, it was the first time since the foundation of the palace that the name of the collection had become synonymous with the room shell. Room shell, hence, because the Republic of Austria Archduke Friedrich had allowed to take along all the movable goods from the palace in his Hungarian exile: crystal chandeliers, curtains and carpets as well as sculptures, vases and clocks. Particularly stressed should be the exquisite furniture, which stems of three facilities phases: the Louis XVI furnitures of Duke Albert, which had been manufactured on the basis of fraternal relations between his wife Archduchess Marie Christine and the French Queen Marie Antoinette after 1780 in the French Hofmanufakturen, also the on behalf of Archduke Charles 1822-1825 in the Vienna Porcelain Manufactory by Joseph Danhauser produced Empire furnitures and thirdly additions of the same style of Archduke Friedrich, which this about 1900 at Portois & Ffix as well as at Friedrich Otto Schmidt had commissioned.
The "swept clean" building got due to the strained financial situation after the First World War initially only a makeshift facility. However, since until 1999 no revision of the emergency equipment took place, but differently designed, primarily the utilitarianism committed office furnitures complementarily had been added, the equipment of the former state rooms presented itself at the end of the 20th century as an inhomogeneous administrative mingle-mangle of insignificant parts, where, however, dwelt a certain quaint charm. From the magnificent state rooms had evolved depots, storage rooms, a library, a study hall and several officed.
Image: The Albertina Graphic Arts Collection and the Philipphof after the American bombing of 12 März 1945.
Image: The palace after the demolition of the entrance facade, 1948-52
Worse it hit the outer appearance of the palace, because in times of continued anti-Habsburg sentiment after the Second World War and inspired by an intolerant destruction will, it came by pickaxe to a ministerial erasure of history. In contrast to the graphic collection possessed the richly decorated facades with the conspicuous insignia of the former owner an object-immanent reference to the Habsburg past and thus exhibited the monarchial traditions and values of the era of Francis Joseph significantly. As part of the remedial measures after a bomb damage, in 1948 the aristocratic, by Archduke Albert initiated, historicist facade structuring along with all decorations was cut off, many facade figures demolished and the Hapsburg crest emblems plunged to the ground. Since in addition the old ramp also had been cancelled and the main entrance of the bastion level had been moved down to the second basement storey at street level, ended the presence of the old Archduke's palace after more than 200 years. At the reopening of the "Albertina Graphic Collection" in 1952, the former Hapsburg Palais of splendour presented itself as one of his identity robbed, formally trivial, soulless room shell, whose successful republicanization an oversized and also unproportional eagle above the new main entrance to the Augustinian road symbolized. The emocratic throw of monuments had wiped out the Hapsburg palace from the urban appeareance, whereby in the perception only existed a nondescript, nameless and ahistorical building that henceforth served the lodging and presentation of world-famous graphic collection of the Albertina. The condition was not changed by the decision to the refurbishment because there were only planned collection specific extensions, but no restoration of the palace.
Image: The palace after the Second World War with simplified facades, the rudiment of the Danubiusbrunnens (well) and the new staircase up to the Augustinerbastei
This paradigm shift corresponded to a blatant reversal of the historical circumstances, as the travel guides and travel books for kk Residence and imperial capital of Vienna dedicated itself primarily with the magnificent, aristocratic palace on the Augustinerbastei with the sumptuously fitted out reception rooms and mentioned the collection kept there - if at all - only in passing. Only with the repositioning of the Albertina in 2000 under the direction of Klaus Albrecht Schröder, the palace was within the meaning and in fulfillment of the Fideikommiss of Archduke Charles in 1826 again met with the high regard, from which could result a further inseparable bond between the magnificent mansions and the world-famous collection. In view of the knowing about politically motivated errors and omissions of the past, the facades should get back their noble, historicist designing, the staterooms regain their glamorous, prestigious appearance and culturally unique equippment be repurchased. From this presumption, eventually grew the full commitment to revise the history of redemption and the return of the stately palace in the public consciousness.
Image: The restored suburb facade of the Palais Albertina suburb
The smoothed palace facades were returned to their original condition and present themselves today - with the exception of the not anymore reconstructed Attica figures - again with the historicist decoration and layout elements that Archduke Albrecht had given after the razing of the Augustinerbastei in 1865 in order. The neoclassical interiors, today called after the former inhabitants "Habsburg Staterooms", receiving a meticulous and detailed restoration taking place at the premises of originality and authenticity, got back their venerable and sumptuous appearance. From the world wide scattered historical pieces of equipment have been bought back 70 properties or could be returned through permanent loan to its original location, by which to the visitors is made experiencable again that atmosphere in 1919 the state rooms of the last Habsburg owner Archduke Frederick had owned. The for the first time in 80 years public accessible "Habsburg State Rooms" at the Palais Albertina enable now again as eloquent testimony to our Habsburg past and as a unique cultural heritage fundamental and essential insights into the Austrian cultural history. With the relocation of the main entrance to the level of the Augustinerbastei the recollection to this so valuable Austrian Cultural Heritage formally and functionally came to completion. The vision of the restoration and recovery of the grand palace was a pillar on which the new Albertina should arise again, the other embody the four large newly built exhibition halls, which allow for the first time in the history of the Albertina, to exhibit the collection throughout its encyclopedic breadh under optimal conservation conditions.
Image: The new entrance area of the Albertina
64 meter long shed roof. Hans Hollein.
The palace presents itself now in its appearance in the historicist style of the Ringstrassenära, almost as if nothing had happened in the meantime. But will the wheel of time should not, cannot and must not be turned back, so that the double standards of the "Albertina Palace" said museum - on the one hand Habsburg grandeur palaces and other modern museum for the arts of graphics - should be symbolized by a modern character: The in 2003 by Hans Hollein designed far into the Albertina square cantilevering, elegant floating flying roof. 64 meters long, it symbolizes in the form of a dynamic wedge the accelerated urban spatial connectivity and public access to the palace. It advertises the major changes in the interior as well as the huge underground extensions of the repositioned "Albertina".
Christian Benedictine
Art historian with research interests History of Architecture, building industry of the Hapsburgs, Hofburg and Zeremonialwissenschaft (ceremonial sciences). Since 1990 he works in the architecture collection of the Albertina. Since 2000 he supervises as director of the newly founded department "Staterooms" the restoration and furnishing of the state rooms and the restoration of the facades and explores the history of the palace and its inhabitants.
This was my first visit to Alive & V-Dubbin and I loved it, will definately return in future years!
© Copyright 2014 Dibaday Photography. All Rights Reserved. This image is the exclusive property of Dibaday Photography and is protected by the Copyright, Designs and Patents Act 1988. Images may not be copied, printed or otherwise disseminated without express written permission from Dibaday Photography. No form of reproduction of this image, including copying or saving of the digital image file, or the alteration or manipulation of said image files is authorised unless written permission is given. Use of any image as the basis for another photographic concept or illustration (digital, artist rendering or alike) is a violation of the Copyright, Designs and Patents Act 1988.
Day 2 of Brands Hatch Brit Car into The Night and after a thrilling set of Qualifying and Racing Yesterday All Drivers were Ready Once again to Challenge the Circuit.
Some Drivers from the Previous Day were Seen Packing Up and Heading Home after a Brilliant Days Racing while Others were Just Arriving and Getting their Machines Prepared for The Race Track.
With an Action Packed Day to look forward to and Lots of Action for Both Qualifying and Racing Lets take a Look and See who is up First and Ready to Challenge This Almighty Indy Circuit.
Avon Tyres Intermarque Silhouettes-(Qualifying Results)
First Up onto the Circuit was The Intermarque Silhouettes and Thease Machines are Very Quick and Built to be as Light Weight as Possible by Using a Space Frame Chassis and a Fibreglass Body.
Lets Find out who Qualified were and Who Managed to Take Pole Position for Race 1.
In First Place Securing Pole Position and The Fastest Lap was (Danny Hun) in his Ford Autoxross Fiesta ST with a Best Lap Time of 1:01.454 and a Top Speed of 70.76mph. Great Lap there Danny Really Keeping that Car on the Track and Taking a Strong Pole Position.
In Second Place was (Pat Kiely) in his Vauxhall Tigra with a Best Lap Time of 1:01.813 and a Top Speed of 70.35mph. Brilliant Drive there Pat Nice Work and Fantastic Second Place on the Grid for Race 1.
In Third Place was (Malcom Blackman) in his Vauxhall Tigra with a Best Lap Time of 1:03.883 and a Top Speed of 68.07mph. Well Done Malcom a Massive Charge to Earn that P3 Spot on the Gird Lets Hope it can be turned into a Race Win Come Race 1.
What an Exciting End to Qualifying with the Likes of Danny Pat and Malcom All Looking Ready to Go for Race 1 but out of The Three Who Will be Able to Turn their Qualifying Position into a Race Win? Lets Find Out.
Avon Tyres Intermarque Silhouettes-(Race 1 Results)
After an Intense Battle During Qualifying which saw the Likes of Danny Hun take a Dominant Pole Position with Pat Kiely Second and Malcom Blackman Third this Grid is Looking to be Very Big and Very Fast. Lets Find Out Who Won and Who took Glory in the First Race of The Day.
In First Place Taking The Victory Was (Malcom Blackman) in his Vauxhall Tigra with a Best Lap Time of 57.507 and an Average Speed of 54.53mph. Congratulations Malcom Fantastic Drive and A Well Deserved Win in that Beautifully Prepared Vauxhall.
In Second Place was (Danny Hun) in his Ford Autoxross Fiesta ST with a Best Lap Time of 57.789 and an Average Speed of 54.49mph. Amazing Work there Danny Brilliant Drive and a Well Deserved P2 Finish over the Line.
In Third Place was (Pat Kiely) in his Vauxhall Tigra with a Best Lap Time of 57.346 and an Average Speed of 54.48mph. Great Work Pat Really Pushing Hard and Almost Catching Danny Hun Just Before The End by 0.157 Seconds there.
What a Fantastic First Race of The Day for The Intermarque Silhouettes with Some Incredible Winners in the Likes of Malcom Danny and Pat All Taking Superb Victories for their Respective Teams.
With Race 2 Coming Up Next Who will be the One to Retain their Crown at the Top of The Standings and Can the Likes of Pat and Danny Possibly Improve and start Putting Pressure on Malcom who Currently Reins Supreme?
Lets Find Out
Avon Tyres Intermarque Silhouettes-(Race 2 Results)
Race 2 and One Last Chance for The Top 3 To Battle it out and See who can Take Either Back to Back Victories at Brands Hatch or Who can Possibly Disrupt the Win Streak Currently Set by Malcom.
In First Place Taking The Last Victory was (Steve Burrows) in his Vauxhall Tigra with a Best Lap Time of 1:01.432 and an Average Speed of 69.99mph. Congratulations Steve What a Brilliant Bit of Driving there in Very Wet and Dark Conditions to Beat Malcom and Take Home a Fantastically Deserved Win.
In Second Place was (Dave York) in his Vauxhall Tigra with a Best Lap Time of 1:01.329 and an Average Speed of 69.59mph. Amazing Work there Dave Really Pushing that Vauxhall for All it was Worth and Doing Very Well to Keep it on the Damp and Slippery Track for a Superb P2 on the Podium.
In Third Place was (Malcom Blackman) in his Vauxhall Tigra with a Best Lap Time of 1:01.343 and an Average Speed of 69.50mph. Well Driven there Malcom Great Drive and A Really Good Finish in P3 from an Amazing Weekend of Racing.
What a Fantastic Weekend for The Intermarque Silhouettes and So many Amazing Winners in the Likes of Danny Pat Malcom Dave and Steve Who All Showed Incredible Wet Weather Skills and Kept there Cars Going to Take some Superb Victories. Well Done to All of the Other Drivers too Who Fought Hard on Track. Keep Pushing for that Victory and Good Luck.
BMR Super Saloons & CMMCS Tin-Tops-(Qualifying Results)
Next Up on to The Race Track was The Super Saloons and Tin Tops and Thease Machines not Only Have Incredible Liveries and Looks but they Also Pack a lot of Power and Variety in the Types of Race Cars and How they Handle.
From the Ford Escort WRC to the Peugeot 306 and even the Mitsubishi Lancer Evo 10 Each Car and Driver Have a Certain Driving Style that can Either Mean the Difference Between a Loss or a Victory on the Race Track.
Lets Get to Qualifying and See Who Took Pole
In First Place Taking Pole Position and The Best Lap Was (Rod Birley) in his Ford Escort WRC with a Best Lap Time of 58.886 and a Top Speed of 73.84mph. Brilliant Drive from Birley as a Home Hero of Brands Hatch He Always Knows How to Take Almost Any Car and Get it onto Pole Position Fantastic Drive.
In Second Place was (Chris Basset) in his Peugeot 306 with a Best Lap Time of 1:00.040 and a Top Speed of 72.42mph. Fantastic Drive there Chris Pushing that Peugeot Hard for a Well Deserved P2 Finish Well Done.
In Third Place was (Nick Sutton) in his Mitsubishi Lancer Evo 10 with a Best Lap Time of 1:01.904 and a Top Speed of 70.24mph. Brilliant Drive there Nick Really Working Hard and Getting that Beautiful Lancer Evo into P3 on the Gird.
A Fantastic Qualifying Session for Tin Tops and Super Saloons with some Very Fast and Experienced Drivers in Rod Chris and Nick all Pushing their Machinery Hard and Gunning for a Victory. With Race 1 Just Around the Corner it will be Interesting to See who can Take the Victory and who can Defend their Position from the other Drivers who will no Doubt Be Ready and Waiting to Attack.
BMR Super Saloons & CMMCS Tin-Tops-(Race 1 Results)
In First Place Taking the Victory and The Fastest Lap was (Rod Birley) in his Ford Escort WRC with a Best Lap Time of 1:02.316 and an Average Speed of 57.41mph. Congratulations Rod a Really Incredible Bit of Driving in those Rain Soaked Conditions to take Home a Victory that the Whole Family will be Really Proud of. Amazing Drive.
In Second Place was (Steve Dann) in his VW Scirocco with a Best Lap Time of 1:02.502 and an Average Speed of 57.35mph. Great Driving there from Steve Taking the Fight Right to Birley at The End and Almost Catching him for the Race Win. Non the Less a Very Well Deserved P2 Finish.
In Third Place was (Nick Wall) in his Renault Clio with a Best Lap Time of 1:04.877 and an Average Speed of 55.89mph. Brilliant work there Nick A Fantastic P3 Finish in Conditions that were Very Challenging Indeed.
What an Incredible Race this was to Witness with the Start Being Behind the Safety Car before All of the Driver put their foot down and Went for it in conditions where at Times the Spray made it Impossible to see Anything.
A Big Congratulations to the likes of Rod Steve and Nick who All Drove Incredibly and Really Showed Everyone who the Rain Masters were around the Indy Circuit. A Big Congratulations to All of the Other Drivers too Who also Showed Incredible Bravery and Skill Navigating their way Around and Claiming some Incredible Victories of their own.
