View allAll Photos Tagged octave
Les Marches Folkloriques de l'Entre-Sambre-et-Meuse trouvent leurs origines dans les processions de croix banales du moyen-âge. Celles-ci avaient lieu dans l'octave de la Pentecôte et étaient destinées à rendre hommage et à permettre de verser l'obole à l'abbaye suzeraine voisine dont dépendait le clergé.
L'escorte militaire qui les accompagnait avait pour but d'en rehausser l'éclat mais aussi de préserver les pèlerins contre les bandes de malfrats qui rôdaient à cette époque dans nos contrées. Ces compagnies spéciales d'archers et arbalétriers que l'on appelait "serments" furent les ancêtres des marcheurs.
C'est dans le courant du XVIII siècle qu'une crise importante frappa nos Marches car de plus en plus ces cérémonies devenaient un prétexte pour s'amuser et tourner le religieux en dérision, ce qui ne plut pas au clergé qui interdit ces manifestations.
Les coutumes reprendront en 1802 après le concordat signé entre Napoléon Ier et le Pape Pie VII. C'est à ce moment que les Marches prirent un nouvel essor et devinrent des escortes militaires.
En ce qui concerne les costumes adoptés dans nos manifestations aujourd'hui, ils sont du premier et du second empire. A ce sujet, il est certain que l'on a d'abord marché en premier empire car de nombreuses défroques de l'armée de Napoléon étaient disponibles dans nos régions. Ces uniformes se dégradant, nos Marcheurs ont adoptés les costumes militaires de l'époque qui a immédiatement suivi, c'est-à-dire les uniformes que l'on appelle du second empire.
Bien que l’aspect religieux ne semble pas prépondérant, il s’agit quand même d’une procession religieuse avec sortie de la châsse et des saints patrons, bénédictions, messe, …
L’un des moments les plus forts de la Saint Hubert, c’est le fameux bataillon carré. Un moment solennel, plein de tradition et avec un déroulement codifié et immuable. Il commence par une revue des troupes, suivie de décharges et de feux roulants.
The Folk Marches of Entre-Sambre-et-Meuse find their origins in the banal cross processions of the Middle Ages. These took place in the octave of Pentecost and were intended to pay homage and allow the payment of the mite to the neighboring suzerain abbey on which the clergy depended.
The military escort which accompanied them was intended to enhance its splendor but also to protect the pilgrims against the gangs of thugs who were roaming our region at that time. These special companies of archers and crossbowmen called "oaths" were the ancestors of the walkers.
It was during the 18th century that a major crisis struck our Marches because more and more these ceremonies became a pretext for having fun and making fun of religion, which did not please the clergy who banned these demonstrations.
Customs resumed in 1802 after the concordat signed between Napoleon I and Pope Pius VII. It was at this time that the Marches took on new development and became military escorts.
Regarding the costumes adopted in our demonstrations today, they are from the first and second empire. On this subject, it is certain that we first marched in the first empire because many cast-offs from Napoleon's army were available in our regions. As these uniforms deteriorated, our Walkers adopted the military costumes of the era which immediately followed, that is to say the uniforms we call the Second Empire.
Although the religious aspect does not seem predominant, it is still a religious procession with the release of the reliquary and patron saints, blessings, mass, etc.
One of the strongest moments of Saint Hubert’s Day is the famous square battalion. A solemn moment, full of tradition and with a codified and immutable sequence. It begins with a review of the troops, followed by discharges and rolling fire.
It was a cold and rainy day, but still very cool to see!
The Kinzua Viaduct, when first constructed in May 1882, was the highest and longest viaduct in the world, measuring 301 feet high and 2,053 feet long. The need to transport coal, oil and lumber across the Kinzua Gorge inspired General Thomas Kane, president of the New York, Lake Erie and Western Coal Company and Octave Chanute, Chief Engineer for the Erie Railroad to design a colossal viaduct.
In 1900, the viaduct was rebuilt of steel to accommodate larger loads and the weight of modern train traffic In 1963, Gov. William Scranton signed legislation that provided for the acquisition of the viaduct and adjacent lands to become a state park. The Kinzua Bridge State Park opened in 1970. In 1977, the Kinzua Viaduct was placed on the National Register of Historic Landmarks by the Federal Department of Interior.
The bridge stood for 121 years. The Erie Railroad operated trains across the viaduct from 1882 until 1959. After 28 years of inactivity, the Knox and Kane Railroad offered excursion passenger trains from Marienville (48 miles to the South by rail) to and across the bridge starting in 1987. These steam driven trains continued until 2002 and were the last trains to ever cross the bridge.
The bridge partially collapsed under the powerful winds of a tornado in 2003.
This remote Monastery (aka abbey) was built in 1830 close to Gardiki (one of the Aspropotamos villages in Trikala County, Greece).
The monastery celebrates on August 23, i.e. on the “Apodosis” of the Assuption of the Blessed Virgin Mary. Apodosis (“giving-back”) is the last (8th) day of an ecclesiastical “Octave” or “Afterfeast” with repetition of hymns. Vespers are also chanted there in the previous evening (on Aug 22). The church is completely surrounded (or overwhelmed) by an abundance of lush green vegetation.
