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Day 349 [12-14-2016]
New places, new photos. I spent this afternoon after work looking for a new place to shoot. To my luck, I had found a marina that I have never been to before. I scouted it out and shot a couple photos before Scott asked me to meet up. I brought him to the location and we got some pretty amazing photos. I have had a bit of an obsession with docks recently and it is not dying anytime soon. I will find more. I will.
I can't wait to see what the next day brings!
Camel hair
Pencil, from Old French pincel, from late Latin penicillus a "little tail" originally referred to an artist's fine brush of camel hair, also used for writing before modern lead or chalk pencils.
Though the archetypal pencil was an artist's brush, the stylus, a thin metal stick used for scratching in papyrus or wax tablets, was used extensively by the Romans and for palm-leaf manuscripts.
As a technique for drawing, the closest predecessor to the pencil was silverpoint or leadpoint until, in 1565 (some sources say as early as 1500), a large deposit of graphite was discovered on the approach to Grey Knotts from the hamlet of Seathwaite in Borrowdale parish, Cumbria, England.
This particular deposit of graphite was extremely pure and solid, and it could easily be sawn into sticks. It remains the only large-scale deposit of graphite ever found in this solid form.
Chemistry was in its infancy and the substance was thought to be a form of lead.
Consequently, it was called plumbago (Latin for "lead ore").
Because the pencil core is still referred to as "lead", or "a lead", many people have the misconception that the graphite in the pencil is lead, and the black core of pencils is still referred to as lead, even though it never contained the element lead
The words for pencil in German (Bleistift), Irish (peann luaidhe), and some other languages literally mean lead pen.
The value of graphite would soon be realised to be enormous, mainly because it could be used to line the moulds for cannonballs; the mines were taken over by the Crown and were guarded.
When sufficient stores of graphite had been accumulated, the mines were flooded to prevent theft until more was required.
The usefulness of graphite for pencils was discovered as well, but initially graphite for pencils had to be smuggled out of England.
Because graphite is soft, it requires some form of encasement. Graphite sticks were initially wrapped in string or sheepskin for stability.
England would enjoy a monopoly on the production of pencils until a method of reconstituting the graphite powder was found in 1662 in Germany.
However, the distinctively square English pencils continued to be made with sticks cut from natural graphite into the 1860s. The town of Keswick, near the original findings of block graphite, still manufactures pencils, the factory also being the location of the Derwent Pencil Museum.
The meaning of "graphite writing implement" apparently evolved late in the 16th century.[18]
Wood encasement
Palomino Blackwing 602 pencils
Around 1560, an Italian couple named Simonio and Lyndiana Bernacotti made what are likely the first blueprints for the modern, wood-encased carpentry pencil. Their version was a flat, oval, more compact type of pencil.
Their concept involved the hollowing out of a stick of juniper wood. Shortly thereafter, a superior technique was discovered: two wooden halves were carved, a graphite stick inserted, and the halves then glued together—essentially the same method in use to this day.
Graphite powder and clay
The first attempt to manufacture graphite sticks from powdered graphite was in Nuremberg, Germany, in 1662. It used a mixture of graphite, sulphur, and antimony.
English and German pencils were not available to the French during the Napoleonic Wars; France, under naval blockade imposed by Great Britain, was unable to import the pure graphite sticks from the British Grey Knotts mines – the only known source in the world.
France was also unable to import the inferior German graphite pencil substitute.
It took the efforts of an officer in Napoleon's army to change this. In 1795, Nicolas-Jacques Conté discovered a method of mixing powdered graphite with clay and forming the mixture into rods that were then fired in a kiln.
By varying the ratio of graphite to clay, the hardness of the graphite rod could also be varied. This method of manufacture, which had been earlier discovered by the Austrian Joseph Hardtmuth, the founder of the Koh-I-Noor in 1790, remains in use. In 1802, the production of graphite leads from graphite and clay was patented by the Koh-I-Noor company in Vienna.
In England, pencils continued to be made from whole sawn graphite. Henry Bessemer's first successful invention (1838) was a method of compressing graphite powder into solid graphite thus allowing the waste from sawing to be reused.
United States
Pencil manufacturing.
The top sequence shows the old method that required pieces of graphite to be cut to size; the lower sequence is the new, current method using rods of graphite and clay
.
American colonists imported pencils from Europe until after the American Revolution. Benjamin Franklin advertised pencils for sale in his Pennsylvania Gazette in 1729, and George Washington used a three-inch (7.5 cm) pencil when he surveyed the Ohio Country in 1762. William Munroe, a cabinetmaker in Concord, Massachusetts, made the first American wood pencils in 1812.
This was not the only pencil-making occurring in Concord. According to Henry Petroski, transcendentalist philosopher Henry David Thoreau discovered how to make a good pencil out of inferior graphite using clay as the binder; this invention was prompted by his father's pencil factory in Concord, which employed graphite found in New Hampshire in 1821 by Charles Dunbar.