With Race 2 Coming Up Next will Rod be able to Hold onto his 1st Place Finish or Will the Likes of Nick and Steve Try to Take that 1st Place away from Rod? and Who Else May be able to Challenge this Trio of Fast and Capable Drivers.
Lets Find Out
BMR Super Saloons & CMMCS Tin-Tops-(Race 2 Results)
With The Circuit Now Entering Night fall it was Getting Very Difficult for The Drivers to see which will add a New Challenge to this Race. Will the Likes of Rod Birley be Able to Win Once Again?
In First Place Taking the Win and Fastest Lap was (Rod Birley) in his Ford Escort WRC with a Best Lap Time of 1:00.960 and an Average Speed of 60.83mph. Amazing Work there Rod Driven like a True Champion and a Fantastic Home Win to Add to the Already Incredible Win Streak at Brands Hatch.
In Second Place was (Nick Sutton) in his Mitsubishi Lancer Evo 10 with a Best Lap Time of 59.429 and an Average Speed of 60.74mph. Great Drive from Nick Once Again Showing his Brave and Fantastic Skills even at Night When the Lights go Out. Well Done.
In Third Place was (Steve Dann) in his VW Scirocco with a Best Lap Time of 1:02.227 and an Average Speed of 60.48mph. Nice Work Steve Really Good Drive for P3 Showing some Incredible Speed and Commitment Thought the Race.
What an Amazing Race from the Super Saloons and Tin Tops with some Incredible Drives and Victories from the likes of Rod Nick Sutton Nick Wall and Steve All Pushing Hard and Achieving Some Incredible Victories.
Well Done to All of the Other Drivers out there Racing too You All did a Fantastic Job and Looking Forward to seeing you All out there Again Doing what you Love and Sharing a Passion for Motorsport.
Dunlop Mini Winter Challenge supported by Mini Spares (Race 2 Results)
The Mini's were Up Next and After Some Incredible Racing Yesterday which Saw the Likes of Rupert Deeth Take 1st with Scott Kendall 2nd and Colin Peacock 3rd it was Going to be an Intense Battle at the Front of the Field.
The Likes of Endaf Owens was Also Prepared after an Engine Failure During Yesterdays Race Which Many thought would put him out of Contention for Today..........However With Some Incredible Overnight Work by Him and His Fellow Mechanics as well as a Late Night Trip to Wales and Back to Pick Up a Spare Engine, Endaf and His Dedicated Team Have Managed to Get his Car Ready for Race 2. Truly a Phenomenal Achievement. Lets Hope for Better Luck this Time.
Lets Get to the Action
In First Place Taking Victory and The Fastest Lap was (Endaf Owens) in his Mini Miglia 1298 with a Best Lap Time of 55.033 and an Average Speed of 67.78mph. Incredible Drive there Endaf Coming Back from Yesterday with an Engine Failure to Win the First Race of Sunday is Truly The Drive of a Champion. Incredible Work.
In Second Place was (Rupert Deeth) in his Mini Miglia 1293 with a Best Lap Time of 54.925 and an Average Speed of 67.72mph. Another Heroic Drive from Rupert Really Putting Pressure on Endaf the Entire Race and the two of them being in a Class of their Own way out in Front. Amazing Drive there Rupert.
In Third Place was (Scott Kendall) in his Mini Miglia 1293 with a Best Lap Time of 55.618 and an Average Speed of 67.34mph. Great Drive there From Scott Racing Hard and Doing a Fantastic Job of Defending that P3 Spot. A Very Well Deserved Third Place Finish.
What a Race from The Dunlop Mini Winter Challenge and with One More Race to go The Game is on for Anybody to take on the Likes of Scott Endaf and Rupert for Victory. Lets Find Out what Race 3 Brings and if Endaf can Make it 2 out of 3 Wins to Finish what Has Been a Phenomenal Weekend of Racing for the Mini's.
Dunlop Mini Winter Challenge supported by Mini Spares (Race 3 Results)
The Final Race for The Mini's and with Endaf Owens on an Incredible Charge will he be able to Withstand The Pressure coming from Rupert Deeth and Take Victory Once More?
In First Place taking the Final Win and Fastest Lap was (Endaf Owens) in his Mini Miglia 1298 with a Best Lap Time of 1:02.979 and an Average Speed of 60.65mph. Congratulations Endaf Another Superb Victory for Today and What an Incredible Come Back From Yesterday. He and His Family as well as His Race Engineers and Mechanics will be Very Proud of Him This Weekend that's for sure.
In Second Place was (Joe Thompson) in his Mini Miglia 1300 with a Best Lap Time of 1:03.571 and an Average Speed of 60.40mph. Brilliant Driving from Joe and a Really Excellent Performance in Very Dark and Dreary Conditions for a P2 Finish.
In Third Place was (Rupert Deeth) in his Mini Miglia 1293 with a Best Lap Time of 1:03.433 and an Average Speed of 59.93mph. Very Well Done Rupert a Fantastic P3 Finish To End the Weekends Racing and some Incredible Battles thought the Weekend with Endaf too. Well Done.
What a Weekend it has been for The Dunlop Mini Winter Challenge with Some Incredible Drives from the Likes of Endaf Rupert Joe and Scott all Taking Amazing Victories. Well Done to all of the other Competitors too you All did a Fantastic Job and Good Luck for the Next Time Out. Hope to See you All again Next Year for More High Speed and Close Racing Action.
Ginetta Junior Championship-(Qualifying 2 Results)
Now it was Time for the Return of the Ginetta Junior Championship onto the Brands Hatch Indy Circuit and after Some Intense and Close Racing Yesterday Each Driver was Ready to Go for Victory Once Again.
Currently Josh Rowledge Liam Mcneilly and Max Dodds are The Top 3 Finishers from Yesterdays Race and with Another Qualifying Session Ready and Waiting Will they be able to Put themselves Back at the Front of the Grid or Will a New set of Driver work to Challenge them?
In First Place Taking Pole Position and The Fastest Lap was (Tom Edgar) in his GBR R Racing with a Best Lap Time of 1:05.449 and a Top Speed of 66.44mph. Congratulations Tom Taking Pole Position and Ensuring a Front Row Start. Brilliant Lap.
In Second Place was (Aqil Alibhai) in his RSA Elite Motorsport with a Best Lap Time of 1:05.832 and a Top Speed of 66.05mph. Great Work there from Aqil Taking P2 on the Gird and Some Impressive Car Control thought Qualifying. A Well Deserved P2.
In Third Place was (Joe Warhurst) in his GBR Elite Motorsport with a Best Lap Time of 1:05.964 and a Top Speed of 65.92mph. Brilliant Drive there Joe Keeping that Car Nicely Positioned Thought the Lap to ensure a Smooth and Yet Confident P3 Spot on the Gird.
A Great Second Qualifying Session for the Ginetta Junior Drivers with Three New Drivers in the likes of Tom Aqil and Joe All Looking to take that Glory Come The Next Race. But Who will be able to turn that Impressive Qualifying Lap into a Victory?
We Will Have to Wait and See.
Ginetta Junior Championship-(Qualifying 2 Second Fastest Results)
After an Intense Qualifying Session which saw the Likes of Tom Edgar Aqil Alibhai and Joe Warhurst Taking the Top Three Spots it was Time for them to do it One More Time in a Second Heat for Qualifying. Who will be on Top This Time and will the likes of both Joe and Aqil take that P1 Spot away from Tom?
In First Place Taking The Pole was (Tom Edgar) in his GBR R Racing with a Best Lap Time of 1:05.453 and a Top Speed of 66.43mph. Superb Job Once Again from Tom who manages to Hold onto that All Important P1 Position. Brilliant Drive there Tom.
In Second Place was (Joe Warhurst) in his GBR Elite Motorsport with a Best Lap Time of 1:06.089 and a Top Speed of 65.79mph. Fantastic work Joe Pushing Hard and Taking that P2 Spot away from Aqil Alibhai.
In Third Place was (Aqil Alibhai) in his RSA Elite Motorsport with a Best Lap Time of 1:06.284 and a Top Speed of 65.60mph. Nice Work there Aqil P3 and a Really Good Effort Against the Likes of both Joe and Tom.
What Another Intense Qualifying Session with the Top Three In Tom Joe and Aqil All Pushing Hard and Swapping Positions thought Second Qualifying. What Will the First of Two Races Bring Today and Who will be the First to take Victory?
Ginetta Junior Championship-(Race 3 Results)
In First Place Taking The Victory was (Aqil Alibhai) in his RSA Elite Motorsport with a Best Lap Time of 59.381 and an Average Speed of 71.48mph. Congratulations Aqil A Really Well Deserved Win and Some Incredible Driving to take the Race Win. Well and Truly Deserved.
In Second Place was (Max Doods) in his GBR Assetto Motorsport with a Best Lap Time of 59.284 and an Average Speed of 71.21mph. Brilliant Driving from Max Pushing Himself and The Car Thought the Race to take Home a Fantastic P2 Finish.
In Third Place was (Liam Mcneilly) in his GBR Fox Motorsport with a Best Lap Time of 59.426 and an Average Speed of 71.12mph. Brilliant Driving Liam P3 and The Final Spot on The Podium.
A Fantastic Race with Two New Winners in the Likes of Max and Liam and a Huge Congratulations to Aqil for that Incredible Victory after Overtaking both Liam and Max During the Race to take Victory. Good Luck to All other Drivers too and Lets see what the Final Race Brings.
Ginetta Junior Championship-(Race 4 Results)
The Final Race for Ginetta Juniors and One Last Time for One Driver to Stand on the Top Step of the Podium. After Some Fantastic Drives from the likes of Max Aqil Liam Tom and Joe who will be able to take that Last All Important Victory?
In First Place Taking The Final Victory was (Liam Mcneilly) in his GBR Fox Motorsport with a Best Lap Time of 1:07.685 and an Average Speed of 45.65mph. Congratulations Liam Brilliant Final Drive and a Really Great way to End a Perfect Weekend. Your Family and Friends will be Really Proud of you.
In Second Place was (Aqil Alibhai) in his RSA Elite Motorsport with a Best Lap Time of 1:07.749 and an Average Speed of 45.62mph. Awesome work there Aqil Another Very Good Battle at the Front of the Field and a Great P2 Finish to End the Weekend with a Smile.
In Third Place was (Sonny Smith) in his GBR R Racing with a Best Lap Time of 1:07.784 and an Average Speed of 45.59mph. Congratulations Sonny P3 and a Really Superb Job Defending from the Likes of Max Behind thought the Race.
A Brilliant Weekend for The Ginetta Junior Championship With So Many Fantastic Drivers in the likes of Liam Aqil and Sonny as well as Max and Liam These Young Drivers are Going to do Really Well in Future Top Level Motorsport. A big Congratulations to All of you and to the Other Drivers in the Field Keep Pushing and Working Hard Never Stop Trying.
Britcar Endurance Championship-(Race 1 Results)
As The Light Fell away from the Circuit The Britcar Endurance Championship made its way out onto the circuit with Lights a Blaze and a lot of Energy coming from both the Drivers and their Cars This was Going to be a Race of Endurance and Car Management thought the 45 Minutes of the Race.
During Qualifying Yesterday The Team of
Valluga's Carl Cavers/Sean Doyle took Pole with
Valluga's Ian Humphries/Benji Hetherington in Second while
Nial Bradley Took Third.
With a Quick set of Warm Up Laps Over it was Time for The Brit car's to make their way out onto the Track and Get Ready for two Races of Endurance to Decide the Britcar Champion of 2021.
In First Place Taking the Victory was (Valluga's) Ian Humphries and Benji Hetherington in their Porsche 718 GT4 Club sport with a Best Lap Time of 50.023 and an Average Speed of 70.37mph. Congratulations both Ian and Benji a Fantastic Win in Very Tricky and Tiering Circumstances thought the 45 Minutes.
In Second Place was (Nial Bradley) in his BMW M3 E46 with a Best Lap Time of 50.799 and an Average Speed of 70.34mph. Brilliant work there Nial Keeping the Pressure on for both Ian and Benji at the front of the Pack. a Very Committed Drive for P2.
In Third Place was (Valluga's) Carl Cavers and Sean Doyle in their Porsche 718 GT4 Club sport with a Best Lap Time of 50.016 and an Average Speed of 70.34mph. Congratulations Carl and Sean Brilliant Drives from both of you and a Well Deserved P3 Finish after an Intense Battle with Team Hard's Eric Bolton in P4.
What an Intense First Race for the Britcar Endurance Championship with the Likes of Ian Humphries and Benji Hetherington Taking the Spoils while Nial Bradley Finishes Second and Carl Cavers and Sean Doyle Finish Third.
With Only One Race Left who will be the Victor and Take Home Glory? Lets Find Out.
Britcar Endurance Championship-(Race 2 Results FINAL)
In First Place Taking the Final Race Win of the Day and The Fastest Lap was (Steve Rothery) in his Peugeot 308 with a Best Lap Time of 58.289 and an Average Speed of 66.59mph. Congratulations Steve a Really Phenomenal Drive to take The Final Win of the Weekend for Britcar. Brilliantly Driven and Nicely Controlled.
In Second Place was (Valluga's) Ian Humphries and Carl Cavers in their Porsche 718 GT4 Club Sport with a Best Lap Time of 57.414 and an Average Speed of 66.46mph. Great Work there by both the likes of Ian and Carl to Bring there car Home in P2. A Wonderful Way to End the Weekend and the Championship.
In Third Place was (Spires Motorsport's) Anton Spies in his Renault Clio Gen 4 with a Best Lap Time of 1:01.189 and an Average Speed of 64.37mph. A Very Heroic Drive from Anton Pushing His Renault Hard and Ensuring He Defends that All Important Final Spot on the Podium. Great Job.
What a Weekend it has been for the Britcar Endurance Championship with Many Fantastic Teams and Drivers in the Likes of (Valluga's) Ian Humphries Carl Cavers Benji Hetherington and the Likes of (Spire Motorsports) Anton Spires and Steve Rothery.
Brilliant Driving from All of you and a Really Big Congratulations to The Final Race Winner Steve Rothery.
A Fantastic Weekend with Many Talented and Incredible Drivers All Pushing Hard and Doing what they Love on the Race Track. Congratulations to All of the Race Winners.
See You All Again Next Year!
A few weeks ago, I made a list of churches that were on the Grade I list at least, so enabling me to pick a couple of churches to visit.
We did this, but finding two targets closed, Jools looked at the map and compared the list and found that Nettlestead was nearby despite being a different postal area.
It happens.
So, we drove over, heading out of Maidstone heading west, the church should have been on our left hand side. As we neared the church, I spotted the lych gate on the road with a footpath heading down the valley side.
I parked on the side of the road and go to investigate, down the path to the row of trees, and through a gap in a wall was the chuchyard with the church standing stark against the grey sky.
The tower looked Norman, large and squat, but the question was: would the porch door be unlocked?
It was!
Inside was dark and gloomy, so much so I could hardly see into eh chancel. I found a light switch that turned on two lights at the west end, then spent ten minutes looking for the main bank of switches, finding it at last behind the organ.
