Needed some help with the little flowery weeds in my yard.

I need to wrap the bars, cut the steerer, and add fenders and lights (and maybe a third bottle cage), but it's rideable: I took it out for 17 miles yesterday and loved every second of it.

Looks like the little Autobianchi was in need of a push this time.

I'll just leave them right here.

.. I replied to your first.. and particularly your second offering request on trying the fantasy stuff as soon as I've gotten it; I mentioned any of them are fine, for testing diagrams (but have not heard back on the initial emails?).

>> I've had quite few volunteers for testing the four diagrams

>> that I already sent out, so I wait until I have the next set.

Enjoy (best of luck them, I think you should continue with those) or put on the FB (as I don't use that), if they'd need there.

  

Anyone else actually want something tested, checked whatever?...

Been testing diagrams for nearly 25 years, yes since the 90s!. Feel free to Ask

  

(Finally as far as trying out a CP: I perfer a diagram, but if this is what you have, I will give it a go.. Though am less comfortable, I have done them from time to time. I will try to get as far as I can. Up to Complex level please. If the pattern is super complex with multiple/tedious things going on, I think its best if you let some else with expertise take a look at it. But if you just need me to see if your starting references are clear regardless of CP level, I'd be happy to check those, but please note in that case I will not be completing it. Next, the goal I generally see for most patterns is to get up to the base, everything after that is design and shaping. Make sure the CPC with your starting refs are clear, with the necessary ref points layed out in a few steps so they won't overlap to the eye.)

 

Past projects:

Convention book, including proofread (multiple years)

Charles Esseltine book

Some Montroll models

Various modular units

Alien raptor (Super complex diagram)

Western Dragon (Super complex diagram)

 

Thanks!

NfS The Run BMW M3

St Mary, Huntingfield, Suffolk

 

Follow these journeys as they happen at Last of England twitter.

 

It was the first day of the 2019 Easter holidays, and what better way to spend a Monday morning than heading off for a church-exploring bike ride rather than going to work? I caught the train up to Halesworth, and then cycled off out into the hills. The villages and their pretty parish churches come thick and fast around here, and almost all of them are open to pilgrims and strangers daily. There is a good mixture too, round towers, square towers, hardly-any-left towers, reed-thatched roofs, beflinted-porches, and all manner of treasures inside. A fair number of East Anglia's best small churches are in this area. But even given this variety, there is nowhere else in East Anglia quite like Huntingfield church.

 

This is one of Suffolk's more obscure villages, but the Huntingfield name was that of one of the county's most significant families. Huntingfield is the nearest village to the great pile of Heveningham Hall, with one of the largest Georgian frontages in England. It was rebuilt by the Huntingfields in the 18th Century. Standing on the road and looking across the sheep-scattered lawns to the great building, it is easy to imagine the gulf between the landed gentry and their poor workers in those days. Sandwiched between the traumas of the 17th Century and the energy of the 19th Century, it was the landowners of the 18th Century who had every reason to think that their world was permanent and unchanging, that it would always be as they knew it. Farming sheep, collecting art, patronising musicians, tinkering with primitive science and technology, dispensing benevolent largesse to the poor on their estate - it is a world that is at once attractive and appalling. For them, the Church of England was both an arm of the state dispensing laws, justice and charity, and the setting for the weekly liturgical reinforcement of the puritan-refracted Elizabethan settlement.

 

But the Industrial Revolution would bring it all to an end, and in more ways than one. In the second half of the latter century, many parish churches were drawn by the excitement of the age into major reconstructions and revisions. Their impulse came from Oxford, where the Tractarians had a vision of the Church of England as a national Church, no longer a protestant sect but restored to the catholicity of its roots, and from Cambridge, where the ecclesiologists decided what a building of the national Church should properly look like. As the young men graduated and were presented to parishes across the country, their ideas spread like wildfire. They had come from their univserities to churches fitted out for protestant worship, with whitewashed walls and box pews focused on the high pulpit, the rarely-used altar gathering dust in the chancel or even discarded. Preaching houses rather than sacramental spaces, and any surviving traces of the building's medieval life survived, perhaps, simply because they were not understood.

 

Essentially, what happened in England between about 1830 and 1870 was a cultural revolution, a new wave of ideas and the reaction to them. The litugical changes proposed by the Oxford Movement were, at first, objectionable, and then merely controversial. But gradually they seeped into the mainstream, until by about 1890 they had become as natural as the air we breathe. Galvanised by the ferment of ideas and the possibilities of the industrial age, these young men convinced their rich patrons, revolutionised their buildings, and in so doing altered their parishes forever. They often looked to London stars like Scott and Butterfield, or local plodders like Phipson, or else mavericks like Salvin. The demands of the new liturgical arrangements, coupled with a renewed sense of the need to glorify God, led them into what was often a rebuilding rather than a restoration.

 

Internal decorations were, perhaps, the bespoke work of the architect, Witness Phipson's meticulous attention to detail at St Mary le Tower, Ipswich. Other restorers relied on the big picture, a vision that encompassed walls and floors, but left the fittings to others. By the centenary of the movement in the 1930s, one Anglican clergyman could observe "It is as if the Reformation had never happened". Well, not quite. And now, the pendulum has swung the other way, leaving the ritualists high and dry. But the evidence of the energy of those days survives, especially at Huntingfield, where William Holland, the vicar, drove the Oxford Movement through the heart of the parish, like a motorway through a Site of Special Scientific Interest.

 

The Hollands were the patrons of the living, which gave them the authority and the money to reimagine Huntingfield church on a grand scale. Oxford and Cambridge universites were exclusively for men, of course, but it so happened that William Holland had an energetic and visionary wife. Between 1859 and 1866, Mrs Mildred Holland planned, designed and executed the most elaborate redecoration of a church this county had seen since the Reformation. For seven years, she lay on her back at the top of scaffolding, first in the chancel (angels) and then in the nave (saints on the ceilure, fine angels on the beam ends), gilding, lettering and painting this most glorious of small church roofs. Her husband kept a journal throughout this period, and there is no suggestion that she had any assistance, beyond that of workmen to raise the scaffolding, and a Mr E.L. Blackburne FSA, who was, apparently, an 'authority on medieval decoration'. J.P. St Aubyn was responsible for the structural restoration of this largely 15th century building, and it is very restrained and merciful. But you come here to see the painted roofs, which are perfectly splendid. You can activate the floodlighting with a pound coin in a box at the west end of the north aisle, and the illuminated work is breath-taking.

