The Grade II Listed Railway Village, Swindon, Wiltshire.

In 1840 three hundred cottages were built by the GWR for their workers. These cottages were tiny, with 2 or 3 small bedrooms, a living room and a kitchen. There was no bathroom and the toilet was outside in the yard. Food could be cooked on an iron stove heated with coal, and water had to be fetched in. These cottages were modernised in 1980 and provide limited but stylish accommodation.

The Works transformed Swindon from a small 2,500 population market town into a bustling railway town. Built to the north of the main town centre, the works had need to build locally accessible housing and services for the workers. The development of the railway village was on the lines of similar Victorian-era socially-encompassing lifestyle concepts, such as that at Bournville, but architect/builder Rigby's were given license to create a commercially viable development by the GWR. The completed village provided to the town medical and educational facilities that had been sorely lacking, plus St Mark's Church and the Bakers Arms public house, all completed before 1850.

The terraced two-storey cottages were built on two blocks of four parallel streets, not dissimilar in appearance to passing trains. Each road was named after the destinations of trains that passed nearby: Bristol, Bath, Taunton, London, Oxford and Reading among them. Built in the nearby open area, named Emlyn Square after GWR director Viscount Emlyn (later known as John Campbell, 1st Earl Cawdor), was the Mechanics Institute, paid for via subscription by the workers. Designed and constructed by Edward Roberts, it was completed in 1855, containing the UK’s first lending library and provided health services to workers.

Enlarged in 1892-93, Nye Bevan, mastermind of the NHS later said “There was a complete health service in Swindon. All we had to do was expand it to the country.” In the 1960s, Swindon Borough Council applied to demolish much of the village, but poet and railway enthusiast Sir John Betjeman led a successful campaign to preserve it. Today much of the village is a conservation area, and many structures within it are listed buildings.

My latest Explore grid

1. boots on, 2. Mondrianesque, 3. bubbly, 4. too many hats?, 5. Head Boy, 6. this is your chrysanthemum on drugs, 7. basilisk, 8. pop!,

9. to the future!, 10. pansy, 11. page turning, 12. pitchers & stone, 13. last of the autumn leaves, 14. mmm a nice mug of Pee, 15. skullboy, 16. bone girls waving,

17. leaves at sunrise, 18. Off to Japan!, 19. Taking a Bow, 20. Peavey Fountain Tubes, 21. Showpigs, 22. fan swirl in Murano, 23. pirate or Katherine Hepburn?, 24. chair leg / sunlight / floor,

25. tiles in levels, 26. NO NEED TO BE LONELY, 27. smiley stone, 28. coexist, 29. Turn to Clear Vision, 30. Turn to Clear Vision, 31. soaking up the sun, 32. five little pigs,

33. 19th century stained glass, 34. BiPlane, 35. red!, 36. "Ganymede and the Eagle", 37. I saw Esau kissing Kate, 38. Anniversary Us, 39. Sockmonkey Dress, 40. A,

41. Lust, 42. Poetry & Ice Cream, 43. Rollin's Ancient History, 44. Minnesota Map, 45. Big Boy, Bull, Captain & Bird?, 46. Vintage photo of Antinoos Statue

Have you ever got scared from your TO DO list? It happened to me when I did mine today! O_o

Etsy listed at www.etsy.com/uk/shop/KotomiCreations

Ceramic plate by Taketoshi Ito : www.instagram.com/take_to_shi/

www.jdclassics.com/Cars/For-Sale/1958-Lister-Chevrolet/79...

DESCRIPTION

Encouraged by the considerable successes achieved with his earlier sports cars, in the later 1950s Brian Lister began to finalise plans for the production of the Lister-Jaguar “Knobbly” range, which was introduced for the 1957 season and further refined in 1958. At this time Lister was also becoming aware of the potential export market for large-engine sports cars in the new North American Pro-Series and, following suggestions from existing customers, he realised that a more powerful engine would be required to stay competitive in the States. Accordingly he began to modify a small number of chassis in England to accommodate the Chevrolet small block V8. The first five cars were dispatched in 1958, engine-less, to the US where they were supplied to dealers Carroll Shelby, Kjell Qvale and Seattle-based Tom Carstens, who had the cars fitted with their Chevy power plants.

This genuine Lister-Chevrolet, chassis BHL110, was built up in Cambridge England and then exported to Tom Carstens for his team’s own use. It won the first time out with Carstens but his friend, well-known driver Bill Pollock (who was sponsored by Dean Van Lines), persuaded him to part with it, less the V8, in mid-1958. The chassis was sent to famed engine builder Bruce Crower in San Diego to be powered and prepared for its Riverside Pro race debut. Pollock’s exploits in that race are wonderfully recounted in a March 1959 issue of Sports Cars Illustrated. Despite problems of engine overheating and poor brakes, Pollock worked his way up to fourth all prior to a massive spin when the brake pedal went to the floor. After a second off-track excursion caused by rear wheel lock up, a hot and tired Pollock was classified as a fine eighth overall in the LA Times Grand Prix. The next owner, Fike Plumbing of Phoenix, Arizona, ran BHL110 for two years with his driver Don Hulette achieving some success in a support race at the 1960 LA Times Grand Prix. However, in the main event that weekend, Hulette crashed with the ensuing fire damaging further the bodywork of BHL110 but fortunately not injuring the driver. Following this mishap the Lister was then purchased by Bob Sorrell who stored it at Riverside until it was acquired by car hunter Klaus Hubert who in turn sold it to a Canadian Dentist, Dr Evans in 1969. Evans now commenced a major restoration, involving Brian Lister himself who authenticated the chassis as a genuine Lister-built unit and arranged for the original coachbuilder – Williams and Pritchard – to make a new body for the car. Lister also introduced Evans to Bryan Wingfield who supplied correct Lister mechanical components. After completion of the work Evans raced the car in the US, Canada and the Bahamas for several decades until he retired from competition in 2011 and sold the car to the UK. At this point the Lister was repainted in its 1958 Dean Van Lines livery and was prepared to FIA European specification, which was complete by 2013. Since then the car has been regularly campaigned with 8 of its 18 races being at the Goodwood Revival and Members Meetings, where it has consistently recorded the fastest top speed of any Lister, in large part due to its small block engine, which has been bored to the largest allowable size of 5.8 Litres, the capacity it raced with in period. Over this time it has benefitted from constantmaintenance with a major refresh from noted Lister and Chevrolet experts taking place in the summer of 2017. This wonderful Chevy Lister is now offered in race ready condition with a long duration FIA HTP (expires 2024) and has the additional benefit of being road registered in the UK. It is eligible for many of the world’s most prestigious events and comes accompanied by an excellent history file containing correspondence, period race results and many photographs. Please contact us for further details.

Vivitar Ultra Wide & Slim

Fountains Abbey is one of the largest and best preserved ruined Cistercian monasteries in England. It is located approximately 3 miles (5 kilometres) south-west of Ripon in North Yorkshire, near to the village of Aldfield. Founded in 1132, the abbey operated for 407 years becoming one of the wealthiest monasteries in England until its dissolution in 1539 under the order of Henry VIII.

The abbey is a Grade I listed building owned by the National Trust and part of the designated Studley Royal Park including the Ruins of Fountains Abbey UNESCO World Heritage Site.