Aspropótamos (Greek for “White River”) is a toponym for the 2nd largest Greek river, Acheloös or Achelōos. Achelōos runs for 220 km (137 mi) prior to disgorging its waters into the Ionian Sea. The precipitous flow of the river causes its crystal-clear waters to splash and foam over the many stones scattered throughout the river bed; the White River toponym emanates from the white foam occurring all along the river. Achelōos was worshipped as a god in ancient Greece (son of Ocean and Tēthys or Ocean and Naïás).
Space is mostly quiet. Data collected by telescopes is most often turned into silent charts, plots, and images. A “sonification” project led by NASA’s Chandra X-ray Observatory and NASA’s Universe of Learning program transforms otherwise inaudible data from some of the world’s most powerful telescopes into sound. This effort makes it possible to experience data from cosmic sources with a different sense: hearing.
Beginning in the center, the sonification of the Tycho supernova remnant expands outward in a circle. The image contains X-ray data from Chandra where the various colors represent small bands of frequency that are associated with different elements that are moving both toward and away from Earth. For example, red shows iron, green is silicon, and blue represents sulfur. The sonification aligns with those colors as the redder light produces the lowest notes and blue and violet create the higher-pitched notes. Color varies over the remnant, but the lowest and highest notes (red and blue) dominate near the center and are joined by other colors (mid-range notes) towards the edge of the remnant. White corresponds to the full range of frequencies of light observable by Chandra, which is strongest toward the edge of the remnant. This light is converted to sound in a more direct way as well, by interpreting frequencies of light as frequencies of sound and then shifting them lower by 50 octaves so that they fall within the human hearing range. The different proportions of iron, silicon, and sulfur across the remnant can be heard in the changing amounts of the low-, mid-, and high-frequency peaks in the sound. The field of stars in the image as observed by Hubble is played as notes on a harp with the pitch determined by their color.
Image credit: NASA/CXC/U. Ohio/T.Statler & S.Diehl
#NASA #MarshallSpaceFlightCenter #MSFC #Marshall #ChandraXrayObservatory #cxo #supernova #supernovaremnant #sonification
REFORD GARDENS | LES JARDINS DE METIS
Beautiful flowers at Reford Gardens.
Mrs Elsie Reford loved visiting that village (Saint Octave de Metis) close to Reford Gardens.
Reference: Elsie's Paradise, The Reford Gardens, Alexander Reford, 2004, ISBN 2-7619-1921-1, That book is a must for Reford Gardens lovers!
''Elsie often ventured into the back country near the gardens, admiring the hilly country behind the village of St. Octave.'' (page 99)
Visit : www.refordgardens.com/
From Wikipedia:
Elsie Stephen Meighen - born January 22, 1872, Perth, Ontario - and Robert Wilson Reford - born in 1867, Montreal - got married on June 12, 1894.
Elsie Reford was a pioneer of Canadian horticulture, creating one of the largest private gardens in Canada on her estate, Estevan Lodge in eastern Québec. Located in Grand-Métis on the south shore of the St. Lawrence River, her gardens have been open to the public since 1962 and operate under the name Les Jardins de Métis and Reford Gardens.
Born January 22, 1872 at Perth, Ontario, Elsie Reford was the eldest of three children born to Robert Meighen and Elsie Stephen. Coming from modest backgrounds themselves, Elsie’s parents ensured that their children received a good education. After being educated in Montreal, she was sent to finishing school in Dresden and Paris, returning to Montreal fluent in both German and French, and ready to take her place in society.
She married Robert Wilson Reford on June 12, 1894. She gave birth to two sons, Bruce in 1895 and Eric in 1900. Robert and Elsie Reford were, by many accounts, an ideal couple. In 1902, they built a house on Drummond Street in Montreal. They both loved the outdoors and they spend several weeks a year in a log cabin they built at Lac Caribou, south of Rimouski. In the autumn they hunted for caribou, deer, and ducks. They returned in winter to ski and snowshoe. Elsie Reford also liked to ride. She had learned as a girl and spent many hours riding on the slopes of Mount Royal. And of course, there was salmon-fishing – a sport at which she excelled.
In her day, she was known for her civic, social, and political activism. She was engaged in philanthropic activities, particularly for the Montreal Maternity Hospital and she was also the moving force behind the creation of the Women’s Canadian Club of Montreal, the first women club in Canada. She believed it important that the women become involved in debates over the great issues of the day, « something beyond the local gossip of the hour ». Her acquaintance with Lord Grey, the Governor-General of Canada from 1904 to 1911, led to her involvement in organizing, in 1908, Québec City’s tercentennial celebrations. The event was one of many to which she devoted herself in building bridges with French-Canadian community.
During the First World War, she joined her two sons in England and did volunteer work at the War Office, translating documents from German into English. After the war, she was active in the Victorian Order of Nurses, the Montreal Council of Social Agencies, and the National Association of Conservative Women.
In 1925 at the age of 53 years, Elsie Reford was operated for appendicitis and during her convalescence, her doctor counselled against fishing, fearing that she did not have the strength to return to the river.”Why not take up gardening?” he said, thinking this a more suitable pastime for a convalescent woman of a certain age. That is why she began laying out the gardens and supervising their construction. The gardens would take ten years to build, and would extend over more than twenty acres.
Elsie Reford had to overcome many difficulties in bringing her garden to life. First among them were the allergies that sometimes left her bedridden for days on end. The second obstacle was the property itself. Estevan was first and foremost a fishing lodge. The site was chosen because of its proximity to a salmon river and its dramatic views – not for the quality of the soil.