Munroe's method of making pencils was painstakingly slow, and in the neighbouring town of Acton, a pencil mill owner named Ebenezer Wood set out to automate the process at his own pencil mill located at Nashoba Brook. He used the first circular saw in pencil production. He constructed the first of the hexagon- and octagon-shaped wooden casings. Ebenezer did not patent his invention and shared his techniques with anyone. One of those was Eberhard Faber, which built a factory in New York and became the leader in pencil production.
Joseph Dixon, an inventor and entrepreneur involved with the Tantiusques graphite mine in Sturbridge, Massachusetts, developed a means to mass-produce pencils.
By 1870, The Joseph Dixon Crucible Company was the world's largest dealer and consumer of graphite and later became the contemporary Dixon Ticonderoga pencil and art supplies company.
By the end of the nineteenth century, over 240,000 pencils were used each day in the US. The favoured timber for pencils was Red Cedar as it was aromatic and did not splinter when sharpened. In the early twentieth century supplies of Red Cedar were dwindling so that pencil manufacturers were forced to recycle the wood from cedar fences and barns to maintain supply.
One effect of this was that "during World War II rotary pencil sharpeners were outlawed in Britain because they wasted so much scarce lead and wood, and pencils had to be sharpened in the more conservative manner – with knives.
It was soon discovered that incense cedar, when dyed and perfumed to resemble Red Cedar, was a suitable alternative. Most pencils today are made from this timber, which is grown in managed forests.
Over 14 billion pencils are manufactured worldwide annually. Less popular alternatives to cedar include basswood and alder.
In Southeast Asia, the wood Jelutong may be used to create pencils (though the use of this rainforest species is controversial).
Environmentalists prefer the use of Pulai – another wood native to the region in pencil manufacturing.
Eraser attachment
Attached eraser on the left; Pencil lead on the right
On 30 March 1858, Hymen Lipman received the first patent for attaching an eraser to the end of a pencil.
9/2019 - Lead, SD
Home to an apparently now-closed gold mine, Lead, SD embraces its heritage with several pieces of Homestake Mining Company equipment on display. Homestake Mining Co compressed air locomotive No. 1A builder plate.
This abstract is built around the Previous image of an anchor in the waters of Lake Garda, Italy. This creation takes it out of the water
Fenix huist in een historische havenloods uit 1923. Ooit was dit de grootste op- en overslagloods ter wereld, ontworpen door architect Cornelis van Goor en gebouwd in opdracht van de Holland-Amerika Lijn. Het pakhuis heet dan nog Loods San Francisco en is 360 meter lang.
In de Tweede Wereldoorlog blazen Duitse troepen de kades op. De loods wordt zwaar getroffen. In 1948 verwoest een brand een deel van het gebouw. Net als de mythische feniks, verrijst de loods uit de as. Het gebouw wordt herbouwd, maar als twee afzonderlijke gebouwen. Deze krijgen de toepasselijke namen Fenixloods I en Fenixloods II.
Vanuit de Fenixloods kijk je uit over de kades waar ooit miljoenen mensen per schip vertrokken. Evenzoveel mensen kwamen in de wijk Katendrecht en in Rotterdam aan, op zoek naar een nieuw thuis. Deze geschiedenis inspireerde Ma Yansong van MAD Architects. Hij kreeg de opdracht als eerste Chinese architect een ontwerp te maken voor een museum in Europa.
Hij ontwierp een futuristische toevoeging aan de ruim honderd jaar oude loods: de Tornado. Een kunstwerk en uitkijkpunt in één. Twee trappen voeren met een zelf te kiezen route bezoekers naar een panoramadek boven het dak. Door de ronde vormen lijkt de Tornado in beweging te staan. Daarmee weerspiegelt het ontwerp de reuring en geschiedenis van de kades. Daar waar het leven van miljoenen mannen, vrouwen en kinderen een wending nam.
Bron: www.fenix.nl/nl/over-het-gebouw-fenixloods-ii/
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Fenix is housed in a historic harbor warehouse dating from 1923. It was once the largest storage and transshipment warehouse in the world, designed by architect Cornelis van Goor and commissioned by the Holland America Line. The warehouse was then called Warehouse San Francisco and is 360 meters long.
During World War II, German troops blew up the quays. The warehouse was severely damaged. In 1948, a fire destroyed part of the building. Like the mythical phoenix, the warehouse rose from the ashes. The building was rebuilt, but as two separate structures. These were aptly named Fenix Warehouse I and Fenix Warehouse II.
From the Fenix Warehouse, you look out over the quays where millions of people once departed by ship. Just as many people arrived in the Katendrecht district and Rotterdam, seeking a new home. This history inspired Ma Yansong of MAD Architects. He was commissioned, the first Chinese architect, to design a museum in Europe.
