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The Need for Speed Mustang set to be the pace car Nov 15-17 weekend race for the Nascar Champion

 

smademedia.com/2013/11/15/nfsmustang

+++ DISCLAIMER +++

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

 

Some background:

The roots of the GDR's air forces laid in the time even before the founding of the National People's Army. The aim was to provide a structural basis and a basis for building the expertise needed to deploy and operate air forces. For this purpose, in 1951, initially under the lead of the Ministry of the Interior and under the influence of Soviet advisors, the so-called Kasernierte Volkspolizei (People's Police (Air) Quartered in Barracks (= on constant duty), KVP) with staff from the People's Police Air (VP-Luft) was set up in Berlin-Johannisthal. It was not a true air force, but rather a training unit that prepared the foundation of a true military power.

 

However, the KVP led to the GDR's 1st Air Division with three regiments. Training was carried out from 1953 onwards on various Soviet types, including the An-2, MiG-15, La-9 (only for training on the ground), Yak-18 and Yak-11 aircraft. All equipment was provided by the Soviet Union. However, from the beginning of 1952, the training of the future ground crew and the pilots in the so-called X course began secretly, and at the same time the GDR tried to build and test aeronautic engineering competences.

 

For this purpose, a military unit was established at the VEB Flugzeugwerke Dresden (FWD), an institution which was also the workplace of Brunolf Baade, the designer of the Baade 152 airliner which was built and tested between 1956 and 1961. The GDR's newly formed Air Division was keen on an ingenious fighter aircraft, despite the modern MiG-15 having become available from the USSR. The primary subject was a re-build of the WWII Messerschmitt Me 262, but the lack of plans and especially of suitable engines soon led to an end of this project, even though contacts with Avia in Czechoslovakia were made where a small number of Me 262 had been produced as S-92 fighters and trainers.

Since many senior pilots in GDR service had experience with the WWII Bf 109, and there had been a considerable number of more or less finished airframes after the Soviet occupation of Eastern Germany, FWD proposed a modernization program for the still existing material, much like the Avia S-199 program in Czechoslovakia.

 

The project received the code number "53" (for the year of its initiation) and structural basis for the not-so-new fighter for the GDR's nascent air force were primarily late Bf 109G and some Bf 109K airframes, reflected by an "A" and "B" suffix. Unlike the Czechoslovakian Avia S-199, which was re-engined with a rather sluggish Junkers Jumo 211 F, the FWD-53 fighter from Dresden was to be powered by a supercharged Mikulin AM-35 engine. This was a considerable reduction in output, since the late Bf 109 engines produced up to 2.000 hp, while the AM-35 just provided 1.400 hp. With some tuning and local modifications, however, the engine for the service aircraft was pushed to yield 1.100 kW (1,500 hp), and the fact that it was smaller and lighter than the original engine somewhat compensated for the lack of power.

 

Another feature that differed from the S-199 was the radiator system: the original Bf 109 underwing coolers were retained, even though the internal systems were replaced with new and more efficient heat exchangers and a new plumbing.

 

In order to save weight, the FWD-53's armament was relatively light. It consisted of a pair of heavy 12.7 mm Berezin UBS machine guns and a single 23 mm Nudelman-Suranov NS-23 cannon. These three weapons were mounted above the engine, synchronized to fire through the propeller disc. This standard armament could be augmented with a further pair of NS-23 cannon, carried in pods under the outer wings (instead of a pair of bombs of up to 250 kg caliber). Alternatively, a ventral hardpoint allowed the carriage of a single 500 kg (1.100 lb) bomb or a 300l drop tank.

 

In the course of 1952 and 1953, a total of 39 Bf 109 airframes from GDR and also Czech and Polish origin were converted or re-built from existing components at Dresden. At the end of November 1953, the KVP's reorganization was carried out as a staff of the administration of the units initially called Aero clubs in Cottbus and the change of subordination by the MoI directly under the Deputy Minister and head of the Kasernierten People's Police. The air regiments were restructured into Aeroklubs 1 (Cottbus), 2 (Drewitz) and 3 (Bautzen), which in turn were divided into two sections. From 1954 onwards, the FWD-53 fleet joined these training units and were primarily tasked with advanced weapons training and dissimilar aerial combat.

 

On March 1, 1956, the GDR's air forces were officially formed as part of the Nationale Volksarmee (NVA, National People's Army). First of all the management of the aeroclubs, according to the Soviet model, gave rise to the Administrations Air Force (LSK) in Cottbus and Air Defense (LV) in Strausberg (Eggersdorf). The initial plans were to found three Jagdfliegerdivisionen (fighter squadrons), a Schlachtfliegerdivision (attack squadron) and a Flak (AA gunnery) division, but only the 1st and 3rd Air Division and the 1st Flak Division were eventually set up. On June 1, 1957, a merger of both administrations in Strausberg (Eggersdorf) resulted in another renaming, and the Air Force/Air Defense Command (detachment LSK/LV) was born.

 

From this point on, almost all operational front line units were equipped with the Soviet MiG-15. The FWD-53s were quickly, together with other piston engine types, relegated to second line units and used in training and liaison roles. The last FWD-53 was retired in 1959.

  

General characteristics:

Crew: One

Length: 9.07 m (29 ft 8 1/2 in)

Wingspan: 9.925 m (32 ft 6 in)

Height: 2.60 m (8 ft 2 in)

Wing area: 16.05 m² (173.3 ft²)

Empty weight: 2,247 kg (5,893 lb)

Loaded weight: 3,148 kg (6,940 lb)

Max. takeoff weight: 3,400 kg (7,495 lb)

 

Powerplant:

1× Mikulin AM-35A(D) liquid-cooled V12 engine with 1,080 kW (1,500 hp),

driving a three-bladed light-alloy propeller with 3.2m (10 ft 4 ½ in) diameter

 

Performance:

Maximum speed: 640 km/h (398 mph) at 6,300 m (20,669 ft)

Cruise speed: 590 km/h (365 mph) at 6,000 m (19,680 ft)

Range: 850 km (528 mi) 1,000 km (621 mi) with drop tank

Service ceiling: 12,000 m (39,370 ft)

Rate of climb: 17.0 m/s (3,345 ft/min)

Wing loading: 196 kg/m² (40 lb/ft²)

Power/mass: 344 W/kg (0.21 hp/lb)

 

Armament:

1× 23 mm Nudelman-Suranov NS-23 cannon with 75 rounds

2× 12.7 mm (0.5 in) Berezin UBS machine guns with 300 RPG

all mounted above the engine and synchronized to fire through the propeller arc

A total external ordnance of 500 kg (1.100 lb), including 1× 250 kg (551 lb) bomb or 1 × 300-litre (79

US gal) drop tank on a centerline hardpoint, or 2x 250 kg bombs or 2x 23 mm Nudelman-Suranov

NS-23 cannon with 60 rounds in pods under the outer wings

  

The kit and its assembly:

This build was actually a kind of kit recycling, since I had a Heller Bf 109K kit in my kit stash that had donated its engine section to a converted Fw 190D. Otherwise, the kit was still complete, and it took some time until I had an idea for it: I had never so far built an East German whif, and with the complicated political and economic situation after WWII I wondered how a nascent aircraft industry could build experience and an air force? A re-engined/revamped late Bf 109 could have been the answer, so I took this idea to the hardware stage.

 

The Heller Bf 109K is a simple and pleasant build, but it took some time to find a suitable new engine of Soviet origin. I eventually settled for a Mikulin AM-35, taken from a Revell MiG-3 kit. The transplant was rather straightforward, and the Bf 109K’s “cheek” fairings at the cowling’s rear section actually matched the round diameter of the AM-35 well – even though the Soviet engine was much smaller and very sleek.

The rhinoplasty went very well, though, there’s just a little, ventral “step” at the wings’ leading edge.

 

The MiG-3 propeller could not be used, though, because the diameter and the blades themselves were just too small for the Bf 109. So I scratched a completely new propeller from a Spitfire Mk. IX spinner (reduced in length, though) and single blades from the scrap box – not certain which aircraft they actually belong to. The new prop was mounted onto a metal axis and a matching plastic tube adapter was implanted into the fuselage.

 

The only other modification of the kit are the main wheels – Heller’s OOB parts are quite bleak, so I replaced them with visually better parts from the scrap box.

 

Painting and markings:

This was not easy, because LSK/LV aircraft either carried Soviet camouflage of that era (typically a uniform green/blue camouflage) or were, more often, simply left in bare metal, like the MiG-15s. However, I wanted a more interesting camouflage scheme, but nothing that would remind of the Bf 109’s WWII origins, and it was still supposed to show some Eastern Bloc heritage. After a long search I found a suitable option, in the form of a LSK/LV MiG-15UTI trainer (actually a museum piece at the military history museum Gatow, near Berlin): the machine carried a relatively light green/brown camouflage and light blue undersides. Pretty simple, but the tones were quite unique – even though there’s no guarantee that this livery is/was authentic!

 

However, I adapted the concept for the FWD-53. Search in the paint bank yielded Humbrol 86 (Light Olive Green) and 62 (Leather Brown) as suitable tones for the upper surfaces, while I went for a garish Humbrol 89 (Middle Blue) underneath. Quite a bright result! The spinner became red and the interior was painted in RLM02.

 

The markings were puzzled together from various sources, including suitable early LSK/LV roundels. Most stencils were taken from the Heller kit’s OOB sheet. After light panel shading and some soot stains with grinded graphite, the kit was sealed with a coat of matt acrylic varnish.

  

A very quick project, realized just in three days (plus some time for the beauty shots, though) as a distraction from a very busy time at work. However, for a model created from leftover parts the FWD-53 looks surprisingly good and sleek. The pointed MiG-3 nose section subtly changes the profile – and somehow, from certain angles, the FWD-53 even reminds of the much bigger Il-2?

 

I've sure got a lot of five, six, seven, and eight speed wheel sets hanging around at the moment. Good thing I've save old tubes. I use them to loop through the wheel sets, and then hang them in bundles around the ceiling.

+++ DISCLAIMER +++

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

  

Some background:

After the first German experiences with the newer Soviet tanks like the T-34 or the Kliment Voroshilov tank during Operation Barbarossa, the need for a Panzerjäger capable of destroying these more heavily armoured tanks became clear.

 

In early 1942, several German companies designed tank destroyers using existing chassis or components, primarily of both the Panzer III and Panzer IV tank, and integrating the powerful 8,8 cm Panzerjägerkanone 43/1 L/71 (or shortly Pak 43/1), a long-barreled anti-tank gun. Alkett, for instance, came up with the SdKfz. 164 “Hornisse” SPG (later renamed “Nashorn”), and Vomag AG proposed the SdKfz. 163, a derivative of the recently developed SdKfz. 162, the Jagdpanzer IV, which was armed with a Pak 39 L/48 at that time in a low, casemate-style hull.

 

However, mounting the bulky, heavy and powerful Pak 43/1 into the Panzer III hull was impossible, and even the Panzer IV was not really suited for this weapon – compromises had to be made. In consequence, the “Nashorn” was only a lightly armoured vehicle with an open crew compartment, and the Jagdpanzer IV was much too low and did not offer sufficient internal space for the large cannon.

 

Vomag’s design for the SdKfz. 163 eventually envisioned a completely new upper hull for the standard Panzer IV chassis, again a casemate style structure. However, the new vehicle was much taller than the Jagdpanzer IV – in fact, the Pak 43/1 and its massive mount necessitated the superstructure to be more than 2’ higher than the Jagdpanzer IV. This also resulted in a considerably higher weight: while a standard Panzer IV weighed less than 23 tons, the SdKfz. 163 weighed more than 28 tons!

 

The driver was located forward, slightly in front of the casemate, and was given the Fahrersehklappe 80 sight from the Tiger I. The rest of the crew occupied the cramped combat section behind him. Ventilation of the casemate’s fumes and heat was originally provided by natural convection, exiting through armored covers at the back of the roof.

The gun/crew compartment’s casemate was well-protected with sloped sides and thick armor plates. Its thickness was 80 mm (3.93 in) at a 40° angle on the front, 40 mm/12° (1.57 in) for the front hull, 50 mm/25° (1.97 in) for the side superstructure, 30 mm (1.18 in) for the side of the lower hull, 30 mm/0° (1.18 in) for the rear of the casemate and 20 mm/10° (0.79 in) for the back of the hull. The top and bottom were protected by 10 mm (0.39 in) of armor at 90°. This was enough to withstand direct frontal hits from the Soviet 76,2 mm (3”) gun which the T-34 and the KV-1 carried.

 

The SdKfz. 163’s main weapon, the Pak 43/1, was a formidable gun: Accurate at over 3,000 m (3,280 yards) and with a muzzle velocity of over 1,000 m/s (3,280 ft/s), the 88 mm (3.5 inch) gun has more than earned its reputation as one of the best anti-tank guns of the war. Even the early versions, with a relatively short L56 barrel, were already able to penetrate 100mm of steel armour at 30°/1000m, and late versions with the long L71 barrel even achieved 192mm.