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Tucked away down a straight path, to the north of Nettlestead Place and west of the River Medway, this small church is intriguing and full of character. The oldest part of the church is the tower, dating from the thirteenth century. This is now attached to a church completely rebuilt in the first half of the fifteenth century by the Pympe family, great supporters of the Woodville family and tenants of threw Dukes of Buckingham. The reason why everyone should visit the church is to see the contemporary glass installed in the huge Perpendicular windows which march down the nave. The Pympes arms may be seen, as well as those of their overlords and other families with whom they were associated. Reginald Pympe (1448-1530) was seen as a threat to Richard III but he lived to enjoy happy times in the reign of Henry VII. What was broken at the Reformation was skilfully restored and augmented by Ward and Hughes in the early 20th century. There are two lovely monuments on the east wall of the nave - to Katherine and Elizabeth Scott, one 16th and one 17th century.
www.kentchurches.info/church.asp?p=Nettlestead
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NETTLESTED.
SOUTHWARD from watringbury lies Nettlested, called in Domesday, Nedested.
This PARISH lies on the western bank of the Medway, which is its eastern boundary, whence the ground rises up to the grounds of Roydon-hall, at the opposite side of it. It is within the district of the Weald. The situation is low, and rather of a gloomy aspect, from the number of spreading and losty oaks, and elm trees interspersed throughout it; the soil a fertile clay, consisting much of it of rich grazing land like that already described in the adjoining parish of East Peckham, though it is equally fertile for the growth of corn and hops in the upper parts of it. The high road from Maidstone through Watringbury to Tunbridge, branches off from Watringbury, and leads through this parish, not far from the bank of the river; in the northern part of it is the church, and at some distance from it the remains of the antient Place bonse, by which it appears to have been built of stone, with handsome sized gothic windows; on a stone portal, in the west front is the date 1587, probably that of some large repair or addition made to it, as the other parts of the building carry with them marks of much greater antiquity. The grand entrance to the house from the river is yet standing. The form of the antient gardens with the ponds are yet remaining. The mansion appears to have been spacious and noble, equal to the respectable families who once resided in it, though now it is for the most part over-run with weeds and spontaneous shrubs, and bears with it every mark of that vicissitude and ruin which is the inevitable lot of the transitous labours of man, however his utmost endeavours may have been exerted to prevent it. It is now made use of as an oast to dry hops, and for a labourere to dwell in, the occupier of the manor farm living in a modern house between it and the church, hence the road leads through the village built at Nettlested-green, whence it divides, that to the left leading towards the river at Twyfordbridge, and the other strait forward through Hailstreet to it at Brandt-bridge, both leading towards the southern parts of the Weald and Suffex. The groves of young oaks, elms, and other trees, planted along the borders of the river Medway, contribute greatly to the beauty of the scenery, which is considerably heightened by the rich gardens of hops, and the dif ferent dwellings and cottages intervening at frequent spaces between them.
This parish, with others in this neighbourhood, was antiently bound to contribute to the repair of the fifth pier of Rochester bridge.
IN THE REIGN of William the Conqueror, this place was part of the possessions of the king's halfbrother, Odo, bishop of Baieux and earl of Kent, under the general title of whose lands it is thus entered in the survey of Domesday, taken about the year 1080.
Haimo holds of the bishop (of Baieux) Nedestede. It was taxed at three sulings. The arable land is six carucates. In demesne there is one, and fourteen villeins, having five carucates. There is a church, and fourteen servants, and two mills of fourteen shillings, and a fishery of two shillings, and seven acres of meadow. Wood for the pannage of thirty-five bogs. In the time of king Edward the Confessor, it was worth eight pounds, afterwards six pounds, now eight pounds and five shillings. Norman held it of king Edward.
Of this manor the bishop has thirty shillings and two houses.
And again in another place, in the same record:
Adam holds of the bishop (of Baieux) one yoke in Pimpa. The arable land is . . . He has there half a carucate, with two servants, and four acres of meadow and half a fishery, untaxed; wood for the pannage of six bogs. In the time of king Edward the Confessor it was worth six shillings, and afterwards five shillings, now ten shillings, yet it pays fifteen shillings. Godric held it of king Edward.
By another entry in the same book it appears, that Rayner, or Rannulf de Columbels, who held the manor of West Farleigh under the bishop, as one suling, held likewise another part of this estate, for after the description of his holding that manor it thus continues.
Of this suling Rayner (de Columbus) holds one yoke of the bishop in the manor of Pimpe, and he has there one carucate with nine servants, and three acres of meadow. Wood for the pannage of four hogs. In the time of king Edward the Confessor, and afterwards, it was worth twenty shillings, now forty shillings. Alnod Cilt held it of king Edward.
On the disgrace of the bishop of Baieux, about four years after the taking of the above survey, all his estates became confiscated to the crown, and these mentioned above, which comperhended the manors of Nettlested, with those of Hylth and Pimpe, were afterwards held of the Clares, earls of Gloucester, as chief lords of the fee, by the eminent family of Pimpe, who took their name from the latter of them, making it the principal seat of their residence, though they had another seat afterwards in East Farleigh, in this neighbourhood, and a third at Alhallows, in the hundred of Hoo. They bore for their arms, Gules, two bars argent, a chief vaire, as they now remain painted in the windows of this church.
Richard de Pimpe held these manors in the reigns of king Edward I. and II. and his descendant, Sir Philip de Pimpe, was a man of eminence and property in this county, as appears by his being one of those, who in the 11th year of king Edward III. were, in respect to their estates, assessed to furnish a guard for the defence of the sea coasts; towards which Sir Philip was ordered to provide two men at arms. (fn. 1)
His widow Joane married John de Coloigne, who, together with her son, Sir Thomas de Pimpe, paid respective aid for their lands in Nettlested, and adjoining to it, in the 20th year of king Edward III. that is to say,
"For the manor of Nettlested, the manor of Hylth and Hylth park, with other lands in Nettlested and Hylth, for the manor of Pimpe, in Nettlested, Crongebery, and Pimpe, all which were held of the earl of Gloucester, as chief lord of the see.
William, son of Sir Thomas de Pimpe, possessed Nettlested, and kept his Shrievalty here in the 37th, 45th, and 49th years of king Edward III. in which year he died, and his son, Reginald de Pimpe, of Pimpe's-court, in East Farleigh, on his death, served that office the remainder of that year.
His descendants continued to reside at Pimpe'scourt, in this parish, two of whom, Reginald and John Pimpe, unsuccessfully engaging, with others, in assisting Henry, duke of Buckingham, against king Richard III. were attainted, and their estates were declared forfeited to the crown. But on the death of king Richard, and the earl of Richmond's attaining the crown, they were restored in blood and estates. Reginald Pimpe died without male issue, leaving an only daughter and heir Anne, for whom an act had passed in the 1st year of that reign, and she married to Sir John Scott, of Scotts-hall, and John Pimpe, in the 2d year of king Henry VII. kept his Shrievalty at Pimpe's-court, in East Farleigh. He died in the 11th year of that reign, anno 1495, being then possessed of the manor, with the advowson of the church of Nettlested, the manor of Hilthe, and also the manor of Pimpe, with its appurtenances, in this parish and Yalding, and certain other lands and tenements in Yalding, all held of the duchess of Buckingham. He left an only daughter and heir, Winifred, married to Sir John Rainsford, who in her right possessed this manor. He died S.P. 1st Elizabeth, leaving his wife surviving, who appears by the escheat rolls to have been a lunatie, and to have died possessed of these manors and estates in the 18th year of that reign; when Sir Thomas Scott, of Scotts-hall, (grandson of Sir John Scott above-mentioned) seems to have succeeded to them, as her next of kin, and his second son, Sir John Scott, possessed it afterwards, and resided at Nettlested, which by the date remaining on the ruins of it, he seems to have made great additions to. He was twice married, but left issue by neither of his wives, and these manors and their appurtenances, came on his death to his brother, Edward Scott, esq. of Scottshall, whose descendant, George Scott, esq. of Scottshall, alienated the manors of Nettlested, Health and Pimpe, with the mansion and advowson of the church of Nettlested, by authority of an act of parliament passed anno 10 and 11 William III. to Sir Philip Boteler, bart. of Teston, whose son, Sir Philip Boteler, bart. died possessed of them in 1772, having by his will devised one moiety of his estates to Mrs. Elizabeth Bouverie, of Chart Sutton, and the other moiety to Elizabeth, viscountess dowager of Folkestone, and William Bouverie, earl of Radnor, both since deceased; and on a partition of his estates between them, the manors and estates of Nettlested, with the appendant advowson, were among others. allotted to Mrs. Elizabeth Bouverie, now of T'eston, the present possessor of them.
THE MANOR of LOMEWOOD, alias Laysers, formerly called Lomewood, alias Bromes, in this parish, was part of the possessions of the family of Clare, earls of Gloucester, and was settled by one of them on the priory of Black Canons, at Tunbridge, in this county.
This manor continued part of the revenues of the above priory till its dissolution in the 16th year of king Henry VIII. After which the king, in his 17th year, granted the above priory, with others then suppressed for the like purpose, together with all their manors, lands, and possessions, to Cardinal Wolsey, for the better endowment of his college, called Cardinal college, in Oxford.
But four years afterwards, the cardinal being cast in a præmunire, all the possessions of the college, which through want of time had not been firmly settled on it, became forfeited to the crown, (fn. 2) and the king, in his 27th year, granted this manor of Lomewood, alias Le Bromys, with all lands, &c. belonging to it in this parish, to Sir Edward Nevill, third son of George Nevill, lord Abergavenny, who, in consideration of a marriage to be had between his daughter Katherine, and George Roydon, son and heir apparent of Thomas Roydon, esq. of East Peckham, and of a certain sum paid to him, conveyed it, by the name of Cardinals lands, called Bromes, in Lomewood, to Thomas Roydon above-mentioned.
On the death of whose sons without issue, his five daughters became his coheirs; the second of whom, Elizabeth, as part of her share of the inheritance, entitled her husband, William Twysden, esq. of Chelmington, to this manor, then held in capite, and in his descendants it has continued down to Sir William Jarvis Twysden, bart. of Roydon-hall, in East Peckham, who is the present possessor of it.
Charities.
JOHN THUNDER, about the year 1756, gave by will 5s. worth of bread, to be distributed yearly on Good Friday, to the poor of this parish for forty years, which term is now expired.
Nettlested is within the ECCLESIASTICAL JURISDICTION of the dioceseof Rochester and deanryof Malling.
The church, which stands at the east side of the village, is dedicated to St. Mary. It is a small but handsome building, with a low pointed tower or steeple. There are good remains of painted glass in it.
The church of Nettlested was always esteemed an appendage to the manor, and as such is now in the patronage of Mrs. Elizabeth Bouverie, of Teston.
¶Edmund, bishop of Rochester, anno 1486, at the instance of John Pimpe, esq. lord of the manor, and patron of the church of Barmingjett, united that church to this of Nettlested; and decreed, that after such union the former should not be esteemed as a church, but as a chapel, dependent, united, and annexed to this church of Nettlested; the rector of which and his successors should for the future have and enjoy all profits, tithes, and emoluments, &c. belonging to the church of Barmingjett, and convert and freely dispose of the same to his and their own proper uses for ever. And he decreed, that the rector and his successors should in future pay yearly to the bishop of Rochester and his successors, twenty pence, and to the archdeacon twelve pence yearly, in lieu of such payments as belonged to them of antient custom from the church of Barmingjett, before the annexing and consolidating of the same. (fn. 3)
In which situation it continues at this time; the rector of Nettlested being presented, instituted and inducted to, the rectory of Nettlested, with the chapel of Barmingjett annexed.
It is valued in the king's books, with the chapel of Barmingjett annexed, at 12l. 10s. 10d. and the yearly tenths at 1l. 5s. 1d.
The learned Sir Roger Twysden, who lived in the reigns of king James and Charles I. in his discourse on the Weald, says, that in the time of the lady Golding, who hired the tithes of this parish, Nettlested was held to be in the Weald, and she denied the tithe of wood accordingly; yet the rector of it affirmed then to Sir Roger, that all, who had wood in the parish, paid tithe of it at that time to him, excepting himself.
The parsonage-house is a large antient well timbered building, having a court-yard before it, and an antient gateway, through which is the entrance to it from the high road.
A few weeks ago, I made a list of churches that were on the Grade I list at least, so enabling me to pick a couple of churches to visit.
We did this, but finding two targets closed, Jools looked at the map and compared the list and found that Nettlestead was nearby despite being a different postal area.
It happens.
So, we drove over, heading out of Maidstone heading west, the church should have been on our left hand side. As we neared the church, I spotted the lych gate on the road with a footpath heading down the valley side.
I parked on the side of the road and go to investigate, down the path to the row of trees, and through a gap in a wall was the chuchyard with the church standing stark against the grey sky.
The tower looked Norman, large and squat, but the question was: would the porch door be unlocked?
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Tucked away down a straight path, to the north of Nettlestead Place and west of the River Medway, this small church is intriguing and full of character. The oldest part of the church is the tower, dating from the thirteenth century. This is now attached to a church completely rebuilt in the first half of the fifteenth century by the Pympe family, great supporters of the Woodville family and tenants of threw Dukes of Buckingham. The reason why everyone should visit the church is to see the contemporary glass installed in the huge Perpendicular windows which march down the nave. The Pympes arms may be seen, as well as those of their overlords and other families with whom they were associated. Reginald Pympe (1448-1530) was seen as a threat to Richard III but he lived to enjoy happy times in the reign of Henry VII. What was broken at the Reformation was skilfully restored and augmented by Ward and Hughes in the early 20th century. There are two lovely monuments on the east wall of the nave - to Katherine and Elizabeth Scott, one 16th and one 17th century.
www.kentchurches.info/church.asp?p=Nettlestead
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NETTLESTED.
SOUTHWARD from watringbury lies Nettlested, called in Domesday, Nedested.
This PARISH lies on the western bank of the Medway, which is its eastern boundary, whence the ground rises up to the grounds of Roydon-hall, at the opposite side of it. It is within the district of the Weald. The situation is low, and rather of a gloomy aspect, from the number of spreading and losty oaks, and elm trees interspersed throughout it; the soil a fertile clay, consisting much of it of rich grazing land like that already described in the adjoining parish of East Peckham, though it is equally fertile for the growth of corn and hops in the upper parts of it. The high road from Maidstone through Watringbury to Tunbridge, branches off from Watringbury, and leads through this parish, not far from the bank of the river; in the northern part of it is the church, and at some distance from it the remains of the antient Place bonse, by which it appears to have been built of stone, with handsome sized gothic windows; on a stone portal, in the west front is the date 1587, probably that of some large repair or addition made to it, as the other parts of the building carry with them marks of much greater antiquity. The grand entrance to the house from the river is yet standing. The form of the antient gardens with the ponds are yet remaining. The mansion appears to have been spacious and noble, equal to the respectable families who once resided in it, though now it is for the most part over-run with weeds and spontaneous shrubs, and bears with it every mark of that vicissitude and ruin which is the inevitable lot of the transitous labours of man, however his utmost endeavours may have been exerted to prevent it. It is now made use of as an oast to dry hops, and for a labourere to dwell in, the occupier of the manor farm living in a modern house between it and the church, hence the road leads through the village built at Nettlested-green, whence it divides, that to the left leading towards the river at Twyfordbridge, and the other strait forward through Hailstreet to it at Brandt-bridge, both leading towards the southern parts of the Weald and Suffex. The groves of young oaks, elms, and other trees, planted along the borders of the river Medway, contribute greatly to the beauty of the scenery, which is considerably heightened by the rich gardens of hops, and the dif ferent dwellings and cottages intervening at frequent spaces between them.
