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My new favourite coffee shop in London.
Please visit my blog for more photos.
***Looking at this photo on a PC now, the colours look very dull compared to my MAC on which I edited the photo! :( Definitely need to calibrate my screen colours!
The original mid-13th-century Magdeburger Reiter (Magdeburg Rider, also Horseman of Magdeburg) is the main attraction of the Kunsthistorisches Museum. Further exhibits in this small local history and art museum include:
Banknotes from the hyperinflation period of the early 1920s, including a Billion Mark note (i.e. a million million marks) and a thousand mark note changed to a billion mark one through a simple red stamp.
I wanted to make notecards to go with the set that I uploaded earlier. You can see the original post here.
Original posting:
Card & magnet created for the HA "gogreen" challenge. I used a ribbon spool to make the magnet for my dd's teacher to show how much we appreciate her. I love the colors & design on the Unionbay tag I saved from my dd's shorts...such great inspiration!!
You can view the original tag, spool & more detailed photos here. TFL!
Materials used:
Unionbay tag
Ribbon Spool
Stamps: HA CL142 Thank You Messages & CL272 All Occasion Messages
Ink: StazOn Jet Black
Paper: Bazzill Basics (yellow swiss dot), Making Memories (green polka-dottie), Little Yellow Bicycle (pink polka-dottie & multi-colored polka-dottie) & AC White Textured Cardstock
Chipboard Butterflies: Cosmo Cricket (Girl Friday)
Pink Pearls: Hero Arts
Ric Rac: WalMart
C-bug & Scalloped Nestabilities
Clear box: www.clearbags.com/
Martha Stewart Crafts Classic Butterfly Punch
Bling: Hero Arts
This is just me, not the way I am choosing to show myself... like fake bloggers out there who write fiction. This is just who I am, I'm not sucking up to anyone.
Photo by Intense Beauty
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When making notes for genealogy I enjoy my vast collection of color ink pens. When I change sources or persons being researched I reach in and grab another color to make the notes.
Here is a picture I shot of my desk. Quite a mess I know. I added notes to describe some of the stuff you see on and around my desk.
Note: I chose this photo, among the five that I uploaded to Flickr on the morning of Mar 30,2012, as my "photo of the day." I could not take my eyes off the giant sneakers the young woman was wearing. Unfortunately, the photo doesn't really show the rather bizarre tights that she was also wearing...
Note: this photo was published in an Mar 29, 2012 issue of Everyblock NYC zipcodes blog titled "10024."
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This is the continuation of a photo-project that I began in the summer of 2008 (which you can see in this Flickr set), and continued throughout 2009, 2010, and 2011 (as shown in this Flickr set, this Flickr set, and this Flickr set): a random collection of "interesting" people in a broad stretch of the Upper West Side of Manhattan -- between 72nd Street and 104th Street, especially along Broadway and Amsterdam Avenue. These are the people in my neighborhood, aka "peeps in the 'hood."
As I indicated when I first started this project nearly four years ago, I don't like to intrude on people's privacy, so I normally use a zoom telephoto lens in order to photograph them while they're still 50-100 feet away from me; but that means I have to continue focusing my attention on the people and activities half a block away, rather than on what's right in front of me. Sometimes I find an empty bench on a busy street corner, and just sit quietly for an hour, watching people hustling past on the other side of the street; they're almost always so busy listening to their iPod, or talking on their cellphone, or daydreaming about something, that they never look up and see me aiming my camera in their direction.
I've also learned that, in many cases, the opportunities for an interesting picture are very fleeting -- literally a matter of a couple of seconds, before the person(s) in question move on, turn away, or stop doing whatever was interesting. So I've learned to keep my camera switched on, and not worry so much about zooming in for a perfectly-framed picture ... after all, once the digital image is uploaded to my computer, it's pretty trivial to crop out the parts unrelated to the main subject. Indeed, some of my most interesting photos have been so-called "hip shots," where I don't even bother to raise the camera up to my eye; I just keep the zoom lens set to the maximum wide-angle aperture, point in the general direction of the subject, and take several shots. As long as I can keep the shutter speed fairly high (which sometimes requires a fairly high ISO setting), I can usually get some fairly crisp shots -- even if the subject is walking in one direction, and I'm walking in the other direction, while I'm snapping the photos.