Foundation

After a dispute and riot in 1132 at the Benedictine house of St Mary's Abbey, in York, 13 monks were expelled (among them Saint Robert of Newminster) and, after unsuccessful attempts to form a new monastery were taken under the protection of Thurstan, Archbishop of York. He provided them with land in the valley of the River Skell, a tributary of the Ure. The enclosed valley had all the natural features needed for the creation of a monastery, providing shelter from the weather, stone and timber for building, and a supply of running water. After enduring a harsh winter in 1133, the monks applied to join the Cistercian order which since the end of the previous century was a fast-growing reform movement that by the beginning of the 13th century was to have over 500 houses. So it was that in 1135, Fountains became the second Cistercian house in northern England, after Rievaulx. The Fountains monks became subject to Clairvaux Abbey, in Burgundy which was under the rule of St Bernard. Under the guidance of Geoffrey of Ainai, a monk sent from Clairvaux, the group learned how to celebrate the seven Canonical Hours according to Cistercian usage and were shown how to construct wooden buildings in accordance with Cistercian practice.

Consolidation

After Henry Murdac was elected abbot in 1143, the small stone church and timber claustral buildings were replaced. Within three years, an aisled nave had been added to the stone church, and the first permanent claustral buildings built in stone and roofed in tile had been completed.

In 1146 an angry mob, annoyed at Murdac for his role in opposing the election of William FitzHerbert as archbishop of York, attacked the abbey and burnt down all but the church and some surrounding buildings.The community recovered swiftly from the attack and founded four daughter houses. Henry Murdac resigned as abbot in 1147 upon becoming the Archbishop of York and was replaced first by Maurice, Abbot of Rievaulx then, on the resignation of Maurice, by Thorald. Thorald was forced by Henry Murdac to resign after two years in office. The next abbot, Richard, held the post until his death in 1170 and restored the abbey's stability and prosperity. In 20 years as abbot, he supervised a huge building programme which involved completing repairs to the damaged church and building more accommodation for the increasing number of recruits. Only the chapter house was completed before he died and the work was ably continued by his successor, Robert of Pipewell, under whose rule the abbey gained a reputation for caring for the needy.

The next abbot was William, who presided over the abbey from 1180 to 1190 and he was succeeded by Ralph Haget, who had entered Fountains at the age of 30 as a novice, after pursuing a military career. During the European famine of 1194 Haget ordered the construction of shelters in the vicinity of the abbey and provided daily food rations to the poor enhancing the abbey's reputation for caring for the poor and attracting more grants from wealthy benefactors.

In the first half of the 13th century Fountains increased in reputation and prosperity under the next three abbots, John of York (1203–1211), John of Hessle (1211–1220) and John of Kent (1220–1247). They were burdened with an inordinate amount of administrative duties and increasing demands for money in taxation and levies but managed to complete another massive expansion of the abbey's buildings. This included enlarging the church and building an infirmary.

Difficulties

In the second half of the 13th century the abbey was in more straitened circumstances. It was presided over by eleven abbots, and became financially unstable largely due to forward selling its wool crop, and the abbey was criticised for its dire material and physical state when it was visited by Archbishop John le Romeyn in 1294. The run of disasters that befell the community continued into the early 14th century when northern England was invaded by the Scots and there were further demands for taxes. The culmination of these misfortunes was the Black Death of 1348–1349. The loss of manpower and income due to the ravages of the plague was almost ruinous.

A further complication arose as a result of the Papal Schism of 1378–1409. Fountains Abbey along with other English Cistercian houses was told to break off any contact with the mother house of Citeaux, which supported a rival pope. This resulted in the abbots forming their own chapter to rule the order in England and consequently they became increasingly involved in internecine politics. In 1410, following the death of Abbot Burley of Fountains, the community was riven by several years of turmoil over the election of his successor. Contending candidates John Ripon, Abbot of Meaux, and Roger Frank, a monk of Fountains were locked in conflict until 1415 when Ripon was finally appointed, ruling until his death in 1434. Under abbots John Greenwell (1442–1471), Thomas Swinton (1471–8), John Darnton (1478–95), who undertook some much needed restoration of the fabric of the abbey, including notable work on the church, and Marmaduke Huby (1495–1526) Fountains regained stability and prosperity.

At Abbot Huby's death he was succeeded by William Thirsk who was accused by the royal commissioners of immorality and inadequacy and was dismissed as abbot. He was replaced by Marmaduke Bradley, a monk of the abbey who had reported Thirsk's supposed offences, testified against him and offered the authorities six hundred marks for the post of abbot. In 1539 it was Bradley who surrendered the abbey when its seizure was ordered under Henry VIII at the Dissolution of the Monasteries.

The abbey precinct covered 70 acres (28 ha) surrounded by an 11-foot (3.4 m) wall built in the 13th century, some parts of which are visible to the south and west of the abbey. The area consists of three concentric zones cut by the River Skell flowing from west to east across the site. The church and claustral buildings stand at the centre of the precinct north of the Skell, the inner court containing the domestic buildings stretches down to the river and the outer court housing the industrial and agricultural buildings lies on the river's south bank. The early abbey buildings were added to and altered over time, causing deviations from the strict Cistercian type. Outside the walls were the abbey's granges.[citation needed]

The original abbey church was built of wood and "was probably" two stories high; it was, however, quickly replaced in stone. The church was damaged in the attack on the abbey in 1146 and was rebuilt, in a larger scale, on the same site. Building work was completed c.1170.[11] This structure, completed around 1170, was 300 ft (91 m) long and had 11 bays in the side aisles. A lantern tower was added at the crossing of the church in the late 12th century. The presbytery at the eastern end of the church was much altered in the 13th century. The church's greatly lengthened choir, commenced by Abbot John of York, 1203–11, and carried on by his successor terminates, like that of Durham Cathedral, in an eastern transept, the work of Abbot John of Kent, 1220–47. The 160-foot-tall (49 m) tower, which was added not long before the dissolution, by Abbot Huby, 1494–1526, is in an unusual position at the northern end of the north transept and bears Huby's motto 'Soli Deo Honor et Gloria'. The sacristry adjoined the south transept.

The cloister, which had arcading of black marble from Nidderdale and white sandstone, is in the centre of the precinct and to the south of the church. The three-aisled chapter-house and parlour open from the eastern walk of the cloister and the refectory, with the kitchen and buttery attached, are at right angles to its southern walk. Parallel with the western walk is an immense vaulted substructure serving as cellars and store-rooms, which supported the dormitory of the conversi (lay brothers) above. This building extended across the river and at its south-west corner were the latrines, built above the swiftly flowing stream. The monks' dormitory was in its usual position above the chapter-house, to the south of the transept. Peculiarities of this arrangement include the position of the kitchen, between the refectory and calefactory, and of the infirmary above the river to the west, adjoining the guest-houses.

The abbot's house, one of the largest in all of England,is located to the east of the latrine block, where portions of it are suspended on arches over the River Skell.It was built in the mid-twelfth century as a modest single-storey structure, then, from the fourteenth century, underwent extensive expansion and remodelling to end up in the 16th century as a grand dwelling with fine bay windows and grand fireplaces. The great hall was an expansive room 52 by 21 metres (171 by 69 ft).

Among other apartments, for the designation of which see the ground-plan, was a domestic oratory or chapel,

1/2-by-23-foot (14 by 7 m), and a kitchen, 50-by-38-foot (15 by 12 m)

Medieval monasteries were sustained by landed estates that were given to them as endowments and from which they derived an income from rents. They were the gifts of the founder and subsequent patrons, but some were purchased from cash revenues. At the outset, the Cistercian order rejected gifts of mills and rents, churches with tithes and feudal manors as they did not accord with their belief in monastic purity, because they involved contact with laymen. When Archbishop Thurstan founded the abbey he gave the community 260 acres (110 ha) of land at Sutton north of the abbey and 200 acres (81 ha) at Herleshowe to provide support while the abbey became established. In the early years the abbey struggled to maintain itself because further gifts were not forthcoming and Thurstan could not help further because the lands he administered were not his own, but part of the diocesan estate. After a few years of impoverished struggle to establish the abbey, the monks were joined by Hugh, a former dean of York Minster, a rich man who brought a considerable fortune as well as furniture and books to start the library.