To counter-act nature’s deficiencies, she created soil for each of the plants she had selected, bringing peat and sand from nearby farms. This exchange was fortuitous to the local farmers, suffering through the Great Depression. Then, as now, the gardens provided much-needed work to an area with high unemployment. Elsie Reford’s genius as a gardener was born of the knowledge she developed of the needs of plants. Over the course of her long life, she became an expert plantsman. By the end of her life, Elsie Reford was able to counsel other gardeners, writing in the journals of the Royal Horticultural Society and the North American Lily Society. Elsie Reford was not a landscape architect and had no training of any kind as a garden designer. While she collected and appreciated art, she claimed no talents as an artist.
Elsie Stephen Reford died at her Drummond Street home on November 8, 1967 in her ninety-sixth year.
In 1995, the Reford Gardens ("Jardins de Métis") in Grand-Métis were designated a National Historic Site of Canada, as being an excellent Canadian example of the English-inspired garden.(Wikipedia)
Visit : en.wikipedia.org/wiki/Elsie_Reford
LES JARDINS DE MÉTIS
Créés par Elsie Reford de 1926 à 1958, ces jardins témoignent de façon remarquable de l’art paysager à l’anglaise. Disposés dans un cadre naturel, un ensemble de jardins exhibent fleurs vivaces, arbres et arbustes. Le jardin des pommetiers, les rocailles et l’Allée royale évoquent l’œuvre de cette dame passionnée d’horticulture. Agrémenté d’un ruisseau et de sentiers sinueux, ce site jouit d’un microclimat favorable à la croissance d’espèces uniques au Canada. Les pavots bleus et les lis, privilégiés par Mme Reford, y fleurissent toujours et contribuent , avec d’autres plantes exotiques et indigènes, à l’harmonie de ces lieux.
Created by Elsie Reford between 1926 and 1958, these gardens are an inspired example of the English art of the garden. Woven into a natural setting, a series of gardens display perennials, trees and shrubs. A crab-apple orchard, a rock garden, and the Long Walk are also the legacy of this dedicated horticulturist. A microclimate favours the growth of species found nowhere else in Canada, while the stream and winding paths add to the charm. Elsie Reford’s beloved blue poppies and lilies still bloom and contribute, with other exotic and indigenous plants, to the harmony of the site.
Commission des lieux et monuments historiques du Canada
Historic Sites and Monuments Board of Canada.
Gouvernement du Canada – Government of Canada
© Copyright
This photo and all those in my Photostream are protected by copyright. No one may reproduce, copy, transmit or manipulate them without my written permission.
"Caterpillar & Flatbed Trailer" by Wim Delvoye (B)
location: Zeedijk tussen Louis Logierlaan en Octave Van Rysselbergheplein
Middelkerke-Westende
(Beaufort03)
De Caterpillar van Wim Delvoye staat sinds 2003 op de Middelkerkse zeedijk. Het exemplaar dat er nu te zien is, is echter niet het originele. Dat originele werk verhuisde datzelfde jaar naar Ground Zero in New York. De huidige Caterpillar staat er sinds 2004 en kreeg in mei 2019 een spectaculaire uitbreiding met de bijhorende oplegger Flatbed Trailer. Samen creëren ze een nieuw, imposant kunstwerk van 21 meter lang. Caterpillar + Flatbed Trailer hoort tot Delvoyes Caterpillarreeks uit 2002. Met deze verzameling opmerkelijke bouwmachines smeedt hij een tijdloos smeltpunt tussen vroeger en nu. In dit werk symboliseren de rupsbandtractor de moderne tijd en de decoratiepatronen van een gotische kerk de middeleeuwse wereld.
Bron: www.triennalebeaufort.be/nl/beaufort-caterpillar-flatbed-...
------------------
The Caterpillar by Wim Delvoye has been on the sea wall of Middelkerke since 2003. The copy that is now on display, however, is not the original one. The original work moved that same year to Ground Zero in New York. The current Caterpillar has been around since 2004 and was given a spectacular extension in May 2019 with the accompanying Flatbed Trailer. Together they form a new, impressive 21-meters long artwork. Caterpillar + Flatbed Trailer belongs to Delvoyes Caterpillar series from 2002. With this collection of remarkable construction machines, he forges a timeless melting point between the past and the present. In this work, the caterpillar tractor symbolizes modern times and the decorative patterns of a Gothic church represent the medieval world.
Source: www.triennalebeaufort.be/en/beaufort-caterpillar-flatbed-...
en.wikipedia.org/wiki/York_Minster
The Cathedral and Metropolitical Church of Saint Peter in York, commonly known as York Minster, is the cathedral of York, England, and is one of the largest of its kind in Northern Europe. The minster is the seat of the Archbishop of York, the second-highest office of the Church of England, and is the cathedral for the Diocese of York. It is run by a dean and chapter, under the Dean of York. The title "minster" is attributed to churches established in the Anglo-Saxon period as missionary teaching churches, and serves now as an honorific title.[1] Services in the minster are sometimes regarded as on the High Church or Anglo-Catholic end of the Anglican continuum.[2]
The minster has a very wide Decorated Gothic nave and chapter house, a Perpendicular Gothic Quire and east end and Early English North and South transepts. The nave contains the West Window, constructed in 1338, and over the Lady Chapel in the east end is the Great East Window, (finished in 1408), the largest expanse of medieval stained glass in the world. In the north transept is the Five Sisters Window, each lancet being over 52 feet (16 m) high.[citation needed] The south transept contains a rose window, while the West Window contains a heart-shaped design colloquially known as 'The Heart of Yorkshire'.