With only a few exceptions, I've generally avoided photographing bums, drunks, crazies, and homeless people. There are plenty of them around, and they would certainly create some dramatic pictures; but they generally don't want to be photographed, and I don't want to feel like I'm taking advantage of them. There have been a few opportunities to take some "sympathetic" pictures of such people, which might inspire others to reach out and help them. This is one example, and here is another example.
The other thing I've noticed, while carrying on this project for the past four years, is that while there are lots of interesting people to photograph, there are far, far, far more people who are not so interesting. They're probably fine people, and they might even be more interesting than the ones I've photographed ... unfortunately, there was just nothing memorable about them. They're all part of this big, crowded city; but for better or worse, there are an awful lot that you won't see in these Flickr sets of mine...
La Fontana di Trevi è la più grande e, secondo il mio modesto parere, insieme alla Fontana Dei Quattro Fiumi del Bernini, una delle più note fontane di Roma, ed è considerata all'unanimità una delle più celebri fontane del mondo. La fontana, progettata da Nicola Salvi e adagiata su un lato di Palazzo Poli, è un connubio di classicismo e barocco e fu commissionata da Papa Clemente XII, nel 1731, dopo un combattuto bando di concorso.
L'opera era impostata secondo un progetto che raccorda influenze barocche e riprende l'idea di fondo di papa Urbano VIII e di Bernini, cioè quella di narrare, tramite architettura e scultura insieme, la storia dell'Acqua Vergine. In prima istanza le sculture furono affidate all'esecuzione dello Scultore Giovanni Battista Maini, morto insieme all'architetto prima della fine dei lavori, e concluse dallo scultore Pietro Bracci, coadiuvato dal figlio Virginio. La fontana viene finalmente ultimata dopo l'esecuzione del complesso scultoreo centrale, durante il pontificato di papa Clemente XIII il 22 maggio 1762, dopo tante tribolazioni e cambi di progetti durante la realizzazione, dopo trent’anni di cantiere, l’opera fu finalmente mostrata al pubblico in tutta la sua maestosità.
The Trevi Fountain is the largest and, in my humble opinion, along with the Fountain of the Four Rivers by Bernini, one of the most famous fountains of Rome, and is unanimously considered one of the most famous fountains in the world. The fountain, designed by Nicola Salvi and lying on one side of the Palazzo Poli, is a blend of classicism and baroque and was commissioned by Pope Clement XII in 1731, after a hard fought competition notice, the aforementioned architect Nicolò Salvi.
The work was set according to a project that connects Baroque influences and incorporates the idea of Pope Urban VIII and Bernini, which is to narrate, through architecture and sculpture collection, the history of the Acqua Vergine. In the first instance the sculptor was entrusted with the execution of the sculptor Giovanni Battista Maini, who died before the end of the work, and concluded by the sculptor Pietro Bracci, assisted by his son Virginio. The fountain was finally completed after the execution of complex sculptural center, during the pontificate of Pope Clement XIII May 22, 1762, after many tribulations and changes of projects during execution, after thirty years of construction, the work was finally shown to the public in all its majesty.
Per favore non utilizzare questa immagine su siti web, blogs o altri media senza mia esplicita autorizzazione.
Please don't use this image on websites, blogs or other media without my explicit permission.
Tutti i diritti riservati a deggio1974 Copyright ©
The castle has been the seat of the Percy family since Norman times. By 1138 the original motte and bailey castle, with wooden buildings, was replaced with stone buildings and walls. In 1309 the keep and defences were made even stronger by Henry de Percy. The castle then stayed unchanged for 400 years. By the 18th century it had fallen into ruins. The keep however was then turned into a gothic style mansion by Robert Adam. In the 19th century the Duke of Northumberland carried out more restoration of the castle.