He designed a futuristic addition to the more than century-old warehouse: the Tornado. A work of art and a lookout point in one. Two staircases, with a customizable route, lead visitors to a panoramic deck above the roof. The Tornado's rounded shapes make it appear as if it's in motion. The design thus reflects the bustle and history of the quays, where the lives of millions of men, women, and children changed forever.
With the lead pulling condensation vortices, a pair of the visiting Israeli Defence Force F-15 Eagles, 733 & 980, break into Waddington's circuit during exercise 'Cobra Warrior 2019'
276A6261
Here come the 52nd picture of my 52 project. Theme of the week was "the end".
Yes, the last one, after 52 weeks, on time every Sunday. I am proud to have managed to lead this project successfully until the end. 52 weeks, 52 pictures... It was a great challenge to discover new areas of photography, getting out of my confort zone... not always successfully, but the most important was to try and come up with something new every Sunday. Developing inspiration not always from the streets...
It will be time to think about a new project, I will take the right time for it and continue improving by practicing.
Thanks for all who had followed it from the begging or catch the train on the way, for those of have supported this approach and brought me motivation...
We took a walk around the Marina Mirage is located at Seaworld Drive on the beautiful Broadwater Spit Main Beach Gold Coast and had some lunch there.
All about Surfer Paradise.
James Beattie, a farmer, became the first European to settle in the area when he staked out an 80-acre (32 ha) farm on the northern bank of the Nerang River, close to present-day Cavill Avenue. The farm proved unsuccessful and was sold in 1877 to German immigrant Johan Meyer, who turned the land into a sugar farm and mill. Meyer also had little luck growing in the sandy soil and within a decade had auctioned the farm and started a ferry service and built the Main Beach hotel. By 1889, Meyer's hotel had become a post receiving office and subdivisions surrounding it were named Elston, named by the Southport postmaster after his wife's home in Southport, Lancashire, England. The Main Beach Hotel licence lapsed after Meyer's death in 1901 and for 16 years Elston was a tourist town without a hotel or post office.
The boom of the 1950s and 1960s was centred on this area and the first of the tall apartment buildings were constructed in the decades that followed. Little remains of the early vegetation or natural features of the area and even the historical association of the beachfront development with the river is tenuous. The early subdivision pattern remains, although later reclamation of the islands in the Nerang River as housing estates, and the bridges to those islands, have created a contrast reflected in subdivision and building form. Some early remnants survived such as Budd's Beach — a low-scale open area on the river which even in the early history of the area was a centre for boating, fishing and swimming.
Some minor changes have occurred in extending the road along the beachfront since the early subdivision and The Esplanade road is now a focus of activity, with supporting shops and restaurants. The intensity of activity, centred on Cavill, Orchid and Elkhorn Avenues, is reflected in the density of development. Of all places on the Gold Coast the buildings in this area constitute a dominant and enduring image visible from as far south as Coolangatta and from the mountain resorts of the hinterland.
For more Info: en.wikipedia.org/wiki/Surfers_Paradise,_Queensland
Powis Castle (Welsh: Castell Powys) is a medieval castle, fortress and grand country house near Welshpool, in Powys, Wales. The seat of the Herbert family, earls of Powis, the castle is known for its formal gardens and for its interiors, the former having been described as "the most important", and the latter "the most magnificent", in the country. The castle and gardens are under the care of the National Trust. Powis Castle is a Grade I listed building, while its gardens have their own Grade I listing on the Cadw/ICOMOS Register of Parks and Gardens of Special Historic Interest in Wales.
The present castle was built in the 13th century. Unusually for a castle on the Marches, it was constructed by a Welsh prince, Gruffydd ap Gwenwynwyn, rather than by a Norman baron. Gruffydd was prince of the ancient Kingdom of Powys and maintained an alliance with the English king Edward I during the struggles of the later 13th century. He was able to secure the position of his son, Owain, although the kingdom itself was abolished by the Parliament of Shrewsbury in 1283. After his father's death, Owain was raised to the peerage as Owen de la Pole, 1st Lord of Powis. Following his own death c. 1293, and the death of his only son, he was succeeded by his daughter, Hawys Gadarn, "the Lady of Powis". Hawys married Sir John Charlton in 1309.
In the late 16th century the castle was purchased by Sir Edward Herbert, a younger son of William Herbert, 1st earl of Pembroke, beginning a connection between the family and the castle that continues today. The Herberts remained Roman Catholic until the 18th century and, although rising in the peerage to earls, marquesses and Jacobite dukes of Powis, suffered periods of imprisonment and exile. Despite these setbacks, they were able in the late 17th and early 18th centuries to transform Powis from a border fortress into an aristocratic country house, and surround it with one of the very few extant examples of a British Baroque garden.