History
York has had a verifiable Christian presence from the 4th century. However, there is circumstantial evidence pointing to much earlier Christian involvement. According to Bede, missionaries were sent from Rome by Eleutherius at the request of the chieftain Lucius of Britain in AD 180 to settle controverted points of differences as to Eastern and Western ceremonials which were disturbing the church. Tradition speaks of 28 British bishops, one for each of the greater British cities, over whom presided the Archbishops of London, York and Caerleon-on-Usk.
The first recorded church on the site was a wooden structure built hurriedly in 627 to provide a place to baptise Edwin, King of Northumbria. Moves toward a more substantial building began in the decade of the 630s. A stone structure was completed in 637 by Oswald and was dedicated to Saint Peter. The church soon fell into disrepair and was dilapidated by 670 when Saint Wilfrid ascended to the See of York. He repaired and renewed the structure. The attached school and library were established and by the 8th century were some of the most substantial in Northern Europe.[citation needed][3]
In 741 the church was destroyed in a fire. It was rebuilt as a more impressive structure containing thirty altars. The church and the entire area then passed through the hands of numerous invaders, and its history is obscure until the 10th century. There was a series of Benedictine archbishops, including Saint Oswald of Worcester, Wulfstan and Ealdred, who travelled to Westminster to crown William in 1066. Ealdred died in 1069 and was buried in the church.[4]
The church was damaged in 1069 during William the Conqueror's harrying of the North, but the first Norman archbishop, Thomas of Bayeux, arriving in 1070, organised repairs. The Danes destroyed the church in 1075, but it was again rebuilt from 1080. Built in the Norman style, it was 111 m (364.173 ft) long and rendered in white and red lines. The new structure was damaged by fire in 1137 but was soon repaired. The choir and crypt were remodelled in 1154, and a new chapel was built, all in the Norman style.
The Gothic style in cathedrals had arrived in the mid 12th century. Walter de Gray was made archbishop in 1215 and ordered the construction of a Gothic structure to compare to Canterbury; building began in 1220. The north and south transepts were the first new structures; completed in the 1250s, both were built in the Early English Gothic style but had markedly different wall elevations. A substantial central tower was also completed, with a wooden spire. Building continued into the 15th century.
The Chapter House was begun in the 1260s and was completed before 1296. The wide nave was constructed from the 1280s on the Norman foundations. The outer roof was completed in the 1330s, but the vaulting was not finished until 1360. Construction then moved on to the eastern arm and chapels, with the last Norman structure, the choir, being demolished in the 1390s. Work here finished around 1405. In 1407 the central tower collapsed; the piers were then reinforced, and a new tower was built from 1420. The western towers were added between 1433 and 1472. The cathedral was declared complete and consecrated in 1472.[5]
The nave of York Minster
The English Reformation led to the looting of much of the cathedral's treasures and the loss of much of the church lands. Under Elizabeth I there was a concerted effort to remove all traces of Roman Catholicism from the cathedral; there was much destruction of tombs, windows and altars. In the English Civil War the city was besieged and fell to the forces of Cromwell in 1644, but Thomas Fairfax prevented any further damage to the cathedral.
Following the easing of religious tensions there was some work to restore the cathedral. From 1730 to 1736 the whole floor of the minster was relaid in patterned marble and from 1802 there was a major restoration. However, on 2 February 1829, an arson attack by a non-conformist, Jonathan Martin,[6] inflicted heavy damage on the east arm. An accidental fire in 1840 left the nave, south west tower and south aisle roofless and blackened shells. The cathedral slumped deeply into debt and in the 1850s services were suspended. From 1858 Augustus Duncombe worked successfully to revive the cathedral.