By 1135 the monks had acquired only another 260 acres (110 ha) at Cayton, given by Eustace fitzJohn of Knaresborough "for the building of the abbey". Shortly after the fire of 1146, the monks had established granges at Sutton, Cayton, Cowton Moor, Warsill, Dacre and Aldburgh all within 6 mi (10 km) of Fountains. In the 1140s the water mill was built on the abbey site making it possible for the grain from the granges to be brought to the abbey for milling.Tannery waste from this time has been excavated on the site.

Further estates were assembled in two phases, between 1140 and 1160 then 1174 and 1175, from piecemeal acquisitions of land. Some of the lands were grants from benefactors but others were purchased from gifts of money to the abbey. Roger de Mowbray granted vast areas of Nidderdale and William de Percy and his tenants granted substantial estates in Craven which included Malham Moor and the fishery in Malham Tarn. After 1203 the abbots consolidated the abbey's lands by renting out more distant areas that the monks could not easily farm themselves, and exchanging and purchasing lands that complemented their existing estates. Fountains' holdings both in Yorkshire and beyond had reached their maximum extent by 1265, when they were an efficient and very profitable estate. Their estates were linked in a network of individual granges which provided staging posts to the most distant ones. They had urban properties in York, Yarm, Grimsby, Scarborough and Boston from which to conduct export and market trading and their other commercial interests included mining, quarrying, iron-smelting, fishing and milling.

The Battle of Bannockburn in 1314 was a factor that led to a downturn in the prosperity of the abbey in the early fourteenth century. Areas of the north of England as far south as York were looted by the Scots. Then the number of lay-brothers being recruited to the order reduced considerably. The abbey chose to take advantage of the relaxation of the edict on leasing property that had been enacted by the General Chapter of the order in 1208 and leased some of their properties. Others were staffed by hired labour and remained in hand under the supervision of bailiffs. In 1535 Fountains had an interest in 138 vills and the total taxable income of the Fountains estate was £1,115, making it the richest Cistercian monastery in England.

After the Dissolution

The Gresham family crest

The Abbey buildings and over 500 acres (200 ha) of land were sold by the Crown, on 1 October 1540, to Sir Richard Gresham, at the time a Member of Parliament and former Lord Mayor of London, the father of Sir Thomas Gresham. It was Richard Gresham who had supplied Cardinal Wolsey with the tapestries for his new house of Hampton Court and who paid for the Cardinal's funeral.

Gresham sold some of the fabric of the site, stone, timber, lead, as building materials to help to defray the cost of purchase. The site was acquired in 1597 by Sir Stephen Proctor, who used stone from the monastic complex to build Fountains Hall. Between 1627 and 1767 the estate was owned by the Messenger family who sold it to William Aislaby who was responsible for combining it with the Studley Royal Estate.

Burials

Roger de Mowbray, 1st Baron Mowbray

John de Mowbray, 2nd Baron Mowbray

Abbot Marmaduke Huby (d. 1526)

Rose (daughter of Richard de Clare, 6th Earl of Gloucester), wife of Roger de Mowbray, 1st Baron Mowbray

Henry de Percy, 1st Baron Percy

William II de Percy, 3rd feudal baron of Topcliffe

Becoming a World Heritage Site

The archaeological excavation of the site was begun under the supervision of John Richard Walbran, a Ripon antiquary who, in 1846, had published a paper On the Necessity of clearing out the Conventual Church of Fountains.In 1966 the Abbey was placed in the guardianship of the Department of the Environment and the estate was purchased by the West Riding County Council who transferred ownership to the North Yorkshire County Council in 1974. The National Trust bought the 674-acre (273 ha) Fountains Abbey and Studley Royal estate from North Yorkshire County Council in 1983. In 1986 the parkland in which the abbey is situated and the abbey was designated a World Heritage Site by UNESCO. It was recognised for fulfilling the criteria of being a masterpiece of human creative genius, and an outstanding example of a type of building or architectural or technological ensemble or landscape which illustrates significant stages in human history. Fountains Abbey is owned by the National Trust and maintained by English Heritage. The trust owns Studley Royal Park, Fountains Hall, to which there is partial public access, and St Mary's Church, designed by William Burges and built around 1873, all of which are significant features of the World Heritage Site.

The Porter's Lodge, which was once the gatehouse to the abbey, houses a modern exhibition area with displays about the history of Fountains Abbey and how the monks lived.

In January 2010, Fountains Abbey and Studley Royal became two of the first National Trust properties to be included in Google Street View, using the Google Trike.

Film location

Fountains Abbey was used as a film location by Orchestral Manoeuvres in the Dark for their single "Maid of Orleans (The Waltz Joan of Arc)" during the cold winter of December 1981. In 1980, Hollywood also came to the site to film the final scenes to the film Omen III: The Final Conflict.Other productions filmed on location at the abbey are the films Life at the Top, The Secret Garden, The History Boys, TV series Flambards, A History of Britain, Terry Jones' Medieval Lives, Cathedral, Antiques Roadshow and the game show Treasure Hunt. The BBC Television series 'Gunpowder' (2017) used Fountains Abbey as a location.

Do you make these kinds of lists too? mostly they include quilting projects, though on occasion I also remind myself to change the sheets, empty the dishwasher...

This particular list tells me I had better get busy making quilt backs... looks like i have lots of tops that need a mate! :)

(oh look! I can cross one off - I did make that FFA2 patchwork quilt top!)

ID

3267

britishlistedbuildings.co.uk/300003267-former-conwy-munic...

Listed building in Paddington britishlistedbuildings.co.uk/101236100-92-star-street-w2-...

via Tumblr ift.tt/12Oeclc (ift.tt/Pbn5aZ)

Taken in 1998 at the Lister Petter foundry in Dursley, Gloucestershire.

The foundry was demolished in the early 2000s and the site has been earmarked for housing.

www.jdclassics.com/Cars/For-Sale/1958-Lister-Chevrolet/79...

DESCRIPTION

Encouraged by the considerable successes achieved with his earlier sports cars, in the later 1950s Brian Lister began to finalise plans for the production of the Lister-Jaguar “Knobbly” range, which was introduced for the 1957 season and further refined in 1958. At this time Lister was also becoming aware of the potential export market for large-engine sports cars in the new North American Pro-Series and, following suggestions from existing customers, he realised that a more powerful engine would be required to stay competitive in the States. Accordingly he began to modify a small number of chassis in England to accommodate the Chevrolet small block V8. The first five cars were dispatched in 1958, engine-less, to the US where they were supplied to dealers Carroll Shelby, Kjell Qvale and Seattle-based Tom Carstens, who had the cars fitted with their Chevy power plants.