In 1784 Henrietta Herbert married Edward Clive, eldest son of Clive of India, a match which replenished the much-depleted Herbert family fortune. In the early 20th century, George Herbert, 4th Earl of Powis, redeveloped the castle with the assistance of the architect George Frederick Bodley. Herbert’s wife, Violet, undertook work of equal importance in the garden, seeking to turn it into "one of the most beautiful, if not the most beautiful, in England and Wales". On the 4th Earl's death in 1952, his wife and his sons having predeceased him, the castle passed into the care of the National Trust.
History
First castles at Welshpool: 1111–1286
Unlike the castles at Conwy, Caernarfon, Harlech and nearby Montgomery, which were built by the English to subdue the Welsh, the castles at Welshpool were built by the Welsh princes of Powys Wenwynwyn as their dynastic seat.[1] In addition to the current site, two motte-and-bailey castles and a set of earthworks are located nearby.[2] The names Trallwg/Tallwm and Pola are used interchangeably in early primary sources, and it is unclear which of these sites is being referred to.[3]
The earliest reference dates from 1111, when Cadwgan ap Bleddyn is mentioned as having planned to construct a castle at Trallwng Llywelyn,[3] the oldest record of a native Welsh castle.[4] Domen Castell, a motte-and-bailey near the modern railway station, is considered the most likely site of Cadwgan's castle, although it is uncertain whether it was completed as he was assassinated the same year.[5] The first documentary account of an extant castle at Welshpool is a description of the successful 1196 siege by an English army, although the castle was retaken by the Welsh within the year.[5][6]
The earliest castle at the current site may have been a timber building constructed by Owain Cyfeiliog or his son, Gwenwynwyn (r. 1197–1216).[7] The present masonry structure contains 13th-century fabric,[8] most likely the work of Gruffydd ap Gwenwynwyn (r. 1241–1287) – although historians are uncertain when this took place.[a][10] In 1274, Gruffydd's "first castle" at Welshpool was destroyed by Llywelyn ap Gruffudd as punishment for his involvement in a scheme to assassinate Llywelyn.[b] The castle was documented again in 1286, when it was listed amongst Gruffydd's possessions as "la Pole Castr".[12] A detailed examination of Powis Castle's extant masonry carried out between 1987 and 1989 revealed early stonework incorporated into the later structure, putatively the remains of an early stone shell keep.[13] At the end of Edward I's conquest of Wales in 1282–83, the king permitted Gruffydd to rebuild his castle at Welshpool as a reward for his loyalty.[14]
Early history: 1286–1644
Edward Herbert, 1st Baron Herbert of Cherbury[c]
In 1286, four years after the conquest of Wales, Gruffydd's son, Owain ap Gruffydd ap Gwenwynwyn became the last hereditary prince of Powys when he renounced his royal title, and was granted the barony of de la Pole, (i.e. "of the Pool", a reference to Welshpool, formerly called just "Pool").[d][16][17] The ancient Kingdom of Powys had once included the counties of Montgomeryshire, much of Denbighshire, parts of Radnorshire and large areas of Shropshire, but by the 13th century had been reduced to two independent principalities – Powys Wenwynwyn and Powys Fadog – roughly equivalent to Montgomeryshire and South Denbighshire (plus Maelor Saesneg), respectively; Welshpool had become the capital of Powys Wenwynwyn, of which Owain had been heir. On the death of Owain, the castle passed to his daughter Hawys, who married Sir John Charlton.[17] The Charltons continued to live at Powis until the fifteenth century when two daughters, Joyce Tiptoft and Joan Grey inherited the castle and estates. Both were equally divided, each daughter and her husband living in a portion of the castle.[18]
In 1578 an illegitimate son of the last Baron Grey of Powis, began leasing the lordship and castle to a distant relative – Sir Edward Herbert (d. 1595), second son of Sir William Herbert, 1st Earl of Pembroke. Edward eventually bought the castle outright in 1587, beginning the connection between the Herberts and Powis Castle which continues today.[19] Sir Edward's wife was a Roman Catholic and the family's allegiance to Rome and to the Stuart kings was to shape its destiny for over a century.[16] Sir Edward began the transformation of Powis from a border fortress into an Elizabethan country house. The major remaining element of his work is the Long Gallery.[19]
Herbert's descendent William Herbert, 1st Baron Powis (c. 1573–1655), was a supporter of Charles I, and was granted the barony of Powis in 1629.[19] His loyalty during the English Civil War cost him his castle and his estates.[20] On 22 October 1644 Powis Castle was captured by Parliamentary troops and was not returned to the family until the restoration of Charles II in 1660.[21]
The Herberts: 1660–1800
The Hercules statue which stood originally in the Water Garden
On the restoration, the Herberts returned to Powis, and in 1674 William Herbert (c. 1626–1696) was created Earl of Powis (of the first creation). The state bedroom was installed in about 1665 and further improvements, including the construction of the Great Staircase followed in the 1670s. These developments were most probably carried out under the direction of William Winde, who may also have designed the terraced gardens. His employer, although restored to his estates, and raised in the peerage, was barred by his Catholic faith from high office under Charles II. On the accession of the King's brother, James in 1685, Herbert became one of the new king's chief ministers, and was again advanced in the peerage becoming Marquess of Powis in 1687, but fell at the Glorious Revolution of 1688 and followed James into exile in France.[e] William III granted the castle to his nephew, William Nassau de Zuylestein, 1st Earl of Rochford. Herbert died, still in exile, in 1696.[24]