During the 20th century there was more concerted preservation work, especially following a 1967 survey that revealed the building, in particular the central tower, was close to collapse. £2,000,000 was raised and spent by 1972 to reinforce and strengthen the building foundations and roof. During the excavations that were carried out, remains of the north corner of the Roman Principia (headquarters of the Roman fort, Eboracum) were found under the south transept. This area, as well as remains of the Norman cathedral, re-opened to the public in spring 2013 as part of the new exhibition exploring the history of the building of York Minster.[7]
On 9 July 1984, a fire believed to have been caused by a lightning strike[8] destroyed the roof in the south transept, and around £2.5 million was spent on repairs. The fire was photographed from just south of the minster in the early hours by Bettison photographers. This picture was subsequently published showing the South transept alight with a list of North Yorkshire firefighters attending. The stations attending ranged from Scarborough to Harrogate. Huge amounts of water were needed to provide jets at great height to hit the roof timbers and protect the Rose Window. Most of the water was pumped from the Ouse nearby because the water supplies around the minster were inadequate. Fire crews from the main York fire station in Clifford Street worked hard to protect the Rose Window and stop the fire spreading into the tower and organ. Many crews worked for hours and some were on high levels of the minster at the time when the South transept roof fell in. Luckily, those few firefighters inside when the roof crashed down were not directly beneath. But what they saw after the ventilation released the smoke, was a pile of timber covering the whole of the south transept floor to a height of at least six feet. When daylight came the whole scene was occupied by media. At about 8am an officer was approached by two ladies looking for information. "Have you an account for The Times"? They said. The officer replied, "Actually, I spoke to the London and New York Times at about four thirty" The ladies then announced that they were from the Church Times. Reports of the fire travelled across both hemispheres. The Restoration work was completed in 1988, and included new roof bosses to designs which had won a competition organised by BBC Television's Blue Peter programme. In 2007 renovation began on the east front, including the Great East Window, at an estimated cost of £23 million.[9][10]
In 2000, the Dean and Chapter allowed the York Mystery Plays to be performed for the first time inside the Minster, directed by Greg Doran.[11]
Architecture of the present building
York Minster is the second largest Gothic cathedral of Northern Europe and clearly charts the development of English Gothic architecture from Early English through to the Perpendicular Period. The present building was begun in about 1230 and completed in 1472. It has a cruciform plan with an octagonal chapter house attached to the north transept, a central tower and two towers at the west front. The stone used for the building is magnesian limestone, a creamy-white coloured rock that was quarried in nearby Tadcaster. The Minster is 173 yards (158 m) long[citation needed] and the central tower has a height of 230 feet (70 m) high.[citation needed] The choir has an interior height of 102 feet (31 m).[citation needed]
The north and south transepts were the first parts of the new church to be built. They have simple lancet windows, including the Five Sisters in the north transept. These are five lancets, each 52 feet (16 m) high[citation needed] and glazed with grey (grisaille) glass, rather than narrative scenes or symbolic motifs that are usually seen in medieval stained glass windows. In the south transept is a rose window whose glass dates from about 1500 and commemorates the union of the royal houses of York and Lancaster. The roofs of the transepts are of wood, that of the south transept was burnt in the fire of 1984 and was replaced in the restoration work which was completed in 1988. New designs were used for the bosses, five of which were designed by winners of a competition organised by the BBC's Blue Peter television programme.
The chapter house.
Work began on the chapter house and its vestibule that links it to the north transept after the transepts were completed. The style of the chapter house is of the early Decorated Period where geometric patterns were used in the tracery of the windows, which were wider than those of early styles. However, the work was completed before the appearance of the ogee curve, an S-shaped double curve which was extensively used at the end of this period. The windows cover almost all of the upper wall space, filling the chapter house with light. The chapter house is octagonal, as is the case in many cathedrals, but is notable in that it has no central column supporting the roof. The wooden roof, which was of an innovative design, is light enough to be able to be supported by the buttressed walls. The chapter house has many sculptured heads above the canopies, representing some of the finest Gothic sculpture in the country. There are human heads, no two alike, and some pulling faces; angels; animals and grotesques. Unique to the transepts and chapter house is the use of Purbeck marble to adorn the piers, adding to the richness of decoration.
The Kings Screen and organ.
The nave was built between 1291 and c. 1350 and is also in the decorated Gothic style. It is the widest Gothic nave in England and has a wooden roof (painted so as to appear like stone) and the aisles have vaulted stone roofs. At its west end is the Great West Window, known as the 'Heart of Yorkshire' which features flowing tracery of the later decorated gothic period.
The east end of the Minster was built between 1361 and 1405 in the Perpendicular Gothic style. Despite the change in style, noticeable in details such as the tracery and capitals, the eastern arm preserves the pattern of the nave. The east end contains a four bay choir; a second set of transepts, projecting only above half-height; and the Lady Chapel. The transepts are in line with the high altar and serve to throw light onto it. Behind the high altar is the Great East Window, the largest expanse of medieval stained glass in the world, which is currently undergoing a massive conservation project, due to be completed in 2015–16. Below the Great East Window currently sits the Orb, a stainless steel dome which opened at the end of October 2012, containing five of the conserved panels from the window, one of which is changed each month. The Orb enables visitors to see the work of renowned medieval artist, John Thornton, up close, revealing the remarkable detail in each panel.
The sparsely decorated Central Tower was built between 1407 and 1472 and is also in the Perpendicular style. Below this, separating the choir from the crossing and nave is the striking 15th century choir screen. It contains sculptures of the kings of England from William the Conqueror to Henry VI with stone and gilded canopies set against a red background. Above the screen is the organ, which dates from 1832. The West Towers, in contrast with the Central Tower, are heavily decorated and are topped with battlements and eight pinnacles each, again in the Perpendicular style.
English Heritage has recently made publicly available a monograph[12] on the architectural history of York Minster. The book charts the construction and development of the minster based on the architectural recording of the building from the 1970s. The full report can be downloaded from the Archaeology Data Service website.
Stained glass
York as a whole, and particularly the minster, have a long tradition of creating beautiful stained glass. Some of the stained glass in York Minster dates back to the 12th century. The Minster's records show that much of the glass (white or coloured) came from Germany.[13] Upon arrival at York, it was intricately painted, fired, then glazed together with lead strips into the windows. The 76-foot (23 m)[citation needed] tall Great East Window, created by John Thornton in the early 15th century, is the largest expanse of medieval stained glass in the world. Other windows in the minster include an ornate rose window and the 50-foot (15 m)[citation needed] tall Five Sisters window. Because of the extended time periods during which the glass was installed, different types of glazing and painting techniques which evolved over hundreds of years are visible in the different windows. Approximately two million individual pieces of glass make up the cathedral's 128 stained glass windows. Much of the glass was removed before and pieced back together after the First and Second World Wars, and the windows are constantly being cleaned and conserved to keep their beauty intact.