 

What else is there to see? Some 15th Century window borders in the east window of the south aisle depict hares and a little dog with a bell around his neck. And what is that at the bottom, a dragon, or a winged lion? Evidence of the church's continued High Church tradition into the 20th Century is in statues of the Blessed Virgin and child flanked by St Francis and St Dominic in a triple image niche set in a pillar of the north arcade. Was it originally for a rood group, perhaps above an altar? Any church is a palimpsest, history written and rewritten over its skin as a touchstone to changing liturgical imperatives and the long generations of its people. Across this canvas the enthusiasms and Huntingfield in Mildred Holland's time are writ large, and will last long.

 

And there is something else, and a great curiosity. Ann Owen, the Vicar's wife in the neighbouring parish of Heveningham, is also said to have been responsible for 19th Century work in the church there, this time in the form of stained glass. Visiting Heveningham, I am afraid it is difficult for me to find this convincing, although of course one likes to think it was so, and that the two women artists were friends, or possibly even rivals. But Mildred's story has been brilliantly captured in a recent novel, The Huntingfield Paintress by Pamela Holmes. Pamela tells me that 'it was a comment of yours about Mildred and Ann Owen which sparked my determination to write my first novel' which is very kind of her, although I am sure it was easy to be inspired when one stands here surrounded by Mildred Holland's work.

 

You might thnk that the towering font cover is also by her, but in fact it is her memorial, placed here by her husband, as is the art nouveau lectern. It is as if her art was a catalyst, inspiring others to acts of beauty. She died in the 1870s, predeceasing her husband by twenty years. They are both now buried by the churchyard gate. How fitting, that they should lie in the graveyard of the church they loved so much, and to which they gave so much of their time, energy and money.

That went down nicely after an exhausting session down at The Station Gym doing our Medieval Combat Training!! Phew!!

 

Inspired by the famous Lakeland fell-walker Alfred Wainwright, our master brewers go the extra mile too. They search near and far for quality English malt and hops and tirelessly craft unique combinations worthy of the Wainwright name, like this delightfully refreshing Golden Beer. Lightly hopped with subtle sweetness, a delicate citrus aroma and a gloriously golden colour.

 

STYLE:GOLDEN ALE

ABV%:4.1%

TASTE:Refreshing, Fruity, Sweet, Citric

SMELL:Fruit, Citrus

PAIRING: Smoked salmon with lemon wedges, Soft cheese, Lightly spiced dishes

 

wainwrightbeer.com/our-beers/wainwright-gold/

needing a food fix from my travels, home made banh mi

 

home made vietnamese baguette using as mixture of bread and rice flours

pork mince patties with lemongrass, ginger, garlic, egg, chilli and corriander

mayonaise, sweet chilli, thin sliced cucumber, carrot and spring onion and a couple of lettuce leaves.

Oh they are a hot mess! Like the bottom half of their hair is a puffy frizzy mess. typically this means Re-rooting; but does anyone one have any ideas on how to salvage the hair????

It is easy to forget, but I am here in France for work.

 

And on day two I had to visit a construction site, then drive for two hours to Reims to be in place for Wednesday's activities.

 

To add to the fun, there was thick fog and mist, though in truth, wasn't quite as bad as I'd feared.

 

Up at six and time to lay and ponder before getting up and having a shower and getting dressed.

 

Breakfast was half seven, though it seems earlier than that today, as half the buffet had already been eaten. I had fruit, fresh bread, soft creamy butter and apricot jam along with two large coffees.

 

I paid the bill, loaded the car and programmed the maps app on the phone, and so out into the mist I lurched, back onto the motorway then turning east to near where I went last year, on an altogether sunnier day than today.

 

The motorway carried on east, going through rolling countryside, with banks of fog to keep me on my toes, then turning off into the freshly ploughed countryside, and through small towns filled with faded and crumbling mansions.

 

I reached the village the wing farm is named after. And due to fog, I see no turbines. It takes some thick fog to hide wind turbines some 95m tall.

 

I try to triangulate between three map apps, and think I needed to drive through the crumbling village, its wattle and daub walls falling apart.

 

I drove three miles, then the first of the turbines materialised from the fog. And then a second, but no offices.

 

I parked outside one of the turbines, sent a message saying I was beside E09, and they sent someone to guide me over the fields along a deeply rutted track.

 

The conjoined shipping containers made the offices, I was greeted warmly, and lead up to the project office in the upper container, and plied with fresh coffee.

 

I do three hours auditing, and am done. A good result, could be better, but could have been a lot worse.

 

I decline lunch as I have a three hour drive through the mist and fog, and wanted to get there before darkness fell, so was eager to set off.

 

I drove to the country lane, then heading west, back towards Amiens, and with each turn, the road got a little larger, until I came back to the motorway.

 

I cruised at 60 mph, taking it easy. I had all afternoon, so just concentrated on not getting into an accident.

 

I stopped at a service station, had a baguette filled with salami and pickles, a coffee and an apricot crumbly cake thing.

 

I ate both.

 

Lovely.

 

Then back on the road for the last hours drive into the outskirts of Reims, turning off as I left the motorway, and stuck between an Aldi and McDonalds on one side, and poor condos the other, was the hotel. Surrounded by a chain link fence, and access was with a code.

 

I walked into the compound, checked in, was given the code so I could get the car in, unload that and dump it in my ground floor room, then set about ordering a coffee.

 

Many French cities are introducing low emission zones, Reims has, and there was warnings of fines if you entered the city without the certificate on display. I got a taxi just in case, and just gone half two, the cab pulled up taking me through the ever denser housing, dropping me off at the east end of the cathedral, buttresses towering above the car.

 

I walk round and find the entrance is via an apparently small wicket door in the north door of the west façade, in truth it was huge.