Despite their 30-year exile, the Herberts were able to continue with developments at the castle and even to live there on an irregular basis, the Baroque water garden below the castle being completed at this time.[25] Their fortunes were also materially improved by the discovery of a lucrative lead mine on their Welsh estates.[24] The second Marquess, also William, was reinstated in 1722. On the death of his son, the third Marquess in 1748, the marquessate became extinct, while the castle and estates passed to a relative, Henry Herbert (c. 1703–1772), of Oakly Park in Shropshire, who was made 1st Earl of Powis (of the second creation) by George II.[26] Herbert married Barbara, the fifteen-year-old granddaughter of the 2nd Marquess, in 1751. Their eldest son, George Herbert, 2nd Earl of Powis (1755–1801), died unmarried and the earldom of the second creation became extinct.[f][27] Powis was much neglected during his tenure. John Byng, 5th Viscount Torrington, a diarist and traveller who chronicled his journeys into Wales in the 1780s and 1790s, described the castle in 1784, "In the gardens not even the fruit is attended to; the balustrades and terraces are falling down, and the horses graze on the parterres!!!"[28] The castle itself was in no better condition, a visitor in 1774 describing it as "in Neglect and Ruin".[27] Nonetheless, the potential of the site was recognised. George Lyttelton, the politician, poet and essayist, recorded his impressions in 1756, "About £3,000 laid out upon Powis Castle would make it the most august place in the Kingdom."[29]
The Clives and Herberts: 1801–1952
The Outer Courtyard with the Fame statue in the foreground
In 1784, Henry Herbert's daughter, Henrietta, married Edward Clive (1754–1839), the eldest son of Clive of India.[30] Clive had followed his father to India, and served as Governor of Madras. Henrietta's brother died in 1801, whereupon the title lapsed; in 1804, her husband was created first Earl of Powis (of the third creation). The Clive fortune paid for long overdue repairs to the castle, which were carried out by Sir Robert Smirke.[31][32] Their son, Edward (1785–1848), inherited his late uncle's Powis estates on his 21st birthday, taking the surname Herbert in compliance with his uncle's will.[30] Edward Herbert served in a range of administrations as an Anti-Catholic Tory, his speeches in the House of Commons being "cautious and pertinent, although marred by dull delivery". He died in 1848, following a shooting accident at Powis in which he was fatally injured by his second son.[33] No further major changes were made to the Powis estate during his time, or in the long tenure of his eldest son Edward Herbert, 3rd Earl of Powis (1818–1891), although the castle was well maintained. In honour of his great-grandfather, the earl was offered the viceroyalty of India by Benjamin Disraeli but declined, writing "Not worth considering. Powis" on the envelope containing the invitation.[34]
The final alterations to Powis Castle were undertaken at the beginning of the 20th century by George Frederick Bodley for George Charles Herbert, 4th Earl of Powis (1862–1952). The rooms designed by Bodley remain his only extant decorative scheme; the longevity of the 4th Earl, the deaths of his heirs, and his bequest of the castle to the National Trust saw the early 20th-century remodelling remain largely unaltered.[g][36] The 4th earl's wife, Violet (nee Lane-Fox), undertook the final transformation of the gardens of Powis Castle, which she felt had the potential to be "the most beautiful in England and Wales".[37] The Countess died following a car accident in 1929, and Lord Powis outlived both his sons, who died on active service, Percy from wounds received at the Battle of the Somme in 1916,[38] and Mervyn in a plane crash in 1943.[39] On his own death in 1952, he bequeathed the castle and gardens to the National Trust.[h][42]
The National Trust: 1952–present
The 4th earl was succeeded by his cousin, Edward Herbert, 5th Earl of Powis (1889–1974). Edward's heir was Christian Herbert, 6th Earl of Powis (1904–1988). He was succeeded by his cousin, George Herbert, 7th Earl of Powis (1925–1993),[42] who was in turn succeeded by his son, John, the 8th and current Earl.[43] The Herbert family continue to live in part of the castle, under an arrangement with the National Trust.[44] The Trust has undertaken a number of major works of restoration during its ownership, including the Marquess Gate,[45] the Grand Staircase,[46] and the sculpture of Fame in the Outer Courtyard.[i][47] The castle and its gardens receive around 200,000 visitors annually. Wikipedia
תרגיל ״בלו פלאג״ 2015: התרגיל האווירי הגדול בתולדות החיל בו השתתפו חילות-אוויר מרחבי העולם ותרגלו טיסה משותפת במתארי קיצון
צילום: הגר עמיבר
2015 "Blue Flag" exercise: The biggest aerial exercise in the history of the IAF in which multiple foreign forces took part and practiced coalition flying in extreme scenarios
Photo by: Hagar Amibar
In June 2020, after experiencing a devastating spring due to COVID, New York State announced that certain businesses could begin partially opening again. New York City’s response included a program called Open Restaurants, which allowed restaurants to use sidewalks and parking spaces for outdoor, socially distant dining. Owners quickly built temporary enclosures in the streets in front of their businesses to try and recover from months of shutdown. Small stretches of Brooklyn in early 2021 display the variety and feel of these enclosures. Hopefully, the Open Restaurants initiative will help these businesses to survive and may even lead to a more permanent reorienting of streets to prioritize people over cars.