This parish, with others in this neighbourhood, was antiently bound to contribute to the repair of the fifth pier of Rochester bridge.
IN THE REIGN of William the Conqueror, this place was part of the possessions of the king's halfbrother, Odo, bishop of Baieux and earl of Kent, under the general title of whose lands it is thus entered in the survey of Domesday, taken about the year 1080.
Haimo holds of the bishop (of Baieux) Nedestede. It was taxed at three sulings. The arable land is six carucates. In demesne there is one, and fourteen villeins, having five carucates. There is a church, and fourteen servants, and two mills of fourteen shillings, and a fishery of two shillings, and seven acres of meadow. Wood for the pannage of thirty-five bogs. In the time of king Edward the Confessor, it was worth eight pounds, afterwards six pounds, now eight pounds and five shillings. Norman held it of king Edward.
Of this manor the bishop has thirty shillings and two houses.
And again in another place, in the same record:
Adam holds of the bishop (of Baieux) one yoke in Pimpa. The arable land is . . . He has there half a carucate, with two servants, and four acres of meadow and half a fishery, untaxed; wood for the pannage of six bogs. In the time of king Edward the Confessor it was worth six shillings, and afterwards five shillings, now ten shillings, yet it pays fifteen shillings. Godric held it of king Edward.
By another entry in the same book it appears, that Rayner, or Rannulf de Columbels, who held the manor of West Farleigh under the bishop, as one suling, held likewise another part of this estate, for after the description of his holding that manor it thus continues.
Of this suling Rayner (de Columbus) holds one yoke of the bishop in the manor of Pimpe, and he has there one carucate with nine servants, and three acres of meadow. Wood for the pannage of four hogs. In the time of king Edward the Confessor, and afterwards, it was worth twenty shillings, now forty shillings. Alnod Cilt held it of king Edward.
On the disgrace of the bishop of Baieux, about four years after the taking of the above survey, all his estates became confiscated to the crown, and these mentioned above, which comperhended the manors of Nettlested, with those of Hylth and Pimpe, were afterwards held of the Clares, earls of Gloucester, as chief lords of the fee, by the eminent family of Pimpe, who took their name from the latter of them, making it the principal seat of their residence, though they had another seat afterwards in East Farleigh, in this neighbourhood, and a third at Alhallows, in the hundred of Hoo. They bore for their arms, Gules, two bars argent, a chief vaire, as they now remain painted in the windows of this church.
Richard de Pimpe held these manors in the reigns of king Edward I. and II. and his descendant, Sir Philip de Pimpe, was a man of eminence and property in this county, as appears by his being one of those, who in the 11th year of king Edward III. were, in respect to their estates, assessed to furnish a guard for the defence of the sea coasts; towards which Sir Philip was ordered to provide two men at arms. (fn. 1)
His widow Joane married John de Coloigne, who, together with her son, Sir Thomas de Pimpe, paid respective aid for their lands in Nettlested, and adjoining to it, in the 20th year of king Edward III. that is to say,
"For the manor of Nettlested, the manor of Hylth and Hylth park, with other lands in Nettlested and Hylth, for the manor of Pimpe, in Nettlested, Crongebery, and Pimpe, all which were held of the earl of Gloucester, as chief lord of the see.
William, son of Sir Thomas de Pimpe, possessed Nettlested, and kept his Shrievalty here in the 37th, 45th, and 49th years of king Edward III. in which year he died, and his son, Reginald de Pimpe, of Pimpe's-court, in East Farleigh, on his death, served that office the remainder of that year.
His descendants continued to reside at Pimpe'scourt, in this parish, two of whom, Reginald and John Pimpe, unsuccessfully engaging, with others, in assisting Henry, duke of Buckingham, against king Richard III. were attainted, and their estates were declared forfeited to the crown. But on the death of king Richard, and the earl of Richmond's attaining the crown, they were restored in blood and estates. Reginald Pimpe died without male issue, leaving an only daughter and heir Anne, for whom an act had passed in the 1st year of that reign, and she married to Sir John Scott, of Scotts-hall, and John Pimpe, in the 2d year of king Henry VII. kept his Shrievalty at Pimpe's-court, in East Farleigh. He died in the 11th year of that reign, anno 1495, being then possessed of the manor, with the advowson of the church of Nettlested, the manor of Hilthe, and also the manor of Pimpe, with its appurtenances, in this parish and Yalding, and certain other lands and tenements in Yalding, all held of the duchess of Buckingham. He left an only daughter and heir, Winifred, married to Sir John Rainsford, who in her right possessed this manor. He died S.P. 1st Elizabeth, leaving his wife surviving, who appears by the escheat rolls to have been a lunatie, and to have died possessed of these manors and estates in the 18th year of that reign; when Sir Thomas Scott, of Scotts-hall, (grandson of Sir John Scott above-mentioned) seems to have succeeded to them, as her next of kin, and his second son, Sir John Scott, possessed it afterwards, and resided at Nettlested, which by the date remaining on the ruins of it, he seems to have made great additions to. He was twice married, but left issue by neither of his wives, and these manors and their appurtenances, came on his death to his brother, Edward Scott, esq. of Scottshall, whose descendant, George Scott, esq. of Scottshall, alienated the manors of Nettlested, Health and Pimpe, with the mansion and advowson of the church of Nettlested, by authority of an act of parliament passed anno 10 and 11 William III. to Sir Philip Boteler, bart. of Teston, whose son, Sir Philip Boteler, bart. died possessed of them in 1772, having by his will devised one moiety of his estates to Mrs. Elizabeth Bouverie, of Chart Sutton, and the other moiety to Elizabeth, viscountess dowager of Folkestone, and William Bouverie, earl of Radnor, both since deceased; and on a partition of his estates between them, the manors and estates of Nettlested, with the appendant advowson, were among others. allotted to Mrs. Elizabeth Bouverie, now of T'eston, the present possessor of them.
THE MANOR of LOMEWOOD, alias Laysers, formerly called Lomewood, alias Bromes, in this parish, was part of the possessions of the family of Clare, earls of Gloucester, and was settled by one of them on the priory of Black Canons, at Tunbridge, in this county.
This manor continued part of the revenues of the above priory till its dissolution in the 16th year of king Henry VIII. After which the king, in his 17th year, granted the above priory, with others then suppressed for the like purpose, together with all their manors, lands, and possessions, to Cardinal Wolsey, for the better endowment of his college, called Cardinal college, in Oxford.
But four years afterwards, the cardinal being cast in a præmunire, all the possessions of the college, which through want of time had not been firmly settled on it, became forfeited to the crown, (fn. 2) and the king, in his 27th year, granted this manor of Lomewood, alias Le Bromys, with all lands, &c. belonging to it in this parish, to Sir Edward Nevill, third son of George Nevill, lord Abergavenny, who, in consideration of a marriage to be had between his daughter Katherine, and George Roydon, son and heir apparent of Thomas Roydon, esq. of East Peckham, and of a certain sum paid to him, conveyed it, by the name of Cardinals lands, called Bromes, in Lomewood, to Thomas Roydon above-mentioned.
On the death of whose sons without issue, his five daughters became his coheirs; the second of whom, Elizabeth, as part of her share of the inheritance, entitled her husband, William Twysden, esq. of Chelmington, to this manor, then held in capite, and in his descendants it has continued down to Sir William Jarvis Twysden, bart. of Roydon-hall, in East Peckham, who is the present possessor of it.
Charities.
JOHN THUNDER, about the year 1756, gave by will 5s. worth of bread, to be distributed yearly on Good Friday, to the poor of this parish for forty years, which term is now expired.
Nettlested is within the ECCLESIASTICAL JURISDICTION of the dioceseof Rochester and deanryof Malling.
The church, which stands at the east side of the village, is dedicated to St. Mary. It is a small but handsome building, with a low pointed tower or steeple. There are good remains of painted glass in it.
The church of Nettlested was always esteemed an appendage to the manor, and as such is now in the patronage of Mrs. Elizabeth Bouverie, of Teston.
¶Edmund, bishop of Rochester, anno 1486, at the instance of John Pimpe, esq. lord of the manor, and patron of the church of Barmingjett, united that church to this of Nettlested; and decreed, that after such union the former should not be esteemed as a church, but as a chapel, dependent, united, and annexed to this church of Nettlested; the rector of which and his successors should for the future have and enjoy all profits, tithes, and emoluments, &c. belonging to the church of Barmingjett, and convert and freely dispose of the same to his and their own proper uses for ever. And he decreed, that the rector and his successors should in future pay yearly to the bishop of Rochester and his successors, twenty pence, and to the archdeacon twelve pence yearly, in lieu of such payments as belonged to them of antient custom from the church of Barmingjett, before the annexing and consolidating of the same. (fn. 3)
In which situation it continues at this time; the rector of Nettlested being presented, instituted and inducted to, the rectory of Nettlested, with the chapel of Barmingjett annexed.
It is valued in the king's books, with the chapel of Barmingjett annexed, at 12l. 10s. 10d. and the yearly tenths at 1l. 5s. 1d.
The learned Sir Roger Twysden, who lived in the reigns of king James and Charles I. in his discourse on the Weald, says, that in the time of the lady Golding, who hired the tithes of this parish, Nettlested was held to be in the Weald, and she denied the tithe of wood accordingly; yet the rector of it affirmed then to Sir Roger, that all, who had wood in the parish, paid tithe of it at that time to him, excepting himself.
The parsonage-house is a large antient well timbered building, having a court-yard before it, and an antient gateway, through which is the entrance to it from the high road.
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The Photographer
A poem by Egal Bohen
His world an image
In his mind
He sought to capture
Parts of time
That passed
As ships
Into his bay
Preserving
So that eyes
Might gaze
Symbolically
In future days
Upon the passion
He portrayed
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The poem appeared on poetryofegalbohen.blogspot.com/
A derelict piece of land behind St Andrew’s Parish Church in Glencairn, north Belfast, is being transformed into a vibrant community garden.
The work, driven by Stephen Whitten, Church Army Evangelist from Connect Base, Connor Diocese’s North Belfast Centre of Mission, has captured the imagination of the community.
Although Covid–19 has put a halt to many of the activities planned for the developing space, the work on the garden has continued throughout the pandemic.
And huge strides were made recently when volunteers came together to erect a new shelter which will provide a covered space for people to again come together.
Stephen, who is an experienced tree surgeon with a background in rural and countryside management and environmental science, is very much a ‘hands–on’ project manager.
He negotiated the purchase of the telegraph poles from a farmer on the hills behind Glencairn, and with the assistance of his team of volunteers, cut them to length and transported them to the community garden.
With all necessary hardware on site, Stephen oversaw the raising of the four poles to form the corners of the new shelter, on a cold but sunny November morning.
“I was very glad to get them upright. It is great so many of these guys have come along to help. A local gardener also got involved,” he said.
A key player in the design of the shelter was the Rev Adrian Bell, Ordained Local Minister serving in Glencairn and Whiterock. Adrian has a background in joinery, and designed the shelter and oversaw its construction, getting stuck into the practical work.
Stephen said that due to coronavirus restrictions, early plans for events at the community garden had to be curtailed. These had included days when young people in the area came together to do furniture painting and building, and ‘Grub in the Garden,’ which was due to take place during Holy Week.
Once the new shelter, with its corrugated tin roof, is complete, it will be possible to hold training events in line with Covid–19 guidelines, as the shelter will open to the outdoors. A fire inside will allow the space to be used, whatever the weather.
Stephen hopes to run an Alpha course in the shelter in the near future. “I am just buzzing because it is great that this is finally happening,” he said.
Dean Sterling is one of the volunteers who has been involved in the work. He helped to cut the down the redundant telegraph poles further up the mountain and transport them to the garden. Dean is not in employment at present. “This has given me the chance to get out of the house,” he said.
His cousin Jack Cole was also helping out. “I am in the Army and am home every two weeks. I only live up the street and was happy to get involved,” he said.
Isaac Castle is the keyholder of St Andrew’s Church, Glencairn, and has lived in the area since 1966. The site, which is owned by the Methodist Church, was once a garden centre, but has been unused since the 1990s. “It just became derelict like a jungle. Just like the film Gorillas in the Mist,” Isaac joked.
Holes in the security rails left the site vulnerable to anti–social behaviour, but since October 2019, a transformation has been underway. By February this year, the site had been cleared with support from local councillor Nicola Verner, who arranged for road sweepers to come and clear the tarmac.
Trees which had been felled were turned into woodchip, which will be used for walkways in the new garden.
An area of land remains overgrown. Isaac explained that the plan is to turn this area in a nature garden. Low hanging branches of the existing trees will be cut back, and pathways created.
Sam Cole is a parishioner of St Andrew’s, and he and his family live adjacent to the church. He said his children are looking forward to having a safe new outdoor space next door.
“Glencairn is like a forgotten cul–de–sac,” he said. “When I was a lad there were shops here. The project is a good way of getting the community involved. Because of Covid–19, we have had limited numbers on the site, but we are hoping in future to raise money for a man shed and a polytunnel.
“Stephen is making a real difference in this community and this project will continue to grow.”
One of the regular volunteers is Emma–Jane Speers, who took up her post as Children and Outreach Worker at Woodvale Methodist Church just days before lockdown in March. “I got involved in the community garden back in June, and there have been a lot of changes since then,” she said. “We did all the clearing, and now it feels like we are getting to the bare bones of building.
“This will be somewhere children can experience the outdoors, where adults can meet other people and work side by side. I find that if I am doing something I can have a better level of conversation. This was just an empty space so it is great that it is being using for the community.”
"Now that is what I call a Re-enactment!
Bartimaeus the blind beggar
May the Peace of the Risen Christ be with you! Easter is here.
We had a most successful Re-enactment of Our Lord's Passion. After so many months of preparation, sewing machines running hot updating costumes, actors learning lines, sound systems being upgraded and more, there we stood at 11am on Good Friday with microphone in hand: "Welcome to the 2018 Re-enactment of Our Lord's Passion!" And so it began.
How do we measure "success" in regards to our re-enactment?
On one measure you can use crowd numbers, donations, "Likes" and Shares and that would be appropriate if this was just a normal play. Even on that basis our event would certainly be considered a success with somewhere around 5,000 people participating and lots of great feedback and support.
But how do you measure success for a play that tries to be an authentic re-enactment of the Passion of Jesus Christ based on scripture and tradition of the Church? In this case we were told by the Pauline Fathers that many people came back and they were hearing confessions the whole day.
We saw many people following the play and praying along with us.