 

Inside, it was free to enter, and just a single security guard who seemed more concerned in keeping his stash of pamphlets neat and tidy.,

 

It is another huge building, built to represent the glory of God her on earth, to shock and awe. It does that very well.

 

Actually, it has very few memorials, and two global disagreements caused lots of damage, so that very little glass could have survived.

 

In 90 minutes i did two circuits of the church, one for the nifty and the other for the mobile. Oddly, lights in the east end of the church was switched off, so detail was soon lost in shadows.

 

Another surprise was a chapel with three panels of Marc Chagal glass depicting Biblical scenes.

 

I retired to a nearby bar/pub, and found they had Leffe on draft. 33 or 50CL? Fifty obviously.

 

So I nursed a small goldfish bowl of golden strong beer, until light faded outside, so I went back out to take more shots, on the streets this time.

 

Fabian called, he would meet me at the cathedral, so I waited, people watched and took more shots from outside.

 

Fabian arrived, we went back inside the cathedral, as he'd never been inside. I then took him to see the great north door and its carvings surrounding it.

 

Then back to the bar for another beer and dinner of big burgers and a mountain of fries. We talked, ate, as the bar filled up, Fabian had the best seat in the place, looking out to the illuminated west façade of the cathedral.

 

After eating, we walked back to his hotel, as he offered to drive me back to mine, a short 9 minute blast through the suburbs to the compound.

 

Now I'm inside, and already Norwich are two down.

 

Sigh.

 

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

 

Notre-Dame de Reims (/ˌnɒtrə ˈdɑːm, ˌnoʊtrə ˈdeɪm, ˌnoʊtrə ˈdɑːm/;[2][3][4] French: [nɔtʁə dam də ʁɛ̃s] ⓘ; meaning "Our Lady of Reims"),[a] known in English as Reims Cathedral, is a Roman Catholic cathedral in the French city of the same name, the archiepiscopal see of the Archdiocese of Reims. The cathedral was dedicated to the Virgin Mary and was the traditional location for the coronation of the kings of France. Reims Cathedral is considered to be one of the most important pieces of Gothic architecture.[5] The cathedral, a major tourist destination, receives about one million visitors annually.[6] It became a UNESCO World Heritage Site in 1991.[7]

 

The cathedral church is thought to have been founded by the bishop Nicasius in the early 5th century. Clovis was baptized a Christian here by Saint Remigius, the bishop of Reims, about a century later. He was the first Frankish king to receive this sacrament. Construction of the present Reims Cathedral began in the 13th century and concluded in the 14th century. A prominent example of High Gothic architecture, it was built to replace an earlier church destroyed by fire in 1210. Although little damaged during the French Revolution, the present cathedral saw extensive restoration in the 19th century. It was severely damaged during World War I and the church was again restored in the 20th century.

 

Since the 1905 law on the separation of church and state, the cathedral has been owned by the French state, while the Catholic church has an agreement for its exclusive use. The French state pays for its restoration and upkeep.

 

On 6 May 1210,[28][29] the partly Carolingian and partly Early Gothic cathedral was destroyed by fire, allegedly due to "carelessness."[16] One year to the day afterwards, archbishop Aubrey laid the first stone of the new cathedral's chevet.[20][28] The work on the new cathedral moved with exceptional speed, because Reims was one of the first buildings to use stones and other materials of standardised sizes, so each stone did not have to be cut to measure.[18] In July 1221, the chapel at the east end of the cathedral entered use.[29] In 1230, work began on the west front, indicating that the nave was nearly complete.[30]

 

In 1233, a long-running dispute between the cathedral chapter and the townsfolk (regarding issues of taxation and legal jurisdiction) boiled over into open revolt.[31] Several clerics were killed or injured during the resulting violence and the entire cathedral chapter fled the city, leaving it under an interdict (effectively banning all public worship and sacraments).[32] Work on the new cathedral was suspended for three years, only resuming in 1236 after the clergy returned to the city and the interdict was lifted following mediation by the king and the pope. Construction then continued more slowly.

 

In 1241, the members of the Chapter were able to meet in the choir, showing that the vaults of the apse and the five last traverses of the nave on the east, where the stalls were located, were finished,[33] but the nave was not roofed until 1299 (when the French king lifted the tax on lead used for that purpose). Work on the western façade did even not begin until 1252, and the portals were not completed until after 1260. Thereafter work moved from the west to the east, with the completion of the nave; the level of the rose windows was completed between 1275 and 1280. The roof of the nave and upper galleries were finished in 1299.[34] A comparison of the roses of the western façade to the roses of the transepts demonstrates the temporal stylistic progress: the rose windows of the transepts are decorated by bar tracery, but all glass is inside the round frames -- that is, a mix between Classic Gothic and High Gothic. In the rose windows of the western façade, however, the glass exceeds the round frames to fill the whole pointed-arched areas available (i.e. Rayonnant, an advanced form of High Gothic).

 

Unusually, the names of the cathedral's successive architects, succeededing each other until the completion of the cathedral's structural work in 1275, are known. A labyrinth built into floor of the nave at the time of construction or shortly after (similar to examples at Chartres and Amiens) included the names of these four master masons (Jean d'Orbais, Jean-le-Loup, Gaucher of Reims and Bernard de Soissons) and the number of years they worked there, though art historians still disagree over who was responsible for which parts of the building.[35] The labyrinth itself was destroyed in 1779, but its details and inscriptions are known from 18th-century drawings. The clear association here between a labyrinth and master masons adds weight to the argument that such patterns were an allusion to the emerging status of the architect (through their association with the mythical architect Daedalus, who built the Cretan labyrinth of Minos). The cathedral also contains further evidence of the rising status of the architect in the tomb of Hugues Libergier (d. 1268, architect of the now-destroyed Reims church of St-Nicaise). Not only is he given the honour of an engraved slab; he is shown holding a miniature model of his church (an honour formerly reserved for noble donors) and wearing the academic garb befitting an intellectual.