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ALNWICK CASTLE, THE CASTLE, STABLE COURT AND COVERED RIDING SCHOOL INCLUDING WEST WALL OF RIDING SCHOOL
Heritage Category: Listed Building
Grade: I
List Entry Number: 1371308
National Grid Reference: NU 18685 13574
Details
This list entry was subject to a Minor Amendment on 05/10/2011
NU 1813 NE 2/1 NU 1813 SE 1/1 20.2.52. 5330
Alnwick Castle The Castle, Stable Court and Covered Riding School including West Wall of Riding School
GV I
Alnwick Castle has work of every period on the line of the original motte and bailey plan. By 1138 a strong stone built border castle with a shell keep in place of the motte, formed the nucleus of the present castle with 2 baileys enclosing about 7 acres. The curtain walls and their square towers rest on early foundations and the inner gatehouse has round-headed arches with heavy chevron decoration. The Castle was greatly fortified after its purchase by Henry de Percy 1309 - the Barbican and Gatehouse, the semi-circular towers of the shell keep, the octagonal towers of the inner gateway and the strong towers of the curtain wall date from the early to mid C14. Ruinous by the C18, the 1st Duke had it rehabilitated and extended by James Prince and Robert Adam, the latter being mainly concerned with the interior decoration, very little of which remains except for fireplaces in the Housekeeper's and the Steward's Rooms and for inside the present Estates Office range. Capability Brown landscaped the grounds, filling in the former moat (formed by Bow Burn). The 4th Duke employed Anthony Salvin 1854-65 at the cost of £1/4 million to remove Adam's fanciful Gothic decoration, to restore a serious Gothic air to the exterior and to redesign the state rooms in an imposing grand Italian manner. The Castle is approached from Bailliff gate through the crenellated Barbican and Gatehouse (early C14): lion rampant (replica) over archway, projecting square side towers with corbelled upper parts, fortified passage over dry moat to vaulted gateway flanked by polygonal towers. Stone figures on crenellations here, on Aveners Tower, on Record Tower and on Inner Gateway were carved circa 1750-70 by Johnson of Stamfordham and probably reflect an earlier similar arrangement. In the Outer Bailey to the, north are the West Garrett (partly Norman), the Abbott's Tower (circa 1350) with a rib vaulted basement, and the Falconer's Tower (1856). To the south are the Aveners Tower [C18], the Clock Tower leading into the Stable Yard, the C18 office block, the Auditor's Tower (early Clk) and the Middle Gateway (circa 1309-15) leading to the Middle Bailey. The most prominent feature of the Castle on the west side is the very large Prudhoe Tower by Salvin and the polygonal apse of the chapel near to it. In the Middle Bailey, to the south are the Warders Tower (1856) with the lion gateway leading by a bridge to the grand stairs into the walled garden, the East Garrett and the Record Tower (C14, rebuilt 1885). In the curtain wall to the north are 2 blocked windows probably from an early C17 building now destroyed and the 'Bloody Gap', a piece of later walling possibly replacing a lost truer; next a small C14 watch tower (Hotspur's Seat); next the Constable's Tower, early C14 and unaltered with a gabled staircase turret; close by is the Postern Tower, early C14, also unaltered.'To the north-west of the Postern Tower is a large terrace made in the C18, rebuilt 1864-65, with some old cannon on it. The Keep is entered from the Octagon Towers (circa 1350) which have 13 heraldic shields below the parapet, besides the agotrop3ic figures, and a vaulted passage expanded from the Norman gateway (fragments of chevron on former outer arch are visible inside). The present arrangement of the inner ward is largely Salvin's work with a covered entrance with a projecting storey and lamp-bracket at the rear of the Prudhoe Tower and a corbelled corridor at 1st floor level on the east. Mediaeval draw well on the east wall, next to the original doorway to the keep, now a recess The keep, like the curtain walls, is largely mediaeval except for some C18 work on the interior on the west and for the Prudhoe Tower and the Chapel. The interior contrasts with the rugged mediaeval exterior with its sumptuous Renaissance decoration, largely by Italians - Montiroli, Nucci, Strazza, Mantavani and inspired from Italian sources. The chapel with its family gallery at the east end has 4 short rib vaulted bays and a shallow 3-light apse; side walls have mosaics, covered now with tapestry. The grand staircase With its groin vaulted ceiling leads to the Guard Chamber from which an ante-room leads west into the Library (in the Prudhoe Tower) and east into the Music Room (fireplace with Dacian captives by Nucci). Further on are the Red Drawing Room (caryatid fireplace by Nucci) and the Dining Room (ceiling design copied from St Lorenzo f.l.m. in Rome and fireplace with bacchante by Strazza and faun by Nucci). South of the Middle Gateway are Salvin's impressive Kitchen quarters where the oven was designed to burn a ton of coal per day. West of the Stable Courtyard, with C19 Guest Hall at the south end, is the C19 covered riding school, with stable to north of it, and with its west wall forming the east side of Narrowgate. The corner with Bailliffgate has an obtuse angled tower of 2 storeys, with a depressed ogee headed doorway from the street, and merlons.