In 2008 a major conservation project of the Great East Window commenced, involving the removal, repainting and re-leading of each individual panel.[14] While the window was in storage in the minster's stonemasons' yard, a fire broke out in some adjoining offices, due to an electrical fault, on 30 December 2009.[15] The window's 311 panes, stored in a neighbouring room, were undamaged and were successfully moved to safety.[16][17] In September 2015 Phase One of the renovation project of the East Front of the Minster was completed.[18]
Towers and bells
The two west towers of the minster hold bells, clock chimes and a concert carillon. The north-west tower contains Great Peter (216 cwt or 10.8 tons) and the six clock bells (the largest weighing just over 60 cwt or 3 tons). The south-west tower holds 14 bells (tenor 59 cwt or 3 tons) hung and rung for change ringing and 22 carillon bells (tenor 23 cwt or 1.2 tons) which are played from a baton keyboard in the ringing chamber (all together 35 bells.)
The clock bells ring every quarter of an hour during the daytime and Great Peter strikes the hour. The change ringing bells are rung regularly on Sundays before church services and at other occasions, the ringers practise on Tuesday evenings. York Minster became the first cathedral in England to have a carillon of bells with the arrival of a further twenty-four small bells on 4 April 2008. These are added to the existing "Nelson Chime" which is chimed to announce Evensong around 5.00 pm each day, giving a carillon of 35 bells in total (three chromatic octaves). The new bells were cast at the Loughborough Bell Foundry of Taylors, Eayre & Smith, where all of the existing minster bells were cast. The new carillon is a gift to the minster. It will be the first new carillon in the British Isles for 40 years and first hand played carillon in an English cathedral. Before Evensong each evening, hymn tunes are played on a baton keyboard connected with the bells, but occasionally anything from Beethoven to the Beatles may be heard.[19]
Shrines
When Thomas Becket was murdered and subsequently enshrined at Canterbury, York found itself with a rival major draw for pilgrims. More specifically, pilgrims spent money and would leave gifts for the support of the cathedral. Hence Walter de Gray, supported by the King, petitioned the Pope. On 18 March 1226, Pope Honorius issued a letter to the effect that the name of William (Fitzherbert), formerly Archbishop of York, was "inscribed in the catalogue of the Saints of the Church Militant." Thus there was now St William of York (whose name is perhaps more often associated with the adjacent St William's College). York had its saint but it took until 1279, when William de Wickwane (William de Wykewayne) was elected archbishop, for the remains of the canonised William to be transferred to a shrine prepared for them behind the high altar.[20] This was placed on a platform raised upon the arches of the crypt removed to this position for that purpose. On 29 December King Edward I himself, together with the bishops who were present, carried on their shoulder the chest or feretory containing the relics to their new resting-place and Anthony Beck, consecrated the same day as Bishop of Durham, paid all the expenses.
The tomb of Walter de Gray was erected in the south transept. His remains were interred on "the vigil of Pentecost, 1255"[20] under his effigy "in full canonicals" carved in Purbeck marble under a canopy resting on ten light pillars. It was subsequently somewhat hidden behind a screen of ironwork erected by Archbishop William Markham in the early 19th century.
Organ
The choir
The fire of 1829 destroyed the organ and the basis of the present organ dates from 1832, when Elliot and Hill constructed a new instrument. This organ was reconstructed in 1859 by William Hill and Sons. The case remained intact, but the organ was mechanically new, retaining the largest pipes of the former instrument.
In 1903, J.W. Walker and Sons built a new instrument in the same case. They retained several registers from the previous instrument.
Some work was undertaken in 1918 by Harrison & Harrison when the Tuba Mirabilis was added and the Great chorus revised. The same firm rebuilt this Walker-Harrison instrument in 1931 when a new console and electro-pneumatic action were added together with four new stops. The smaller solo tubas were enclosed in the solo box. In 1960, J.W. Walker & Sons restored the actions, lowered wind pressures and introduced mutations and higher chorus work in the spirit of the neo-classical movement. They cleaned the organ in 1982.
The fire of 1984 affected the organ but not irreparably; the damage hastened the time for a major restoration, which was begun in 1991 and finished two years later by Principal Pipe Organs of York, under the direction of their founder, Geoffrey Coffin, who had at one time been assistant organist at the Minster.[21]
Organists
The organists of York Minster have had several official titles, the job description roughly equates to that of Organist and Master of the Choristers. The current Organist and Director of Music of the minster is Robert Sharpe. There is also an assistant director of music, David Pipe, and an organ scholar.
Among the notable organists of York Minster are four members of the Camidge family, who served as the cathedral's organists for over 100 years, and a number of composers including John Naylor, T. Tertius Noble, Edward Bairstow, Francis Jackson, and Philip Moore.