 

Even after the structural work had been completed in 1275, a lot of work remained to be done. The Gallery of Kings on the west front, and the octagonal upper towers were not finished until the 1460s. Documentary records show the acquisition of land to the west of the site in 1218, suggesting the new cathedral was substantially larger than its predecessors, the lengthening of the nave presumably being an adaptation to afford room for the crowds that attended the coronations.[36]

 

The towers, 81 m (266 ft) tall, were originally designed to rise 120 m (390 ft). The south tower holds just two great bells; one of them, named "Charlotte" by Charles, Cardinal of Lorraine in 1570, weighs more than 10,000 kg (10 t).

 

Following the death of the infant King John I, his uncle Philip was hurriedly crowned at Reims, 9 January 1317.[37]

 

During the Hundred Years' War's Reims campaign the city was under siege by the English from 1359 to 1360, but the siege failed.[38] In 1380, Reims Cathedral was the location of Charles VI's coronation and eight years later Charles called a council at Reims in 1388 to take personal rule from the control of his uncles.

 

After Henry V of England defeated Charles VI's army at the Battle of Agincourt on 25 October 1415, most of northern France including Reims fell to the English.[40] They held Reims and the cathedral until 1429, when it was captured by Joan of Arc, allowing the dauphin Charles to be crowned king on 17 July 1429.[41] For her feat -- a turning point in the Hundred Years' War -- Joan is memorialized at Reims Cathedral with two statues: an equestrian statue outside the church and another within the church.

 

On 24 July 1481, a fire caused by the negligence of workers covering the high wood-and-lead flèche (spire) that was being constructed over the transept[34] destroyed the part of the spire's framework, the cathedral's central bell tower, and the galleries at the base of the cathedral roof, while dripping molten roofing lead caused further damage. However, recovery was quick with kings Charles VIII and Louis XII making donations to the cathedral's reconstruction. In particular, they granted the cathedral an octroi of the Gabelle salt tax. In gratitude, the new roof was adorned by fleur-de-lis and the royal coat of arms "affixed to the top of the façade". However, this work was suspended before the arrows were completed in 1516.[42] The upper galleries of the nave were completed in 1505. These were so expensive that the remaining planned projects, including a 170 meter tall bell tower over the transept, spires on the west front and the planned upper towers flanking the transept, were never built.[34]

 

Following the death of Francis I, Henry II was crowned King of France on 25 July 1547 in Reims Cathedral.

 

The 18th century saw the first major reconstruction inside the cathedral. Between 1741 and 1749, the lower windows and the medieval furniture, the principal altar, the choir stalls, and the choir screen were all replaced with furnishings more in keeping with the theological requirements and taste of the era. The sculpture of the portals was also restored.[44]

 

In 1793, during the French Revolution, the cathedral was closed and briefly turned into a storehouse for grain, and then for a time into a Temple of Reason. Most of the remaining furniture and funeral monuments were destroyed, the reliquaries in the treasury melted down for the gold, and the bells melted down to make cannon. Mobs hammered much of the sculpture of the grand portal and the more evident symbols of royalty, such as the fleur-de-lis emblems, and the royal Hand of Justice were burned.[45] However, most of the medieval sculpture survived relatively intact.

 

With the restoration of the French monarchy after the downfall of Napoleon, the practice of royal coronations at Reims resumed, but only briefly. The last king of France to be crowned there was Charles X in 1825. His reign was deeply unpopular, and he was overthrown in the Revolution of 1830 and replaced by a constitutional monarch, Louis Philippe I, who was sworn in at the Parliament in Paris rather than crowned in Reims.[46]

 

A series of restoration projects were carried out in the later 19th century, focusing first on the gables and statues on the west front (1826–30), and then the upper galleries, windows and towers (1845–60), under Jean-Jacques Arveuf. In 1860 He was replaced by Eugène Viollet-le-Duc, who modified the gallery of the choir and the apse closer to their original medieval appearance.[47] He was succeeded by two more architects, Eugene Millet and Victor Ruprich-Robert, who took considerable liberties in remaking the galleries of the nave in a more imaginative 13th-century Gothic style. In 1888. they were followed by Denis Darcy and Paul Gout, who followed more closely the historic architecture, particularly in the restoration of the west rose window.

 

On the outbreak of the First World War, the cathedral was commissioned as a hospital, and troops and arms were removed from its immediate vicinity.[48][49][50] On 4 September 1914, the XII Saxon corps arrived at the city and later that day the Imperial German Army began shelling the city.[b] The guns, located 7 km (4.3 mi) away in Les Mesneux, ceased firing when the XII Saxon Corps sent two officers and a city employee to ask them to stop shelling the city.[53]

 

On 12 September, the occupying German Army decided to place their wounded in the cathedral over the protests of the Abbe Maurice Landrieux,[54] and spread 15,000 bales of straw on the floor of the cathedral for this purpose. The next day French soldiers under General Franchet d'Esperey re-entered the city, but German wounded were left in the cathedral.[55]

 

Six days later, a shell exploded in the bishop's palace, killing three and injuring 15.[56] On 18 September a prolonged bombardment began and on the 19th shells struck the "forest" of wooden timbers under the lead-covered roof, setting it on fire, and completely destroying the roof. The bells melted, windows were blown out, and the sculpture and parts of the walls were damaged. The lead in the roofing melted and poured through the mouths of the stone gargoyles, damaging, in turn, the adjoining bishop's palace. Images of the cathedral in ruins were shown during the war by the indignant French, accusing the Germans of the deliberate destruction of buildings rich in national and cultural heritage,[57] while German propaganda blamed the deaths of prisoners on the French, who at gunpoint prevented them fleeing the fire.[58] Single shells continued to strike the ruined building for several years, despite repeated pleas by Pope Benedict XV.[59]

 

At the end of the war, it was proposed to keep the cathedral in its damaged state as a monument to victims of the war, but this idea was finally rejected. A major restoration project began in 1919, led by Henri Deneux, chief architect of the service of French historic monuments. The restoration received major funding from the Rockefeller Foundation, and sometimes made use of modern techniques and materials, including prefabricated reinforced concrete, to strengthen the structure. In the 1920s, the foundations of the earlier church from the Carolingian period were discovered under the cathedral and excavated. The work was completed and the cathedral was reopened in 1938.