This genuine Lister-Chevrolet, chassis BHL110, was built up in Cambridge England and then exported to Tom Carstens for his team’s own use. It won the first time out with Carstens but his friend, well-known driver Bill Pollock (who was sponsored by Dean Van Lines), persuaded him to part with it, less the V8, in mid-1958. The chassis was sent to famed engine builder Bruce Crower in San Diego to be powered and prepared for its Riverside Pro race debut. Pollock’s exploits in that race are wonderfully recounted in a March 1959 issue of Sports Cars Illustrated. Despite problems of engine overheating and poor brakes, Pollock worked his way up to fourth all prior to a massive spin when the brake pedal went to the floor. After a second off-track excursion caused by rear wheel lock up, a hot and tired Pollock was classified as a fine eighth overall in the LA Times Grand Prix. The next owner, Fike Plumbing of Phoenix, Arizona, ran BHL110 for two years with his driver Don Hulette achieving some success in a support race at the 1960 LA Times Grand Prix. However, in the main event that weekend, Hulette crashed with the ensuing fire damaging further the bodywork of BHL110 but fortunately not injuring the driver. Following this mishap the Lister was then purchased by Bob Sorrell who stored it at Riverside until it was acquired by car hunter Klaus Hubert who in turn sold it to a Canadian Dentist, Dr Evans in 1969. Evans now commenced a major restoration, involving Brian Lister himself who authenticated the chassis as a genuine Lister-built unit and arranged for the original coachbuilder – Williams and Pritchard – to make a new body for the car. Lister also introduced Evans to Bryan Wingfield who supplied correct Lister mechanical components. After completion of the work Evans raced the car in the US, Canada and the Bahamas for several decades until he retired from competition in 2011 and sold the car to the UK. At this point the Lister was repainted in its 1958 Dean Van Lines livery and was prepared to FIA European specification, which was complete by 2013. Since then the car has been regularly campaigned with 8 of its 18 races being at the Goodwood Revival and Members Meetings, where it has consistently recorded the fastest top speed of any Lister, in large part due to its small block engine, which has been bored to the largest allowable size of 5.8 Litres, the capacity it raced with in period. Over this time it has benefitted from constantmaintenance with a major refresh from noted Lister and Chevrolet experts taking place in the summer of 2017. This wonderful Chevy Lister is now offered in race ready condition with a long duration FIA HTP (expires 2024) and has the additional benefit of being road registered in the UK. It is eligible for many of the world’s most prestigious events and comes accompanied by an excellent history file containing correspondence, period race results and many photographs. Please contact us for further details.

I made my Bucket List last night.

Carthage, Tennessee

Constructed in 1875 and listed on the NRHP.

The Grade I Listed former parsonage in haworth, home to the Patrick Brontë, local vicar and his four children (1820-1861)

en.wikipedia.org/wiki/Bront%C3%AB_Parsonage_Museum

Haworth, West Yorkshire is known for its connection with the Brontë Sisters and the Keighley and Worth Valley Railway

en.wikipedia.org/wiki/Haworth

en.wikipedia.org/wiki/Bront%C3%AB_family

en.wikipedia.org/wiki/Keighley_and_Worth_Valley_Railway

This is Blickling Hall in Norfolk - a National Trust property dating to the early 17th century.

Chimneys on Blickling Hall.

Blickling Hall is a Grade I listed building.

Country house. Built c.1619-27 for Sir Henry Hobart, Lord Chief Justice,

to the designs of the surveyor Robert Lyminge. Remodelling 1765-85 by Thomas

and William Ivory of Norwich. Red brick with stone and stucco dressings;

roofs plain tiled and pantiled with lead domes to corner turrets. 2½, 3 and

4 storeys, originally a double- courtyard plan, entered from the south and

open to the north. South front of seven bays, the outer bays occupied by

square corner turrets with ogee lead-covered domes. Bays 2, 4 and 6 are three

storeys high with shaped gables to attics and canted 2-storey bay windows

with pierced parapets. Strapwork pediments to upper windows. Windows

generally ovolo-moulded mullion and transom with leaded glazing and iron

casements. Two transoms to first floor windows, lighting the principal rooms;

windows set slightly advanced and with embellished heads of strapwork,

balustrading or pediments. Frieze band with triglyphs and guttae above ground

floor window heads. Central entrance approached via a stone bridge over the

former moat: pierced stone parapet with square piers surmounted by Hobart

bulls supporting shields. Two brick arches with stone dressings below. Oak

entrance screen with raised and fielded panels, six to the doors and six

in the screen panels. Three lintol panels above dated 1620. Semicircular

fanlight with pierced wood and iron screen. Doorway flanked by two Doric

columns supporting frieze of bulls' heads, central keystone with figure

carving. Spandrels carved with female figures holding wreaths. Entablature

with heraldry above. Central first floor window of 12 lights flanked by Ionic

pilasters with blocking; figures of Justice and Truth on balustrade above.

Moulded coping to parapet and gables with figures on keyblocks at gable

peaks. Central clock tower a reconstruction by John Adey Repton c.1830:

stuccoed and colourwashed. Lower stage has pedimented windows between

pilasters with block decoration supporting a decorated frieze; clock stage

has tapering Ionic pilasters and strapwork embellishment to clock face and

window openings. Octagonal opensided lantern with lead covered ogee dome

and finial with weather vane. Two large symmetrically-placed chimney stacks

each with 8 octagonal shafts with star tops and moulded bases. At south-east

and south-west corners, C19 arcaded screens link to service ranges (q.v.).

East facade has 9 bays between corner turrets; rainwater heads dated 1620.

Projecting bay windows in bays 1, 3, 5, 7, 9, canted in bays 1, 3 and 5.

Stone ovolo-moulded mullion and transom windows with leaded glazing; some

iron lattice frames. Above the bays, shaped attic gables with 3-light windows.

Continuous band above ground floor window heads decorated with triglyphs.

Corner turrets have pedimented and embellished doorways with semi-

circular-arched heads, those on the east front have blocked pilasters and

entablatures with arms. Eaves parapet with stone coping; gable peaks have

keyblocks and figure finials. North front remodelled by William Ivory c.1779:

the corner turrets and the left-hand shaped gable survive from the original

build. Centre three bays slightly advanced with mullion and transom windows

projecting from wall face under pediments. Frieze of triglyphs continues

above ground floor window heads. Stone eaves cornice with balustrade.

Flanking bays with shaped gables have 2-storey square projections with large

5-light windows and pierced stone parapets; two transoms to first floor windows

as elsewhere. West facade dated 1769, rebuilt by Thomas and William Ivory.

13 bays, 1 and 13 being the square corner turrets. Bays 4, 7, 10 have shaped

gables to attic storey with eaves parapet, coping and finials as on east

facade. Windows generally ovolo-moulded 2 and 3 light casements with leaded

glazing, some first floor windows reglazed. Transoms and pediments to first

floor windows. All windows set slightly forward of wall face. The centre

entrance bay is embellished: the first floor window has a strapwork pediment,

below the window a panel commemorating the bequest of Mary Ann, Countess of

Buckinghamshire, towards the erection of the facade, 1769. Attic window on

scrolled base with finials. Interior: very fine and elaborate interiors,

fully described in the National Trust guide book. Original staircase extended

and reconstructed 1767 by Thomas Ivory in the new position: elaborately-carved

newels with figure-finials on pedestals; square, tapering balusters with Ionic

caps and arcading below handrail; strapwork between baluster feet. Building

in care of the National Trust. (Pevsner The Buildings of England - North-east

Norfolk and Norwich 1962, Christopher Hussey Country Life June 7, 21, 28 1930,

Blickling Hall The National Trust 1985.)

Blickling Hall - Heritage Gateway

Official list entry

Heritage Category: Listed Building

Grade: I

List Entry Number: 1228336

Date first listed: 28-Nov-1950

List Entry Name: PARISH CHURCH OF ST MARY

Statutory Address 1: St Mary's Church,84 South St, Bridport DT6 3NW

Location

Statutory Address: St Mary's Church,84 South St, Bridport DT6 3NW

District: Dorset (Unitary Authority)

Parish: Bridport

National Grid Reference: SY 46577 92595

Details

I Dates of main phases, name of architect (where applicable): 13th century E.E. transepts, the rest mainly late C14 and C15. Two west bays of nave and the entire eastern arm rebuilt by John Hicks of Dorchester, 1859-60. Nave roof repaired after fire damage in 1996.

Materials: Ham hill stone, with clay tiled roofs.

Plan: Cruciform plan with crossing tower, 6-bay aisled nave. North and south chapels to chancel, porch and chapel of two storeys between the south aisle and transept.