Listing NGR: NU1863413479
historicengland.org.uk/listing/the-list/list-entry/137130...
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ALNWICK CASTLE
Heritage Category: Park and Garden
Grade: I
List Entry Number: 1001041
National Grid Reference: NU1739315366, NU2254414560
Details
Extensive landscape parks and pleasure grounds developed from a series of medieval deer parks, around Alnwick Castle, the seat of the Percy family since the C14.
Between 1750 and 1786, a picturesque landscape park was developed for Hugh, first Duke of Northumberland, involving work by James Paine, Robert Adam, and the supervision of work by Lancelot Brown (1716-83) and his foremen Cornelius Griffin, Robson, and Biesley in the 1760-80s, working alongside James and Thomas Call, the Duke's gardeners. During the C19 each successive Duke contributed and elaborated on the expansive, planned estate landscape, within which the landscape park was extended. This was accompanied by extensive C19 garden works, including a walled, formal flower garden designed in the early C19 by John Hay (1758-1836), and remodelled mid C19 by William Andrews Nesfield (1793-1881).
NOTE This entry is a summary. Because of the complexity of this site, the standard Register entry format would convey neither an adequate description nor a satisfactory account of the development of the landscape. The user is advised to consult the references given below for more detailed accounts. Many Listed Buildings exist within the site, not all of which have been here referred to. Descriptions of these are to be found in the List of Buildings of Special Architectural or Historic Interest produced by the Department of Culture, Media and Sport.
HISTORIC DEVELOPMENT
In the C13, Hulne Park, West Park, and Cawledge were imparked within the Forest of Alnwick. Hulne Park lay to the north-west of Alnwick Castle and Cawledge to the south and south-east. By the late Middle Ages, Hulne Park extended to 4000 acres (c 1620ha) enclosed by some 13 miles (c 21km) of wall. It was stocked with some 1000 fallow deer and a tower at Hulne Priory served as a hunting lodge. The parks formed the basis of Alnwick Park, landscaped by Sir Hugh Smithson (1714-86) who in 1750 became Earl of Northumberland, inheriting his father-in-law's northern estates. Prior to this, from 1748 he and his wife, Elizabeth Seymour (1716-76), had lived at Stanwick, Yorkshire (qv) and at Syon Park, London (qv), where they had already established a reputation for gardening, attested by Philip Miller's dedication, in 1751, of his Gardener's Dictionary to the Earl.
Together they embarked on an ambitious scheme to restore the Castle, develop the grounds and estate, and restore the Percy family traditions and identity at Alnwick. Those employed at Alnwick were also involved elsewhere on the Northumberland estates: James Paine, architect at Syon House, Daniel Garrett, architect at Northumberland House, the Strand (1750-3), Robert Adam, architect at Syon (1762-9), Lancelot Brown, landscape architect at Syon Park (1754-72).