The main gun had an elevation of +15°/-5° and could traverse with an arc of fire of 12° to the left and 17° to the right, due to the weapon’s off-center position and limited through the side walls and the “survival space” for the crew when the Pak 43/1 was fired. The recoil cylinder was located under and the recuperator above the gun. There were also two counterbalance cylinders (one on each side), and the gun featured a muzzle brake, so that the already stressed Panzer IV chassis could better cope with the weapon’s recoil.

The Pak 43/1 was able to fire different shells, ranging from the armor piercing PzGr. 39/43 and PzGr. 40/43 to the high explosive Gr. 39/3 HL. The main gun sight was a telescopic Selbstfahrlafetten-Zielfernrohr la, with Carl Zeiss scopes, calibrated from 0 to 1,500 m (0-5,000 ft) for the Pz.Gr.39 and 0 to 2,000 m (6,500 ft) for the Pz.Gr.40. There was a 5x magnification 8° field of view.

 

46 8.8 cm rounds could be stored inside of the SdKfz. 163’s hull. In addition, a MP 40 sub-machine gun, intended to be fired through the two firing ports on each side of the superstructure, was carried as a hand weapon, and a single MG 34 machine gun was located in the front bow in a ball mount for self-defense, at the radio operator’s place. Another MG 34 could be fastened to the open commander’s hatch, and 1.250 rounds for the light weapons were carried.

 

The SdKfz. 163 was, together with the SdKfz. 164, accepted by the Oberkommando des Heeres (OKH) in late 1942, and immediately ordered into production. Curiously, it never received an official name, unlike the SdKfz. 164. In practice, however, the tank hunter was, in official circles, frequently referred to as “Jagdpanzer IV/ 43” in order to distinguish it from the standard “Jagdpanzer IV”, the SdKfz. 162, with its 7,5cm armament. However, the SdKfz. 163 also received unofficial nicknames from the crews (see below).

 

Production was split between two factories: Alkett from Berlin and Stahlindustrie from Duisburg. Alkett, where most of the Panzer IVs were manufactured, was charged with series production of 10 vehicles in January and February 1943, 20 in March and then at a rate of 20 vehicles per month until March 1944. Stahlindustrie was tasked with a smaller production series of 5 in May, 10 in June, 15 in July and then 10 per month (also until March 1944), for a planned initial total of 365 vehicles.

 

Initially, all SdKfz. 163s were directly sent to the Eastern Front where they had to cope with the heavy and well-armoured Soviet tanks. Soon it became apparent that these early vehicles were too heavy for the original Panzer IV chassis, leading to frequent breakdowns of the suspension and the transmission.

 

Efforts were made to ameliorate this during the running production, and other Panzer IV improvements were also gradually introduced to the SdKfz. 163s, too. For instance, the springs were stiffened and new all-metal road wheels were introduced – initially, only one or two front pairs of the road wheels were upgraded/replaced in field workshops, but later SdKfz. 163s had their complete running gear modified with the new wheels directly at the factories. These late production vehicles were recognizable through only three return rollers per side, in order to save material and production costs.

 

Furthermore, an electric ventilator was added (recognizable by a shallow, cylindrical fairing above the radio operator’s position) and the loopholes in the side walls for observation and self-defense turned out to be more detrimental to the strength of the armor than expected. In later models, these holes were completely omitted during production and in the field they were frequently welded over, being filled with plugs or 15 mm (0.59 in) thick steel plates. Another important modification was the replacement of the Pak 43/1’s original monobloc barrel with a dual piece barrel, due to the rapid wear of the high-velocity gun. Although this did not reduce wear, it did make replacement easier and was, over time, retrofitted to many earlier SdKfz. 163s.

 

Despite these improvements, the SdKfz. 163 remained troublesome. Its high silhouette made it hard to conceal and the heavy casemate armour, together with the heavy gun, moved the center of gravity forward and high that off-road handling was complicated – with an overstressed and easily damaged suspension as well as the long gun barrel that protruded 8’ to the front, especially early SdKfz. 163s were prone to stoop down and bury the long Pak 43/1 barrel into the ground. Even the vehicles with the upgraded suspension kept this nasty behavior and showed poor off-road handling. This, together with the tank’s bulbous shape, soon earned the SdKfz. 163 the rather deprecative nickname “Ringeltaube” (Culver), which was quickly forbidden. Another unofficial nickname was “Sau” (Sow), due to the tank’s front-heavy handling, and this was soon forbidden, too.

 

Despite the suspension improvements, the tank’s relatively high weight remained a constant source of trouble. Technical reliability was poor and the cramped interior did not add much to the vehicle’s popularity either, despite the SdKfz. 163 immense firepower even at long range. When the bigger SdKfz. 171, the Jagdpanther, as well as the Jagdpanzer IV/L70 with an uprated 7.5 cm cannon became available in mid-1944, SdKfz. 163 production was prematurely stopped, with only a total of 223 vehicles having been produced. The Eastern Front survivors were concentrated and re-allocated to newly founded Panzerjäger units at the Western front, where the Allied invasion was expected and less demanding terrain and enemies were a better match for the overweight and clumsy vehicles. Roundabout 100 vehicles became involved in the defense against the Allied invasion, and only a few survived until 1945.

  

Specifications:

Crew: Five (commander, gunner, loader, driver, radio operator)

Weight: 28.2 tons (62,170 lbs)

Length: 5.92 m (19 ft 5 in) hull only

8.53 m (28 ft) overall

Width: 2.88 m (9 ft 5 in)

Height: 2.52 m (8 ft 3 in)

Suspension: Leaf spring

Fuel capacity: 470 l (120 US gal)

 

Armour:

10 – 50 mm (0.39 – 1.96 in)

 

Performance:

Maximum road speed: 38 km/h (23.6 mph)

Sustained road speed: 34 km/h (21.1 mph)

Off-road speed: 24 km/h (15 mph)

Operational range: 210 km (125 mi)

Power/weight: 10,64 PS/t

 

Engine:

Maybach HL 120 TRM V12 petrol engine with 300 PS (296 hp, 221 kW)

 

Transmission:

ZF Synchromesh SSG 77 gear with 6 forward and 1 reverse ratios

 

Armament:

1× 8.8 cm Panzerabwehrkanone PaK 43/1 L71 with 46 rounds

1× 7.92 mm Maschinengewehr 34 with 1,250 rounds in bow mount;

an optional MG 34 could be mounted to the commander cupola,

and an MP 40 sub-machine gun was carried for self-defense

  

The kit and its assembly:

This fictional tank is, once more, a personal interpretation of a what-if idea: what if an 8.8 cm Pak 43/1 could have been mounted (effectively) onto the Panzer IV chassis? In real life, this did not happen, even though Krupp apparently built one prototype of a proposed Jagdpanzer IV with a 8.8 cm Pak 43 L/71 on the basis of the SdKfz. 165 (the “Brummbär” assault SPG) – a fact I found when I was already working on my model. Apparently, my idea seems to be not too far-fetched, even though I have no idea what that prototype looked like.

 

However, the PaK 43/1 was a huge weapon, and mating it with the rather compact Panzer IV would not be an easy endeavor. Taking the Jagdpanther as a benchmark, only a casemate layout would make sense, and it would be tall and voluminous. The “Brummbär” appeared to be a suitable basis, and I already had a Trumpeter model of a late SdKfz. 165 in the stash.

 

Just changing the barrel appeared too simple to me, so I decided to make major cosmetic changes. The first thing I wanted to change were the almost vertical side walls, giving them more slope. Easier said than done – I cut away the side panels as well as wedges from the casemate’s front and rear wall, cleaned the sidewalls and glued them back into place. Sound simple, but the commander’s hatch had to be considered, the late SdKfz. 165’s machine gun mount had to go (it was literally cut out and filled with a piece of styrene sheet + PSR; the front bow machine gun was relocated to the right side of the glacis plate) and, due to the bigger angle, the side walls had to be extended downwards by roughly 1.5mm, so that the original mudguard sideline was retained.

 

The gun barrel caused some headaches, too. I had an aftermarket metal barrel for a PaK 43/1 from a Tiger I in the stash, and in order to keep things simple I decided to keep the SdKfz. 165’s large ball mount. I needed some kind of mantlet as an adapter, though, and eventually found one from a Schmalturm in the stash – it’s quite narrow, but a good match. It had to be drilled open considerably in order to accept the metal barrel, but the whole construction looks very plausible.

 

Another cosmetic trick to change the SdKfz. 165’s look and esp. its profile was the addition of protective side shields for the entry hatch area at the rear (frequently seen on Jagdpanzer IVs) – these were created from 0.5 mm styrene sheet material and visually extend the casemate almost the up to hull’s rear end.

  

Painting and markings:

Inspiration for the paint scheme came from a picture of a Jagdpanther that took part in the 1944 Ardennenoffensive (Battle at the Bulge): It was painted in the contemporary standard tones Dunkelgelb (RAL 7028), Olivgrün (RAL 6003) and Rotbraun (RAL 8012), but I found the pattern interesting, which consisted primarily of yellow and green stripes, but edged with thin, brown stripes in order to enhance the contrast between them – not only decorative, but I expected this to be very effective in a forest or heath environment, too.

 

The picture offered only a limited frontal view, so that much of the pattern had to be guessed/improvised. Painting was done with brushes and enamels, I used Humbrol 103 (Cream), 86 (Light Olive) and 160 (German Red Brown) in this case. The green tone is supposed to be authentic, even though I find Humbrol’s 86 to be quite dull, the real RAL 6003 is brighter, almost like FS 34102. The brown tone I used, RAL 8012, is wrong, because it was only introduced in Oct. 1944 and actually is the overall factory primer onto which the other colors were added. It should rather be RAL 8017 (Schokoladenbraun), a darker and less reddish color that was introduced in early 1944, but I assume that frontline workshops, where the camouflage was applied in situ, just used what they had at hand. Dunkelgelb is actually very close to Humbrol 83 (ochre), but I decided to use a lighter tone for more contrast, and the following weathering washing would tone everything down.

 

I also extended the camouflage into the running gear – not a typical practice, but I found that it helps breaking up the tank’s outlines even more and it justifies wheels in different colors, too. The all-metal road wheels were painted with a mix of medium grey and iron. The black vinyl track was treated with a cloudy mix of grey, red brown and iron acrylic paint.

 

The kit received a washing with highly thinned dark brown acrylic paint as well as an overall dry-brushing treatment with light grey. Around the lower front of the hull I also did some dry-brushing with red brown and iron, simulating chipped paint. After the decals had been applied, the model was sealed with acrylic matt varnish and finally I dusted the lower areas and esp. the running gear with a grey-brown mix of mineral artist pigments, partly into a base of wet acrylic varnish that creates a kind of mud crust.

 

need to put some speed on if I'm to escape the rain

When you are running a meeting and talking to a large group of people for 3 hours straight, do you ever separate from your body and kind of watch yourself in 3rd person? No? Just me? Ok.... Time to lay off the caffeine on the drive the night before.

On January 17, 2019 in Washington, DC, a crowd 100+ strong took action to deliver a clear message to US Senate Minority Leader Chuck Schumer and all our elected leaders: "What's your climate plan?”

 

We need a #GreenNewDeal that creates millions of good jobs building a just transition away from fossil fuels and toward the 100% renewable energy economy we need.

 

(Credit: Eman Mohammed)

ROMA ARCHEOLOGICA & RESTAURO ARCHITETTURA 2021. "Send in the Bugs. The Michelangelos Need Cleaning" [= Laboratori Enea i batteri 'restauratori' per riparare dipinti, affreschi e statue], NYT (31 May, 2021): C1. S.v., "Roma, Casina Farnese sul Palatino," in: ADNKRONOS / ARTE (10/04/2015). wp.me/pbMWvy-1vZ

 

1). ITALIA - Send in the Bugs. The Michelangelos Need Cleaning. NYT (31 May 31, 2021): C1.

 

Last fall, with the Medici Chapel in Florence operating on reduced hours because of Covid-19, scientists and restorers completed a secret experiment: They unleashed grime-eating bacteria on the artist’s masterpiece marbles.

 

FLORENCE — As early as 1595, descriptions of stains and discoloration began to appear in accounts of a sarcophagus in the graceful chapel Michelangelo created as the final resting place of the Medicis. In the ensuing centuries, plasters used to incessantly copy the masterpieces he sculpted atop the tombs left discoloring residues. His ornate white walls dimmed.

 

Nearly a decade of restorations removed most of the blemishes, but the grime on the tomb and other stubborn stains required special, and clandestine, attention. In the months leading up to Italy’s Covid-19 epidemic and then in some of the darkest days of its second wave as the virus raged outside, restorers and scientists quietly unleashed microbes with good taste and an enormous appetite on the marbles, intentionally turning the chapel into a bacterial smorgasbord.

 

“It was top secret,” said Daniela Manna, one of the art restorers.

 

On a recent morning, she reclined — like Michelangelo’s allegorical sculptures of Dusk and Dawn above her — and reached into the shadowy nook between the chapel wall and the sarcophagus to point at a dirty black square, a remnant showing just how filthy the marble had become.

 

She attributed the mess to one Medici in particular, Alessandro Medici, a ruler of Florence, whose assassinated corpse had apparently been buried in the tomb without being properly eviscerated. Over the centuries, he seeped into Michelangelo’s marble, the chapel’s experts said, creating deep stains, button-shaped deformations, and, more recently, providing a feast for the chapel’s preferred cleaning product, a bacteria called Serratia ficaria SH7.