Exterior: From the road the dominant view is of the impressive triple-gabled and buttressed east end, of 1860, with Perp traceried windows of five lights (chancel) and four lights to the chapels. The north and south windows to the chapels have three-light windows with reticulation units; these are matched in the aisles, where the medieval tracery was replaced in 1860. The aisles have solid parapets above a string course of fleurons. The transepts have big gabled ends with Perp windows (six lights south, five lights north), seemingly not renewed 1859-60. The square angle buttresses with chamfered corners topped by octagonal pinnacles are an Early English feature. West of the south transept is a two-bay addition probably of the late 14th century, containing a chapel (of St Katherine) with a two-storey porch to its west. The porch has a standard Perp two-centred moulded arch, and a small oriel window above. It also has a small octagonal chimney stack at the corner of the parapet, with a crenellated rim; the oriel perhaps lit a priest¿s room. The nave has three-light Perp windows between buttresses; four bays clear on the south side, six on the north side. The two west bays are of 1859-60, virtually indistinguishable from the medieval work. The west front is gabled in the centre, with a door under square label, and four-light window. The ends of the aisles are treated as rectangular blank walls. The imposing tower is late 14th or 15th century, and rises above the roof in two stages, with offset buttresses at the lower stage, and a two-light bell opening in each face of the upper stage. It has an embattled parapet with a continuous moulding around the merlons. The square angle-pinnacles are small and insignificant. Access to the tower is by a big stair turret in the angle of the north aisle and transept, then horizontally through a passage over the aisle roofs into the tower.

Interior: Floors mainly stone flagged. The nave arcades have Perp piers that are a variant on the standard four shafts and four hollows pattern ¿ here, the north and south sides of each pier have a flat face flanked by hollow chamfers, the east and west faces each have three shafts continuing up to the arch mouldings. The former room over the south porch was opened up to the south aisle with an arched opening above the internal porch door, and by removing its eastern wall towards St Katherine¿s chapel. The rear arch of the oriel window which lit this room has shafts and ring-moulded capitals in the E.E. style; if in situ, this implies that the porch may be 13th century with Perp remodelling. The transepts have in their east walls arches, now blocked, to former east chapels. E.E. fluted trumpet capitals. In the west wall of the south transept is a former lancet window which now opens into St Katherine¿s chapel. The crossing piers are Perp, with slim shafts and a little foliage decoration in bands at the capitals. Over the crossing is a ribbed vault with a large bell-hole in a concave-sided lozenge. This must all correspond with the rebuilding date of the tower. The chancel and its chapels are all Victorian, continuing the style of the crossing and nave. Nave and transepts have ceiled wagon roofs with moulded ribs and carved bosses, the aisles have lean-to panelled roofs with plain rafters on carved corbels. The roofs in the west arm were conservatively repaired after fire damage in 1996. The chancel roof is more elaborate, of dark stained timber with hammerbeam trusses. The north chapel serves as an organ loft and sacristy.

Principal Fixtures: On the outside west wall of the south porch is a badly weathered medieval carving from St Andrew¿s chapel (see History), placed there in 1883. Light oak bench seating in the nave and aisles, of the late 20th century. The chancel retains few fittings; a late 20th century reordering installed a nave altar and simple three-sided communion rail just west of the crossing. Late 20th century nave benches. Heavy pulpit of Caen stone, 1860, with much Perp carving and three sides opened up beneath ogee arches to form a frame for a high relief scene of the Sermon on the Mount. The font is Perp, octagonal with quatrefoil panels on the bowl, and a heavy panelled foot. At the west end of the south aisle, the Royal Arms painted on board in an arched frame; said to have been given in 1820, now with arms of Queen Victoria. Good pale oak organ case, 1984-8. In the north transept is a trefoil-headed piscina of the 13th century. In the south chapel is a Gothic oak reredos, 1907, and an entrance screen of wrought-iron, from a reordering and restoration of the chapel in 1900, when encaustic tiles were laid in the sanctuary. Monuments: The outstanding monument is in the north transept, a knight in chain mail of c. 1250, possibly John Gervase d. 1262; the face was restored c. 1860. Small brass in decorative frame, to Edward Coker, gentleman, shot in 1685 by one of the Duke of Monmouth¿s officers. Slate tablet to Katherine Frampton d. 1705, with naive incised decoration. Stained glass: a varied collection of 1850-1914. East window with typically bright colouring of c. 1860. South chapel east, by A.L. Moore, 1902, depicting Solomon and the Queen of Sheba. South chapel south, second from east, by E. Baillie, 1851. The south transept east dated 1865 may be by Clayton & Bell. St Katherine¿s chapel south window is c. 1894. Four in the nave of c. 1890-1914; the first from east (north wall) signed A.L. Moore, 1908, and the fourth signed Cox, Son, Buckley & Co., London, c. 1890. North transept east also by Moore, 1908.

Subsidiary Features: Large churchyard with a yew walk to the south porch, and many good monuments, including prominent obelisks near the road. South-east of the chancel, gatepiers with heavy V-jointed rustication, dated 1831.

History: One of four Saxon boroughs in Dorset, Bridport was a substantial settlement by the 11th century. The earliest parts of the present church are early 13th century, probably indicating rebuilding on the site of a Saxon predecessor. As Bridport grew from the 13th century, the centre of settlement moved northwards, accounting for the church¿s position on the southern edge of the old town centre. This resulted in the building of a chapel of St Andrew dedicated in 1362, on the site of the town hall c. ¼ mile north of the church. It was demolished by 1798. Several chantries in the church were endowed in the late 14th century (1368, two in 1387, two in 1400) and these may coincide approximately with the Perp rebuilding around the crossing, and of the south chapel and adjacent porch. Galleries were added over the aisles in 1717 and 1790, removed in 1859. The north transept was `repaired and beautified¿ in 1776 for the use of the poor, at the expense of Mr Jullantigh. Thomas Hardy seemingly did not approve of the restoration of 1859-60. In Wessex Tales (1888) he wrote, "The church had had such a practical joke played upon it by some facetious restorer or other as to be scarce recognisable...", which is odd since the `facetious restorer¿ was John Hicks of Dorchester, to whom Hardy was articled 1856-62, and became an assistant, 1867-9. Pevsner offers `congratulations¿ for Hicks¿s restoration. John Hicks (1815-69) was born at Totnes, Devon, and worked as an architect in Bristol c. 1838-48 before settling in Dorchester. He restored or built at least 27 churches, mostly Gothic. He was popular, amiable and scholarly, and was seemingly at work on at least three churches when he died; yet his death went almost unremarked, and he is little known now except for his association with Hardy.

© Historic England 2023

I thought I would see how I managed getting about on my own with my one hand.. I surprised myself. It was great walking around the city again. There was a lot to see because of the RISE festival.

December 22, 2013, Christchurch CBD New Zealand.

Street artists armed with spray cans and paint rollers are coming to the rescue of Christchurch's struggling suburbs and city centre. Dozens of large artworks have been created on walls across the city this month with many more going up this week.

The RISE street-art festival has commissioned a dozen large street-art paintings in the city centre, while the From the Ground Up project has organised about 16 large artworks in the city centre and Sydenham. Christchurch business owners and city leaders believe street art will help regenerate areas hit hard by the earthquakes and draw tourists to the city.

Canterbury Employers' Chamber of Commerce chief executive Peter Townsend said street art adds ''a whole new dimension'' to what the city offered.

"Putting street art in significant places in our city has the potential to make Christchurch unique,'' he said.

''It can create a real point of difference for a city and transform otherwise ugly buildings into an asset for the city.''

RISE festival director George Shaw said vibrant street art changed the feel of a city.

''If you paint amazing art on blank walls it brightens everything up and makes the place feel relevant and alive.