Molong. Population 1,700.
The white European history of Molong began in 1822 when a government stockade was established near the town site as a stopover point for transportation teams going to the early convict settlement at Wellington. A couple of early squatters bought cattle here and in 1826 the government setup a small military and police outpost. Captain Charles Sturt visited Molong in 1828. Charles Sturt arrived as a personal assistant to Governor Ralph Darling of NSW with the expressed purpose of doing some exploration. His exploration expeditions began in 1828 when the Governor appointed him to lead an exploration party along the Macquarie River. Sturt, accompanied by explorer Hamilton Hume (a currency lad), travelled down the Macquarie River from Bathurst until they crossed the marshes before it flows into the Darling River. The first official squatting license in the Molong area was granted in 1832. The town site was gazetted in 1849 but land sales did not began until 1856 with the licensing of the Golden Fleece Hotel and the Freemason’s Hotel. Within a couple of years Molong (a Wiradjuri word for “place of many rocks”) had a Methodist Church (1858), an Anglican Church (1860), an early flourmill, houses, a school and a post service. In the boom years of the 1870s and 1880s many fine stone buildings were erected as farms producing wheat, sheep and wool prospered. Today most of the main street, Bank Street, is classified by the National Trust. Starting at the Railway Station. It was built for the opening of the railway in 1886. It was the rail terminus until 1893. A branch line to Dubbo was built in 1925. There is a gate keeper’s cottage near the level crossing. The railway line is on the main Sydney to Parkes (and Perth) line but passenger services stopped years ago. It is now the town library. A number of the main heritage buildings are:
Freemason’s Hotel, built as a single story hotel in 1856. It was rebuilt in 1911 with an upper floor.
Post Office Hotel. This fine structure was built as a hotel in 1872 and is now the Rural Lands Protection Board offices. After it closed as a hotel it became a bank for some years.
National Bank. This was built in 1883 as the Commercial Banking Company of Sydney. Later a NAB bank. It was restored in 1988. It is a superb Italianate or classical revival building with perfect symmetry.
Molong Stores. A fine two storey Italianate style shop and residence. Built in 1876.
Post Office. Despite earlier postal services this grand bank was not built until 1880. The second story was added in 1900 as the Post Master’s residence.
Pioneer Bakery. Next to the Post Office. Another fine old late 19th century shop and residence. Now the Pioneer Bakery. Built around 1895 to 1900.
Telegraph Hotel. Located opposite the Post Office this hotel was built in 1880 the year the telegraph reached Molong. Built with an arched entry to the rear courtyard for coaches and horses. Cast iron lacework veranda and refashioned with roof pediments circa 1910.
Commonwealth Bank. Mediterranean Art Deco style. Built in 1930 by architect E Henderson. Many Art Deco traits including barley twist columns, fan shells over windows, roof parapet with square in fills, curved corner entrance etc.
Cobb and Co Coach House. Located beside the village green is the old Cobb and Co coach house. Their NSW operations were based in Bathurst from 1862. The Molong stage house was on the Bathurst to Bourke route which covered 2,000 miles from the Macquarie River to the Darling River. Horses were changed every 16 miles on these relatively fast moving coaches. The coach house in Molong was built around 1875. When built it was beside the Royal Hotel erected in 1877, a necessary adjunct for travellers to obtain food and sometimes rest. The Royal Hotel burnt down in the 1940s. It is now used by local craft producers with the Bicentennial Embroidered Screen there and a collection of locally spun items.
Old brick cottage now the Market Craft Cottage. Built in 1860 as a Georgian style cottage residence and now a craft shop and Info Centre.