 

“SH7 ate Alessandro,” Monica Bietti, former director of the Medici Chapels Museum, said as she stood in front of the now gleaming tomb, surrounded by Michelangelos, dead Medicis, tourists and an all-woman team of scientists, restorers and historians. Her team used bacteria that fed on glue, oil and apparently Alessandro’s phosphates as a bioweapon against centuries of stains.

 

In November 2019, the museum brought in Italy’s National Research Council, which used infrared spectroscopy that revealed calcite, silicate and other, more organic, remnants on the sculptures and two tombs that face one another across the New Sacristy.

 

That provided a key blueprint for Anna Rosa Sprocati, a biologist at the Italian National Agency for New Technologies, to choose the most appropriate bacteria from a collection of nearly 1,000 strains, usually used to break down petroleum in oil spills or to reduce the toxicity of heavy metals. Some of the bugs in her lab ate phosphates and proteins, but also the Carrara marble preferred by Michelangelo.

 

“We didn’t pick those,” said Bietti.

 

Then the restoration team tested the most promising eight strains behind the altar, on a small rectangle palette spotted with rows of squares like a tiny marble bingo board. All of the ones selected, she said, were nonhazardous and without spores.

 

“It’s better for our health,” said Manna, after crawling out from under the sarcophagus. “For the environment, and the works of art.”

 

Sprocati said they first introduced the bacteria to Michelangelo’s tomb for Giuliano di Lorenzo, Duke of Nemours. That sarcophagus is graced with allegorical sculptures for Day, a hulking, twisted male figure, and Night, a female body Michelangelo made so smooth and polished as to seem as if she shone in moonlight. The team washed her hair with Pseudomonas stutzeri CONC11, a bacteria isolated from the waste of a tannery near Naples, and cleaned residue of casting molds, glue and oil off her ears with Rhodococcus sp. ZCONT, another strain which came from soil contaminated with diesel in Caserta.

 

It was a success. But Paola D’Agostino, who runs the Bargello Museums, which oversees the chapels and which will officially reveal the results of the project in June, preferred to play it safe on Night’s face. So did Bietti and Pietro Zander, a Vatican expert who joined them. They allowed the restorers to give her a facial of micro-gel packs of xanthan gum, a stabilizer often found in toothpaste and cosmetics that is derived from the Xanthomonas campestris bacteria. The head of the Duke Giuliano, hovering above his tomb, received similar treatment.

 

Sprocati took her bugs elsewhere. In August, her group of biologists used bacteria isolated from a Naples industrial site to clean the wax left by centuries of votive candles from Alessandro Algardi’s baroque masterpiece, a colossal marble relief in St. Peter’s Basilica in Rome of the Meeting of Attila and Pope Leo.

 

The bacteria strains got back to the Medici Chapel, which had reopened with reduced hours, in mid-October. Wearing white lab coats, blue gloves and anti-Covid surgical masks, Sprocati and the restorers spread gels with the SH7 bacteria — from soil contaminated by heavy metals at a mineral site in Sardinia — on the sullied sarcophagus of Lorenzo di Piero, Duke of Urbino, buried with his assassinated son Alessandro.

 

“It ate the whole night,” said Marina Vincenti, another of the restorers.

 

The Medicis were more accustomed to sitting atop Florence’s food chain.

 

In 1513, Giovanni di Lorenzo de Medici became Leo X — the first Medici pope. He had big plans for a new sacristy for the interment of his family, including his father, Lorenzo the Magnificent, the powerful ruler of Florence who largely bankrolled the Renaissance. Il Magnifico is now buried here too, under a modest altar adorned with Michelangelo’s Madonna and Child, flanked by saints that also had their toes nibbled by cleansing bacteria. But back then his coffin waited, probably on the Old Sacristy floor. He was soon joined by Leo X’s brother, Giuliano, and his nephew, Lorenzo, the Prince to whom Machiavelli dedicated his treatise on wielding power.

 

“You had coffins waiting to be buried,” said D’Agostino. “It’s kind of gloomy.”

Image

 

Pope Leo X hired Michelangelo to design and build the mausoleum. The pope then promptly died of pneumonia. In the ensuing years, Michelangelo carved the masterpieces and then ran afoul of his patrons.

 

In 1527, with the Sack of Rome, Florentines, including Michelangelo, supported a Republic and overthrew the Medicis. Among the ousted princes was Lorenzo di Piero’s sometimes volatile son, Alessandro, whom many historians consider a real piece of work. Michelangelo couldn’t stand him, and when the Medicis stormed back, it was Michelangelo’s turn to flee.

 

In 1531, the Medici Pope Clement VII pardoned Michelangelo, who went back to work on the family chapel. But by that time, Alessandro had become Duke of Florence. Michelangelo soon left town, and the unfinished chapel, for good.

 

“Alessandro was terrible,” said D’Agostino.

 

Alessandro’s relative, known as the “bad Lorenzo,” agreed and stabbed him to death in 1537. The duke’s body was rolled up in a carpet and plopped in the sarcophagus. It’s unclear if his father, Lorenzo, was already in there or moved in later.

 

“A roommate,” D’Agostino said.

 

In 2013, Bietti, then the museum’s director, realized how badly things had deteriorated since a 1988 restoration. The museum cleaned the walls, marred by centuries of humidity and handprints, revealed damages from the casts and iron brushes used to remove oil and wax, and reanimated the statues.

 

“Come and see,” Bietti said, pointing, Creation-of-Adam-style, at the toe of Night.

 

But the cleaner the chapel became, the more the stubbornly marred the sarcophagus of Lorenzo di Piero stood out as an eyesore.

 

In 2016, Vincenti, one of the restorers, attended a conference held by Sprocati and her biologists. (“An introduction to the world of microorganisms,” Sprocati called it.) They showed how bacteria had cleaned up some resin residues on Baroque masterpiece frescoes in the Carracci Gallery at Palazzo Farnese in Rome. Strains isolated from mine drainage waters in Sardinia eliminated corrosive iron stains in the gallery’s Carrara marble.

 

When it came time to clean the Michelangelos, Vincenti pushed for a bacterial assist.

 

“I said, ‘OK,” said D’Agostino. “‘But let’s do a test first.’”

 

The bacteria passed the exam and did the job. On Monday, tourists admired the downward pensive glance of Michelangelo’s bearded Dusk, the rising of his groggy Dawn and Lorenzo’s tomb, now rid of the remnants of Alessandro.

 

“It’s very strange, especially in this time of Covid,” Marika Tapuska, a Slovakian visiting Florence with her family said when she learned that bacteria had cleaned up the sarcophagus. “But if it works, why not?”

 

Fonte / source, foto:

--- NYT (31 May 31, 2021): C1.

www.nytimes.com/2021/05/30/arts/bacteria-cleaning-michela...

 

2). ROMA - S.v., 'Roma, Casina Farnese sul Palatino', in: "Arte: dai laboratori Enea i batteri 'restauratori' per riparare dipinti, affreschi e statue." ADNKRONOS / ARTE (10/04/2015).

 

Presto su opere custodite in Vaticano l'applicazione dell'innovativa tecnica made in Italy messa a punto dal team coordinato da Anna Rosa Sprocati che all'Adnkronos spiega: "Tecnica a basso costo e con molti vantaggi."

 

Batteri per restaurare statue, dipinti, affreschi, antichi manoscritti. Piccolissimi organismi che si nutrono in maniera selettiva delle scorie da rimuovere dalle opere e che agiscono come e meglio di un solvente senza però essere aggressivi né per l'oggetto da trattare, né per la salute degli addetti ai lavori.

 

E' il biorestauro, la tecnica tutta italiana messa a punto dai ricercatori dell'Enea che verrà a breve applicata in Vaticano per il restauro della 'Madonna della Cintola', dipinto su legno, e per riparare i danni su statue e fontane che si trovano nei giardini della Santa Sede. Si tratta di una tecnica molto promettente. Finora infatti il laboratorio Enea ha selezionato ben 500 ceppi di batteri capaci di intervenire in diverse situazioni e su molteplici materiali.

 

Sprocati,

"Abbiamo isolato questi microrganismi e li abbiamo classificati in base a ciò che sono in grado di fare - spiega all'Adnkronos Anna Rosa Sprocati, coordinatrice del laboratorio Enea di Microbiologia ambientale e biotecnologie microbiche - creando poi una nostra banca dati. In base agli interventi che ci vengono richiesti dagli esperti, selezioniamo quindi in laboratorio i batteri più adatti, li sperimentiamo e li applichiamo per 'aggredire' determinate sostanze senza danneggiare le opere trattate".

 

E la tecnica presenta diversi vantaggi: è a basso costo "perché - assicura la ricercatrice - crescere dei batteri su larga scala non implica davvero grandi spese", non pone problemi etici perché si basa su organismi naturali non modificati geneticamente, è di facile applicazione e non è dannoso per la salute dei tecnici.

 

"Questo tipo di approccio - sottolinea Sprocati - interviene quando le tecniche tradizionali non sono soddisfacenti o quando per esserlo necessitano di prodotti aggressivi per le opere o tossici per i restauratori". Sono proprio i restauratori infatti a beneficiare maggiormente della biotecnologia e a vedere nella sua applicazione un'alternativa promettente all'impiego dei tradizionali prodotti chimici. "L'uso dei batteri non è sostitutivo del lavoro degli esperti - tiene infatti a sottolineare la scienziata - ma ne costituisce uno strumento di lavoro. Noi - spiega - ci basiamo molto proprio sulle indicazioni che arrivano dai restauratori che ci chiedono aiuto. Senza il loro occhio del resto, spesso non ci sarebbe facile verificare l'efficacia di un trattamento".

 

Il tempo di un restauro fatto dai batteri varia a seconda del tipo di intervento. "Può bastare una notte - dice Sprocati - come nel caso di una crosta nera da rimuovere da una statua, o possono essere necessarie diverse applicazioni come è capitato per rimuovere i residui di smog dalla 'Lupa' di Giuseppe Graziosi custodita alla Galleria nazionale di arte moderna e rimasta all'aperto per 40 anni".

 

Diversi gli interventi di biorestauro richiesti agli scienziati Enea. Dalla Casina Farnese sul Palatino "dove abbiamo applicato diversi tipi di batteri in successione - spiega la ricercatrice - per rimuovere i residui dagli affreschi delle logge", alla soluzione trovata ma non ancora applicata agli affreschi del Palazzo dei Papi di Avignone, in Francia. "In questo caso il problema era rimuovere della colla vinilica che tra gli anni Venti e Settanta è stata spalmata sugli affreschi per consolidarli - spiega Sprocati - ma col passare del tempo questa colla ha creato un film opaco. Con il restauro tradizionale bisognerebbe ricorrere a solventi che rischierebbero di danneggiare i dipinti. Noi invece abbiamo individuato due ceppi di batteri in grado di mangiare il vinavil senza intaccare l'opera".

 

Fonte / source, foto:

--- ADNKRONOS / ARTE (10/04/2015).

www.adnkronos.com/batteri-al-posto-dei-solventi-dallenea-...

  

March 22, 2019 was Extinction Rebellion Declaration Day in Melbourne with people gathering in Treasury Gardens before marching on the Victorian State Government offices, then the Commonwealth Government offices in Treasury Place. We had the solemnity of the Climate Guardian angels to amplify our message that we are in a climate crisis needing climate emergency action.

 

Declaration:

 

OUR DEMANDS

WE CALL ON THE AUSTRALIAN GOVERNMENT

TO DECLARE A CLIMATE EMERGENCY AND INITIATE A TRANSITION TO ZERO EMISSIONS AND BEYOND AT A SCALE AND SPEED NEVER BEFORE SEEN IN PEACETIME

 

§ We demand that the Australian government and the media tell the truth about the climate emergency and honestly inform the public that we are facing a threat to human civilisation that imperils the life of most people on Earth.

Our leaders have promoted the falsehood that climate change is not a serious or imminent threat to our survival. We are in a climate emergency and the population deserves to be informed.

 

¬¬¬¬¬¬

§ The earth is already too hot. It is reckless beyond imagining to continue making our planet hotter. We demand that all levels of government work to rapidly reduce greenhouse gases to zero by 2025. We must also commence the massive task of removing excess greenhouse gases already in the atmosphere until we restore a safe climate.

Urgent action is not only required but achievable. We must move to an emergency footing to address this threat to our survival.

 

§ Our democracy has been corrupted by vested interests and our political representatives have failed to protect us. We demand that the emergency transition be directed by a Citizens’ Assembly as we move towards a democracy fit for purpose.

We need a national Citizens’ Assembly to initiate, direct and oversee the implementation of those solutions that governments are clearly unwilling or unable to achieve without such assistance.

 

We hold the following to be true:

 

This is our darkest hour. Humanity finds itself in a crisis unprecedented in its history.

Unless this crisis is immediately addressed, it will result in the destruction of all that we love and hold dear: this land, its peoples, its ecosystems, and the very future of the human race.

 

The science is clear: we are in the sixth mass extinction event and we will face catastrophe if we do not act now.