Crowning with Thorns
Many came up to us after the play thanking us for such an invigorating presentation of our Lord's Passion. Here are some of the early tales we have been told of the day.
One of the biggest challenges with a moving play is the safety of actors, crew and pilgrims as the play moves from scene to scene. We try many methods such as fixed tape and ropes as well as rope held by our marshalls. Enforcement for keeping the crowd back tends to fall towards the soldiers who, like in a theatre restaurant, instruct the crowd to move back for their own safety. Our photographer, eager to get "the photo", allowed a little old lady to sneak past the barriers so she could touch the cloak of Jesus. As the Centurion swung his arm giving orders to his soldiers, this lady who stood upright under his swing moved forward. "What the?" cried the Centurion and firmly moved her back with instructions. I thought she would be concerned at the firm treatment but she was grinning ear to ear and holding her bag telling her family, "I touched his cloak!"
I touched Jesus' Robes!
Some of our Marshalls volunteered to help on the day. Often these had not experienced the fluid intensity of a moving play like this and even though they were holding on to the rope barrier, found themselves sucked into the crowd. When the Centurion or one of the soldiers noticed their lost marshall and we heard the cry, "Get him out of there!" as they reached in and brought him back into line.
Our marshalls and soldiers request people to stay back for their own safety. When the Roman soldiers and Jewish guards broke out into another scuffle we heard the cry, "They're fighting again!" and the crowd suddenly made space. "Please stand back for your own safety," we once more cried as the procession moved on.
When Jesus was being scourged, the process started with one Roman making a few lashes. Then he gets moved back with the cry, "Let someone do it properly!" The primary flogging Roman soldier let fly with the whip dipped in the fake blood. Drops of blood flew in an arc and the soft straps struck Jesus with a satisfying slap and Jesus cried out. The crowd stopped chattering with an audible gasp.
One of our new actors had not actually attended the play in past years so this was all an amazing experience. When Jesus was being scourged and mocked, tears came to her eyes, but the Woman of Jerusalem in charge held her and said, "Don't cry yet. We have to call for his crucifixion in the next scene." So she held back her tears and like a trooper joined the crowd calling for Jesus' crucifixion. As she said afterwards, it won't be the same contemplating the story of Jesus' Passion in future.
At the start of the play we made sure the actors and crew knew that this was a "Live" play. That meant no retakes, no pause to re-do the scene, no stepping in to try again. "The play must go on!" we instructed. "After all, the pilgrims haven't read the script and the story won't be affected if your lines are not exact. So long as we get the important bits in the right order, no-one will know." That was good advice.
When Pontius Pilate was standing majestically on the balcony addressing the crowd, the sign of Roman Superiority detached from the balcony railing and fell to the ground with a crash. Pontius Pliate's eyes opened wide for a brief moment and then he turned his gaze back to the Crowd and Caiaphas and the Jews and continued as if nothing was wrong. The crew quickly removed the sign and all moved on as if this was part of play. We were told afterwards how clever this was, the falling of the sign representing the fall of Roman Justice. The play must go on.
Although we have a script which covers all the main dialogue and actions, the flavour comes from the interactions and improvised dialogue of the actors. Insults between the Jews and Romans provided occasional humour too. At the crucifixion, one of the Jewish Chief Priests called out "How many Romans does it take to Crucify someone?" Being sick of their taunts a Roman Guard approached them and said, "I have room for one more. Are you ready?" The Chief Priest stepped back behind the Jewish Guards and replied, "I have an appointment tomorrow and can't today."
We will report further tales as they come to light, but I want to end this post-play post with some heartfelt thanks. When organising an event like this where there are months of preparation involving over 100 cast, crew and support organisations, the whole thing only works when people do their part. This year worked so well because everyone did their part, no matter how small that part may have appeared. The actors didn't just remember their lines, but they also worked with their fellow actors and added their own ideas for their character. For example, the actor playing the blind beggar Bartimeus had the idea of having a blindfold and sat in his spot near the start of the play, begging for alms for about 20 minutes before the play reached him. Then he improvised with many calls for alms and requests about what the commotion was. It was a great job which really brought out the character of the blind beggar. It may have only been a bit part, but it formed part of the greater whole.
The same applied for each of the roles, from the primary speaking parts through to the behind the scenes actors of the Women of Jerusalem and Apostles before and after the abandonment of Jesus.
So many people have done their parts and done them well I am very proud to have been able to assist in co-ordinating and directing the play. An event like this generates a great camaraderie and fellowship and fosters a deeper understanding of not just this critical point in salvation history, but also the very human element that is the point of the whole Passion. Every actor and member of the crew and supporters must know that all the work and effort has been worthwhile to so many people.
Thank you.
~David Bruggeman"
Copied from goodfridaypassionplay.blogspot.com.au/
For more information please visit www.paulinefathers.org.au
No need to meditate or imagine, this event will take you to Calvary!
Images by Giovanni Portelli Photography © 2018.
Action scene of Young attractive Asian businesswoman in red shirt using VR Glasses. Virtual Reality experience for busniess activity in future concept
Red raspberries grow vertically on suspended vines at the Horticulture Program's Learning Garden at Gwinnett Technical College, in Lawrenceville, GA, on Friday, Mar. 20, 2015.
Gwinnett Technical College Horticulture Program's Learning Garden in Lawrenceville, GA, on Friday, Mar. 20, 2015. The field allows students to demonstrate a variety growing techniques. All the plants are edible produce and allows culinary students to learn the value of farm fresh produce resulting in future Farm to Table practices that emphasize the partnership between the two programs. Horticulture students will plan and schedule plantings to meet the needs of upcoming menus. Culinary students will harvest the produce they will prepare that day. USDA photo by Lance Cheung.
NASA's Project Morpheus prototype lander has been packed inside a crate at NASA's Kennedy Space Center in Florida for transport back to Johnson Space Center in Houston. Tethered and free flight testing of the Morpheus lander was completed in December. Project Morpheus tested NASA’s ALHAT and an engine that runs on liquid oxygen and methane, which are green propellants. These new capabilities could be used in future efforts to deliver cargo to planetary surfaces. Project Morpheus is managed under the Advanced Exploration Systems, or AES, Division in NASA’s Human Exploration and Operations Mission Directorate. For more information on Project Morpheus, visit morpheuslander.jsc.nasa.gov/. Photo credit: NASA/Daniel Casper
More bits to get shot of. The car rear lights have been hanging around for at least 3 years - and they're not even mine! Amazing how much out of date foodstuffs we had too. Plus smellies that had lost their smell, dried up baby wipes and a locked metal cash box with no key that worked! At least none of these things will be cluttering the house up for much longer.
Not too difficult today as I had already earmarked most of these for going.
Various out of date sauces, pickles etc. Heaven knows why I keep them, think they might get eaten up one day! These will go to the recycling facility – RF - (otherwise known as tip) although they won’t actually get recycled.
A metal cash box, that is locked shut and has no key. No point in keeping this – I have no use for it and without a key it is useless. This will go in the metal recycling bin at the RF.
Two well worn cutting mats. I am a crafter and get through these regularly. These two have lots of stains and cuts on them, and weren’t left flat, so have ridges and bumps that won’t lie flat. As I have about another 6 new ones I thought it was time I let them go. Can’t think what to do with them so they will have to go to the tip.
A chrome cutlery holder. This has been in my craft room holding pens, scissors etc. but since I’ve been tidying it up I’ve found another receptacle for them so this is now spare. This will go to the Oxfam shop next week.
Two rear lights from my daughter’s car. She’s had her car for 5 years, and about 3 years ago replaced these lights because one was broken. Have no idea why they were left in my spare room all this time – possibly in case they came in handy!!! So these will be going to the tip next week.
An Avon alphabet puzzle for young children. I think I rescued this from a boot fair/jumble sale, with the intention of altering them for my crafts. However, as I’ve got a cupboard full of stuff to alter one day in the future, I thought it was time to be realistic and admit that I’ll never get around to doing it! So this will go to Oxfam next week.
One box of lens cleaners for spectacles. I bought these in a cheap shop. There were 30 in the box, I’ve used about 3. They don’t clean my lenses, they make them even more blurry, so I’ve decided to stick with the hot water and washing up liquid in future. These will either go to the Oxfam shop or to the boot fair at the local school in 3 weeks’ time.
Two tubes of moisturizing cream. I’ve had these for a couple of years, and as I very rarely use moisturizer, they have both lost their smell and probably their moisturizing qualities. Also the larger tube has a bit split right at the top, so every time I tried to squeeze some out of the nozzle it rose up to the top of the tube and spilled everywhere! Time to go! These will go to the tip.
A drawer sachet and cushion, both of which have lost their smell so are of no use at all in my undies drawer. The cushion is pretty, so I will give that to the boot fair. The sachet will go in the recycling bag once I’ve emptied the crystals inside onto the garden.
A box of baby wet wipes that have dried up. I use these in my crafts, for cleaning rubber stamps, but because I’ve not done any stamping for ages they’ve all dried up. I think I could probably use them as dryer sheets if I used my dryer, but we tend to dry the washing in a spare room that is heated and has the sun (when it’s out!). So they will go to the boot fair. My daughter is expecting a baby in March and today we bought some refill baby wipes, so I will use the outer box to put the refills in.
And that’s today’s chuck outs. To replace them, today I bought my daughter a pram, a changing mat, about 4 different packs of nappies and some more baby wipes, so it more or less wipes out today’s decluttering, but at least they won’t stay in my house permanently. Once the baby comes everything will be transported to hers!
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This build is part of a larger display I’m developing for exhibition next year, where I’ll be revisiting and expanding on the concept of Neo Fabuland—a reinterpretation of the classic Fabuland aesthetic, much like how Neo-Classic Space draws inspiration from the original Classic Space theme. If you’re curious, you can read more about the goals of the project here.
I currently have several builds in progress for this display, and this is the first one to be completed.
While not directly based on any specific Fabuland set, this watermill draws loose inspiration from 3679 Flour Mill and Shop. It features a weathered stone-and-timber structure beside a millpond, complete with a working waterwheel, lily pads, reeds, and rounded rocks. The water cascades over the rocks to form a small waterfall. I’m especially pleased with the textures throughout—the flowing water, the stonework, and the building itself—as well as a custom spreading tree technique I developed for this scene (and will likely reuse in future Neo Fabuland builds).
This build also showcases my approach to Neo Fabuland windows, using brick-built frames with vinyl-cut sticker panes to echo the distinctive charm of original Fabuland designs.
The warden at Milstead promised me Bredgar would be open.
Promised.
It was locked, of course. So no shots from inside, so another to add to the hit list, maybe for next September.
A fine autumnal day, lots of sunshine and trees with golden leaves backed by clear blue skies.
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This is a collegiate church, with much work of the fourteenth and fifteenth centuries. When the college was founded by Robert de Bredgar in 1393 the nave and south aisle were completely rebuilt. It was a case of premature enlargement, for the college was a very small foundation and seems to have used the existing north chapel for its services. In all events, the very cheap form of sedilia in the chancel - a dropped window-sill - shows that very little money was left after the completion of the west tower. This also meant that there was insufficient cash for the west door and instead of introducing a brand new feature, they re-used a Norman doorway! This reinforces the point that one should never date a wall by the architectural features within it. There is a small brass of one of the collegiate priests, Thomas Coly (d. 1518), whilst the house in which he lived survives on the opposite side of the road.
www.kentchurches.info/church.asp?p=Bredgar
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BREDGAR.
OR Bradgare, as it was sometimes spelt, is the next parish southward from Tunstall.
ALTHOUGH the road from Sittingborne to Hollingborne-hill, and thence to Maidstone, passes through it and the village of Bredgar, it is rather an unfrequented place, lying obscurely among the hills, and bounding eastward to the woods. It contains near 1300 acres of land, of which one hundred are wood-grounds. The village, which stands on high ground, nearly in the centre of the parish, having the church and college, or chantry in it, is a healthy and not unpleasant situation, being surrounded mostly by pasture grounds, but the remaining part of the parish is very hilly, the soil poor and chalky, and much covered with flints, being rather a dreary country. At the entrance of the village there is a good house, inhabited for many years by the Beales, the last of whom, Mr. John Beale, of Bredgar, dying s. p. in 1769, gave this among his other estates, among his relations, and this house is now owned by his sister's son, Mr. Pattison; a little distance from hence is a modern fronted house, belonging to the Rev. Mr. Marsh, rector of Bicknor, who resides in it.
The plant Dentaria Major Metthiolo, or the greater toothwort, is mentioned by Mr. Ray, as found by him in this parish.
THE PARAMOUNT MANOR of Milton claims over this parish, as do the subordinate manors of Tunstall and Bobbing likewise over some part of it.
IT APPEARS by antient records, that there was a family resident in this parish, who took their name from it. Robert de Bredgar, resided here in the reign of king Henry III. whose name appears in an antient roll of the benefactors to the monastery of Davington, and bore for their arms, Argent, a bend, gules, fretty, azure, between two lions rampant of the second; and in the reign of king Richard II. Robert de Bredgar, clerk, parson of this parish, founded a chantry or college in the church here, as will be further mentioned hereafter.
BEXON, or Baxton, is a manor, situated in the southern part of this parish, which gives name both to a borough and street in it.
It was antiently in the possession of a family, which assumed its surname from it; one of whom, John de Bexon, was residen there in the reigns of Edward II. and III. whose effigies was formerly painted in the windows of this church, with a scroll underneath. But in the next reign of king Richard II. this manor was become the property of the family of Tong, who were of some account in different parts of East-Kent, as well as in this neighbourhood; for it appears by some antient deeds, that Semanus de Tong, in the 16th year of that reign, was tenant to the Maison Dieu, in Ospringe, for lands at Lorinden, in Challock, and sealed with a bend cotized, argent, between six martlets, gules, in which name this estate continued down to John Tonge, gent. who about the latter end of the reign of king Charles I. alienated it to Mr. Thomas Fearne, who bore for his arms, Per bend, gules, and or, two leopards heads, counterchanged. One of his descendants, Mr. John Fearne, passed it away by sale to Mr. Thomas Best, of Chatham, whose grandson, Thomas Best, esq. of Chilston, dying in 1795. s. p. gave it by his will, among his other estates, to his youngest nephew, George Best, esq. now of Chilston, who is the present possessor of it. (fn. 1)
SWANTON-COURT, now vulgarly called Swan court, is a manor likewise in the southern part of this parish, adjoining to Bicknor, which was formerly part of the possessions of the eminent family of Leyborne, of Leyborne, in this county, in which it continued till Juliana, daughter of Thomas, and heir of her grandfather William de Leyborne, dying s. p. by any of her husbands, all of whom she survived, this estate in the 41st year of king Edward III. escheated to the crown, there being no one found, who could claim it, as heir to her; and it remained there till the king, in his 50th year granted it, among other premises, to the abbey of St. Mary Graces, on Tower-hill, then founded by him, part of the possessions of which it remained till the dissolution of that monastery, in the 30th year of king Henry VIII. when it was surrendered up into the king's hands, together with all the lands and revenues belonging to it.