''That is desperately needed in cities across the world and especially in Christchurch.''

From the Ground Up organiser Jacob Ryan said about 20 New Zealand artists had created artwork in the city for the project.

''We wanted to get the city going again and make Christdhchurch a more interesting place. The aim was to brighten up the city. It has a real impact on this scale. Christchurch is the perfect canvas.''

Sydenham Quarter chairman Anthony Barker said street art had brightened his quake-hit suburb and attracted shoppers.

The business association helped get permission for street artists to use walls in Sydenham for the From the Ground Up festival.

The RISE festival also includes a major street-art exhibition at the Canterbury Museum opening tomorrow. The exhibition will feature one of the largest private collections of Banksy artworks in the world, work by international and local street artists, and new work by Australian artist Ian Strange.

For More Info: www.stuff.co.nz/the-press/christchurch-life/art-and-stage...

Listed Building Grade II

List Entry Number : 1212342

Date First Listed : 22 December 1953

Built around 1772, the house was designed by Richard Gillow, and has later been used for other purposes. It is in sandstone with a slate roof, and has two storeys with cellars. There is a symmetrical five-bay front with a cornice and a parapet. The central doorway is approached up six steps, and it has an architrave, a pediment, and a fanlight. The windows are sashes.

historicengland.org.uk/listing/the-list/list-entry/1212342

en.wikipedia.org/wiki/Listed_buildings_in_Lancaster,_Lancashire

São Paulo/SP - 23.04.2011

Leuchtturm List-Ost / Sylt

best viewed large

Fountains Abbey is one of the largest and best preserved ruined Cistercian monasteries in England. It is located approximately 3 miles (5 kilometres) south-west of Ripon in North Yorkshire, near to the village of Aldfield. Founded in 1132, the abbey operated for 407 years becoming one of the wealthiest monasteries in England until its dissolution in 1539 under the order of Henry VIII.

The abbey is a Grade I listed building owned by the National Trust and part of the designated Studley Royal Park including the Ruins of Fountains Abbey UNESCO World Heritage Site.

Foundation

After a dispute and riot in 1132 at the Benedictine house of St Mary's Abbey, in York, 13 monks were expelled (among them Saint Robert of Newminster) and, after unsuccessful attempts to form a new monastery were taken under the protection of Thurstan, Archbishop of York. He provided them with land in the valley of the River Skell, a tributary of the Ure. The enclosed valley had all the natural features needed for the creation of a monastery, providing shelter from the weather, stone and timber for building, and a supply of running water. After enduring a harsh winter in 1133, the monks applied to join the Cistercian order which since the end of the previous century was a fast-growing reform movement that by the beginning of the 13th century was to have over 500 houses. So it was that in 1135, Fountains became the second Cistercian house in northern England, after Rievaulx. The Fountains monks became subject to Clairvaux Abbey, in Burgundy which was under the rule of St Bernard. Under the guidance of Geoffrey of Ainai, a monk sent from Clairvaux, the group learned how to celebrate the seven Canonical Hours according to Cistercian usage and were shown how to construct wooden buildings in accordance with Cistercian practice.

Consolidation

After Henry Murdac was elected abbot in 1143, the small stone church and timber claustral buildings were replaced. Within three years, an aisled nave had been added to the stone church, and the first permanent claustral buildings built in stone and roofed in tile had been completed.

In 1146 an angry mob, annoyed at Murdac for his role in opposing the election of William FitzHerbert as archbishop of York, attacked the abbey and burnt down all but the church and some surrounding buildings.The community recovered swiftly from the attack and founded four daughter houses. Henry Murdac resigned as abbot in 1147 upon becoming the Archbishop of York and was replaced first by Maurice, Abbot of Rievaulx then, on the resignation of Maurice, by Thorald. Thorald was forced by Henry Murdac to resign after two years in office. The next abbot, Richard, held the post until his death in 1170 and restored the abbey's stability and prosperity. In 20 years as abbot, he supervised a huge building programme which involved completing repairs to the damaged church and building more accommodation for the increasing number of recruits. Only the chapter house was completed before he died and the work was ably continued by his successor, Robert of Pipewell, under whose rule the abbey gained a reputation for caring for the needy.

The next abbot was William, who presided over the abbey from 1180 to 1190 and he was succeeded by Ralph Haget, who had entered Fountains at the age of 30 as a novice, after pursuing a military career. During the European famine of 1194 Haget ordered the construction of shelters in the vicinity of the abbey and provided daily food rations to the poor enhancing the abbey's reputation for caring for the poor and attracting more grants from wealthy benefactors.

In the first half of the 13th century Fountains increased in reputation and prosperity under the next three abbots, John of York (1203–1211), John of Hessle (1211–1220) and John of Kent (1220–1247). They were burdened with an inordinate amount of administrative duties and increasing demands for money in taxation and levies but managed to complete another massive expansion of the abbey's buildings. This included enlarging the church and building an infirmary.

Difficulties

In the second half of the 13th century the abbey was in more straitened circumstances. It was presided over by eleven abbots, and became financially unstable largely due to forward selling its wool crop, and the abbey was criticised for its dire material and physical state when it was visited by Archbishop John le Romeyn in 1294. The run of disasters that befell the community continued into the early 14th century when northern England was invaded by the Scots and there were further demands for taxes. The culmination of these misfortunes was the Black Death of 1348–1349. The loss of manpower and income due to the ravages of the plague was almost ruinous.

A further complication arose as a result of the Papal Schism of 1378–1409. Fountains Abbey along with other English Cistercian houses was told to break off any contact with the mother house of Citeaux, which supported a rival pope. This resulted in the abbots forming their own chapter to rule the order in England and consequently they became increasingly involved in internecine politics. In 1410, following the death of Abbot Burley of Fountains, the community was riven by several years of turmoil over the election of his successor. Contending candidates John Ripon, Abbot of Meaux, and Roger Frank, a monk of Fountains were locked in conflict until 1415 when Ripon was finally appointed, ruling until his death in 1434. Under abbots John Greenwell (1442–1471), Thomas Swinton (1471–8), John Darnton (1478–95), who undertook some much needed restoration of the fabric of the abbey, including notable work on the church, and Marmaduke Huby (1495–1526) Fountains regained stability and prosperity.

At Abbot Huby's death he was succeeded by William Thirsk who was accused by the royal commissioners of immorality and inadequacy and was dismissed as abbot. He was replaced by Marmaduke Bradley, a monk of the abbey who had reported Thirsk's supposed offences, testified against him and offered the authorities six hundred marks for the post of abbot. In 1539 it was Bradley who surrendered the abbey when its seizure was ordered under Henry VIII at the Dissolution of the Monasteries.

The abbey precinct covered 70 acres (28 ha) surrounded by an 11-foot (3.4 m) wall built in the 13th century, some parts of which are visible to the south and west of the abbey. The area consists of three concentric zones cut by the River Skell flowing from west to east across the site. The church and claustral buildings stand at the centre of the precinct north of the Skell, the inner court containing the domestic buildings stretches down to the river and the outer court housing the industrial and agricultural buildings lies on the river's south bank. The early abbey buildings were added to and altered over time, causing deviations from the strict Cistercian type. Outside the walls were the abbey's granges.[citation needed]

The original abbey church was built of wood and "was probably" two stories high; it was, however, quickly replaced in stone. The church was damaged in the attack on the abbey in 1146 and was rebuilt, in a larger scale, on the same site. Building work was completed c.1170.[11] This structure, completed around 1170, was 300 ft (91 m) long and had 11 bays in the side aisles. A lantern tower was added at the crossing of the church in the late 12th century. The presbytery at the eastern end of the church was much altered in the 13th century. The church's greatly lengthened choir, commenced by Abbot John of York, 1203–11, and carried on by his successor terminates, like that of Durham Cathedral, in an eastern transept, the work of Abbot John of Kent, 1220–47. The 160-foot-tall (49 m) tower, which was added not long before the dissolution, by Abbot Huby, 1494–1526, is in an unusual position at the northern end of the north transept and bears Huby's motto 'Soli Deo Honor et Gloria'. The sacristry adjoined the south transept.