Biodiversity is being annihilated around the world. Our seas are poisoned, acidic and rising. Flooding and desertification will render vast tracts of land uninhabitable and lead to mass migration. The insect population of the planet is plummeting, threatening the very basis of our global ecosystem. The breakdown of our climate has begun. There will be more bushfires, unpredictable and destructive storms, increasing drought, and famine as food supplies and fresh water become scarce and unreliable. But this is not just a matter of adjusting to new difficulties. We are fast approaching the point of no return. Unless we act now everything around us will begin to die with terrifying swiftness and our species too may perish. Already millions of lives have been lost. Soon it will be billions if we do not act.

 

Across Australia we are already seeing the onset of disaster.

This summer we have been ravaged by fire and flood, our arable land killed by drought, and our rivers choked by rotting fish as we continue to mismanage our ecosystems. In an age where we are losing species to extinction at a rate far greater than normal, we have had our first mammalian extinction directly due to the climate emergency. The Bramble Cay Melomys has been sent to extinction by the unnatural flooding of its island home in northern Queensland. Our culture of endless expansion and consumption killed this little life, but it is not too late to save ourselves. The ecological crises destroying this land of ours can no longer be ignored or denied by anyone who claims to have reason, conscience, or morality.

 

In accordance with these values, with truth and with the weight of scientific evidence, we declare it is our duty to act on behalf of the security and well-being of our children, our communities, and the existence of life on earth.

 

Australia’s economy is founded upon the values of industrialisation and commercialisation of the natural world. It has dispossessed and impoverished the Indigenous people of this land and tragically degraded country that was cared for over tens of thousands of years. No longer will this nation be one of destruction and genocide. We need to hear the ancient wisdom of the world’s indigenous people, and treat our home with deep love and respect. The land is our mother. We cannot live without her and all the other species with which we share her.

 

We, in alignment with our consciences and our reasoning, declare ourselves in rebellion against our government and those corporations that threaten our future until such time as our demands are met.

 

Some of our political representatives openly deny that we are in a climate emergency. Many advocate change that is too gradual, ineffective or insufficient to the global crisis we are facing. We believe this is done in order to protect the profits of their political donors. But we are not content to die because our leaders lack the wisdom and courage to do what needs to be done to ensure a safe climate future.

 

The wilful complicity displayed by our government has shattered meaningful democracy and cast aside the common interest in favour of short-term gain and private profits.

Like a termite colony undermining the structure of a house, consumer capitalism and the politicians it has bought will destroy the foundations of life on this planet. When politics has become corrupted by the powerful few it is our right as citizens to restore meaningful democracy. It is our right to protect the security of the land and its peoples where our governments have failed. It is our sacred duty as people who believe in life and love to rebel.

 

As much as we are powered by a knowledge of the imminence of complete desolation, we are strengthened by hope and the knowledge of what is possible.

In Tasmania, after Lake Pedder was lost, protestors left behind the idea of politely asking power to change its mind, and used direct action to save the Franklin River from being dammed. Thousands of people from all over the world joined the Franklin River Blockade, and thousands were arrested. Prisons overflowed, but the campaign ended with the river being saved. The hand of power was forced, and all because of the far greater power of the people deploying direct action.

 

The same happened to the Terania forest in New South Wales in the 1970s. This will happen again in the Galilee Basin when the Adani mining licence is cancelled and all fossil fuel extraction is banned once and for all time. Do not think that we haven’t tried everything else possible. This is our last resort.

 

We hereby declare the bonds of the social contract, which the government has rendered invalid by their complete failure to protect us, to be null and void.

We call upon every principled and peaceful citizen to rise with us. To be freed from oppression by the powerful few we will cast aside social divisions based upon race, ethnicity, class, sexuality, religion, and gender, and come together and fight for our lives. We will not allow corporate profiteers to dictate government decisions that place us and future generations in deadly peril.

 

This rebellion is for everyone, and it is international.

 

We are a global movement. We stand with every other land rising with us, all over the world. Our near neighbours on Pacific Islands are already losing the land under their feet. We stand with and acknowledge the traditional owners of the land. Indigenous Australians have already faced the consequences of ecological and cultural destruction and the Traditional Owners’ objections to mining on their lands have been repeatedly ignored or overridden. We say no more. We say enough!

 

We will no longer stand idly by and witness the destruction of our only home by the greedy few. We are many. We will act. We will rise. We demand justice. We will protect ourselves. We will prevail.

 

With love and rage

#ExtinctionRebellion

In the fog at St Mary's Church, Whitby. Pinhole image on modified Ful-Vue.

Credits available at FuknHawt.

 

Show Me ♪

Thursday morning, and all I had to do was get back to Kent. Hopefully before five so I could hand the hire car back, but getting back safe and sound would do, really.

 

I woke at six so I could be dressed for breakfast at half six when it started, and as usual when in a hotel, I had fruit followed by sausage and bacon sarnies. And lots of coffee.

 

Outside it had snowed. OK, it might only be an inch of the stuff, but that's more than an inch needed to cause chaos on the roads.

 

Back to the room to pack, one last look round and back to reception to check out, then out into the dawn to find that about a quarter of the cars were having snow and ice cleared off them before being able to be driven.

 

I joined them, scraping the soft snow then the ice. Bracing stuff at seven in the morning.

 

Now able to see out, I inched out of the car park and out to the exit and onto the untreated roads.

 

It was a picturesque scene, but not one I wanted to stop to snap. My first road south had only been gritted on one side, thankfully the side I was travelling down, but was still just compacted snow.

 

After negotiating two roundabouts, I was on the on ramp to the M6, and a 60 mile or so drive south. The motorway was clear of snow, but huge amounts of spray was thrown up, and the traffic was only doing 45mph, or the inside lane was, and that was quite fast and safe enough for me.

 

More snow fell as I neared Stoke, just to add to the danger of the journey, and then the rising sun glinted off the road, something which I had most of the drive home.

 

I went down the toll road, it costs eight quid, but is quick and easy. And safe too with so little traffic on it. I think for the first time, I didn't stop at the services, as it was only about half nine, and only three hours since breakfast.

 

And by the time I was on the old M6, there was just about no snow on the ground, and the road was beginning to dry out.

 

My phone played the tunes from my apple music store. Loudly. So the miles slipped by.

 

After posting some shots from Fotheringhay online, a friend, Simon, suggested others nearby that were worth a visit, and I also realised that I hadn't taken wide angle shots looking east and west, so I could drop in there, then go to the others suggested.

 

And stopping here was about the half way point in the journey so was a good break in the drive, and by then the clouds had thinned and a weak sin shone down.

 

Fotheringhay is as wonderful as always, it really is a fine church, easy to stop there first, where I had it to myself, and this time even climbed into the richly decorated pulpit to snap the details.

 

A short drive away was Apethorpe, where there was no monkey business. The village was built of all the same buttery yellow sandstone, looking fine in the weak sunshine.

 

Churches in this part of Northamptonshire are always open, Simon said.

 

Not at Apethorpe. So I made do with snapping the church and the village stocks and whipping post opposite.

 

A short drive up the hill was King's Cliffe. Another buttery yellow village and a fine church, which I guessed would be open.

 

Though it took some finding, as driving up the narrow high street I failed to find the church. I checked the sat nav and I had driven right past it, but being down a short lane it was partially hidden behind a row of houses.

 

The church was open, and was surrounded by hundreds of fine stone gravestones, some of designs I have not seen before, but it was the huge numbers of them that was impressive.

 

Inside the church was fine, if cold. I record what I could, but my compact camera's batter had died the day before, and I had no charger, so just with the nifty fifty and the wide angle, still did a good job of recording it.

 

There was time for one more church. Just.

 

For those of us who remember the seventies, Warmington means Dad's Army, or rather Warmington on Sea did. THat there is a real Warmington was a surprise to me, and it lay just a couple of miles the other side of Fotheringhay.

 

The church is large, mostly Victorian after it fell out of use and became derelict, if the leaflet I read inside was accurate. But the renovation was excellent, none more so than the wooden vaulted roof with bosses dating to either the 15th or 16th centuries.

 

Another stunning item was the pulpit, which looks as though it is decorated with panels taken from the Rood Screen. Very effective.

 

Back to the car, I program the sat nav for home, and set off back to Fotheringhay and the A14 beyond.

 

No messing around now, just press on trying to make good time so to be home before dark, and time to go home, drop my bags, feed the cats before returning the car.

 

No real pleasure, but I made good time, despite encountering several bad drivers, who were clearly out only to ruin my mood.

 

Even the M25 was clear, I raced to the bridge, over the river and into Kent.

 

Nearly home.

 

I drive back down the A2, stopping at Medway services for a sandwich and a huge coffee on the company's credit card.

 

And that was that, just a blast down to Faversham, round onto the A2 and past Canterbury and to home, getting back at just after three, time to fill up the bird feeders, feed the cats, unpack and have a brew before going out at just gone four to return the car.

 

Jools would rescue me from the White Horse on her way home, so after being told the car was fine, walked to the pub and ordered two pints of Harvey's Best.

 

There was a guy from Essex and his American girlfriend, who were asking about all sorts of questions about Dover's history, and I was the right person to answer them.

 

I was told by a guide from the Castle I did a good job.

 

Yay me.

 

Jools arrived, so I went out and she took me home. Where the cats insisted they had not been fed.

 

Lies, all lies.

 

Dinner was teriyaki coated salmon, roasted sprouts and back, defrosted from before Christmas, and noodles.

 

Yummy.

 

Not much else to tell, just lighting the fire, so Scully and I would be toast warm watch the exciting Citeh v Spurs game, where Spurs were very Spursy indeed.

 

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

 

I was exploring the churches of north-east Northamptonshire, and on my way back to Peterborough station how could I resist a visit to lovely Warmington church? The village is rather a suburban one but, the solid little entirely Early English church sits at its heart. Entirely a Huntingdonshire church in style, with a stubby spire and big dormer-style lucarnes.

   

I had previously visited almost exactly a year ago, and as before I left my bike in the Early English porch, which is vaulted in blocks of stone, handsome yet familiar. I remembered in 2015 stepping into what turned out to be then the most interesting interior of the day, although rather overshadowed by Apethorpe and Blatherwycke on my current trip. The most striking feature, and rather a surprising one, is that the roof of the nave is vaulted in wood. This was done in the 13th Century, and the bosses survive from that time - even more surprising, they all depict green men, nine of them. Why was this not done elsewhere?

   

The rood screen is one of the best in the area, and the medieval pulpit appears to be constructed of rood screen panels (can that be right? Did they come from the rood loft? Surely it is pre-Reformation, in which case perhaps they came from somewhere else). Lots to think about. A good church, it would be considered so in any county.

   

So I got back on my bike and headed on towards Peterborough, but not without a memory of the last time I had done the same thing, because in 2015, as I was about to leave the church, three young women came in. They were walking the Nene Way, and were attired as you might expect attractive young women to be on such a sunny day. I didn't want them to be made nervous by the presence of a middle-aged man with a camera, so I nodded a greeting as I left, but in the event they engaged me in conversation, asking me where I'd come from, telling me what they were doing, where they were going, and so on.

   

In the end I had to make my apologies and leave as they didn't seem to want to let me go, not an experience I have very often these days, I can tell you. It rather put me in mind of the Sirens episode in the Odyssey.

   

And so I headed on, wary now of any wandering rocks and one-eyed giants.

 

www.flickr.com/photos/norfolkodyssey/27033140016/in/photo...

 

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St Michael’s Parish Church, Warmington

 

Warmington was already an established farming community when its assets were recorded in Domesday Book. Shortly afterwards, its Norman owner, the Earl of Warwick, gave the manor of Warmington to the Benedictine Abbey which his father had endowed in Normandy, St.Peter’s at Preaux. Warmington was to remain in monastic hands, with one short break, for about 450 years. Monks were sent over from Preaux who built a small Priory. Its foundations were discovered when houses were built in Court Close in the 1950s. The Priory has disappeared, but the splendid church built under the monks’ supervision, mainly in the early medieval period, remains.

 

The church stands high above the village, close to the summit of Warmington Hill. Tradition tells us that the stone for building it was dug close by, in the area known as Catpits, or Churchpits. The stone for the tower was brought from a field known as Turpits, or Towerpits, a quarter of a mile away along the Hornton road. The churchyard is entered either by the lych-gate from the main road, or from the village by two long flights of steps. A diagonal line of pine trees marks the former boundary of the churchyard which was extended in the 1850s. In the older part, and especially near the south porch, are gravestones of exceptionally fine workmanship dating from the 17th and 18th centuries. About eighty of these are ‘listed’ by the Department of the Environment. All the inscribed memorials were recorded in 1981.

 

An admirable and detailed architectural description of the church is available in the Victoria County History. These notes are intended rather as a ‘layman’s conducted tour’. The church was purpose-built and used for the first half of its long life for forms of worship very different from our own. It was also the village meeting place for many secular purposes The church comprises north and south porches, nave with north and south aisles, a west tower and chancel with two-storey vestry adjoining.