Soon after which, the king granted this manor to Ralph Fane, esq. who as quickly afterwards parted with it to Sir Thomas Wyatt, who in the 33d year of that reign passed it away to the king, in exchange for other estates, pursuant to an act passed for that purpose the year before.
This manor thus coming into the king's hands, he granted in his 38th year, to Christopher Sampson, esq. to hold in capite by knight's service, who in the 5th year of king Edward VI. alienated it to Thomas Reader, of Bredgar, yeoman, and he having levied a fine of it in the 16th year of queen Elizabeth, afterwards sold it to William Terrey, who in the reign of king James I. partly by sale, and partly on account of alliance, settled it on Mr. William Aldersey, descended from an antient family of that name settled at Aldersey, in Cheshire, who bore for their arms, Gules, on a bend, argent, three leopards heads, vert, between two cinquefoils, or; in chief, a crescent, within a crescent, for disference. (fn. 2) He married Thomasine, daughter of Mr. Roger Terrey, and their descendants continued to reside here, till at length Hugh Aldersey, esq. dying in 1762, s. p. his heirs-at-law alienated it about the year 1767, to John Toke, esq. late of Goddington, in Great Chart, but now of Canterbury, who continues at this time the owner of it.
MANNS is an estate in this parish, which was formerly accounted a manor, and took its name from a family who were possessors of it; one of whom, John Mann, died possessed of it in the 50th year of Edward III. when it was found by inquisition, that he held it of the king, in capite, by knight's service, and that Joane was his daughter and next heir. How it passed afterwards I have not found; but the next that I find it in the possession of, is the family, of Isley, one of whom, Thomas Isley, possessor of this manor, left five daughters and coheirs, viz. Mary, married to Francis Spelman; Frances, to William Boys, esq. Elizabeth, to Anthony Mason, esq. Anne, to George Delves, esq. and Jane, to Francis Haute, esq. After which, Francis Spelman, and Mary his wife, in 1583, alienated their fifth part to Robert and Thomas Whytfield, and their heirs male.
In the reign of king James I. William Hales, esq. of Nackington, was possessed of the principal messuage called Manns, with the lands belonging to it, and in 1640, together with his son William Hales the younger, passed it away by sale to Tho. Godfrey the younger, of Lid, esq. who seems to have parted with it to Clarke, whose family was possessed of lands here some time before this, for Humphry Clarke, alias Woodchurch, of Bredgar, esq. grandson of Humphry Clarke, of Kingsnoth, resided here in the reign of king James I. and dying in 1608, was buried in the north isle of this church, bearing for his arms, Paly, wavy of six pieces, ermine, and gules. (fn. 3) He alienated it to Reader, who bore for his arms, Three crescents, on a canton, a lion's head erased, all within a bordure, ermine, in whose descendants it continued down to Mr. John Reader, who died possessed of it, and his heir-at-law alienated it to Mr. James Chapman, gent. of Milton, the youngest son of Edward Chapman, esq. of Molash, and his grandson James Chapman, esq. is the present possessor of it.
In the 16th year of king Richard II. Robert de Bradgare, rector of this church, John Burbache, clerk, and others, founded, with the king's licence, A CHANTRY or SMALL COLLEGE in this church of Bredgar, in honor of the Holy Trinity, which consisted of a chaplain or secular priest, in holy orders, and two scholar clerks or confreers, who were to govern it, and celebrate divine officers, continually there in future, excepting at those times when the scholars should be employed in their studies: and they endowed it with different houses, rents, and lands, in this and the adjoining parishes, to hold to them and their successors for ever; and in 1398 the above-mentioned Robert de Bradagare, with the consent of archbishop Arundel, who then confirmed this foundation, gave them, under his seal, rules and statutes, for the better government of it. At which time there appears to have been a building already erected, called the college, for them to reside in, almost adjoining to the church of Bredgar.
In which situation this chantry or hospital continued, till the reign of king Henry VIII. when it was surrendered up with all its possessions, into the king's hands. Soon after which the scite of it, by the name of the chantry house of Bredgar, with sundry premises belonging to it, in Bredgar, Borden, and Bicknor, was granted by the king to George Harpur, esq. who afterwards, in the 33d year of that reign, exchanged it with the king for other estates in this and other counties. After which it seems to have remained in the hands of the crown, till queen Elizabeth, in her third year, having taken into her hands several manors, lands, &c. parcel of the see of Canterbury, by her letters patent that year, granted to archbishop Parker, and his successors, several rectories, parsonages, and other premises, in lieu of them, among which was this dissolved college of Bredgar, then valued at 13l. 6s. 8d. Since which it has continued parcel of the possessions of the archbishopric, and remains so at this time. The tenths payable to the crown receiver from this dissolved chantry are 1l. 17s. 7¾d.
William Sherman, esq. was lessee in 1643, at the yearly rent of 13l. 6s. 8d. Edward Jeffrey is the present lessee, he new fronted and much improved the chantry-house, in which he resides.
Charities.
THREE TENEMENTS and sixty-five perches of land, at the Bush, in Silver-street, in Bredgar, let to the overseers at 20s. per annum. was given for the repair of the church. One acre and an half of land in Hinkins crost, let at 12s. was given for the like purpose. A small piece of land, called the Playstool, let at 2s. 6d. per annum, was given for the like purpose.
AN ANNUITY of 10s. per annum was given for the use of the poor, to be paid out of a field called Whitebread, at Deanshill, which now belongs to Messrs, Thomas and William May.
AN ANNUITY of 20s. was given by Mr. Humphry Clarks, for the use of the poor, payable out of a house in Bredgarstreet, belonging now to the heirs of Edward Chapman, gent.
WILLIAM TERRY, gent. by deed anno 17 James I. granted to Francis Clarke, and others, 31. per annum out of a house called Black-end, and an orchard belonging to it, and a piece of land called Mascalls, all in Bredgar-street, in trust, to be distributed among the poor inhabitants.
MR. THATCHER, citizen of London, in 1718 gave by deed 100l. which with that of 30l. added to it by the parishioners, was laid out in lands at Torry-hill, containing twenty-eight acres, lying in Milsted and Lenham, which were purchased in trust, for the minister and churchwardens to pay from thence 5l. per annum, for a master or mistress to reach eight poor children of this parish to read, and to instruct them in the church catechism; the overplus to be distributed to the poor of the parish. The children to be appointed by the minister; now of the annual produce of 6l. 10s. 4d.
The poor relieved constantly are about twenty-five; casually forty.
BREDGAR is within the ECCLESIASTICAL JURISDICTION of the diocese of Canterbury, and deanry of Sittingborne.
The church is dedicated to St. John Baptist. It consists of three isles and one chancel, and has a square beacon tower at the west end, in which hang five bells. On the west side of the tower there is a fine Saxon door-case, with zig-zag ornaments; on the capitals of the pillars are carved two heads of a very ludicrous from. By the injudicious digging of a vault for Mrs. Murton of this parish, in 1791, two of the columns gave way, and the main arch between the body and chancel came down, but this damage has been since repaired.
In this church there are several memorials for the Tongs, and Fearnes of Bexon, particularly of John Fearne, obt. 1713; of the Readers, as late as 1705. In the north isle a monument for Humphry Clarke, alias Woodchurch, esq. obt. 1608. Memorials of the Alderseys, of Swanton, particularly of Hugh Aldersey, obt. 1762, and Mary Thurston his wife. In the church yard, at the east end of it, are several tomb-stones of the Beales and Thurstons. There is a very antient tomb-stone near the south porch, on which was once a portrait in brass, on the east end of the stone there is carved a cross in relief.
King Henry III. gave this church in pure and perpetual alms, to the leprous women of the hospital of St. James, alias St. Jacob, at the end of Wincheap, near Canterbury, so that Mr. Firman, then master of it, should enjoy it for his life, but there was no vicarage endowed in it till archbishop Courtney, in the 15th year of king Richard II. endowed one in it.
After which this church appropriate, as well as the advowson, continued part of the possessions of the hospital, till the surrendry of it in 1551, anno 5 king Edward VI. at which time there appeared to be a manor called
FILCHER, alias FILTER, belonging to the rectory of Bredgar appropriate; all which, together with the advowson, seem to have remained in the hands of the hands of the crown, till queen Elizabeth granted them to Thomas Reader, who possessed them in 1578. He afterwards sold them to Mr. William Terrey, who in the reign of king James I. passed them away to his kinsman, William Aldersey, of Swanton-court, in whose descendants they continued till Hugh Aldersey, esq. of Bredgar, about the beginning of George II.'s reign, alienated them to Mr. John Tappenden, whose son, of the same name, sold them to Sir Edward Dering, bart. of Surrenden, whose son Sir Edward Dering, bart. is the present owner of this manor and rectory, with the advowson of the vicarage of the church of Bredgar.
In 1578, the communicants here were one hundred and fifty-five. Houses in this parish fifty. In the reign of queen Anne, the vicarage was worth thirty pounds per annum.
It is now a discharged living in the king's books, of the clear yearly certified valued of thirty-six pounds, the yearly tenths of which are eighteen shillings.
¶John atte-Vyse, one of the founders of the college, in 1398, ordained, that each year in future for ever, after his death, on the feast of the Holy Cross, there should be paid to the vicar of Bradgare, for the oblations of that day, six-pence; to the keeper to the goods of the church here, six-pence; to the parishclerk and sacrist, four-pence, and 5s. 4d. to the poor parishioners of Bredgar.
Spaceship Earth
The last great attraction at EPCOT's Future World. Pretty much everything else in Future World has gone to hell or simply been replaced by something bland and boring. Thank god Spaceship Earth has kept its Audio Animatronics! They're the best thing (left) in Future World.
The Finale to the BARC Club Car Championships Weekender at Brands Hatch and after a Very Thrilling set of both Qualifying Sessions and Races which took place on the Saturday it was Time once again for each Driver to strap in and get ready for some high speed Racing Action thought the Sunday.
In Tribute to the Marshall who was Tragically Killed on the Saturday Some Car and Driver Pairings were Racing with Orange Hearts on their Cars as a Tribute to all of Motorsports Family of Marshalls for who without Racing would not be possible. Thank You!
So Lets get started and see what the days events Haver to Offer and who can Push their Machinery to the Limits and beyond for a Victory.
Britcar Endurance Championship - Trophy Category (Race 1 Results FINAL)
The Britcar Endurance Trophy was the First up and it was time to see who could claim that elusive Pole Position and to see if anyone else could challenge the Top Three Drivers Lets see how things turned out.
In First Place was the Pairing Of (Datum Motorsport's Axel Van Nederveen and Adriano Medeiros) in their Ginetta G55A with a Best Lap Time of 52:193 and an Average Speed of 64.75mph. Congratulations Axel and Adriano a Really Fantastic Drive and A Super Victory.
In Second Place was (SVG's Mark Lee) in his Ginetta G56A with a Best Lap Time of 52.086 and an Average Speed of 64.70mph. Amazing Drive Mark Keeping that Ginetta on the Track and Taking Second Place while Nearly Matching the Speed of Axel and Adriano. Well Done.
In Third Place was (Terry Stephens) in his Peugeot 308 with a Best Lap Time of 53.421 and an Average Speed of 64.50mph. Well Fought Terry a Fantastic Finish in Third Place and Staying Ahead by just over 11 seconds to the Pair of Jasver and Bryan in 4th. Amazing Job.
A Really Enjoyable and Exciting First Race of the Sunday with High Speed Action and Incredible Victories on Track. Congratulations Axel Adriano Mark and Terry. Lets see what Race 2 Brings in terms of the Action.
Britcar Endurance Championship - Trophy Category (Race 2 Results FINAL)
Race 2 For Britcar Next and after a Very Fast and Action Packed First Race Will we see a New Face on the Top Step of the Podium? Lets find out.
In First Place was the Pairing of (Woodrow Motorsport's Simon Baker and Kevin Clarke) in their BMW 1 Series with a Best Lap Time of 51.837 and an Average Speed of 78.22mph. Amazing work Simon and Kevin who have Beaten the Pairing Of (Datum Motorsport's Axel Van Nederveen and Adriano Medeiros) to Victory. An Incredible Drive by Both of them Well Done.
In Second Place was (SVG Mark Lee) in his Ginetta G56A with a Best Lap Time of 52.281 and an Average Speed of 76.89mph. Again a Huge Congratulations to Mark Lee for hanging onto that Second Place Despite Fierce Competition during The Race. Amazing Drive.
In Third Place was (Simon Green Motorsport's Pairing of Jasver Sapra and Brian Branson) in their BMW M3 E46 with a Best Lap Time of 52.718 and an Average Speed of 76.88mph. Congratulations Jasver and Brain Brilliant Drive and well Defended to keep that Third Place in Tact.
Two Incredible Races with Two Very Different Outcomes of Race Winners and Runners Up The Britcar Endurance Trophy is Proving to be Very Competitive this Year.
A Huge Congratulations to Simon Kevin Mark Jasver and Brain for some Amazing Racing and Victories and Good Luck to All Other Drivers. Keep working Hard and Pushing for that All Important Victory.
CTCRC Edmundson Electrical Classic / Historic Thunder Saloons (Race 1 Result FINAL)
Next Up was the CTCRC Electrical and Historic Thunder Saloons and After a Thrilling Qualifying Session Yesterday Lets see what Each Driver has got and who can Push to the Limits for that All Important Victory.
In First Place was (Jason West) in his BMW E46 M3 3200 with a Best Lap Time of 51.907 and an Average Speed of 59.84mph. Congratulations Jason for Another Incredible Drive for First Place and a well Deserved Victory Amongst some Stiff Competition.
In Second Place was (Andrew Wilson) in his Holden Monaro 7000 with a Best Lap Time of 52.418 and an Average Speed of 59.96mph. Well Done Andrew Fantastic Driving and a Super Defensive Drive for Second Place.
In Third Place was (Samuel Wilson) in his Aston Martin V8 Vantage with a Best Lap Time of 52.699 and an Average Speed of 59.50mph. Amazing Work Samuel and a Beautiful Example of the Aston Martin V8 Vantage on Display Showing its Raw Power and Racing Pedigree to Finish in Third Place.
A Fantastic Finish to The Historic and Electrical Thunder Saloons Racing at The Weekend. A Huge Congratulations to Our Top Three Finishers Jason Andrew and Samuel. Fantastic Racing from all Three of you and Good Luck to all other Drivers Keep Tuning and Working Hard and I'm sure Victory Will not be too Far Away from you.
CTCRC JEC Saloon & GT Championship & Burton Power BOSS (Race 2 Results FINAL)
Next Up CTCRC Saloon and GT Championships and with some Fierce Competition on Display during not only Qualifying but also Their First Race on the Saturday Which saw Malcom Harding Storm to an Insane Victory who Will be able to Take him on and Potentially Steal his Crown during the Next Race Today? Lets See.
In First Place was (Malcom Harding) in his Ford Escort MK2 Zakspeed 2500 with a Best Lap Time of 53.888 and an Average Speed of 78.49mph. Another Incredible Victory for Malcom that Highly Modified Zakspeed Escort Really Shows off the Power and Performance of a True Champion and a Fantastic Driver. Congratulations Malcom.