In 1751, Thomas Call (1717-82), who had been the Earl's gardener at Stanwick, prepared a scheme for the parklands and pleasure grounds, including a plan for Brizlee Hill (the south part of Hulne Park). Call and his relation James, working at Alnwick by 1756, were responsible for the development of Hulne Park over twenty years. The date and extent of Lancelot Brown's involvement at Alnwick is uncertain, although his foremen Griffin, Robson, and Biesley worked at Alnwick with teams of men between 1771and 1781 and records shown that they also worked alongside Call and his men (in 1773 for example, Call had a team of sixty men and Biesley one of seventy-eight).
Hulne Park was developed as a picturesque pleasure ground with extensive rides, follies, and the enhancement of natural features. A characteristic of the Duke's scheme was his recognition of antiquarian sites within the landscape, which were embellished. Thus in 1755, Hulne Priory was purchased to become the focal point of Hulne Park. A garden was made within the cloister walls and, from c 1763, the priory became the gamekeeper's residence, with a menagerie of gold and silver pheasants. Statues of friars cut by the mason Matthew Mills were set in the landscape. In 1774, a medieval commemorative cross to Malcolm Canmore (listed grade II), situated at the northern entrance to the North Demesne, was restored.
Following the Duchess' death in 1776, the Duke decorated all her favourite locations with buildings, some being ideas she had noted in her memoranda. Work also included other notes and ideas the Duchess had had, including the ruin at Ratcheugh Crag and some ninety-eight drives and incidents.
Plans for the parklands at the North Demesne, Denwick, and Ratcheugh Crags were developed in the late 1760s, although in the case of the North Demesne some parkland planting had been undertaken by 1760, and the major work undertaken in the early 1770s is that attributed to Brown, mainly on stylistic grounds.
During the C19, under the second Duke (1742-1817) the parks were extended, this including the purchase of Alnwick Abbey and part of its estate. The complex of drives was also extended and this was accompanied by extensive plantations, including the large Bunker Hill plantation central to the north area of Hulne Park, named to commemorate the Duke's action in 1775 in the War of American Independence. Most significantly, between 1806 and 1811, building centred on construction of a perimeter wall, defining the boundary of Hulne Park, and lodges and gateways at entrances to the parks. The carriage drives were extended, necessitating the construction of bridges over the River Aln. These schemes were implemented by estate workers, local masons, and David Stephenson, the Duke's architect.
As the Castle had no formal flower gardens, John Hay was commissioned between 1808 and 1812 to design pleasure gardens to the south-east of the Castle, linking it with a new walled garden at Barneyside, furnished with a range of hothouses, glasshouses, and pine pits. These were extended in the 1860s when Anthony Salvin, employed in the restoration of the Castle, built a gateway between the inner bailey and the pleasure gardens. Nesfield designed a scheme for the walled gardens to be developed as an ornamental flower and fruit garden, with a large central pool, conservatory, and a series of broad terraces and parterres. The Alnwick scheme can be compared to Nesfield's in the precincts of Arundel Castle, West Sussex (qv), in 1845.
Alnwick Castle, parks and estate remain (2000) in private ownership, the latest significant developments being the replanting and restoration of the North Demesne (1990s) and plans to completely remodel the walled garden.
SUMMARY DESCRIPTION
Alnwick Castle parks cover a tract of countryside encircling Alnwick town on its west, north, north-east, and south sides. The land is a mixture of contrasting landscape types, with high heather moorland and the rough crags of the Northumbrian Sandstone Hills sweeping down to the improved pasture lands along the wooded Aln valley. The parks exploit the boundaries of these distinctive landforms where the rugged moorland gives way to the pastoral, rolling landscape of the Aln, on its route to the sea. In the west parklands the river is confined between hills, and in places has incised deep, narrow valleys while in the east the landscape is more open.
The registered area of 1300ha is bounded on its north-east side by the Hulne Park wall, west of the Bewick to Alnwick Road (B6346). The west side of the area here registered follows field boundaries to the west of Shipley Burn, starting at Shipley Bridge, and then turns south-west at a point c 1km south of the bridge. It then runs for south-west for c 2.3km, to the west of Hulne Park, before crossing the River Aln and running parallel to Moorlaw Dean for c 1.2km, on the west side of the burn. The southern area is defined by Hulne Park wall running around the south point of Brizlee Wood then in a line due east, south of Cloudy Crags drive, to cross the Stocking Burn and reach Forest Lodge. The boundary then defines the north-western extent of Alnwick town and, crossing the Canongate Bridge, the southernmost extent of the Dairy Grounds.