 

Restoration work on the church has continued since 1938, repairing the damage caused by the war and by pollution. In 1955 Georges Saupique made a copy of the Coronation of the Virgin, which can be seen above the cathedral entrance and with Louis Leygue copied many of the other sculptures on the cathedral façade. He also executed a statue of St Thomas for the north tower.

 

Beginning in 1967, many of the statues from the exterior, such as the smiling angel, were moved to the interior of the Tau Palace for protection, and replaced by copies.[7]

 

The Franco-German reconciliation was symbolically formalized in July 1962 by French president Charles de Gaulle and German Chancellor Konrad Adenauer, where, in 1914, the Imperial German Army deliberately shelled the cathedral in order to shake French morale.[60]

 

The cathedral, former Abbey of Saint-Remi, and the Palace of Tau were added to the list of UNESCO World Heritage Sites in 1991.[61]

 

On his 74th Pastoral Visit, Pope John Paul II visited Reims on 26 September 1996 for the 1500th anniversary of the baptism of Clovis.[62] While there, the Pope prayed at the same chapel where Jean-Baptiste de La Salle celebrated his first Mass in 1678.[63]

 

On 8 October 2016, a plaque bearing the names of the 31 kings crowned in Reims was placed in the cathedral in the presence of the archbishop Thierry Jordan and Prince Louis-Alphonse, Duke of Anjou, one of many pretenders to the French throne.

 

en.wikipedia.org/wiki/Reims_Cathedral

08.14.2015: It's been an emotional week and I needed the comfort of something familiar, something that reminded me of my Mom and family dinners. When we would all get together after we were all grown up, Mom would ask us what we'd like. A lot of time, we would ask for her special adobo. She made it with chicken, beef and pork; and make it nice and tart. We'd all dig in and have this with a lot of rice and veggies. Dinners would include lots of talking and jokes and sitting around the table just to hang out.

 

One of my dear friends passed away last week and I needed to feel that connection again with my family and friends - and this meal somehow made it. I'll always miss him and keep him in my prayers. We'll tell stories of Rick like we tell stories of Mom and remember what special people they were.

 

----

 

So this was the first time I made adobo this way on my own. Nowadays, I usually ask Dad to make it. Not because it's hard to make but because it's something that he likes doing for us (or at least the grandkids). But if you can fry an egg and boil water, you can make this adobo. Also, you need a bit a patience because this needs to marinade for at 8 hours and [I found] up 2 days. So here goes for this one which serves 5 good portions:

 

Chicken (cut pieces of your choice - I used a small package of bone in chicken thighs, about 5 pieces)

Beef (Top blade, Chuck roast - again your choice. I used a package of top blade steaks)

Thick cut pork chops (there's 3 in this recipe)

1/2 yellow, sliced

 

Marinade:

1 c soy sauce

1/2 c palm vinegar (white vinegar - we get this at Asian food markets)

5-6 whole pieces of garlic, crushed

5 whole bay leaves

 

Add ins:

1:1 part soy sauce to vinegar (because I like it tart, this equaled to about a little more than a 1/4 cup total)

Cornstarch (optional), if you want the sauce to be thicker

 

Gallon-size zip bag

Large mixing bowl

 

Cut the chicken in half leaving in the bone, cut the beef in thick rectangle strips, and the pork in large cubes. Place the meat and marinade in zip bag; and then gently shake all the ingredients together so everything mixes up.

 

Now for the patience part: marinade for at least 8 hours or overnight in the refrigerator in large mixing bowl or pan. Occasionally, check on it and turn the bag over to make sure that all the meat is soaking in the marinade.

 

Cooking: Heat a large pan over medium high heat with a bit of oil. Dump the meat and marinade in large mixing bowl so you can pick out the garlic to sauté with the onions. Cook the onions and garlic until soft.

 

Now pick out the chicken and place them skin side down in pan turning over after the skin gets nicely browned - place them to one side of the pan. After the chicken browns add some of the beef and pork letting them brown and then placing them to the side of pan until all the beef and pork are added to the pan.

 

After all the meat is added to the pan, pour in the marinade and let it simmer for at least an hour over low heat. Taste it to make sure it's delicious and see if you need to make adjustments. I like adding the extra sauce to make it tarter. If you do add this and/or the cornstarch, you need to let it cook for another 10-15 minutes.

 

Serve with lots of rice and veggies.

Enjoy!

 

Galaxy s5, PicsPlay Pro

need to park the nose... and then wipe my tongue dry when i'm done (always, very fastidious)

...and tracks need trains.

 

Photo taken for Our Daily Challenge: LIKE FIRE NEEDS OXYGEN

 

And Scavenge Challenge #25. The Education Center topic for this month emphasizes VISUAL LINE (not physical lines). In order to understand this term as it relates to photography, please read the instructive material and create a shot showing a strong diagonal line.

 

And 113 Pictures in 2013 #26 Railway or train tracks

 

And Fence Friday. HFF everyone!

لا تستحي من اعطاء القليل فان الحرمان اقل

I shot this picture in 2008

I got my hair cut today, because this is what it looked like yesterday. It's much better now, and closer to the realm of fantastic like Paul's.

In need of a wash GBRF Class 66/7 No.66779 Evening Star climbs Belstead Bank Ipswich working 4M23 10:36 Felixstowe North -Hams Hall (4th week in a row on this train) on 20th July 2020.

Close-ups are not easy, but it is always good to take pictures of a Ferrari

hoop dreams

houston-bush international airport

Well, the fastest way home from the top.

 

Pretty straight forward really.

 

Or, pretty straight downward to be more precise.

 

It was literally a downhill "journey".

by Tuomas Korpijaakko

2010

Edition of 100

www.tuomaskorpijaakko.info

One slice is really all you need.

Went out with Maarten van den Berg (P1nc) for a shoot around Ijmuiden, Netherlands.

 

Shot with a Canon 5Dmk3 with a Sima 12-24 @24mm, red-filter. Shot in Ijmuiden, the Netherlands

 

www.peterdebock.nl (c) 2016

This is what mine looks like(relatively)

Jun's helmet, carters shoulder, emiles waist bullets(well not yet) and need to add something from kat and jorge.