 

As you enter the church by the south porch you walk forward into the nave. This area, with the first three pillars on each side, is where Warmington people have met and worshipped since the twelfth century. The area was extended by the addition of the aisles a century later. Today the overwhelming impression is a sense of simplicity, of space and of strength. Imagine the scene in the medieval period: no pews but white-washed walls covered with paintings, images of the saints in stone, on wood and painted cloths, the whole lit by the sunlight through stained glass and by candles and lamps burning before every image. On Sundays before Mass, at special festivals and for some fifty saints’ days in the year, a procession would form, with banners and hand bells, winding its way around the church and churchyard, and stopping at various points for particular acts of worship. The north and west doors, so rarely used today, had significance in these processions.

 

Before leaving this area of the church, notice the variety of windows, almost all of early date, but now mostly with clear glass. The ones at the east ends of the aisles, where the stone plate is pierced with roundels and a five-pointed star, are unusual. Considerable work has been undertaken in recent years in renewing the stone mullions, worn by the weather over time. The early Norman tub font of simple design is large enough for infant immersion. The aisles both taper by a foot, one to the east, and one to the west. The nave and chancel are slightly out of alignment, perhaps symbolic of Christ’s drooping head on the cross.

 

Before stepping down into the chancel, run your hand along the wooden screen under the chancel arch. This is all that remains of the great rood-screen which would have dominated the medieval church. The screen was hacked through quite roughly when the church was stripped of its ‘idolatrous’ treasures at the Reformation. Just to the right of the chancel arch is the doorway and stair which used to lead to the rood-screen loft.

 

The stained glass and memorial tablets in the chancel all commemorate the family of the Victorian rector during whose incumbency the church was restored. On the south wall are a richly decorated triple sedilia and piscina, dating from the fifteenth century when Warmington manor had newly passed to the Carthusian monks of Wytham in Somerset.

 

A door from the chancel leads into the vestry, built about 1340. The lower room was a chapel, dedicated to St Thomas. The stone altar shows four of its five original crosses cut in the top. An altar would have a piscina nearby for washing the vessels used at Mass. The piscina here has a trefoiled ogee-head and quartrefoil basin. On the opposite wall is a blocked fireplace.

 

The oak doors and stairway are delightful and a testament to the skills of local carpenters, smiths and masons. The upper room was the priest’s home complete with windows, commanding extensive views, fireplace, lavatory and a shuttered opening for keeping watch over the main alter. The exterior walls of the vestry are extraordinarily thick. One Warmington tradition was that it was used as a prison for recalcitrant monks!

 

A more credible and interesting suggestion is that the walls were so constructed to carry the weight of a tower. If this was indeed the plan, it was quickly abandoned, for soon after the vestry was built work started on the tower in the usual Warwickshire position at the west end of the nave.

 

The slightly different stonework on the exterior indicates the stages of its building. The tower is recessed slightly into the nave, presumably to accommodate it in the very limited land there was available for extending the church at the west end. A stair within the thickness of the wall gives access to the bell chamber and the roof. The flight is steep and the treads are worn down to the bottom of the risers. The present bells are dated 1602, 1613 and 1811.

 

There are many interesting gravestones in the churchyard, which were recorded by members of Warmington WI in a 1981 survey.

 

VICTORIA COUNTY HISTORY

 

WARMINGTON

 

This extract from the Victoria County History gives a very detailed description of the parish church.

 

The church stands directly on the east side of the main road from Banbury to Warwick at the top of a steep gradient and the village lies mostly to the northeast of it at a lower level. The parish church of ST. MICHAEL, or ST. NICHOLAS, consists of a chancel, north chapel with a priest’s chamber above it, nave, north and south aisles and porches and a west tower.

 

The nave dates from the 12th century; no detail is left to indicate its original date but it was of the proportion of two squares, common in the early 12th century. A north aisle was added first, about the middle of the 12th century, with an arcade of three bays; a south aisle followed, near the end of the 12th century, also with a three-bay arcade. After about a century a considerable enlargement was begun and continued over a period of half a century or more; the nave was lengthened eastwards about 10 ft. and a new chancel built. The extra length of the side walls added to the nave perhaps remained unpierced at first.

 

Although there is a general sameness in the Hornton stone ashlar walling throughout, all the various parts—chancel, chapel, aisles, and tower—have different plinths, &c., and there is a great variation in the elevations and details of the windows, showing constant changes from the 14th century, when there was much activity, onwards, probably because of decay and need for repair caused by the church’s exposed position on the brow of a hill.

 

The south aisle was widened to its present limits about 1290, on the evidence of the wide splays and other details of its windows; but an early-13th-century doorway was re-used. It is possible that the east part of the north aisle followed soon afterwards, c. 1300, as a kind of transeptal chapel, on the evidence of its east window, which differs from the other aisle windows. From c. 1330–40 much was done. The chancel arch was widened, new bays to match were inserted in the east lengths of the nave walls, making both arcades now of four bays, the widening of the whole of the north aisle was completed with the addition of the north porch. The 12th-century north arcade, which seems to have lost its inner order, was probably rebuilt. There is a curious distortion about both aisles, perhaps only explained by the widenings being made in more than one period; the north aisle tapers from west to east and the south aisle tapers from east to west, about a foot each, as compared with the lines of the arcades. The south porch was probably added about 1330.

 

About 1340 came also the addition of the chapel with the priest’s chamber above it. The north wall of the chancel, probably of the 13th century and thinner than any of the other walls, was kept to form the south wall of the chapel, but the other walls were made unusually thick, as though it was at first intended to raise a higher superstructure than was actually carried out, perhaps even a tower. If such was the intention it was quickly abandoned and the west tower was begun about 1340–5 and carried up to some two-thirds of its present height. There was not much room above the road-side and it had to encroach 2 or 3 ft. into the west end of the nave. The top stage was added or completed in the 15th century.

 

With the addition of the chapel, alterations were made to the chancel windows, but its south wall had to be rebuilt in the 15th century, when new and larger windows were inserted and the piscina and sedilia constructed.

 

There have been many repairs and renovations, notably in 1867 to the chancel and 1871 for the rest of the church, and others since then. The roofs have been entirely renewed, though probably more or less of the original forms of the 14th or 15th centuries.

 

The chancel (about 30½ft. by 16½ft.) has an east window of four trefoiled pointed lights and modern tracery of 14th-century character in a two-centred head with an external hood-mould having head-stops. The jambs and arch, of two moulded orders, and the hood-mould are early-14th-century. In the north wall is a 14th-century doorway into the chapel with jambs and ogee head of three moulded orders and a hoodmould with head-stops, the eastern a cowled man’s, the western a woman’s. It contains an ancient oak door, with stout diagonal framing at the back and hung with plain strap-hinges. At the west end of the wall are two windows close together; the eastern, of c. 1340, of two trefoiled ogee-headed lights and cusped piercings in a square head with an external label having decayed head-stops. It has a shouldered internal lintel which is carved with grotesque faces. The western is a narrower and earlier 14th-century window of two trefoiled ogee-headed lights and a quatrefoil, &c., in a square head with an external label.

 

The window at the west end of the south wall is similar. The other two are 15th-century insertions, each of two wide cinquefoiled three-centred lights under a square head with head-stops, one a cowled human head, the other beast-heads. The jambs and lintel of two sunk-chamfered orders are old, the rest restored. The rear lintel is also sunk-chamfered and is supported in the middle by a shaped stone bracket from the mullion.

 

The 14th-century priest’s doorway has jambs and two-centred ogee head of two ovolo-moulded orders and a cambered internal lintel; it has no hood-mould.

 

Below the south-east window is a 15th-century piscina with small side pilasters that have embattled heads, and a trefoiled ogee head enriched with crockets. The sill, which projects partly as a moulded corbel, has a round basin. West of it are three sedilia of the same character with cinquefoiled ogee heads also crocketed and with finials. At the springing level are carved human-head corbels: the cusp-points are variously carved, an acorn, a snake’s head, a skull, and foliage. The two outer are surmounted by crocketed and finialled gables and all are flanked and divided by pilasters with embattled heads and crocketed pinnacles.

 

The east wall is built of yellow-grey ashlar with a projecting splayed plinth; the gable-head has been rebuilt. At the south-east angle is a pair of square buttresses of two stages, probably later additions, as the plinth is not carried round them. Another at the former north-east angle has been restored. The south wall is of yellow ashlar but has a moulded plinth of the 15th century. The eaves have a hollow-moulded course with which the uprights of the 15th-century window-labels are mitred.

 

The 14th-century chancel arch has responds and pointed head of two ovolo-moulded orders interrupted at the springing line by the abacus.

 

The roof with arched trusses is modern and is covered with tiles.

 

The north chapel (about 12 ft. east to west by 17 ft. deep) is now used as the vestry, and dates from c. 1340. In its south wall, the thin north wall of the chancel, is a straight joint 3¼ft. from the east wall probably marking the east jamb of a former 13th-century window, and below it is the remnant of an early stringcourse that is chamfered on its upper edge. The east wall is 3 ft. 10 in. thick and the north wall 4 ft. 6 in. In the middle of each is a rectangular one-light window with moulded jambs and head of two orders and an external label; the internal reveals are half splayed and part squared at the inner edges and have a flat stone lintel. The lights were probably cusped originally. In the west wall is a filled-in square-headed fire-place, perhaps original. Partly in the recess of the east window and partly projecting is an ancient thick stone altarslab showing four of the original five crosses cut in the top. It has a hollow-chamfered lower edge and is supported by moulded stone corbels. South of it in the east wall is a piscina with a trefoiled ogee-head and hood-mould and a quatrefoil basin.

 

The stair-vice that leads up to the story above is in the south-west angle, its doorway being splayed westwards to avoid the doorway to the chancel. In it is an ancient oak door with one-way diagonal framing on the back. The turret projects externally to the west in the angle with the chancel wall; it is square in the lower part but higher is broadened northwards with a splay that is corbelled out below in three courses, the lowest corbel having a trefoiled ogee or blind arch cut in it. The top is tabled back up to the eaves of the chapel west wall. A moulded string-course passes round the projection and there is another half-way up the tabling. The doorway at the top of the spiral stair leading into the upper chamber has an ancient oak door hung with three strap-hinges.

 

The upper priest’s chamber has an east window of two plain square-headed lights, probably altered. In the north wall is a rectangular window that was of two lights but has lost its mullion. Outside it has a false pointed head of two trefoiled ogee-headed lights and leaf tracery, all of it blank, and a hood-mould with human-head stops, one cowled. Apparently this treatment was purely for decorative purposes, like the square-headed windows at Shotteswell and elsewhere. The south wall is pierced by a watching-hole into the chancel, which is fitted with an iron grill and oak shutter: it has been reduced from a larger opening that had an ogee head and hood-mould. There is a square-headed fire-place in the west wall and in the splayed north-west angle is the entrance to a garderobe or latrine, which is lighted by a north loop.

 

The walls are of yellow ashlar and have a plinth of two courses, the upper moulded, a moulded stringcourse at first-floor level, and moulded eaves-courses at the sides. The north wall is gabled and has a parapet with string-course and coping. At the angles are diagonal buttresses of two stages; the lower stage is 2½ft. broad up to the first-floor level, above this the upper stage is reduced to about half the breadth. They support square diagonal pinnacles with restored crocketed finials. The west wall is unpierced but above it is a plain square chimney-shaft with an open-side hood on top. Internally the walls are faced with whitish-brown ashlar. The gabled roof is modern and of two bays.

 

The nave (about 41½ft. by 16½ft.) has north and south arcades of four bays. The easternmost bay on each side, with the first pillar, is of the same detail and date as the chancel arch. They vary in span, the north being about 9 ft. and the south about 10 ft., and in both cases the span is less than those of the older bays. Those on the north side are of 11–12 ft. span and date from the middle of the 12th century. The pillars are circular, the west respond a half-circle, with scalloped capitals, 6 in. high and square in the deep-browed upper part and with a 4½in. grooved and hollowchamfered abacus. The bases are chamfered and stand on square sub-bases. The arches are pointed and of one square order with a plain square hood-mould, The voussoirs are small. The middle parts of the soffits are plastered between the flush inner ends of the voussoirs, suggesting a former inner order, abolished perhaps in a rebuilding of the heads.

 

The same three bays of the south side are of 11 ft. span and of late-12th-century date. The round pillars are rather more slender than the northern, and the capitals are taller, 12 in. high, with long and shallow scallops, and have 4 in. abaci like the northern. The bases are taller and moulded in forms approaching those of the 13th century, on chamfered square sub-bases.

 

The pointed arches are of one chamfered order and their hood-moulds are now flush with the plastered wall-faces above.

 

The half-round west responds of both arcades have been overlapped on the nave side by the east wall of the tower.

 

High above the 14th-century south-east respond is a 15th-century four-centred doorway to the former rood-loft. The stair-vice leading up to it is entered by a four-centred doorway in the east wall of the south aisle.

 

The north aisle (11½ft. wide at the east end and 12½ft. at the west) has an uncommon east window of c. 1300. It is of three plain-pointed rather narrow lights; above the middle light, which has a shorter pointed head than the others, is a circle enclosing a pierced five-pointed star, all in a two-centred head with an external hood-mould having defaced head-stops, and with a chamfered rear-arch.