To the east of the Castle the registered area takes in the entire North Demesne bounded on its north by Long Plantation, a perimeter belt which lies on the south side of Smiley Lane and then extends eastwards to meet the junction of the B1340 and A1 trunk road. The A1 has effectively cut through the North Demesne from north to south and, although physically divorcing the two areas, they are still visually conjoined. Defined on its north side within the hamlet of Denwick by tree belts, the park extends eastwards for 1km before cutting across southwards to meet the River Aln at Lough House. This latter stretch is bounded by a perimeter belt. The south boundary of the North Demesne follows the river in part, before meeting the Alnwick to Denwick road (B1340). To the south, the Castle gardens are delimited from the town by property boundaries along Bondgate. An outlying area of designed landscape at Ratcheugh is also included.
A complex series of drives is laid throughout the parks, particularly in Hulne Park. A series of thirty standing stones stand at the beginning of the drives or where they converge. These are inscribed with the names of the drives and act as signposts.
Alnwick Castle (1134 onwards, c 1750-68 by James Paine and Robert Adam, 1854-6 by Anthony Salvin, listed grade I) lies on the high ground on the south side of the Aln valley, commanding views to the north, east, and west. To the south is Alnwick town but the landscape is designed so that the town is not in view of the Castle. The principal views from the Castle lie over the North Demesne.
The North Demesne originally included Denwick Park (they have now been divided by the A1 road), and together these 265ha form the core parkland designed by Brown. Perimeter tree belts define the park, and clumps and scatters of specimen trees ornament the ground plan. The Aln has been dammed to give the appearance of an extensive, natural serpentine lake, with bridges as focal points: the Lion Bridge (John Adam 1773, listed grade I) and Denwick Bridge (1766, probably also by Adam, listed grade I). A programme of replanting and restoration of the North Demesne is under way (late 1990s).
The medieval deer park of Hulne extended to the north of the Shipley Road (outside the area here registered). Hulne Park is now 1020ha and is in agricultural and forestry use. The principal entrance from Alnwick town is Forest Lodge, the only extant part of Alnwick Abbey. Hulne Park is completely enclosed by an early C19 perimeter wall, c 3m high with shaped stone coping and buttresses every 20m. Nearly 5km of wall lies alongside roads, 5km across fields, and 5km defines perimeter woodland and moorland from the enclosed park.
The park design consists of a series of oval-shaped enclosures, defined by tree belts vital for shelter. The highest point is in the west area of the park, from where there are long-distance views east to the sea. The River Aln winds its way through the park via a series of contrasting steep valleys and flatter lands. The valleys are emphasised by planting on the upper slopes, while the lower areas are encircled with designed plantations to emphasise the river's meanders and ox-bow lakes.
Picturesque incidents survive at Nine Year Aud Hole, where the statue of a hermit (late C18, listed grade II) stands at the entrance to a natural cave along Cave Drive, and at Long Stone, a monolith standing high on the west side of Brizlee Hill, with panoramic views over Hulne Park to the north-west. The picturesque highlight is Hulne Priory (original medieval buildings, C18 alterations and enhancements, all listed grade I), which includes a summerhouse designed by Robert Adam (1778-80, listed grade I) and statues of praying friars erected in the Chapter House (late C18). The Priory's picturesque qualities are well appreciated from Brizlee Tower (Robert Adam, listed grade I), built in 1781 to commemorate the creation of the Alnwick parks by the first Duke and Duchess, a Latin inscription stating:
Circumspice! Ego omnia ista sum dimensus; Mei sunt ordines, Mea descriptio Multae etiam istarum arborum Mea manu sunt satae. [Look about you. I have measured all these things; they are my orders; it is my planning; many of these trees have been planted by my own hand.]