Sometimes we just need to drink in the beauty around us!

For an old MOCpages contest in 2012. I was pretty happy with it at the time. There was a whole backstory, as follows.

 

Many thousands of years ago, when the Great Beings crafted Mata Nui, they built Toa to inhabit him. Many Toa were created by the use of Toa stones, which channeled the elemental power of the universe into Matoran. Not the Toa of Fluorine.

 

The power of Fluorine rejected the Toa stones, and reacted violently with Protodermis. But the Great Beings know that its unique powers were necessary for the inner workings of their creation.

 

So they made a Toa whose power was not contained within his body and channeled into a thousand uses and powers, but rather, stemmed from the very materials his body was crafted of.

 

The first Toa of Fluorine to be born died the same day, when the power of Fluorine reacted with the metal room he was crafted in. Two Great Beings perished in the toxic flames. Because the Great Beings had spurned the natural Elemental Powers of the universe and relied instead on their own processes, the Toa could not control his powers.

 

The Great Beings crafted three more Toa of Fluorine, each one perishing when his powers reacted with the environment. The last two survived long enough to show that they could, indeed, use the powers as they wished- but when their bodies contacted a Fluorine-reactant material they couldn’t stop the violent eruptions of energy.

 

Their fifth attempt was created as the others- a raw mess of artificial elemental energy just waiting to explode. But the Great Beings had one last hope. In the controlled conditions of their lab, they bonded all the surfaces of his body with other elements and materials to create non-reactive Fluoropolymers. He emerged from the lab strong, non-reactive- and entirely powerless.

 

This fifth Toa did not release his power unwillingly, nor could he access it willingly. It was trapped within a prison of atomic bonds. In light of this final failure, the Great Beings were on the verge of cancelling the project altogether when one of them had an insane and risky idea.

 

Why, he asked, should the entire Toa be converted into Fluoropolymer? Why not leave the Toa a single arm to channel his power with?

 

And thus Fluonek was born. His Fluorine energy was contained exclusively in his left arm and a few other relatively safe parts of his body. He was trained to never let anything touch those parts of him, and equipped with a Fluoropolymer shield for further protection.

 

The Great Beings also gave him a staff of the same powerful, artificial mineral that housed his power. He could channel his Fluorine power through it and draw power from it as he needed. And, of course, anything that touched it was history.

 

He traveled the Matoran Universe for millennia, using his vast destructive and creative capabilities for the greater good.

 

Unfortunately, he was working with a tribe of coastal Matoran when the Mata Nui robot collapsed. The immense force of the fall made water flood the beach and wash over him, reacting with his Fluorine arm. As the flames engulfed him he threw his Fluoropolymer shield to the Matoran, who all survived by using it as a flotation device.

Need for speed cars supplied by www.supercardriver.com

 

Image copyright @ RiadArianeMedia.

Its why you need a rear mudguard....

(Goodwood Revival 2013)

You can find me on: My Website || My Photography Blog || Facebook || Google+ || Twitter

 

A boy raised in the depression to learn the difference between want and need.

A young man who led many to battle in the Pacific

A man who loved his country and worked to strengthen its politics

A man who was who loved my mother and raised eight children

A man who held on to life, long after others would have rested and lived to love 18 grandchildren and 12 great-grandchildren.

 

My Father, Thomas Edwin Adams, June 28, 1920 – May 13, 2010

I love you dad!

  

Thomas Edwin Adams, Jr. passed away peacefully at his daughter''s home in Centreville, Virginia on May 13, 2010 with his family at his bedside.

 

Son to Thomas Edwin Adams, Sr. and Agnes Kennedy Adams, Tom Adams was born on June 28, 1920 in Washington, D.C. A proud native Virginian, he graduated at age 15 from Fairfax High School class of 1936. He was an excellent athlete and an accomplished tenor. Married in 1942, he was the devoted and loving husband of 44 years to Mary Ellen (Estes) Adams, who passed on Oct.19, 1987.

 

Tom Adams graduated from American University in Washington, D.C., with a B.A. in History and Government in 1946. He attended Washington & Lee University Law School in Lexington, VA. A veteran of WWII, Tom Adams received the Bronze Star for Bravery and the Purple Heart while serving in the Pacific campaign with the 17th Infantry Regiment as a platoon leader and company commander. During the Korean conflict he served in the 2nd Battalion of the 15th Infantry, 3rd Division as a rifle platoon leader. Before retiring from the U.S. Army in 1967, Lt. Col. Adams served as legal officer for the 15th Infantry Regiment in Fort Benning, GA, as Boards and Investigations Officer at Ft. Myer in Arlington, VA and as military historian at the Pentagon.

 

Tom Adams pursued a second career on Capitol Hill as the Legislative and Special Assistant to U.S. Congressman Joel T. Broyhill (10th Congressional District) of Virginia and for U.S. Congressman W.C. (Bill) Wampler Sr. (9th Congressional District). He retired from politics in 1984 following his service on the staff of the U.S. House Agriculture Committee. Tom Adams worked to pass legislation to create and fund the Washington Metro rail system and to fund the Virginia-Maryland Regional College of Veterinary Medicine. He was the principal staff architect of the agriculture title of the 1977 Food and Agriculture Act. Tom Adams'' retirement after 42 years of Federal service appeared in the Feb. 1, 1984 U.S. Congressional Record.

 

Tom and Mary Adams retired to Highland County, Virginia to start another chapter of their lives enjoying grandchildren and great grandchildren, their children, and many family and friends of the surrounding mountains and Shenandoah Valley.

 

Tom Adams will be remembered as a Virginian, an American, a devote husband and father, and as a man that instilled character and comfort in those he touched.

 

Tom Adams is survived by his eight children: Ellen Price, Susan Stanhope, Thomas Edwin, Laura Lewis, Elizabeth Kennedy, Samuel Glenn, Joseph Estes, and James Benjamin, 18 grandchildren, 12 great grandchildren, and siblings Robert L. Adams, Betty A. Baker, and Joan A. Vipperman. Tom Adams was also pre-deceased by loving brothers Bert and John, and sister Anne Gresham.

Olympia mi ha lasciato. Ho bisogno di una bici nuova.