In Second Place was (Steven Goldsmith) in his Ford Anglia 105e 260 with a Best Lap Time of 54.335 and an Average Speed of 78.21mph. Another Storming Drive to Achieve Second Place for Steven. Fantastic Driving and Amazing Car Control through Every Corner. Congratulations Steven.
In Third Place was (Tom Robinson) in his Jaguar XJ6 4000 with a Best Lap Time of 55.481 and an Average Speed of 55.481mph. Congratulations Tom Superb Display of Driving Ability behind the Jag and a Well Deserved Third Place for Him.
Another Incredible Weekend of Racing for the CTCRC Saloon and GT Championships with Some New and Some Old Drivers Stepping onto the Podium. Massive Congratulations to Malcolm Steven and Tom for their First Second And Third Place Finishes. Keep Up the Good Work and Never Stop Trying.
CTCRC Laser Tools Pre 93 & Simply Serviced Pre 03 Touring Cars (Race 1 Results FINAL)
Now Its Time for The Laser Tools Pre 93 and Simply Serviced Pre 03 Touring Cars to make their way back onto The Track for what Looked to be a Spectacular Race. A Whole Range of Different Cars to Race Against and Stiff Competition after Qualifying Proves that This Race will be One not to be Missed. Lets See what Unfolded.
In First Place was (Gary Prebble) in his Honda Civic EG 2000 with a Best Lap Time of 54.100mph and an Average Speed of 78.60mph. Well Done Gary a Really Well Deserved First Place Victory and an Amazing Drive to the Flag.
In Second Place was (David Griffith) in his BMW E36 M3 3058 with a Best Lap Time of 54.558 and an Average of 78.42mph. Incredible Drive their David Pushing that BMW For Everything that it Has got to Achieve Second Place.
In Third Place was (Kam Tunio) in his Honda Civic EK9 1595 with a Best Lap Time of 55.347 and an Average Speed of 77.05mph. Well Driven Kam Super Driving on Display and a Well Deserved Third Place Finish.
Another Amazing Race for The Pre 93 and Pre 03 Touring Cars and a Huge Congratulations to Gary David and Kam for their First Second and Third Place Victories. Keep up the Hard Work and Good Luck to everyone Else wherever your Next Races take you.
CTCRC Poultec Classic Race Engines Pre 66 Touring Cars (Race 1 Results)
Now it was Time for the Fan Favourite to Enter onto the Brands Hatch Circuit with the Pre 66 Touring Cars Championship. With Mini's Lotus Cortina's and Ford Falcons. This was One Race that No One Wanted to Miss. After a Very Fast Paced Qualifying Session on the Saturday Which saw (Alan Greenhalgh) take Pole Position who Will be able to Challenge Him During the Race and Snatch Victory Away from Him.
In First Place was (Alan Greenhalgh) in his Ford Falcon with A Best Lap Time of 58.707 and an Average Speed of 72.63mph. Congratulations Alan A Beautiful Example of the Ford Falcon and Certainly a Very Fast One too. Congratulations on Your Victory.
In Second Place was (Robyn Slater) in his Ford Anglia 1550 with a Best Lap Time of 58.992 and an Average Speed of 72.06mph. Very Good Drive their From Robyn to Secure Second Place in The First Race of the Day for the Pre 66 Touring Cars.
In Third Place was (Barry Sime) in his Morris Mini Cooper S 1293 with a Best Lap Time of 59.116 and an Average Speed of 71.95mph. Fantastic Work their Barry Keeping that Little Rocket on The Track looked to be Very Challenging but A Very Well Deserved Third Place.
What A First Race for The Historic Pre 66 Touring Cars showing The Power and Pride Each Driver takes in Both Racing and Preservation on Their Beloved Racing Machines. Congratulations to Alan Robyn and Barry on their First Second and Third Place Finishes. Lets See what New Challenges Await Them in Race 2 The Final Race of The Day for Them.
CTCRC Poultec Classic Race Engines Pre 66 Touring Cars (Race 2 Results FINAL)
The Epic FINALE To The Pre 66 Touring Cars Race was A Race in Wet Conditions Making it even more Challenging for The Top Three Drivers. Who would Win and be able to Retain if not Take on thease Three Giants of Touring Car Racing in thease Conditions. Lets See How Things Concluded.
In First Place was (Barry Sime) in his Morris Mini Cooper S 1293 with a Best Lap Time of 1:11.482 and an Average Speed of 58.62mph. Amazing Work Barry to take Home a Superb Victory and a Brilliant Bit of Wet Weather Driving in The Mini Well Done.
In Second Place was (John Davies) in his Austin Mini Cooper S 1293 with a Best Lap Time of 1:11.416 and an Average Speed of 58.38mph. Amazing Work John Racing A Mini in thease Conditions is Very Tricky and Yet both You and Barry made it look Easy.
In Third Place was (James Ibbotson) in his Hillman Imp Super 998 with a Best Lap Time of 1:11.518 and an Average Speed of 58.12mph. Well Done James Sliding that Imp around in the Wet for a Magnificent Third Place was Well Deserved.
What A Race to End the Day for the Pre 66 Touring Cars and with So many Old and New Winners Lets Hope we Get to see More Races like This One Thought the Rest of the 2021 Season. A Big Congratulations to Barry John and James on their Respective Victories and Keep Trying Everyone Else The Hard Work will Pay off.
CTCRC Shell Oils Pre 83 Touring Cars (Race 1 FINAL)
Up Next The Pre 83 Touring Cars took to the Track for Their Only Race of The Day and from what We Have Seen Already This Race also looks like its going to be a Very Strong Battle for First Second and Third Place. Lets See who Came First and Took that All Important Victory.
In First Place was (Mark Lucock) in his Ford Escort MK1 RS2000 2040 with a Best Lap Time of 57.687 and an Average Speed of 74.53mph. Amazing work there Mark Pushing All the Power the RS2000 Engine Has and Keeping it on Track to Score an Amazing Victory.
In Second Place was (Stephen Primett) in his Ford Escort MK1 2037 with a Best Lap Time of 57.503 and an Average Speed of 74.52mph. Another Brilliant Drive from the Likes of Stephen Keep the Pace with Mark and Making for some Fierce Competition Thought the Race.
In Third Place was (Mike Luck in his BMW E21 320 1998 with a Best Lap Time of 57.236 and an Average Speed of 74.46mph. Super Driving there Mike to take Third Place and a Very Classic Looking BMW Indeed.
What A Race from the Pre 83 Touring Cars showcasing Speed Power and What a Touring Car was Made to do around a Race Track. A Big Congratulations to Mark Stephen and Mike on their First Second and Third Place Finishes. Keep Racing and Keep Having Fun Out There.
Junior Saloon Car Championship (Race 1 Result FINAL)
The Junior Saloon Car Championship was Up Next and Even Though the Age Range of thease Next Drivers Taking to the Circuit Might Shock you at The Fact that Many of them are as Young as 15 Years of age don't be Fooled Because thease Guys Know how to Race Having been brought up from Carting since the age of 4. They are always a Fan Favourite and After Qualifying on the Saturday its Anyone's Game as to Who Wins and Who Losses in Thease Races.
In First Place was (Ruben Hage) in his Citroen Saxo VTR 1600 with a Best Lap Time of 59.967 and an Average Speed of 65.65mph. Congratulations Ruben What A Drive and an Incredible Run for First Place Fending off the Other On Coming Drivers. Truly a Championship Winning Drive.
In Second Place was (Harvey Caton) in his Citroen Saxo VTR 1600 with a Best Lap Time of 59.629 and an Average Speed of 65.64mph. Very Well Driven there Harvey Staying very Close to Ruben in First Place and Keeping Him on His Toes Thought the Entire Race.
In Third Place was (Charlie Hand) in his Citroen Saxo VTR 1600 with a Lap Time of 1:00.006 and an Average Speed of 65.57mph. Solid Third Place there Charlie Keep Up the Momentum and Never Give Up Chasing Your Dreams.
What a Fantastic Race from the Junior Saloon Car Championship with New Winners on the Podium and Some Close Wheel to Wheel Action Thought the Race Thease Guys will be Fantastic To see in Future Racing Series All Over The World. Congratulations to Ruben Harvey and Charlie for First Second and Third Place and Good Luck to All Other Aspiring Young Drivers Following in the Footsteps of Your Greatest Racing Heroes.
Kumho BMW Championship (Race 1 Results)
Finally it was Time for the Last Two Races of the Day the Kumo BMW Championship. Featuring The Makes and Models of Many BMW'S taking to the Circuit for Race 1. After a Busy Day Qualifying on Saturday Lets See what Each Driver Cando in The Frist of Two Races for their Championship.
In First Place was (Niall Bradley) in his BMW E46 M3 with a Best Lap Time of 50.920 and an Average Speed of 83.60mph. Brilliant Driving There Niall Pushing the Power of the BMW Engine to Max and Putting the Pedal to the Metal the Whole Race. A Superb Victory.
In Second Place was (Michael Vitulli) in his BMW E36 M3 3200 with a Best Lap Time of 51.158 and an Average Speed of 83.45mph. Another Incredible Driver Pushing Hard and Taking Second Place. Well Done Michael.
In Third Place was (James Card) in his BMW E46 M3 3200 with a Best Lap Time of 51.154 and an Average Speed of 83.42mph. Very Well Done their James Keep Pushing.
Three Fantastic Drivers in Niall Michael and James all Fighting for that Victory and Showing The Racer Inside each and Everyone of them. Lets see what Their Final Race of the Day Brings Them.
Kumho BMW Championship (Race 2 Results FINAL)
In First Place was (Niall Bradley) in his BMW E46 M3 with a Best Lap Time of 53.581 and an Average Speed of 77.79mph. Another Well Deserved First Place Finish to Round of The Days Racing. Congratulations Niall Go and Celebrate with The Team In Style.
In Second Place was (Darren Morgan Owen) in his BMW E46 M3 3200 with a Best Lap Time of 53.200 and an Average Speed of 77.43mph. Super Drive There Darren for Second Place and a New Winner onto The Podium.
In Third Place was (Brad Sheean) in his BMW E46 M3 3200 with a Best Lap Time of 53.227 and an Average Speed of 77.13mph. Fantastic Drive there Brad and Some Incredible Car Control thought the Entire Race to Finish Third.
And That Concludes Racing for the Kumho BMW Championship with 4 Different Winners Across two Races and A lot of Really Fast Action you could not Have Asked for a better Finish to The End of The Days Racing. Massive Congratulations to Niall Darren and Brad and Good Luck to all Other Competing Drivers who are still Looking for that almighty Victory.
That Concludes Racing for The BARC Club Car Championships Weekend A Big Congratulations to All of the Drivers of Every Team and a Huge Thank You to Marshalls Far and Wide as Without Your Support Events like This and Champion Drivers May Never Get to Achieve Their Dreams.
See You All At The Next One!
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Second weekend of the annual Heritage event. It seems wrong to call it a weekend as it now compromises two weekends and many meedweek events too.
And scanning the events, there were some in Canterbury, so we decide to head to the city for a wander: jools would go shopping while I would go and do some snapping.
Of course there is always shopping first. Off to Tesco to fill the car, then fill the fridge and larder. I am away for three days, nearly four, so not much needed on top of some ready meals for Jools. Still came to seventy quid, mind.
A tub of cheese footballs did fall into the trolley, which helped.
Back home for breakfast of fruit and more coffee, and then off to Canterbury, parking near St Augustine's Abbey, walking to the centre via a subway. We parted, Jools went to Body Shop and a couple of other shops, while I walked down High Street, past the Eastbridge Hospital, Westgate Tower, Canterbury West station to St Dunstan's.
I could say I walked straight there, but I had a quarter of an hour to play with, so when I walked past a pasty shop, I went in for a coffee, and although wasn't really hungry, I did have a pasty anyway.
Once fed and watered, I walk on, up the hill past the station, and on the left was the church, the door already open despite it being only five to nine.
I went in, and found I had the church to myself.
Last time I was here, the Roper Chapel was being renovated and so I couldn't get inside. Important as it is in the chapel that the head of Thomas Moor, beheaded on Tower Hill on orders of Henry VIII. The windows of the chapel have several representation of him and scenes from his life. I snap them all.
I go round with the wide angle lens, now the church is fully open again.
That done, I walk back down into the centre heading for Eastbridge Hospital.
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Dedicated to a former Archbishop of Canterbury, St Dunstan's stands outside the city walls. There is structural evidence of the Norman period, but most of the church is fourteenth century. The west tower dates from this time and is very oddly proportioned - about twice the height that its width can really cope with. The south chapel is constructed of brick and was completed in the early sixteenth century. It contains monuments to the More family and is the burial place of St. Thomas More's head, - brought here by his daughter after his execution. The family home stood opposite the church where its brick gateway may still be seen. There are two twentieth-century windows of note in the chapel, by Lawrence Lee and John Hayward.
www.kentchurches.info/church.asp?p=Canterbury+2
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ST. DUNSTAN's, NEAR CANTERBURY,
LIES the next parish eastward from that of St. Michael, Harbledowne, by which only it is separated from that of Thanington, before described. It makes a part of the suburbs of the city of Canterbury on the western side of it, and is so called from the saint, to which the church is dedicated.
THIS PARISH adjoins eastward to that of Holy Cross, Westgate, about midway between the city gate and St. Dunstan's church. The street is built on each side of the high London road. It is unpaved, but very broad and sightly, and the houses are, many of them, though small, very neat and modern. On the north side of it is the gaol, for the eastern division of the county, but it is a gaol only for felons, and prisoners under the jurisdiction of the justices, and not for debtors, the sheriff of the county taking no cognizance of it. The antient Place-house of the Ropers stands opposite the church, at the west end of the street, the antient seat is said to have stood at some distance behind the present house and gateway, which are situated close to the side of the street, these having been only the inferior offices belonging to it. They have been for many years past converted into a dwelling and public brew-house, and are now tenanted by John Abbot, esq. who resides in it. A little further, on the opposite side of the way, at St. Dunstan's cross, there is a good new-built house, the property, and late the residence of John Baker, esq. but it is now occupied by colonel Smith, of the royal artillery. Here the road divides, that towards the south-west leading to London, along which this parish extends near a quarter of a mile, where the lands in it are exceedingly fertile, and planted with hops. The other road runs strait forward from the cross up St. Thomas's hill, (fn. 1) and so over Bleane common, at the beginning of which this parish ends, towards Whitstaple. The street of St. Dunstan's contains about two hundred houses, and near one thousand inhabitants. There is a synagogue belonging to the Jews, who inhabit mostly together in the eastern part of this parish, and in the part of Westgate adjoining to it, and with some few others in the different parts of Canterbury, are said to amount to near four hundred. They have a burying-ground in this parish, near the entrance of the Whitstaple road from St. Dunstan's cross; and there is another belonging to the Quakers near it.
There was a gallows for the public execution of criminals, on St. Thomas's hill; two of whom were executed here in 1698, and the like in 1700 and 1702, as appears by the parish register.
A fair is held in St. Dunstan's street on the Monday se'nnight after the feast of St. Peter ad Vincula.