Brizlee is sited on a high point which can be seen in views north-west from the Castle, mirroring views north-east to the 'Observatory' on Ratcheugh Crag, a sham ruined castle sited as an eyecatcher on high ground and built by John Bell of Durham in 1784 (plans to further elaborate it were designed by Robert Adam).
Another principal feature of Hulne Park is a series of regular, walled enclosures (the walls set in ditches with banks cast up inside the compounds) which line Farm Drive, the central road through the park, north-westwards from Moor Lodge. This functioned as the third Duke's menagerie, and is still pasture.
The 15ha Dairy Ground links Hulne Park and the North Demesne. It principally consists of the Aln valley north-west of the Castle, stretching between Canongate Bridge and Lion Bridge, laid out as pleasure gardens. Barbara's Bank and the Dark Walk are plantations laid out with walks on the steep slopes with a Curling Pond to the north of the Aln.
The walled garden of 3ha lies to the south-east of the Castle, reached by the remains of C19 pleasure gardens laid out on the slopes above Barneyside. After the Second World War use of the glasshouses ceased, and until recently (late 1990s) the Estate Forestry Department used it. The earthwork terraces and remnants of specimen planting of Nesfield's scheme survive.
REFERENCES
Note: There is a wealth of material about this site. The key references are cited below.
The Garden, 5 (1874), pp 100-1, 188; 20 (1881), pp 155-6 Gardeners' Chronicle, ii (1880), pp 523-4, 587; ii (1902), pp 273-4 J Horticulture and Cottage Gardener 15, (1887), pp 296-8 P Finch, History of Burley on the Hill (1901), p 330 Country Life, 65 (22 June 1929), pp 890-8; 66 (6 July 1929), pp 16-22; 174 (4 August 1983), p 275 D Stroud, Capability Brown (1975), pp 103-4 Garden History 9, (1981), pp 174-7 Capability Brown and the Northern Landscape, (Tyne & Wear County Council Museums 1983), pp 19, 22-3, 27, 42 Restoration Management Plan, Alnwick Castle, (Land Use Consultants 1996) C Shrimpton, Alnwick Castle, guidebook, (1999)
Description written: August 2000 Resgister Inspector: KC Edited: June 2003
historicengland.org.uk/listing/the-list/list-entry/100104...
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Free texture. If you use this texture please credit my name under your picture, and put a copy of your work in a comment box under my texture.
My Field Notes treasures sit for their portrait. On the far left is my much-loved, much-battered Texas edition; I covered it with tape to make it waterproof and used first-aid tape on the spine when I added new paper and needed to cover the staple prongs. What you can't see is that the pages are numbered, with an index on the front inside cover (tasks for home, wish list, grocery shopping, books to get, etc.) And the back inside cover holds a pocket for stuff! I am, alas, having to move on to the American Tradesman edition atop the Texas one, but I know I'll love it just as much.
April 25: Day 38 of Project 365
I had a folder filled with random notes and ideas that I have accumulated for a couple years. Spent a few hours collecting them into a single notebook.
one of chris's favorite bars in nashville has coasters all over the walls with notes that people have written. this message was on one of them--front and center, right behind the bar.
i couldn't get a decent picture of it so i wrote it down on the receipt and tucked it away.
(14/351)
Written on a toilet door!
Once was a very busy bar before the earthquake.. still in the Red Zone! www.youtube.com/watch?v=teicHEyJbf0
On a cold dull October 10, 2013, Christchurch New Zealand.
One of Christchurch's most popular entertainment spots lies in ruins.Poplar Lane, which was revitalised as part of the Lichfield St lanes project, is barely recognisable after the demolition of several brick buildings.
Twisted Hop co-owner Stephen Hardman said yesterday the lane was a sad sight.
"It's just changed out of all recognition," he said.
A 14-strong crew, two trucks and a crane took two days last week to remove brewing equipment from the Twisted Hop building, which had remained largely intact because it had been quake-strengthened.
The new Twisted Hop brewery will open in Woolston. Hardman said the beer in the recovered kegs was "just drinkable" but had been poured out. He hoped to return to Poplar Lane.
Taken from: www.stuff.co.nz/the-press/news/6394458/Poplar-Lane-in-ruins