 

it.youtube.com/watch?v=KN-j9H0nIDs

Today, both "The Land That Time Forgot" and "The People That Time Forgot" are fan favorites and hold a special 'cult' status among film buffs. I just goes to show that sometimes great films

don't need huge budgets to succeed, just dinosaurs and sexy cave women.

The Land That Time Forgot (1975)

Additional Photos in Set.

www.flickr.com/photos/morbius19/sets/72157639657354056/

 

youtu.be/d0K97czqecQ?t=1s Trailer

Amicus Pictures

Directed By: Kevin Connor

Written By: Edgar Rice Burroughs, Jim Cawthorn, Michael Moorcock, Milton Subotsky

Cast:

Doug McClure as Bowen Tyler

John McEnery as Captain Von Schoenvorts

Susan Penhaligon as Lisa Clayton

Keith Barron as Bradley

Anthony Ainley as Dietz

Godfrey James as Borg

Bobby Parr as Ahm

Declan Mulholland as Olson

Colin Farrell as Whiteley

Ben Howard as Benson

Roy Holder as Plesser

Andrew McCulloch as Sinclair

Ron Pember as Jones

Grahame Mallard as Deusett

Andrew Lodge as Reuther

Runtime: 90 Minutes

Color: Color

 

Story

In the year 1916 during WW1, an Allied vessel carrying civilians, the SS Montrose, is torpedoed by a German submarine. The survivors manage to board the sub and successfully take control of it. After the two sides continuously plot to overthrow the other, the group become lost. With supplies and fuel dwindling, the two opposing factions decide to work together. They find a strange continent in the icy region of the Atlantic ocean, but strangely, the water surrounding it is warm. Christened Caprona by an early Italian navigator named Caproni, the ice encroached island has no place to land. Traversing a winding underwater cavern, the U-boat ascends into a river.

The group find themselves in a strange land filled with prehistoric creatures. With dangers lurking at every turn, the lost travelers haven't enough fuel for a return trip. The group journey North across the land of Caprona in search of fuel. The further north they go, the more highly advanced the creatures and inhabitants become. They later find crude oil deposits and build

machinery with which to refine the lubricant for use in the subs engines. Attempting to leave, the mysterious volcanic continent threatens to rip itself apart to keep the involuntarily exiled travelers from escaping The Land That Time Forgot.

The set design is amazing with the makers getting full use out of Shepperton Studios, the home of Amicus. Some years later, the famed Pinewood Studios would acquire Shepperton. The Director of Photography on LAND, Alan Hume, does an admirable job capturing the colorful landscapes and fauna of the lost world of Caprona. Hume also took the job of DP on the three other Connor directed monster movies. Hume would later perform photographic duties on several of the Bond pictures in addition to the comedic prehistoric opus, CAVEMAN (1981) starring Ringo Starr among a cast of other recognizable faces.

 

The first in a series of popular fantasy adventure movies from the team of producer John Dark and director Kevin Conner. A highly ambitious British film from Amicus Productions, the chief rival to Hammer Films. Hammer had done their own series of prehistoric epics beginning with ONE MILLION YEARS B.C. (1966). That film featured stop motion animation by famed animator Ray Harryhausen. The film was so successful a follow-up was ordered albeit somewhat hesitantly considering the length of time it took for the stop motion effects to be created.

Doug McClure leads the cast to Caprona in a role that suits his former cowboy persona on THE VIRGINIAN television program. McClure replaced Stuart Whitman who was originally cast. Apparently, Whitman never received his full compensation to not participate in the picture and McClure was a likewise unwanted commodity as well. At the time, he was going through a divorce and a spate of drinking which kept him in a volatile mood from time to time. However, according to Susan Penhaligon, McClure was always a gentleman with her. McClure is very good and any hint of rambunctious behavior behind the scenes isn't evident in his pulpy performance.

  

McClure would take the lead role for AT THE EARTH'S CORE (1976), in which he would be paired with a rather spunky Peter Cushing. In 1977's THE PEOPLE THAT TIME FORGOT, McClure took a 'Guest Star' credit and only appears during the finale although he's the main focus of the story when Patrick Wayne journey's to Caprona to rescue him. It's the only film in the series that is a direct link with one of the other pictures. The fourth film, WARLORDS OF ATLANTIS (1978), isn't a Burroughs tale and also isn't an Amicus picture. Columbia handled distribution in the US.

In the early 1970s’ Amicus Pictures (Owned by Milton Subotsky and Max J Rosenberg) decided to pump some life into the declining British fantasy film industry by bringing the works of Tarzan creator Edgar Rice Burroughs to the big screen. At about the same time the film company’s rival, Hammer, had abandoned its standard horror films for features starring half naked women in an attempt to put more bodies in the seats. Amicus felt that the time seemed right for a series of films based on Burroughs strait forward action tales to fill the cinematic void.

The first of the four Burrough’s stories to be produced by Amicus would be an adaptation of the short story “The Land That Time Forgot” which was first published in Blue Book Magazine in 1918. Milton Subotsky had first penned a screenplay for the film back in the early 1960s’ but his first draft was initially rejected by the late Burrough’s estate. It was under their prodding that the script was rewritten by Jim Cawthorn and Michael Moorcock. Their dialogue heavy, light on the action script however didn’t meet Subotsky’s approval, so it was reworked yet again.

"The Land that Time Forgot" began production at Pinewood Studios in April 1974 with a meager $750,000 budget that had been put up by American International Pictures in exchange for the American distribution rights. This extremely low budget forced the film-makers to settle for cost cutting measures in the effects department. Hand puppets were used for the films dinosaurs in many scenes where costly stop motion animation had intended to be used. The effect looks

primitive when compared to modern CGI effects, but for the time period in which it was created, these effects in "The Land That Time Forgot" fared well against most rival productions.