THE MANOR OF WESTGATE, belonging to the archbishop, claims over the whole of this parish, in which there are only two houses deserving of a particular description, one of which is
THE PLACE-HOUSE, or St. Dunstan's place, situated near the church, on the north side of the London road. It is noted for having been the antient and most early residence in this county of the family of Roper, (fn. 2) whose burial place was afterwards in this church of St. Dunstan's; one of whom, William Roper, or Rosper, as the name was then sometimes spelt, resided here in king Henry III.'s reign, and was a great benefactor to St. Martin's priory, in Dover. John Roper, his descendant, was resident both here and at Swaycliffe, and was one of the surveyors of the customs of the cinque ports, under king Henry VII. whose son John Roper was sheriff in the 12th year of king Henry VIII. and was afterwards attorney-general and prothonotary of the court of king's bench; and having inherited from his mother Margery, daughter and coheir of John Tattersall, the manor of Wellhall, in Eltham, resided mostly at the mansion of it. He died in 1524, leaving two sons, William and Christopher, the latter of whom was seated at Linsted, from whom the Ropers, lords Teynham and Dacre, are descended. William Roper, the eldest son, whose lands were disgavelled by the act of the second and third of king Edward VI. was of Wellhall, and succeeded his father likewise in this antient family seat at St. Dunstan's, from which time they resided constantly at Wellhall, and in this family this estate continued down to Edward Roper, esq. of Wellhall, whose daughter, and at length sole surviving heir Elizabeth, having married Edward Henshaw, esq. of Hampshire, entitled her husband to it, among other estates. He left three daughters his coheirs, but on his death it came by the entail of it, into the possession of William Strickland, esq. who had married Catherine, the eldest of them, and on his death, s.p. in 1788, it devolved by the same entail to Sir Edward Dering, bart. son of Sir Edward Dering, by his wife Elizabeth, the other sister, and to Sir Rowland Wynne, bart. son of Sir Rowland Wynne, who had married the youngest sister; and their two sons of the same names are at this time the joint proprietors of this house, and the rest of the antient possessions of the family of Roper, in this parish and its neighbourhood.
ST. THOMAS'S HILL, is the other seat remaining to be noticed, which takes its name from the hill on which it is situated, on the road to Whitstaple, about half a mile from St. Dunstan's church. It was for many years in the possession of the family of Roberts, for Mr. William Roberts resided here in the reign of Philip and Mary, and died possessed of it in the 3d year of queen Elizabeth, and, as appears by the parish register, was buried in this church. And in his descendants, (from one of whom descended likewise the Roberts's of Harbledowne) this seat continued down to Mr. Drayton Roberts, who died possessed of it in 1738, leaving one sole daughter and heir Mary, who carried it in marriage to Mr. Jacob Sawkins, gent. of Liminge, whom she survived, and afterwards sold it to her late father's brother, Mr. Edward Roberts, who left his wife Elizabeth, daughter of Nathaniel Denew, esq. surviving, to whom he deviled this seat, which she afterwards alienated to Charles Webb, esq. who rebuilt it, and resided at it till his death in 1786, leaving his wife Sarah, daughter of Mr. Heaver, surviving, who now, by her husband's will, is entitled to it, and resides here.
Charities.
THOMAS STRENSHAM, by deed in 1584, gave certain houses and lands; the produce to be applied to the comforting of poor householders of this parish, clothing their children, or setting them to service. Which premises are vested in ten feoffees, and are of the annual produce of 17l. 11s. 8d.
THOMAS MANERINGE, by will in 1692, gave to two poor men of this parish, the yearly sum of 6s. 8d. to be paid to them at Easter, out of an estate in Broad-street, in Canterbury, now vested in Mr. Hammond.
The poor constantly relieved are about forty-five, casually thirty.
THIS PARISH is within the ECCLESIASTICAL JURISDICTION of the diocese of Canterbury, and deanry of the same.
The church, which is dedicated to St. Dunstan, is large and handsome, consisting of two isles, two chancels at the east end, and a small one on the north side, near the west end. At the south-west corner is a tower steeple, in which there is a clock and a peal of six bells. This church is well pewed, and very neatly kept. In it is a monument and a burial place for the Rondeau's, the first of whom was a refugee in England for the Protestant religion; their arms, Azure, on a fess wavy, three burts, in base a star of many points, or; not far from which are memorials for several of this family, and for the Alkins. A small monument for Charles Webb, esq. of St. Thomas's hill, colonel of foot, obt. 1786, arms, Quarterly, gules, a cross between four birds, or; and paly, gules, and or, impaling gules, a plain cross argent, a label of three points, azure. In the north, or high chancel there are several memorials for the family of Scranton. Underneath, near the north side, is a large vault, wherein many of the family of Roberts are deposited. The altar cloth is very curious, made seemingly before the reformation, having on it several figures of cherubs, and in the middle a crucifix, with the figure of Christ on it; all elegantly wrought in needle-work embossed with gold, not unlikely by one of the ladies of the Roper family. The south chancel is called the Roper chancel, in a vault underneath which many of this family are deposited, and being full, it has been closed up. Against the south wall are two tombs of Bethersden marble, one of them partly within an arch in the wall, probably that of the founder of this chancel; over the other is a banner, of the arms of Roper, mostly torn off, and a helmet, and surcoat, with the arms of More on it, Argent, a chevron ermine, between three moor cocks, sable. Against a pillar is a handsome monument for Thomas Roper, esq. grandson of Sir Thomas More, by his daughter Margaret, obt. 1597; above are the arms of Roper, with quarterings. In the east window are some small remains of painted glass. Somner gives several inscriptions remaining in his time, for the Ropers, one of which is for William Roper, esq. son and heir of John Roper, esq. and for Margaret his wife, daughter of Sir Thomas More, lord chancellor. His monument is that with the banner over it, against the south wall. In a hollow in the wall of the vault underneath, having an iron grate before it, next to the coffin of the above Margaret, there is still remaining a scull, being that of Sir Thomas More; for after he was beheaded, anno 1535, though his body was permitted to be buried, first in the church of St. Peter in the Tower, and afterwards in Chelsea church, where it now lies, yet his head was set on a pole on London bridge, and was afterwards privily bought by his daughter Margaret, and for some time preserved by her in a leaden box, with much devotion, and placed in this vault, when she died, near her coffin. In the south isle are memorials for the Heatons, of St. Thomas's hill. The cover to the font is of a pyramidical shape, curiously carved in wood, in the gothic taste. On the north side of this church is a small chapel, now made use of as a vestry room, founded by Henry de Canterbury, the king's chaplain, in 1330, and dedicated to the Holy Trinity, in which he established a perpetual chantry, which he committed to the care of the hospital of the poor priests in Canterbury, who were to find the chaplain. And it remained in this state till the dissolution of such endowments, in king Edward VI.'s reign.
The chancel or chapel above-mentioned, belonging to the Ropers, was founded by John Roper, esq. as appears by patent 4th Henry IV. for two chaplains to sing mass in it, at the altar of St. Nicholas, for the souls of such of the family as were deceased, and the welfare of such as were living; each of which chaplains had eight pounds per annum allowed to them by him and his heirs, besides a house for their habitation, adjoining to the mansion-house of the family in this parish, on the west side of it; which house is still remaining, and is made use of as part of the mansion.
This church was part of the antient possessions of St. Gregory's priory, in Canterbury, founded by archbishop Lanfranc; and archbishop Hubert, in king Richard I.'s reign, confirmed the same, among the rest of the possessions of it. (fn. 3) After which, the church, with the advowson of the vicarage, remained with the priory till the dissolution of it, in king Henry VIII.'s reign, when coming into the king's hands, it was granted, with the scite and most of the possessions of the priory, that same year, in exchange, to the archbishop. Since which the whole of the premises above-mentioned, in which this parsonage was included, have been demised by the several archbishops in one great beneficial lease. George Gipps, esq. of Harbledowne, is the present lessee of it, as part of St. Gregories priory, under the archbishop. It is now of the value of only five pounds per annum.
Archbishop Walter Reynolds, in 1322, endowed the vicarage of this church, then appropriated to the priory of St. Gregory, decreeing, that the vicar of it should receive, for the maintenance of himself and his family, all small tithes, oblations, and other profits of every kind, the tithes of sheaves of every sort of corn growing in the fields only excepted, which he allotted to the religious in the name of the rectory, who should acknowledge all burthens, ordinary as well as extraordinary, of the chancel, books, and ornaments, as far as they were accustomed to belong to the rectors of places. (fn. 4) After which, on a representation to archbishop Stratford, that the above endowment was by no means sufficient for his support, the value of the vicarage amounting to only four marcs yearly, the archbishop's commissary assigned to the vicars, beyond the endowment above-mentioned, the house of the vicarage, which the vicars were wont of old to inhabit, and also the pension of two marcs sterling, to be paid yearly by the religious, in augmentation of the portion so assigned to him. And he decreed, that the vicar, in future should serve the church in divine rites, and should provide tapers, lights, and bread and wine for the celebration of masses; and should support the burthens of the church, estimated at four marcs for the moiety, in all payments whatsoever of tenths and other extraordinary impositions; and that the religious should rebuild and repair the chancel of the church, and find books, vestments, and ornaments, belonging to the rectors of places, all which the archbishop approved, and confirmed in 1342. (fn. 5)
In the 8th year of king Richard II. anno 1384, the vicarage was valued at four pounds, being one of those small benefices, which, on account of their slender income, were not taxed to the tenth. It is valued in the king's books at five pounds, and is now of the clear yearly certified value of eighteen pounds. In 1588 it was valued at twenty pounds, communicants one hundred and fifty-six. In 1640 it was valued at forty pounds, the like number of communicants.
Archbishop Juxon, in 1661, augmented the vicarages and curacies late belonging to St. Gregory's priory, and then of the patronage of the see of Canterbury, with the yearly sum of two hundred and ten pounds, out of the great tithes of the several parsonages; but this of St. Dunstan's, probably from the inefficient value of the parsonage for that purpose, did not receive any part of it.
Archbishop Tenison gave to the governors of queen Anne's bounty, which he confirmed by his will in 1715, the sum of two hundred pounds, to the augmentation of this vicarage, to which the governors added two hundred pounds more for the same purpose. It is now of the annual value of about fifty pounds.
There have been no remains of the vicarage-house for a long time.
¶THE CITY AND COUNTY OF THE CITY OF CANTERBURY lies the next adjoining to St. Dunstan's parish eastward, a district which was once accounted a hundred of itself, and within the jurisdiction of the justices of the county of Kent, and it continued so till it was made a county, and separate jurisdiction of itself, by king Edward the IVth in his first year, a copious description of it, as well as of the priory of Christ-church, and the cathedral, with an account of the archbishops, and the other members belonging to them, will be given in a separate volume at the conclusion of this history.
Copyright - All Rights Reserved - Black Diamond Images
Submissions regarding the EIS for the Rocky Hill Coal Mine close on 28th October 2013 - Have your say HERE
The EIS comes in 5 volumes and weighs 9 kilograms. Specialists and consultants have spent many months compiling this information - thousands of pages of often complex, scientific information.
To see how the approval process in these applications is tipped in favour of the mining companies and big business one only has to see the length of time allocated to local communities to prepare a response to the EIS. One month is all that is allowed normally to respond to a massive volume of technical information that has taken the company many many months to put together.
In the case of the Rocky Hill EIS an extension allowing 2 months, not one, has been granted perhaps a sign the NSW O'Farrell government can see some political fallout ahead.
In a further demonstration of how the goal posts are shifting away from citizen opposition groups and in favour of mining companies the NSW O'Farrell Government is considering changes to a SEPP which, when it comes to mine approvals, would position mine economics over and above all other considerations.
The NSW Government are clearly hedging their bets in case their appeal is lost in the Supreme Court against the recent refusal in the NSW Land and Environment Court to approve Rio Tinto's Hunter Valley Bulga Mine proposal.
In that eventuality, the law will be changed so that, Rio Tinto can potentially just re-submit their application for their mine at Bulga and it will likely be approved.
This new development has potential to have ramifications for the Rocky Hill Mine as far as any Land and environment Court challenge that the people of Gloucester might mount in future should the Gloucester Resources Ltd mine application be approved.
For an excellent overview read - The Race To Mine The Hunter Valley
Gloucester Residents in Partnership
Listen to interview with Julie Lyford of Groundswell HERE
GSG AGL has approval for 110 Coal Seam Gas wells in Gloucester to commence operation in 2016 - See this Four Corners program. The Gloucester segment starts 3/4 way through. Do yourself a favour and watch this program.
Image: The HQ ARRC Military Wives Choir perform to more than 1000 guest at the Imjin Proms.
More than a thousand people enjoyed the first Imjin Proms on Saturday.
The concert and outdoor festival event raised money for three military service charity associations with entertainment ranging from a musically choreographed Spitfire display to children's activities.
"The weather's held off and it's been a fantastic evening, with a fantastic range of music, with parachutists, and airplanes, and it's all just been going very well from my point of view," said Simon Footer, the main event coordinator from the Royal Air Force Benevolent Fund.
Imjin Barracks, a Royal Air Force base that served for decades, has been home since 2010 to the event's other main host, NATO's Allied Rapid Reaction Corps
Lt.Gen. Tim Evans, ARRC commander, welcomed the crowd with gratitude, wishing everyone a splendid evening, and thanking Aramark and other sponsors. The general envisioned the event more than a year ago to be a way for Imjin and other nearby military communities to share a memorable evening with Gloucestershire.
Sharing the experience of the Spitfire display brought many emotions to the diverse crowd. Presenter Peter Dickson said he was moved by the arial display, as that plane holds a special place in British hearts, answering a call in the 1940's with young pilots when "our backs were really against the wall, it delivered the effect we needed." Remembering them and the sacrifice of so many is important and one theme for the evening, he continued. The whole night has "surpassed expectation."
"I've painted many of them as a kid, but that's the first time I've ever seen one," said presenter Lewis Macleod, in a sincere moment backstage when he wasn't keeping the crowd laughing with his voice impressions between acts. "It was really beautiful."
The plane flew to classical music played by The Band of the Royal Air Force College, who also lit up the evening with a finale and fireworks around 10 pm. Other music included a pop-music cover set by the Adjutant Generals Corps' Band who got people up and dancing from their picnic blankets and chairs. The crowd also witnessed the precision of The Royal Marines Band and 19th Regimental Royal Artillery Pipes and Drums.
Children representing their school's talent, the Innsworth Military Wives Choir, and many others performed during the evening to the local crowd. The event succeeded in opening the gates of Imjin to the community and there is a hope to see more of these kinds of events in future.
Oh, my my
See them girls shake their a--
Underneath the sunrise
Oh, my my
Taste the sugar on their lips
Underneath that moonlight..."
Self timer jumping in and out of the tub is always a good time.
Good thing I'm feeling "70%" better. Good enough to be up and about taking pictures, not good enough to go work out
Hate the flowers in the corner.
No time for PS. The only thing I did was my darn red eyes.
Time for Christmas shopping. Gotta make up for lost time. 4 Days till Christmas? Feeling a little nervous.