Dean and chapter
Dean: The Very Revd Vivienne Faull (since 1 December 2012 installation[22])
Precentor: The Revd Canon Peter Moger (since 12 September 2010 installation[23])
Pastor: The Reverend Michael Smith
Chancellor: The Reverend Canon Christopher Collingwood
Archdeacon: The Reverend Canon David Butterfield
Burials
Bosa of York, Bishop of York and Saint (died c. 705)
Eanbald I, Archbishop (780–796)
Osbald, King of Northumbria (died 799)
Ealdred (archbishop of York) (1061–1069)
Thomas of Bayeux, Archbishop (1070–1100)
Gerard, Archbishop (1100–1108)
Thomas II of York, Archbishop (1108–1114)
William of York, Archbishop (1141–1147, 1153–1154)
Henry Murdac, Archbishop (1147–1153)
Roger de Pont L'Eveque, Archbishop {1154–1181}
Walter de Gray, Archbishop (1216–1255)
Sewal de Bovil, Dean and Archbishop (1256–1258)
Godfrey Ludham, Archbishop (1258–1265)
William Langton, Archbishop (1265)
Walter Giffard, Archbishop (1266–1279)
John le Romeyn, Archbishop (1286–1296)
Henry of Newark, Archbishop (1296–1299)
William Greenfield, Archbishop (1306–1315)
Prince William of Hatfield, Infant son of Edward III (1337)
William Melton, Archbishop (1317–1340)
William Zouche, Archbishop (1342–1352)
Henry Percy, soldier (1364–1403)
Richard le Scrope, Archbishop (1398–1405)
Henry Bowet, Archbishop (1407–1423)
Thomas Savage, Archbishop (1501–1507)
Hugh Ashton, Archdeacon of York (died 1522)
John Piers, Archbishop (1589–1594)
George Meriton, Dean of York (1579–1624)
Charles Watson-Wentworth, 2nd Marquess of Rockingham, (1730-1782)
John Farr Abbott, barrister (1756–1794)
Astronomical clock
The astronomical clock was installed in the North Transept of York Minster in 1955. The clock is a memorial to the airmen operating from bases in Yorkshire, County Durham and Northumberland who were killed in action during the Second World War.[24]
Illuminations
In November 2002, York Minster was illuminated in colour, devised by York-born Mark Brayshaw, for the first time in its history. The occasion was televised live on the BBC1 Look North programme. Similar illuminations have been projected over the Christmas period in subsequent years.
York Minster was also artistically illuminated on 5 November 2005, celebrating the 400th anniversary of the foiling of York-born Guy Fawkes' gunpowder plot. This was done by Patrice Warrener using his unique "chromolithe" technique with which he 'paints' with light, picking out sculpted architectural details.
In October 2010, York Minster's south transept was selected for "Rose", a son et lumiere created by international artists Ross Ashton and Karen Monid which lit up the entire exterior of the south transept of the minster and illuminated the Rose Window. There were also satellite illuminate events in Dean's Park.
I've missed my piano since moving up to Oregon (it was one of the things I had to leave behind). This year for Christmas one of my daughters bought me a keyboard. Music is the language of the soul and my soul is happy once again! :)
The carillon in Mjøsa
The carillon in Mjøsa consists of 24 bells, ranging over two octaves. They are different in size and weigh from 29 to 680 kilograms with a total of 3.8 tonnes.
The carillon was drawn by the architect Tor Kraft from Hamar. The bells are programmed to mark every hour from 09:00 to 21:00. First played a timing signal composed by Bjørn Sverre Kristensen, then the chimes followed by a melody. Every third hour, a longer melody. These vary with the seasons.
The bells can also be played on manually via a keyboard, and it is possible to play concerts. The carillon and its location has become a landmark and is unique to Hamar.
Camera: Pentax 645N II
Lens: smc Pentax-FA 645 75mm F:2.8 (green filter)
Exposure: 1/750 @ F/6.7
Film: Rollei Retro 400S home dev. in Xtol Replenished
Les Marches Folkloriques de l'Entre-Sambre-et-Meuse trouvent leurs origines dans les processions de croix banales du moyen-âge. Celles-ci avaient lieu dans l'octave de la Pentecôte et étaient destinées à rendre hommage et à permettre de verser l'obole à l'abbaye suzeraine voisine dont dépendait le clergé.
L'escorte militaire qui les accompagnait avait pour but d'en rehausser l'éclat mais aussi de préserver les pèlerins contre les bandes de malfrats qui rôdaient à cette époque dans nos contrées. Ces compagnies spéciales d'archers et arbalétriers que l'on appelait "serments" furent les ancêtres des marcheurs.
C'est dans le courant du XVIII siècle qu'une crise importante frappa nos Marches car de plus en plus ces cérémonies devenaient un prétexte pour s'amuser et tourner le religieux en dérision, ce qui ne plut pas au clergé qui interdit ces manifestations.
Les coutumes reprendront en 1802 après le concordat signé entre Napoléon Ier et le Pape Pie VII. C'est à ce moment que les Marches prirent un nouvel essor et devinrent des escortes militaires.
En ce qui concerne les costumes adoptés dans nos manifestations aujourd'hui, ils sont du premier et du second empire. A ce sujet, il est certain que l'on a d'abord marché en premier empire car de nombreuses défroques de l'armée de Napoléon étaient disponibles dans nos régions. Ces uniformes se dégradant, nos Marcheurs ont adoptés les costumes militaires de l'époque qui a immédiatement suivi, c'est-à-dire les uniformes que l'on appelle du second empire.
Bien que l’aspect religieux ne semble pas prépondérant, il s’agit quand même d’une procession religieuse avec sortie de la châsse et des saints patrons, bénédictions, messe, …
L’un des moments les plus forts de la Saint Hubert, c’est le fameux bataillon carré. Un moment solennel, plein de tradition et avec un déroulement codifié et immuable. Il commence par une revue des troupes, suivie de décharges et de feux roulants.