The cloister, which had arcading of black marble from Nidderdale and white sandstone, is in the centre of the precinct and to the south of the church. The three-aisled chapter-house and parlour open from the eastern walk of the cloister and the refectory, with the kitchen and buttery attached, are at right angles to its southern walk. Parallel with the western walk is an immense vaulted substructure serving as cellars and store-rooms, which supported the dormitory of the conversi (lay brothers) above. This building extended across the river and at its south-west corner were the latrines, built above the swiftly flowing stream. The monks' dormitory was in its usual position above the chapter-house, to the south of the transept. Peculiarities of this arrangement include the position of the kitchen, between the refectory and calefactory, and of the infirmary above the river to the west, adjoining the guest-houses.

The abbot's house, one of the largest in all of England,is located to the east of the latrine block, where portions of it are suspended on arches over the River Skell.It was built in the mid-twelfth century as a modest single-storey structure, then, from the fourteenth century, underwent extensive expansion and remodelling to end up in the 16th century as a grand dwelling with fine bay windows and grand fireplaces. The great hall was an expansive room 52 by 21 metres (171 by 69 ft).

Among other apartments, for the designation of which see the ground-plan, was a domestic oratory or chapel,

1/2-by-23-foot (14 by 7 m), and a kitchen, 50-by-38-foot (15 by 12 m)

Medieval monasteries were sustained by landed estates that were given to them as endowments and from which they derived an income from rents. They were the gifts of the founder and subsequent patrons, but some were purchased from cash revenues. At the outset, the Cistercian order rejected gifts of mills and rents, churches with tithes and feudal manors as they did not accord with their belief in monastic purity, because they involved contact with laymen. When Archbishop Thurstan founded the abbey he gave the community 260 acres (110 ha) of land at Sutton north of the abbey and 200 acres (81 ha) at Herleshowe to provide support while the abbey became established. In the early years the abbey struggled to maintain itself because further gifts were not forthcoming and Thurstan could not help further because the lands he administered were not his own, but part of the diocesan estate. After a few years of impoverished struggle to establish the abbey, the monks were joined by Hugh, a former dean of York Minster, a rich man who brought a considerable fortune as well as furniture and books to start the library.

By 1135 the monks had acquired only another 260 acres (110 ha) at Cayton, given by Eustace fitzJohn of Knaresborough "for the building of the abbey". Shortly after the fire of 1146, the monks had established granges at Sutton, Cayton, Cowton Moor, Warsill, Dacre and Aldburgh all within 6 mi (10 km) of Fountains. In the 1140s the water mill was built on the abbey site making it possible for the grain from the granges to be brought to the abbey for milling.Tannery waste from this time has been excavated on the site.

Further estates were assembled in two phases, between 1140 and 1160 then 1174 and 1175, from piecemeal acquisitions of land. Some of the lands were grants from benefactors but others were purchased from gifts of money to the abbey. Roger de Mowbray granted vast areas of Nidderdale and William de Percy and his tenants granted substantial estates in Craven which included Malham Moor and the fishery in Malham Tarn. After 1203 the abbots consolidated the abbey's lands by renting out more distant areas that the monks could not easily farm themselves, and exchanging and purchasing lands that complemented their existing estates. Fountains' holdings both in Yorkshire and beyond had reached their maximum extent by 1265, when they were an efficient and very profitable estate. Their estates were linked in a network of individual granges which provided staging posts to the most distant ones. They had urban properties in York, Yarm, Grimsby, Scarborough and Boston from which to conduct export and market trading and their other commercial interests included mining, quarrying, iron-smelting, fishing and milling.

The Battle of Bannockburn in 1314 was a factor that led to a downturn in the prosperity of the abbey in the early fourteenth century. Areas of the north of England as far south as York were looted by the Scots. Then the number of lay-brothers being recruited to the order reduced considerably. The abbey chose to take advantage of the relaxation of the edict on leasing property that had been enacted by the General Chapter of the order in 1208 and leased some of their properties. Others were staffed by hired labour and remained in hand under the supervision of bailiffs. In 1535 Fountains had an interest in 138 vills and the total taxable income of the Fountains estate was £1,115, making it the richest Cistercian monastery in England.

After the Dissolution

The Gresham family crest

The Abbey buildings and over 500 acres (200 ha) of land were sold by the Crown, on 1 October 1540, to Sir Richard Gresham, at the time a Member of Parliament and former Lord Mayor of London, the father of Sir Thomas Gresham. It was Richard Gresham who had supplied Cardinal Wolsey with the tapestries for his new house of Hampton Court and who paid for the Cardinal's funeral.

Gresham sold some of the fabric of the site, stone, timber, lead, as building materials to help to defray the cost of purchase. The site was acquired in 1597 by Sir Stephen Proctor, who used stone from the monastic complex to build Fountains Hall. Between 1627 and 1767 the estate was owned by the Messenger family who sold it to William Aislaby who was responsible for combining it with the Studley Royal Estate.

Burials

Roger de Mowbray, 1st Baron Mowbray

John de Mowbray, 2nd Baron Mowbray

Abbot Marmaduke Huby (d. 1526)

Rose (daughter of Richard de Clare, 6th Earl of Gloucester), wife of Roger de Mowbray, 1st Baron Mowbray

Henry de Percy, 1st Baron Percy

William II de Percy, 3rd feudal baron of Topcliffe

Becoming a World Heritage Site

The archaeological excavation of the site was begun under the supervision of John Richard Walbran, a Ripon antiquary who, in 1846, had published a paper On the Necessity of clearing out the Conventual Church of Fountains.In 1966 the Abbey was placed in the guardianship of the Department of the Environment and the estate was purchased by the West Riding County Council who transferred ownership to the North Yorkshire County Council in 1974. The National Trust bought the 674-acre (273 ha) Fountains Abbey and Studley Royal estate from North Yorkshire County Council in 1983. In 1986 the parkland in which the abbey is situated and the abbey was designated a World Heritage Site by UNESCO. It was recognised for fulfilling the criteria of being a masterpiece of human creative genius, and an outstanding example of a type of building or architectural or technological ensemble or landscape which illustrates significant stages in human history. Fountains Abbey is owned by the National Trust and maintained by English Heritage. The trust owns Studley Royal Park, Fountains Hall, to which there is partial public access, and St Mary's Church, designed by William Burges and built around 1873, all of which are significant features of the World Heritage Site.

The Porter's Lodge, which was once the gatehouse to the abbey, houses a modern exhibition area with displays about the history of Fountains Abbey and how the monks lived.

In January 2010, Fountains Abbey and Studley Royal became two of the first National Trust properties to be included in Google Street View, using the Google Trike.

Film location

Fountains Abbey was used as a film location by Orchestral Manoeuvres in the Dark for their single "Maid of Orleans (The Waltz Joan of Arc)" during the cold winter of December 1981. In 1980, Hollywood also came to the site to film the final scenes to the film Omen III: The Final Conflict.Other productions filmed on location at the abbey are the films Life at the Top, The Secret Garden, The History Boys, TV series Flambards, A History of Britain, Terry Jones' Medieval Lives, Cathedral, Antiques Roadshow and the game show Treasure Hunt. The BBC Television series 'Gunpowder' (2017) used Fountains Abbey as a location.