 

Set fairly close together at the east end of the north wall are two tall windows of c. 1340, each of two trefoiled round-headed lights and foiled leaf-tracery below a segmental-pointed head with an ogee apex, the tracery coming well below the arch. The jambs are of two orders, the outer sunk-chamfered. The lights are wider and the splays of ashlar are more acute than those of the east window.

 

The third window near the west end is narrower and shorter and of two plain-pointed lights and an uncusped spandrel in a two-centred head: it is of much the same date as the east window. The jambs and head are of two hollow-chamfered orders and the fairly obtuse plastered splays have old angle-dressings. The segmental-pointed rear-arch is chamfered.

 

The north doorway, also of c. 1340, has jambs and two-centred head without a hood-mould; the segmental rear-arch is of square section. In it is an 18th-century oak door.

 

The three-light window in the west wall has jambs and splays like those of the north-west but its head has been altered; it is now of three trefoiled ogee-headed lights below a four-centred arch. The chamfered reararch is elliptical.

 

The walls are yellow ashlar with a chamfered plinth and parapets with moulded string-courses and copings that are continued over the east and west gables. Below the sills of the two north-east windows is a plain stringcourse. At the east angle is a pair of shallow square buttresses and a diagonal buttress at the west, all ancient. White ashlar facing is exposed inside between the two north-east windows only, the remainder being plastered. The gabled roof of trussed-rafter type is modern and covered with tiles.

 

The south aisle (13 ft. wide at the east end and 12 ft. at the west) has an east window of three plain-pointed lights, and three plain circles in plate tracery form, in a two-centred head with an external hood-mould having mask stops. The yellow stone jambs and head of two chamfered orders and the wide ashlar splays are probably of the late 13th century; the grey stone mullions and tracery are apparently old restorations but are probably reproductions of the original forms.

 

There are two south windows: the eastern is of two wide cinquefoiled elliptical-headed lights under a square main head with an external label with return stops. The jambs are of two moulded orders, the inner (and the mullion) with small roll-moulds, probably of the 13th century re-used when the window was refashioned in the 15th century. The wide splays are of rubble-work and there is a chamfered segmental reararch. The western is a narrower opening of two trefoiled-pointed lights, with the early form of soffit cusping, and early-14th-century tracery in a twocentred head: the jambs are of two chamfered orders and the wide splays are plastered, with ashlar dressings: the chamfered rear-arch is segmental pointed.

 

The reset south doorway has jambs and pointed head of two moulded orders with filleted rolls and undercut hollows of the early 13th century, divided by a three-quarter hollow more typical of a later period, and all are stopped on a single splayed base. The hoodmould has defaced shield-shaped head-stops. There are four steps down into the church through this doorway.

 

The window in the west wall is like that in the east but the three lights are trefoiled and the three circles in the two-centred head are quatrefoiled: the head is all restored work. The jambs are ancient and precisely like those of the square-headed south window, and the wide splays are of rubble-work.

 

The walls are of yellow fine-jointed ashlar and have plinths of two splayed courses, the upper projecting like that of the east chancel-wall, and plain parapets with restored copings. At the angles are old and rather shallow diagonal buttresses. There are three scratched sundials on the south wall, one, a complete circle, being on a west jambstone of the south-east window.

 

The gabled roof is modern like that of the north aisle.

 

The south porch is built of ashlar like that of the aisle but the courses do not tally and it has a different plinth, a plain hollow-chamfer. The gabled south wall has a parapet with a restored coping. The pointed entrance is of two orders, the inner ovolo-moulded, the outer hollow-chamfered, and has a hood-mould of 13thcentury form. There are side benches. The roof is modern but on the wall of the aisle are cemented lines marking the position of an earlier high-pitched roof at a lower level than the present one.

 

The north porch is of shallower projection. It has a gabled front with diagonal buttresses and coped parapet and a pointed entrance with jambs and head of two chamfered orders, the inner hollow, and a hood-mould with head-stops.

 

The west tower (about 9½ft. square) is of three stages divided by projecting splayed string-courses: it has a high plinth, with a moulded upper member and chamfered lower course, and a plain parapet. The walls are of yellow ashlar, that of the two upper stages being of rather rougher facing and in smaller courses than the lowest stage. At the west angles are diagonal buttresses reaching to the top of the second stage. There are no east buttresses but in the angle of the north wall with the end of the nave is a shallow buttress against the nave-wall. In the south-west angle, but not projecting, is a stair-vice with a pointed doorway in a splay, and lighted by a west loop. The archway to the nave has a two-centred head of two chamfered orders, the inner dying on the reveals, the outer mitring with the single chamfered order of the responds. It has large voussoirs. The wall on either side of the archway is of squared rough-tooled ashlar.

 

The 14th-century west doorway has jambs and pointed head of two wave-moulded orders divided by a three-quarter hollow, and a hood-mould with return stops. The head of the tall and narrow 14th-century west window is carried up into the second stage, its hood-mould springing from the string-course. It is of two trefoiled ogee-headed lights and a quatrefoil in a two-centred head: the jambs are of two chamfered orders.

 

There are no piercings in the second stage, but on the north side is a modern clock face.

 

The bell-chamber has 15th-century windows, each of two lights with depressed trefoiled ogee heads and uncusped tracery in which the mullion line is continued up to the apex of the two-centred head. The jambs are of two chamfered orders and there is no hood-mould.

 

The font is circular and dates probably from the 13th century. It has a plain tapering bowl, a short stem with a comparatively large 13th-century moulding at the top: a short base is also moulded.

 

In the vestry is an ancient iron-bound chest.

 

There are three bells, the first of 1811, the second of 1616, and the tenor of 1602 by Edward Newcombe.

 

The registers begin in 1636.

 

Advowson

 

The church was valued at £8 6s. 8d. in 1291, and at £16 3s. 10d., in addition to a pension of 13s. 4d. payable to Witham Priory, in 1535. The advowson passed with the manor until 1602, when the patron was Richard Cooper. In 1628 William Hall and Edward Wotton, by concession of — Hill, the patron, presented Richard Wotton, who at the time of his wife’s death in 1637 was ‘rector and patron, of the church’. In 1681 and 1694 presentations were made by Thomas Farrer, and from 1726 till his death in 1764 the patronage was held by his son Thomas Farrer. His widow Alice held it in 1766, but by 1773 it had been divided between their two daughters, Mary wife of John Adams, and Elizabeth Farrer (1782) who afterwards married Hamlyn Harris. In 1802 Henry Bagshaw Harrison was patron and rector. He died in 1830, and by 1850 the advowson had been acquired by Hulme’s Trustees, in whose hands it has continued, so that they now present on two out of three turns to the combined living of Warmington and Shotteswell, which was annexed to it in 1927.

 

For a list of rectors and clergy of Warmington see the ‘trades and occupations’ section of the site.

 

www.warmingtonheritage.com/village-history/significant-bu....

I got my Isul Glen home about a week ago, and even though I liked him as he was. my plan was to transform him into a girl. So here she is :D I still don't have a name for her and i'm not 100% sure of the wig yet, also need to get her a girl Obitsu body and new eyechips maybe.. but so far she's super cute :3

I know, it's been done millions of times. First try for me. Have to work on my technique...

What a lovely sweater nice and soft

...need to lookup the church name!

all you need for loong trip list. blogged here teddy7733.blogspot.com/2009/11/preparation-for-my-biggest...

Colourful ceramics at a little shop along U.S. Highway 83 between Weslaco and La Feria Texas.

Need I say more?

www.taskade.com

Disregard email drafts, notes applications and daily agenda administrators: Taskade does all that and the sky is the limit from there

 

All that I have to keep my life running is put away on the web. Some place. I can't discover it.

 

I'm discussing all the record numbers, meeting notes, daily agendas, contact data and section drafts I have to see each day. Additionally the plans I need to cook, wines I have to attempt, and YouTube recordings I should watch. A portion of that stuff lives in my email inbox, and some in Google Docs. At that point there are my Pinterest sheets, incidental bookmarks and the Evernote account I can never compose lucidly.

 

In principle, the web makes it simpler than any time in recent memory to keep all that I need a couple of taps away. Actually, the web has a method of dividing our lives. It resembles I composed everything in a journal and afterward become inebriated, tore out each page and shrouded them in better places around my home.

 

Taskade makes an extraordinary device for easy plans for the day, and you can utilize photographs, emoticons and stock workmanship to tidy them up.

 

Photograph: David Pierce/The Wall Street Journal

 

In the course of recent weeks, an application called Taskade has helped me transform mayhem into request. Taskade joins huge numbers of the best highlights of Google Docs, Excel and Dropbox, alongside heaps of assignment the executives and hierarchical instruments. Taskade Labs Chief Executive Ivan Zhao depicts the item as "the up and coming age of Microsoft Office," which is a little hyperbolic and a ton aspiring. However, it is the best life-association device I've attempted.

 

Taskade consolidates the highlights of a note-taking application, an assignment the executives application and a spreadsheet device the way that Steve Jobs joined an iPod, a cellphone and an internet browser into the iPhone: All these devices cooperate to make something more than its parts.

 

I should make reference to that Taskade is genuinely costly: It has a restricted complementary plan, and expenses $8 every month for hefty use. All things considered, it may pay for itself in the applications it replaces, and I've discovered it effectively worth the expense.

 

I presently have a page with all my carrier and lodging faithfulness numbers in a bulleted list, over a photograph of my dental protection card and an installed map with bearings to my dental specialist's office. I made information bases with all the films, books, TV shows, and YouTube recordings I have to get to—every cell opens to a rich archive with my notes and considerations. Taskade has all the meetings, research material and frameworks for my segments. I'm getting hitched soon and am gazing intently at my marital daily agenda consistently.

 

One of Taskade's most up to date includes is an information base apparatus, which you can see as a table, a schedule and that's only the tip of the iceberg.

 

Photograph: David Pierce/The Wall Street Journal

 

I used to require five separate applications to keep so much stuff straight. Presently it's all in Taskade, a couple of snaps or a basic pursuit away.

 

Square by Block

 

It may be simpler to consider Taskade a super-straightforward web designer than a profitability application.

 

At the point when you open another page in the application, you're truly making a clear matrix onto which you can put and organize pretty much anything. The application's fundamental component is the square, which could be a passage of text, a bulleted list, a table, a picture, a code piece, a YouTube video, a PDF and that's only the tip of the iceberg. You embed blocks with a tap or console alternate way, and afterward reorder and sort out these however much you might want. You can without much of a stretch change the idea of a square, as well. For example, you can choose a lot of text and transform it into a daily agenda.

 

Taskade's essential component is the square, which takes numerous structures: text, joins, pictures, bookmarks and that's only the tip of the iceberg.

 

Photograph: David Pierce/The Wall Street Journal

 

Taskade resembles chess: simple to learn, hard to ace. The application itself looks genuinely natural, with a sidebar on the left and your open page on the right. It has a couple of stylish comforts, similar to the alternative to add a spread photograph to the head of any page.

 

At the point when you first open the application, however, it doesn't do what's necessary to assist you with understanding all that it can do. Even following quite a while of utilizing Taskade every day, I'm just currently making sense of the most proficient approaches to get things done while attempting to abstain from settling on awful design choices. Do I truly require a full-page photograph inside my daily agenda? My recommendation: Make weighty utilization of Taskade's layouts, since they help you spread out pages and show what the application's prepared to do.

 

There are local Taskade applications for Windows, Mac and iOS. Mr. Zhao says an Android application ought to be accessible inside weeks. The web application works wonderfully on work area and portable, as well, and it's precisely the same experience regardless of which stage you're utilizing.

 

Taskade is exceptionally reliant on web network. It works disconnected uniquely with pages you've opened as of late while associated—which implies everything you can do is cross your fingers each time you open Taskade on a plane. On the upside, you can implant tweets and YouTube recordings, even whole website pages, inside a Taskade report.

 

Photograph: David Pierce/The Wall Street Journal

 

In spite of the fact that I use Taskade to keep steady over my own work and life (and you ought to as well), Taskade is intended for business groups. It offers communitarian altering, inline remarks and valuable devices for overseeing consents and allocating undertakings. In the event that you utilize Slack, you can get cautions each time somebody remarks on or changes a Taskade archive. Is anything but a substitute for Slack or Salesforce, however it can supplant a significant number of the apparatuses endless organizations use to store and offer data.

 

All in one resource

 

Matt Galligan, organizer of the Picks and Shovels Co., a digital money administrations startup, offered a valuable representation for Taskade. He says utilizing the application is much the same as shopping on Amazon. Previously, "stores specific," he stated, "and they worked admirably." Then Amazon went along and accumulated everything. It perhaps wasn't the best store for any single thing, yet the one-stop comfort made it brilliant.

 

That is simply it: Taskade isn't as ground-breaking a spreadsheet device as Excel, and it doesn't have a portion of the errand the board highlights I need—when an undertaking is expected, I might want an alarm, for example. (Taskade says that is coming.) Yet the application has helped me shave the spots I hold stuff down to only two. I can't prevent email from coming in; I can put everything else in Taskade.