Town Hall. This was built in 1888. After World War One a new foundation stone was added in 1922 stating it was Soldiers Memorial Town Hall. It was designed in Italianate style with many classical features such as Ionic columns, broken triangular pediment above the entrance etc. The new stone project was funded by donations from residents.
Next to the Town Hall is the Anglican Church. The red brick 1905 Anglican Church with the large rose window was built with terracotta roof tiles. Next to it is the original St Johns Anglican Church built in local stone in 1860. It became the church hall in 1905.
Terrace houses. Opposite the old Anglican Church up the hill is a pair of two storey terraces. Built around 1890.
Wesleyan Methodist Church. Just beyond the newish red brick church is the old original 1857 Methodist Church. Built in local rubble with Gothic windows. The earliest church in Molong.
Catholic Church. Turn southwards in Edwards Street to see the two Catholic churched on the next corner. The rough stone church in Gothic style was built in 1880. Right on the corner is the large Gothic church with buttresses, corner turrets, and six section window in the gable and central entrance. It opened in 1916. Return to the Main Street.
A 10 minute walk away at 1 Edward Street is the fine Courthouse (1863) and Police Station (1878).
ABBEY CHURCH OF HOLY CROSS WITH SAINT EDBURGHA, CHURCH WALK, PERSHORE, WORCESTERSHIRE
Heritage Category: Listed Building.
Grade I listed.
List Entry Number: 1387027.
Details
SO 9445; 648-1/5/93
PERSHORE, CHURCH WALK (west side)
Abbey Church of Holy Cross with St Edburgha
(Formerly Listed as: Abbey Church of Holy Cross)
11/02/65
GV
I
Abbey, now parish church. Founded C7; present building C11-C13 with some later-medieval remodelling; some C17 buttressing following Dissolution; major restoration 1860s by Giles Gilbert Scott; further alterations early C20. MATERIALS: mainly of limestone ashlar with parapeted plain tile, stone-tile and lead roofs. PLAN: apse; chancel with choir aisles, N and S transepts and crossing tower; the nave demolished at Dissolution.
EXTERIOR: C19 apse has narrow lancets with continuous hoodmould; diagonal buttresses with offsets; corbel table; and steeply pitched roof. Chancel N aisle has moulded single-light windows; continuous hoodmould; plain corbel table; moulded plinth; offset buttresses which have moulded strings and crocketed pinnacles with geometric blind tracery and rise as flying buttresses extending to clerestory. N clerestory has single-light windows with deep moulded embrasures surmounted by continuous hoodmould; lombard frieze and embattled parapet; polygonal E end surmounted by crocketed pinnacles. NE chapel has coped gable with apex stone and Perpendicular tracery to its E window. S chancel aisle similar to N aisle with Perpendicular E, SE and S windows; clasping buttresses, some incorporating slender 3/4 round shafts; blocked pointed and moulded arch to former S transept chapel with clustered shaft piers and remains of springing to vaulting. South transept: mostly Romanesque. Its E wall has two further attached moulded pointed arches with blocked round-arched features; adjacent are three bays of C13 crocketed blind arcading of former sedilia and piscina, with quatrefoil mouldings; embattled parapet with lombard frieze incorporating grotesques. South transept S wall: chevron-moulded blind arcading to gable, interspersed with single round-headed lights; cable-moulded string course; remodelled triple lancet window; roofline of former monastic buildings visible; central pier and blocked doorway.
South transept W wall: similar lombard frieze; roofline of former nave S aisle visible, and blocked aisle round arch with adjacent 3-light Perpendicular window and lancets to corner stair turret. West wall has blocked round-headed crossing arch with relieving arch above; remains of nave and arcade walls have Romanesque piers with cushion capitals; heavily moulded former S doorway of six orders with stiff leaf capitals to E; inserted W window and door; the W wall all now heavily buttressed. North transept: remodelled and reinforced, but retains blocked round-headed arch to former N nave arcade. Tower: of four stages, completed 1330; four octagonal pinnacles, embattled at base, surmounted by large crockets with weathervanes; ringing chamber has four windows to each side, of two lights with geometric tracery, each central pair louvred and flanked by blind outer windows; ballflower-moulded string course and parapet; third stage has embattled string course with ballflower mouldings at base and 2-light windows with trefoil-headed tracery; on W side, former nave roof-line is visible and small blocked round-arched window; on E, N and S sides, former chancel and transept roof-lines interrupt 2nd-stage windows; lancets to staircase corner turrets.