Wünsche euch beiden einen romantischen Valentinstag :)

Valentine's Day - Graz 2012.

Sent to us by sweetgirl_marina@list.ru

Poland, July 2013

.

oh yes, i was tagged again, by sarah haras

but instead of writing a list of facts, i'll just fill in a shitty survey.

___________________________________

do you think people talk about you behind your back?

yeah. shame really that they have no balls to say it too my face (:

do you own an iPod?

yeah, i have owned four bitch.

what time is your alarm clock set for?

i have two.

one for 6:00am for college

+

one for 10:00pm to take my pill.

if there was a fire, what would be the first thing you would grab?

computer/old photo albums.

flip flops or sneakers?

trainers (;

what was the last movie you watched?

40 year old virgin.

what's your favorite flower?

rose.

has anyone ever called you lazy?

hell of a lot of people.

do you prefer regular or chocolate milk?

regular.

has anyone told you a secret this week?

yeah.

who was the last person to call you?

joe.

when was the last time you cried?

almost did on sunday.

why?

'cause.

how many siblings do you have?

zilch

last time someone gave you flowers?

valentines day (:

are you mad at anyone?

nah, i'm just laughing at them tbh.

do you cry alot?

more than i used too.

have you ever thrown up in public?

few times.

do you have a desktop computer or a laptop?

desktop.

are you currently wanting any piercings or tattoos?

not really, although i would like my ears pieced again.

what is the weather like?

sunny but cold.

is sex before marriage wrong?

is it fuck.

when was the last time you slept on the floor?

can't remember.

how many hours of sleep do you need to function?

around twenty-four haha. nah kidding. (i think)

what is your favorite tv show?

skins

friends

erm...

which celebrity dead or alive would you want to have lunch with?

channing tatum? ooft.

what is one thing you wish you had?

my grandma back.

favorite lyrics?

i like BMTH lyrics (:

Listed houses on the edge of the Crittall estate at Braintree. Tolerably original, but the left-hand side has renewed the front door and removed some of the horizontal glazing bars, presumably by hacksawing them out. It would be best to re-expose the naked concrete but, if not, I hope the owners can be brought to agree on a common colour scheme. The architects of these houses are given as C. H. B. Quennell and W. F. Crittall. The site, nearby, of the Crittall factory, has been redeveloped in recent years.

Lister

Photocopied list of men from Hastings and Prince Edward County who served in the Northwest Rebellion in 1885. Their residence, age and marital status is listed. Originally part of the W. C. Mikel collection.

Text reads:

Midland Battalion of Infantry

Return of details Memoranda of "H" or Captain E. Harrison's Company on Service with the North West Field Force from 28th March to 31st July 1885.

Names listed:

Major Edward Harrison

1st Lieutenant Horace A. Yeomans

2nd Lieutenant Robert John Bell

Pay Sergeant A. H. Smith

Sergeant George Wilson

Sergeant Eli Bowen

Sergeant William Watts

Corporal S. J. Hilton

Corporal Patrick Howe

Corporal Reginald Parker

Corporal T. E. Patterson

Bugler John Williams

Privates:

James Mortimer Austin

U. A. Anger

George Bay

Joseph Bay

Michael Brinn

T. Defraine

J. A. Howard

W. Hulley

Joseph Hanna

Barton Lott

Samuel Lake

William Reid

James Rowe

Magnus Rogers

Alonzo Sager

George Seeds

Tobias B. Stapley

John Thompson

A. F. Thomson

Edward Vincent

Ross McStevens

Samuel McTaggart

Thomas B. Powell

Nathan N. Patterson

John Prideaux

George Wescott

George Winters

George Youngs

Frank Shircliff

Alfred Way

Bernard Hodgins

[continued on TR 2146-03]

.... Etnea avenue, On 5 February 2018, the day of the feast of the Patron Saint of Catania, the very young martyr St.Agatha ....

.... via Etnea, il 5 febbraio 2018, il giorno della festa della Santa Patrona di Catania, la giovane martire Sant'Agata ....

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

click here - clicca qui

the slideshow

Qi Bo's photos on Fluidr

Qi Bo's photos on Flickriver

Qi Bo's photos on FlickeFlu

Qi Bo's photos on PICSSR

Qi Bo's photos on Flickr Hive Mind

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

The GAZ M21 Volga is an automobile which was produced in the Soviet Union by GAZ ("Gorkovsky Avtomobilniy Zavod", in English : "Gorky automobile factory") from 1956 to 1970. The first car to carry the Volga name, it was developed in the early 1950s.

The design process leading to the GAZ 21 began in November 1953. Alexander Nevzorov, head of the design team, was given a free hand to develop whatever he wanted to reach the objective of competing with American automobiles. The designer Lev Eremeyev decided to follow the fashion set by the Chevrolet Bel Air, Plymouth Savoy, and Ford Mainline; the finished product bears a resemblance to the 1955 Mainline.

The prototype appeared in the first quarter of 1954, powered by an inline four with overhead camshaft (driven by chain) and cross-flow hemi head. Since the OHV engine was not ready in time, production M21s had a 65 PS (48 kW; 64 hp) 2,432 cc (148.4 cu in) sidevalve four, based on the GAZ-20's.

Front suspension was independent, while the rear was a live axle with semi-elliptical springs;

The Volga offered front seats able to fold flat (not unlike a contemporary Nash option) and came standard with cigarette lighter and a radio (still optional on most U.S. cars).

The Volga made its public debut in 1955, with a three cars on a demonstration drive from Moscow to the Crimea,Full-scale production began in 1957, with a list price of 5,400 rubles. The new 1957 production cars, known as Series Ones, had a brand-new 2,445 cc (149.2 cu in) OHV engine, the first model produced by Zavolzhskiy Motorniy Zavod (Zavolzhye Engine Factory, ZMZ). Unusual for the era, it had aluminum block and head, with gear-driven camshaft and compression ratio of 6.6:1; it produced 70 PS (51 kW; 69 hp) at 4,000 rpm and 123 lb⋅ft (167 N⋅m) at 2,200 rpm.

Being October, which had always been the LUGNuts anniversary month, this GAZ M21 Volga has been built to the 66th challenge theme 'Behind the Iron Curtain'.

The Grade II Listed former St Marks Railway Station which has been converted into a St Marks Shopping centre, off the High Street in Lincoln, Lincolnshire.

Built in 1846 by Midland Railway and Lincoln's first railway station opening in 3rd August 1846. The architect is unknown but it may have been I A Davies of the Midland Railway. The building contractor was John Burton under the charge of the line engineer W H Barlow. Two platforms originally c 90m long, later extended, covered by double roof resting on side walls and supported by iron columns between rails. Four tracks, the inner two being sidings. Station was terminus until 1848 when end-on joining to Manchester Sheffield and Lincolnshire Railway necessitated level crossing across High Street. Building was originally lit by gas. Roof was removed in April 1957, with a canopy erected over part of north platform. A small waiting room was placed on south platform. Station buildings were on the north platform. Entrance via steps through prostyle portico supported on Ionic style columns. At rear of portico and at east and west extremities of exterior are Doric style pilasters. A turntable was situated on the south side from c1870 to at least 1930s.

To save duplication of operating two stations in 1985 the station closed when services were diverted to the nearby Lincoln Central station. The construction of a new 80 metre length of track to the west allowed services from Newark to reach Lincoln Central. The grand ionic portico that was once the entrance has been preserved and, as of January 2007, is home to Lakeland Limited as part of the commercial development of the site. A mock signalbox has also been erected in the car park on which has been affixed an original sign from the station. The remainder of the former station site is now St. Marks Shopping Centre. The redevelopment in keeping with the preserved buildings won an Ian Allan heritage award in 2009, commemorated by a plaque.