 

Photograph: David Pierce/The Wall Street Journal

 

There's parcels left for the Taskade group to do, obviously. Notwithstanding task updates, it's additionally taking a shot at schedule sync, PowerPoint-style introduction includes, a web trimmer, better disconnected help and that Android application. It's additionally wanting to help administrations, for example, Zapier and If This Then That (IFTTT), which help move information between applications. In any case, it as of now accomplishes more than any of its rivals.

 

For quite a long time, I've bobbed around different note-taking applications and efficiency devices, never entirely upbeat. Evernote makes it simple to catch data, yet I never preferred the interface. Google Docs and Keep don't offer enough highlights. Trello, Asana and other task the board programming don't work for note taking.

 

Taskade wires the best of each—and others—into an uncommon renaissance application, capable in endless techniques for creation and association. I can't put a cost on the true serenity that originates from an unfragmented life. Pause, yes I can: It's eight bucks every month.

 

Crude Paste Data

 

Disregard email drafts, notes applications and daily agenda supervisors: Taskade does all that and that's only the tip of the iceberg

 

All that I have to keep my life running is put away on the web. Some place. I can't discover it.

 

I'm discussing all the record numbers, meeting notes, plans for the day, contact data and segment drafts I have to see each day. Besides the plans I need to cook, wines I have to attempt, and YouTube recordings I should watch. A portion of that stuff lives in my email inbox, and some in Google Docs. At that point there are my Pinterest sheets, random bookmarks and the Evernote account I can never arrange soundly.

 

In principle, the web makes it simpler than any time in recent memory to keep all that I need a couple of taps away. In actuality, the web has a method of dividing our lives. It resembles I composed everything in a scratch pad and afterward become inebriated, tore out each page and shrouded them in better places around my home.

 

Taskade makes an incredible device for easy plans for the day, and you can utilize photographs, emoticons and stock workmanship to tidy them up.

 

Photograph: David Pierce/The Wall Street Journal

 

In the course of recent weeks, an application called Taskade has helped me transform mayhem into request. Taskade consolidates a significant number of the best highlights of Google Docs, Excel and Dropbox, alongside loads of undertaking the executives and authoritative instruments. Taskade Labs Chief Executive Ivan Zhao depicts the item as "the up and coming age of Microsoft Office," which is a little hyperbolic and a ton aggressive. Be that as it may, it is the best life-association apparatus I've attempted.

 

Taskade joins the highlights of a note-taking application, an assignment the executives application and a spreadsheet instrument the way that Steve Jobs consolidated an iPod, a cellphone and an internet browser into the iPhone: All these apparatuses cooperate to make something more than its parts.

 

I should make reference to that Taskade is genuinely costly: It has a restricted complementary plan, and expenses $8 every month for substantial use. In any case, it may pay for itself in the applications it replaces, and I've discovered it effectively worth the expense.

 

I presently have a page with all my carrier and inn faithfulness numbers in a bulleted list, over a photograph of my dental protection card and an implanted guide with bearings to my dental specialist's office. I made information bases with all the films, books, TV shows, and YouTube recordings I have to get to—every cell opens to a rich archive with my notes and considerations. Taskade has all the meetings, research material and diagrams for my segments. I'm getting hitched soon and am gazing intently at my marital plan for the day consistently.

 

One of Taskade's freshest highlights is an information base apparatus, which you can see as a table, a schedule and that's only the tip of the iceberg.

 

Photograph: David Pierce/The Wall Street Journal

 

I used to require five separate applications to keep so much stuff straight. Presently it's all in Taskad

From the early 50's until a fire in the 80's this was the site of Gold Star Studios, then the center of rock music recording on the West Coast. Located on Santa Monica Boulevard near Vine Street (about a mile south of Hollywood & Vine), it is near Paramount Studios (incorporating the former RKO/Desilu Studios) and the Hollywood Forever Cemetary where numerous famous stars are buried.

 

As one of the first independent recording studios it was not constrained by the "old line" policies of the majors and developed its own unique commercially succesful sound. Using custom-built recording equipment and its "best ever" echo chamber, it was home to Phil Spector's "Wall of Sound", an unmatched "Wrecking Crew" house band, and source of hundreds of hit records.

 

A very abbreviated list of top artists that were associated with Gold Star:

 

Hal Blaine - the world's most recorded drummer

 

Tommy Tedesco - the world's most recorded guitarist

 

Jack Nitzsche - arranger - including many hits produced by Phil Spector. Co-wrote "Up Where We Belong".

 

Sonny Bono - percussion. Brought his girlfriend Cher to Gold Star. The backing on his defiantly patriotic "Revolution Kind" is a great example of the Gold Star sound.

 

Cher - graduated from backing singer to superstar. Recorded "Bang Bang" and "You Better Sit Down Kids" at Gold Star

 

Ronnettes - recorded "Be My Baby" at Gold Star -- favorite song of Brian Wilson of the Beach Boys. The elaborate intro to their "Do I Love You?" clearly highlights the elements of the Gold Star sound.

 

Beach Boys - recorded "Don't Worry Baby" at Gold Star - a tribute to "Be My Baby" with same Hal Blaine drum intro

 

Paul Revere & the Raiders - recorded "Kicks" and "Hungry" at Gold Star with Hal Blaine on drums

 

Buffalo Springfield - recorded "Expecting to Fly" at Gold Star with Jack Nitzsche as arranger

 

Righteous Brothers - recorded "Ebb Tide", "Unchained Melody", "You've Lost That Loving Feeling" (the most played song ever on US radio), and many others at Gold Star

 

Ike & Tina Turner - recorded "River Deep-Mountain High" and "I'll Never Need More Than This" at Goldstar - Tina was never hotter and no one ever did a better job of soaring over the Wall of Sound

 

Darlene Love - recorded the best rock Christmas song ever at Gold Star: "Christmas (Baby Please Come Home)"

 

Crystals - recorded "Uptown", "He's a Rebel", and the quickly withdrawn "He Hit Me and It Felt Like a Kiss" at Gold Star. Group often included Darlene Love.

 

Glen Campbell - started as session guitarist at Gold Star

 

Leon Russell - played keyboards at Gold Star early in his career

 

Later recordings that paid tribute to the Gold Star sound include:

 

Bruce Springsteen - "Born to Run"

 

The Tubes - "Don't Touch Me There"

 

Eddie Money - "Take Me Home Tonight" which featured Ronnie of the Ronnettes reprisng the chorus from "Be My Baby"

 

(These are the one's that instantly come to mind -- there are hundreds more).

 

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Added February 2013: As the result of a comment, the photo has been updated. According to Wikipedia:

 

"Gold Star Recording Studios was located at 6252 Santa Monica Boulevard near the corner of Vine Street in Hollywood. The studio closed in 1984. A fire occurred in the structure after its closure, but all contents had been removed prior to the fire. The building was later demolished. A strip mall currently stands on the original location."

 

6252 Santa Monica Boulevard is now occupied by the water store in the above photo. The photo previously here was 6223 Santa Monica Boulevard, across the street. It had a "strong resemblence" to an alleged photo of the studio on a now non-existent web site.

Minolta SRT 101

Rokkor 55mm 1.7

Luckyfilm ISO 100

Caffenol C-M 13 min.

Negativscan

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.

Fail :S

Osdorpplein 05/08/2014 12h55

Much needed raicontruction work in progress on the Osdorpplein, or better, the road around the commercial center of Osdorp. Combino tram 2042 on route 17 is on its way to its terminus Osdorp Dijkgraafplein (formerly just indicated as Osdorp in the time the other terminus Osdorp De Aker operated by tram route 1 didn't excist). Just about 1 kilometer to go.

This tram (2042 made by Siemens and delivered to GVB on 13/09/2003 was first seen in service on tram route 9 at 25/10/2003 (source: www.traminfo.nl ).

  

More information:

Tramlijn 17 - Historie (Cor Fijma)

Wikipedia - Tramlijn 17 (Dutch)

www.1001pallets.com/2017/01/elementary-school-classroom-p...

 

My sister needed a kid-sized potting bench for her classroom, so I mad this Classroom Pallet Potting Bench for her using pieces from two pallets.

 

Classroom Pallet Potting Bench:

I found two pallets and broke them down to get the pieces I needed for this child's potting bench. Additionally, I ordered some liquid pigments online that I mixed with polyurethane for the finishes you see. I finished the piece off by applying a plain finish for the top and bottom shelf and a blue metallic one for the other pieces.

 

Classroom Pallet Potting Bench Materials Needed:

 

Copper pipe piece I had found in a dumpster at a nearby construction site.

Wheels I had leftover from something many years ago.

One left-over curtain rod piece that I installed at one end and bolted it in really tightly.

The penny was something I decided to add at the very end to give the piece something interesting to the front of it that her kids may like. I bored into the wood just a tad with a spade bit and then glued in the penny.

Two long bolts to hold the handle to the base (about 6" in length).

  

Fun idea! For more inspiration, look at this Potting Table idea.

Need to use this image? Visit www.cidepix.com

We had been to Hawkhurst before. About a decade ago when we stopped for breakfast on the way to Sissinghurst.

 

Despite we both thinking we had also been to Cranbrook, I have no memory, nor any photographs.

 

But the mill, said Jools sai.d I had no idea.

 

Whilst Hawkhurst was a busy but not pretty place, Cranbrook was just beautiful. The main road dipped down through rows of white clapboard houses and where it turned right 90 degrees, there on the highest point was the church.

 

It was midday, and I was hungry, and what I felt I needed was a cream tea. Just as well then that there was tea rooms opposite the car park.

 

A cream tea consisted of a pot of tea, another of hot water, milk and sugar, two scones each, cream and lashings of strawberry jam.

 

It was a meal.

 

Once we had eaten, I walk up the street and into the churchyard, where the sandy coloured church rose from the green churchyard.

 

Old Father Time stood above the tower clock, reminding us he would come for us soon enough.

 

But not today.

 

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This church grew from a small Saxo-Norman structure in the fourteenth century, using profits from the English cloth-making industry which was based in the town. It is a large church with several unique features, the most important of which is a font for full adult immersion. This was built under a small stone staircase that leads to a room over the south porch. In reality it was like an upright coffin, constructed in 1710 by the then parson, John Johnson, but it seems only to have been used on one occasion. There are very few of these features to be found in England. A table at the back of the church is made from the upturned sounding board of the eighteenth-century pulpit. The very fine carved Royal Arms of George II were given in 1756. In the north aisle is a collection of sixteenth-century stained glass depicting coats of arms of the Guilford family, and some nice windows by Kempe.

 

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

 

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CRANBROOKE

LIES the next parish eastward from Goudhurst, a small part of it is in the north borough of the hundred of Great Barnefield, and another small part in the borough of Iborden, in the hundred of Barkley, and all the residue in the hundred of Cranbrooke. It is an the western division of the country.

 

THIS PARISH is situated in the centre of the Weald, of which it is a principal one as to its wealth, size, and consequence, being about eight miles long, and fix in breadth; it is exceeding healthy, and considering the deepness of the soil, and the frequency of the woods, far from being unpleasant; the oaks interpersed over it, like the adjoining country, are numerous and of a large size, the hedge-rows broad, and the inclosures small. The north and east parts especially are covered with woods, which consist mostly of oak. There are several rises of small hill and dale throughout it; the soil is in general, excepting in that part of it northward of the church, about Anglye, where it is a light sand, and the lands of course poor, a kindly fort of clay, which is rendered more fertile by its native rich marle, of which there is much throughout it; besides arable, there is much rich pasture and fatting land, and some hundred acres of good hop-ground. The principal high roads from London, Maidstone and Tunbridge, by Brenchley, Yalding, and Stylebridge, meet here near the town, and lead from hence by different branches to Tenterden and Romney Marsh; to Hawkhurst and Suffex, and to Smarden, Charing, and the eastern parts of Kent. They are wholly made with sand, and though in wet weather they are exceedingly firm and good, yet in dry seasons, from the looseness of the sand, they become very deep and heavy, and by the heat and dust arising from them, are so very offensive and painful, as to become almost intolerable; the bye roads are very bad in winter, and so very deep and miry, as to be but barely passable till they are hardened by the drouth of summer. It is well watered by several small Streamlets, the principal ones of which joint the branch of the Medway just below Hedcorne.

 

There are three chalybeate springs in the parish, at Sifinghurt, Glassenbury, and Anglye. The waters of them are much like those at Tunbridge, and when weighed prove heavier, but they have not near so much spirit. The town of Cranbrook is situated on the western side of the parish, on the road leading from Maidstone by Stylebridge towards Hawkhurst and Suffex. at the 52d mile-stone, and consists of one large wide street, of about a mile in length, having the church nearly in the centre of it. There is but a very small part of it paved, from the market-place eastward, which was begun in 1654, being done through mere necessity; the depends and mire of the soil before, being not only a great hindrance to the standing of the market people, but to the passing of all travellers in general. The market is still held on a Saturday, for corn and hops, and is a very plentiful one for meat and other provisions. It was obtained by archbishop Peckham, anno 18 Edward I. And there are two fairs held yearly, on May 30, and Sept. 29, for horned cattle, horses linen drapery, toys, &c. but the latter is the largest, at which there is a great deal of business done in the top trade.