Script problems and hand held dino’s were not the only problems the production would face in its early stages. Originally Stuart Whitman was cast as the American engineer Bowen Tyler, but Samuel Arkoff of AIP protested. Their next choice, Doug McClure, finally agreed to take the role after initially passing on it. McClure was billed as the perfect leading man by director Kevin Connor. McClure had earned a reputation as a marketable lead on the TV Western “The Virginian.” On the set however, McClure earned another type of reputation after his tendency to hit the bottle caused him to miss a couple of days shooting and punch a hole in producer Johnny Dark’s office door. Despite this McClure was considered a nice guy by his costars. He even held the hand of a nervous Susan Penhaligon (cast as biologist Lisa Clayton) during the explosions of the films volcano erupting climax. John McEnry, who played the German U-boat Captain von Schoverts, was continually acting up on the set due to his belief that the production was beneath him as an actor. This lead to his voice being dubbed over by Anton Diffrin due to his demeanor and lackluster tone. Aside from this however none of the other off screen troubles manifested themselves in the finished product.

 

The films plot is a strait forward Burroughs adventure story.

John McEnery, who plays the somewhat honorable Captain Von Shoenvorts, the leader of the German forces, was dubbed by Anton Diffring. The first 15 or 20 minutes of the film are very well handled, having the American and British survivors take command of the Nazi sub only to have the Germans take the vessel back, only to lose it once more. During the final switch, the Allied survivors get some poetic justice on their German captors. When the sub is to rendezvous with a Nazi supply ship, Tyler quietly launches torpedoes destroying the enemy vessel in recompense for the prior destruction of the civilian ship.

Anthony Ainley as Dietz is the true antagonist of the picture. He appears to have much respect for his Captain, but at the beginning after the Germans have sunk the civilian vessel, Dietz asks if there is an order to surface to look for survivors. Capt. Von Shoenvorts declines, yet Dietz responds with, "Survivors may live to fight another day." The Captain then says, "They are in enough trouble already...besides, these were civilians." As the Captain walks away there is a look of unmitigated and deceitful envy on the face of Dietz.

He secretly harbors desires to command his own unit and this materializes during the finale when Dietz shoots his Captain and takes over the doomed submarine. Ainley played a much different character in THE BLOOD ON SATAN'S CLAW (1971) in which he played a priest who is seduced by a harbinger of the Devil.

Derek Meddings was in charge of special effects on the picture and his work here would foreshadow some great things to come. Meddings would tackle effects chores on a number of big movies including a slew of the James Bond movies and big budgeted fantasy pictures such as SUPERMAN 1 and 2, KRULL and the 1989 version of BATMAN.

  

Monster designer Roger Dicken was in charge of the ambitious dinosaur sequences seen in THE LAND THAT TIME FORGOT. He also created special effects for several Hammer films including WHEN DINOSAURS RULED THE EARTH (1970) in which Dicken worked alongside fellow luminaries, Jim Danforth and Dave Allen. Dicken was Danforth's assistant here but on LAND, Dicken was on his own.

Douglas Gamley composed the score which has that Amicus sound to it, but given the nature of the film, Gamley peppers the score with at least one rousing composition which is saved for the finale. The scene in question has Tyler and Lisa racing back to the refinery as the land explodes around them. The group has left without them, though. As the U-boat makes its way back across the now burning river, Tyler and Lisa watch as the sub is destroyed from the boiling water and overwhelming heat.

During the finale, Caprona (described as a gigantic volcanic crater) begins to seemingly erupt destroying life on the island. In the third film, also during the finale, Tyler tells his friend, McBride that the land is alive and will stop their escape. Tyler states that the volcano controls everything. This adds a mystical element to the narrative making Caprona a living character. Taking what is said by Tyler in the third film, the erupting of the volcano in LAND seems to be in retaliation against the stranded travelers attempting to escape the island. By destroying the sub and its inhabitants, Caprona's secret remains hidden away from the eyes of modern man. The film ends as it began, with Tyler tossing a canister with notes detailing Caprona and the creatures residing therein.

The survivors of a torpedoed allied cargo ship turn the tables on their German attackers and seize control of their U-boat. The ever scheming German crew manage to damage the ships compass and instead of steaming to a neutral port, the group finds itself off the coast of the legendary island of Caprona, where time has stood still since prehistoric times. Forced to venture ashore in search of food, supplies and fuel, the crew encounters a bevy of dinosaurs that intend on making sure no one escapes alive. As in all good adventure stories of this type, just about everything and everyone the group encounters is set on doing them mortal harm and danger lies behind every turn. The groups focus is a simple a straight forward one, keep from being eaten and figure out a way to get off the island before it consumed in a river of molten rock. Seems all good dinosaur flicks have to end in some kind of volcanic catastrophe, and this film is no exception, even though Moorcock had originally written it with a different ending.

  

James Cawthorn (1929-2008) Artist

Jim Cawthorn is best known to Burroughs fans for his early work on the British fanzine Burroughsiana, edited by Michael Moorcock from 1956-1958, and for Erbania, edited by Pete Ogden during the same period. He also illustrated for Tarzan Adventures, a series of Tarzan comics interspersed with other stories and articles, also edited by Michael Moorcock. The series was reprinted by Savoy in 1977.

 

American Burroughs fans were generally unfamiliar with the British Tarzan publications before the Internet came onto the scene, but they are certainly familiar with the film production of The Land That Time Forgot, for which Jim Cawthorn and Michael Moorcock wrote the screenplay.

 

This Amicus film starred Doug McClure, making his first appearance in a British film under the auspices of American International Pictures, Inc. Cawthorn is reported to have been dissatisfied with the changes made to their screenplay which was written and signed on October, 1973, and which was filmed a year later. Besides changing names, characters and situations, they blew up Caprona which did not sit well with most American fans.

 

Cawthorn had produced many unpublished comic strips, including The Land That Time Forgot, and was working on A Princess of Mars when he died on December 2, 2008. He and Moorcock edited Fantasy: The 100 Best Books, published in London by Xanadu in 1988.

 

Cawthorn had many admirers, including Tarzan artist Burne Hogarth who wrote that the young artist’s work had a quality "most compelling and fascinating... He has an authentic talent." Of the many Cawthorn illustrations available for viewing, we found an early (1958) original in the Burroughs Memorial Collection which he drew for one of Maurice B. Gardner’s Bantan books.

  

need's CLA,

10 aperture blades in this little shutter

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