INTERIOR: comprises apse and former chancel of five bays, now used as church, and crossing with nave truncated at W arch. E apse, built C19 in Early English style on site of former Lady Chapel, is 5-sided with three narrow lancets to E end flanked by triple-arched blind arcades, all with narrow pointed moulded arches, stiff leaf capitals and detached shafts, some of Purbeck marble; vault has heavily-moulded ribs and central boss. Chancel: rebuilt following fire in 1223, has polygonal E end with pointed E arch of six orders with roll mouldings supported by stiff-leaf capitals above clustered piers of detached or 3/4 round shafts, some of Purbeck marble; similar, unmarbled, piers to chancel arcades; combined triforium and clerestory, rising above moulded string course, incorporate single pointed lights within triple pointed-arched arcades of tall clustered shafts with stiff-leaf capitals, blind at E end; tierceron vaults have ribs rising from stiff-leaf corbels and stiff-leaf bosses. Aisles: slender attached piers of clustered shafts with stiff-leaf capitals and quadripartite vaults with roll-moulded ribs; N aisle lancet windows are all moulded with shafts and stiff-leaf decoration. NE chapel: moulded piscina in S wall and trefoil-headed shallow niche on E wall; S aisle has mainly Perpendicular windows; SE chapel has medieval floor tiles and moulded piscina in S wall.
North transept: blocked Romanesque arch with moulded capitals to N choir aisle; above this, a later adapted opening, a blocked opening, and former roof-line; taller Romanesque arch with cushion capitals to former nave N aisle. South transept: mainly Romanesque; roll-moulded arch with cushion capitals to S choir aisle; wider arch to former E chapel, now blocked and with inserted later-medieval blind arcading of eight bays of cusped tracery surmounted by coving with leaf motifs; a deep, splayed, moulded round-arched window; blocked doorway above; remains of bead-moulded blind arcading, now shaftless, extends around SE and S walls; above is a Romanesque triforium arcade with heavy capitals rising from partly-moulded string course; similar clerestory arcade above with four pierced quatrefoils in S wall; round arch to SW staircase turret; blocked tall S nave aisle arch, as N aisle arch; cross-vault with moulded ribs and leaf bosses incorporating shields along ridge rib. Crossing has tall round arches with double 3/4 round shafts and some figurative, but mainly cushion, capitals; above, in tower, are 2 tiers of trefoil-headed arcading with heavily-moulded and partly-embattled string courses, part blind and part incorporating 2-light tower windows with trefoil heads, set back behind detached shafts; unusual bellcage erected 1864 by Gilbert Scott. FITTINGS: Romanesque font at NW with seated figures under billet-moulded arcade; replaced lower pedestal and cover. Benefaction board to Henry Smith and others, 1626, on NE tower arch, has a painted inscription on painted boards within moulded wooden frame. C18 hatchment over N entrance, of painted canvas with motto Resurgam; further hatchments in SE transept with inscriptions Morses Omnibus Communis and In Coelo Quies.
MONUMENTS: freestanding effigies in S transept include: to E, an abbot, possibly William de Harvington or Abbot Hert, on tomb chest incorporating quatrefoils; to W, a cross-legged knight in chain mail, possibly Sir William de Harley, C13; on SW wall, painted Haselwood wall monument commemorates Thomas, d.1624, Elizabeth, and Sir Francis, and comprises one recumbent and 2 kneeling figures, a blank inscription panel within cartouche to rear, 3 free-standing piers supporting elaborately-carved arms, and chest with strapwork panels and scagliola decoration; further monument to Fulke and Dorothy Haselwood has 9 children in relief; other modest C18 and C19 wall monuments; in S transept, free-standing war memorial with cast bronze figure of Immortality by Alfred Drury; many ledger slabs in floor throughout. Parchment inspeximus of the Royal Privileges of the Abbey of Pershore, 1453, in metal case fixed to crossing S wall.
C19 wallpainting in medieval style to W wall of crossing; traces of medieval wallpainting on crossing piers. Section of late-medieval woodcarving incorporating inscription in NE transept; late-medieval wooden chest against W wall. STAINED GLASS: includes windows by Clayton and Bell, Hardman and Co and Kempe.
(BoE: Pevsner N: Worcestershire: Harmondsworth: 1968-; Wilson M: Pershore Abbey: Much Wenlock: 1994-).
Listing NGR: SO9478845793
This List entry has been amended to add sources for War Memorials Online and the War Memorials Register. These sources were not used in the compilation of this List entry but are added here as a guide for further reading, 27 October 2017.
Legacy
The contents of this record have been generated from a legacy data system.
Legacy System number: 474443
Legacy System: LBS
Sources
Books and journals
Pevsner, N, The Buildings of England: Worcestershire, (1968)
Wilson, M , Pershore Abbey, (1994)
Websites
War Memorials Online, accessed 27 October 2017 from www.warmemorialsonline.org.uk/memorial/155580
War Memorials Register, accessed 27 October 2017 from www.iwm.org.uk/memorials/item/memorial/3141
historicengland.org.uk/listing/the-list/list-entry/1387027
See also:-
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