 

¶Here was the centre of the cloathing trade, one of the pillars of the kingdom, which formerly flourished in these parts, and greatly enriched not only this county, but the nation in general. The occupation of it was formerly of considerables consequences and estimation, and was exercised by persons who possessed most of the landed property in the Weald, insomuch that almost all the antient families of these parts, now of large estates, and genteel rank in life, and some of them ennobled by titles, are sprung from, and owe their fortunes to ancestors who have used this great staple manufacture, now almost unknown here. Among others, the Bathursts, Ongleys, Courthopes. Maplesdens, Gibbons's, Westons, Plumers, Austens, Dunkes, and Stringers. They were usually called, from their dress, the grey coats of Kent, and were a body to numerous and united, that at county elections, whoever had their votes and interest was almost certain of being elected. It was first introduced here by king Edward III who, in his 10th year, invited some of the Flemings into England, by promises of large rewards, and grants of several immunities, to teach the English the cloth manufacture; but this trade, after flourishing here for so many centuries, is now almost disused in these parts, there being only two houses of it remaining in this parish; but there is yet some little of the woolstapling business carried on. The inhabitants throughout the parish, who are in general wealthy and substantial, are computed to be about 3000, of which a great part are differenters from the church of England, for whose use there are four meeting-houses in the town, one for Presbyterians, the second for Methodistical Baptists, the third for Cavinistical Baptists, and the fourth for Independants. The Presbyterians formerly were the most numerous fect throughout this county; but they are greatly diminished of late years, and the Methodistical Baptists are the prevailing sect, and greatly increasing every year, through every part of it. Besides these there is a meeting-house for the Quakers, with a burying ground, but I beleive there is not one of this fact in the parish, though they yet hold an annual meeting here.

 

SISSINGHURST is a manor of great note here. It was antiently called Saxenburst, and is very early times was in the possessions of a family of the same name, as appears by the Testa de Nevil, kept in the exchequer, being an account of all those who, holding their lands by knight's service, paid their relief, in the 20th year of Edward III. towards the marriage of the king's sister; in which John de Saxenhurst is there taxed, towards that did, for his lands at Cranebrook, which certainly were those of Sissinghurst, with the two small appendant manors of COPTON and STONE, which always have had the same owners. By a female heir of Saxenhurst, this manor, with its appendages above-mentioned, passed into the name of Berham. Richard, son of Henry de Berham, resided here in the reign of Edward III. and in his descendants it continued down till the latter end of Henry VII. When one of them alienated part of Sissinghurst, with Copton and Stone, to Thomas Baker, esq. who was before settled in this parish. This family had been settled in Cranbrooke so early as the reign of Edward III. as appears by the records of the court of king's bench, in the 44th year of which reign Thomas Bakere, of this parish, was possessed of lands in it, and was then fued by the prior of Christ-church in a plea of treaspass, for cutting down trees, which grew on his own soil here, in a place called Omendenneshok, within the prior's lodge of Cranbrooke, which was a drosdenne, the prior prescribing for all oak and beech in the drovedens within his lordship, together with the pannage; and the jury found for the plaintiff, &c. (fn. 5) Sir John Baker, grandson of Thomas first before-mentioned, was bred to the law, and became eminent in that profession, as well as in his promotion to different high posts of trust and honour in the service of the crown and state; being in several parts of his life recorder of London, attorney general, chancellor of the exchequer, and privy counsellor in king Henry VIII. and the three following reigns, and ambassador to the court of Denmark in 1526. He died in London in 1558, and was brought hither in great state, and buried in the vault in Cranbrooke church, in which his several descendants lie deposited likewise. They bore for their arms, Azure, on a fess, or, three cinquesoils pierced, gules, between three swans heads, erased, or gorged with coronets, gules. (fn. 6) He had procured his lands to be disgavelled by the acts both of 31 king Henry VIII. and 2 and 3 Edward VI. and before the latter year, at least, had purchased the remainder of this manor and estate, and becoming thus possessed of the entire fee of it, he built a most magnificent seat on it, the ruins of which still remind us of its former splendor, and he inclosed a large park round it. He left two sons, Richard; and John, who was father of Sir Richard Baker, the English Chronicler, and from this family likewise was descended the learned John Selden, born in 1584, whose mother was the only daughter and heir of Thomas Baker, of Rushington. (fn. 7) Sir Richard Baker, the eldest son, resided at Sissinghurst, where he entertained queen Elizabeth, in her progrels into this county, in July 1573. His eldest grandson Sir Henry Baker, of Sissinghurst, was created a baronet in 1611, Sir John Baker, of Sissinghurst, knight and baronet, his grandson, the last of his name here, died in 1661, leaving only four daughters, who became his coheirs, Anne, married to Edmund Beaghan, esq. Elizabeth, to Robert, Spencer, esq. Mary, to John Dowel, esq. of Over, in Gloucestershire, and Katherine, to Roger Kirkby, esq. whose respective husbands became in their rights jointly entitled to this estate.

 

A moiety of this estate, as well as two-thirds of it, by the deaths of Robert Spencer, and Elizabeth his wife, s. p. and by the conveyance of Catherine, widow of Roger Kirkby, afterwards coming into the possession of Edmund Hungate Beaghan, esq. (son of Edmund above-mentioned) who resided at Sissinghurst, and bore for his arms, Argent, a chevron, gules, within a bordure, sable, bezantee, were by him passed away by sale in 1730, an act having passed to enable him so to do, to the trustees of Sir Horace Mann, bart. who is the present possessor of them.

 

The fourth part of John Dowel, esq. came on his death in 1698, to his son John Baker Dowel, esq. of Over, who bore for his arms, Argent, a lion rampant, within a bordure engrailed, sable. (fn. 8) He died possessed of it in 1738, as he likewise did of the remaining third of the fourth part, which had descended to him by the deaths of Robert Spencer, and Elizabeth his wife, s. p. in both which he was succeeded by his son John Baker Bridges Dowel, esq. of the same place. At this death in 1744, he devised his interest in this estate to the Rev. Staunton Degge, who conveyed them to Galfridus Mann, esq. whose son Sir Horace Mann, bart. being thus entitled to all the several interests as abovementioned in this estate, is become the possessor of the entire fee of these manors, the mansion of Sissinghurst, and the lands and estates belonging to them.

 

¶The mansion of Sissinghurst stands towards the northeast boundaries of this parish, in a situation far from pleasant, lying low in a wet clayey soil, without prospect, and enveloped with large tracts of surrounding woodland. The house having been long uninhabited was let out during the late war for the confinement of the French prisoners, whence it gained the name of Sissingburst castle, after which it became again uninhabited, and has since been pulling down piecemeal from time to time, for the sake of the materials, so that what is left of it is now no more than ruins. The park has been disparked many years since. There was a chapel founded at Sissinghurst by John de Saxenhurst, which was re-edified by Sir John Baker, bart. in the reign of king Charles I. and by a deed delivered in 1627 to John Bancrost, bishop of Oxford, was devoted to the service of God, and dedicated, as it was before, to St. John the Evangelist; upon which it was consecrated by the bishop, with the usual ceremonies and benedictions.

 

CRANBROOKE is within the ECCLESTASTICAL. JURISDICTION of the diocese of Canterbury, and deanry of Charing.

 

The church is dedicated to St. Dunstan, confessor, and is very large and handsome. It consists of three isles and three chancels. The pillars on each side of the middle isle are beautifully slender and well proportioned. The west end has a gallery over it, ornamented with printing. The pews are uniform, and made of wainscot, and the pavement black and white marble. The high chancel is well ceiled, and decorated with paintings. The east window is full of fine stained glass, many of the rigures of it being entire, and richly ornamented as to their drapery, &c. There are several shields of arms remaining in it, among which are those of Wilsford, Guldeford, quartered with Halden, within the order of the garter, and archbishop Bourchier, being those of the see of Canterbury, impaling first and fourth, Bouchier, second and third, gules, a fess between twelve billets, or. Archbishop Tenison, in 1710, was a benefactor in repairing of the high chancel. (fn. 12) Against the east wall of the south chancel is a very high and broad pyramid of white marble, on which there is a full account of the family of Roberts, inscribed by a most pompous scheme of pedigree, with the numerous coats of arms properly emblazoned. At the west end is a square tower steeple, in which are eight bells and a set of chimes. On the west side of the tower were formerly carved in the stone-work, though now decayed by time, the arms of Berham, Bectenham and Wilsford, in antient times owners of lands, as has been already mentioned, in this parish. In the south isle over the vault, in which the remains of the Bakers and their descendants lie, is a superb pyramid of white, marble, on which are the names and the dates of their deaths, and at the top of it their arms. It was erected by John Baker Dowel, esq. of Over, son of John and Mary, in 1736.

 

In 1725, part of this church fell down, but was quickly afterwards rebuilt. It was occasioned by some persons digging in the vault belonging to the Baker family, by which two stones, on which one of the main pillars stood, gave way, and the pillar cracked, soon after thirty or forty feet of the middle isle fell in, by which the pews were all crushed, and the cost to repair it was estimated at near 2000l. There is a room; with a staircase to it, adjoining the church, in which there is a large dipping-place, for the use of such Baptists who are desirous of being admitted into the established church; but in seventy years past it has been but twice made use of for this purpose. It was provided by Mr. Johnson, vicar of this church. In this church was a chantry, founded by the will of J. Roberts, esq. of Glassenbury, in 1460, for a priest to say mass here for ever. And he ordered that twenty pounds be laid out to remove the rood-lost, and setting it on the high chancel. And being so considerable a benefactor to this church, his figure was painted in the windows of the north isle, kneeling, in armour, with his helmet lying by him, before a desk, with a book on it, and an inscription, to pray for him and his wife, and his son Walter, and his three wives. Walter Roberts abovementioned, by his will 13 Henry VIII. directed Thomas his son to find a priest to celebrate divine service at St. Giles's altar in this church, for the souls of his father, mother, his wives, and his own; for which service he should have been marcs yearly, payable by his heirs for ever, out of his lands in this parish and Goudhurst. And he gave further to this church towards the making of the middle isle, one half of all the timber of that work.

 

The church of Cranbrooke was part of the antient possessions of the see of Canterbury, to which it was appropriated in the 6th year of Edward III. with the king's licence; and the same was afterwards confirmed by pope Clement VI. at which time there appears to have been a vicarage endowed here. The archbishop continued owner of the appropriation of this rectory, and of the advowson of the vicarage till the reign of Henry VIII. when archbishop Cranmer, by his deed, anno 31 Henry VIII. granted the rectory, among other premises, in exchange, to that king, reserving the advowson of the vicarage to himself and his successors. Soon after which the king settled it by his dotation charter, in his 33d year, on his new-erected dean and chapter of Canterbury, part of whose possessions it now remains. (fn. 13) In 1644 Sir John Roberts was lessee, at the rent of 33l. 6s. 8d. per annum. The present lessee is Mrs. Lawson.

 

¶When the vicarage of Cranbrooke was endowed, I have not found; but in 1364 and 1371, the portion of the vicar was augmented, and in the latter year the prior and convent of Christ-church, Canterbury, confirmed the confirmation of archbishop William, of the donation of his predecessor archbishop Simon, of 6000 of towod granted to the vicar of Cranbrooke, of the tenths, of silve cedue belonging to the church of Cranbrooke.

 

It is valued in the king's books at 19l. 19s. 4½d. and the yearly tenths at 1l. 19s. 11¾d. In 1578 here were 1905 communicants. On a survey taken in 1648, after the abolition of deans and chapters, it appeared that there was a parsonage-house, an orchard, little garden, two great barns, and other buildings; and that the late dean and chapter, in 1636, demised to John Roberts, esq. these premises, and all manner of tithes of corn and grass, for twenty-one years, at 33l. 6s. 8d. per annum, but that they were worth, over and above that rent, 228l. 13s. 4d. per annum. The lessees to repair the chancel and the market-cross of the town.

 

There is no part of this parish which claims an exemption of tithes; but there is a small and irregular modus upon all the lands in it, in lieu of vicarial tithes. There are no tithes paid Specifically for hops, though there are upwards of six hundred acres planted in this parish, as being included in the above mentioned modus.

 

The glebe land consists of the scite of the vicarage, the garden, and about three quarters of an acre of meadow. There are some old houses belonging to the vicarage, which, when the taxes and repairs are deducted, produce very little clear income.

 

Anno 1314, a commission was issued for settling a dispute between the rectors of Biddenden and Cranbrooke, concerning the bounds of their respective parishes.

 

www.british-history.ac.uk/survey-kent/vol7/pp90-113

Size 9.5-10.5

Feeding frenzy, taken at the Japanese Garden!

Needed shades against the light

After a long day at work, my husband comes home feeling a little like this.........

well, this book is not really fiction but you understand what I mean, dont you?

Just Kids is a memoir by Patti Smith, in the book, Patti documents her relationship with artist Robert Mapplethorpe. fabulous, entertaining and very well written book.

 

I do not wanna watch or read news anymore. I can not stand national politics.

I need fiction in my life dammit!

Model: Kate Bayle & Geraldine Ilasin

MUA/Hairstyle: Beauty Bea

Thanks to Rene Catedral for the place and T.G Group for the set-up and invitation.

Cars: Rene Catedral and Mike Vite

 

Middle East Shutter Squad (MESS) 2010