The Folk Marches of Entre-Sambre-et-Meuse find their origins in the banal cross processions of the Middle Ages. These took place in the octave of Pentecost and were intended to pay homage and allow the payment of the mite to the neighboring suzerain abbey on which the clergy depended.
The military escort which accompanied them was intended to enhance its splendor but also to protect the pilgrims against the gangs of thugs who were roaming our region at that time. These special companies of archers and crossbowmen called "oaths" were the ancestors of the walkers.
It was during the 18th century that a major crisis struck our Marches because more and more these ceremonies became a pretext for having fun and making fun of religion, which did not please the clergy who banned these demonstrations.
Customs resumed in 1802 after the concordat signed between Napoleon I and Pope Pius VII. It was at this time that the Marches took on new development and became military escorts.
Regarding the costumes adopted in our demonstrations today, they are from the first and second empire. On this subject, it is certain that we first marched in the first empire because many cast-offs from Napoleon's army were available in our regions. As these uniforms deteriorated, our Walkers adopted the military costumes of the era which immediately followed, that is to say the uniforms we call the Second Empire.
Although the religious aspect does not seem predominant, it is still a religious procession with the release of the reliquary and patron saints, blessings, mass, etc.
One of the strongest moments of Saint Hubert’s Day is the famous square battalion. A solemn moment, full of tradition and with a codified and immutable sequence. It begins with a review of the troops, followed by discharges and rolling fire.
Les Marches Folkloriques de l'Entre-Sambre-et-Meuse trouvent leurs origines dans les processions de croix banales du moyen-âge. Celles-ci avaient lieu dans l'octave de la Pentecôte et étaient destinées à rendre hommage et à permettre de verser l'obole à l'abbaye suzeraine voisine dont dépendait le clergé.
L'escorte militaire qui les accompagnait avait pour but d'en rehausser l'éclat mais aussi de préserver les pèlerins contre les bandes de malfrats qui rôdaient à cette époque dans nos contrées. Ces compagnies spéciales d'archers et arbalétriers que l'on appelait "serments" furent les ancêtres des marcheurs.
C'est dans le courant du XVIII siècle qu'une crise importante frappa nos Marches car de plus en plus ces cérémonies devenaient un prétexte pour s'amuser et tourner le religieux en dérision, ce qui ne plut pas au clergé qui interdit ces manifestations.
Les coutumes reprendront en 1802 après le concordat signé entre Napoléon Ier et le Pape Pie VII. C'est à ce moment que les Marches prirent un nouvel essor et devinrent des escortes militaires.
En ce qui concerne les costumes adoptés dans nos manifestations aujourd'hui, ils sont du premier et du second empire. A ce sujet, il est certain que l'on a d'abord marché en premier empire car de nombreuses défroques de l'armée de Napoléon étaient disponibles dans nos régions. Ces uniformes se dégradant, nos Marcheurs ont adoptés les costumes militaires de l'époque qui a immédiatement suivi, c'est-à-dire les uniformes que l'on appelle du second empire.
Bien que l’aspect religieux ne semble pas prépondérant, il s’agit quand même d’une procession religieuse avec sortie de la châsse et des saints patrons, bénédictions, messe, …
L’un des moments les plus forts de la Saint Hubert, c’est le fameux bataillon carré. Un moment solennel, plein de tradition et avec un déroulement codifié et immuable. Il commence par une revue des troupes, suivie de décharges et de feux roulants.
The Folk Marches of Entre-Sambre-et-Meuse find their origins in the banal cross processions of the Middle Ages. These took place in the octave of Pentecost and were intended to pay homage and allow the payment of the mite to the neighboring suzerain abbey on which the clergy depended.
The military escort which accompanied them was intended to enhance its splendor but also to protect the pilgrims against the gangs of thugs who were roaming our region at that time. These special companies of archers and crossbowmen called "oaths" were the ancestors of the walkers.
It was during the 18th century that a major crisis struck our Marches because more and more these ceremonies became a pretext for having fun and making fun of religion, which did not please the clergy who banned these demonstrations.
Customs resumed in 1802 after the concordat signed between Napoleon I and Pope Pius VII. It was at this time that the Marches took on new development and became military escorts.
Regarding the costumes adopted in our demonstrations today, they are from the first and second empire. On this subject, it is certain that we first marched in the first empire because many cast-offs from Napoleon's army were available in our regions. As these uniforms deteriorated, our Walkers adopted the military costumes of the era which immediately followed, that is to say the uniforms we call the Second Empire.
Although the religious aspect does not seem predominant, it is still a religious procession with the release of the reliquary and patron saints, blessings, mass, etc.
One of the strongest moments of Saint Hubert’s Day is the famous square battalion. A solemn moment, full of tradition and with a codified and immutable sequence. It begins with a review of the troops, followed by discharges and rolling fire.
-I fear I am ill qualified to recommend myself to strangers.
-Shall we ask him why?
Why a man of sense and education, who has lived in the world,
should be ill qualified to recommend himself to strangers
-I.. I have not that talent which some possess, of conversing easily with strangers.
- I do not play this instrument so well as I should wish to,
but I have supposed that to be my own fault, because I would not take the trouble of practising
- An excerpt from Jane Austin's Pride and Prejudice
Today I went back to my old school to chat with my old voice professor and perhaps sing a piece or two. Funnily enough, I ended up teaching a class of a few voice students which was quite unexpected though thoroughly enjoyable. I've never had to do anything like that before but the girls seemed to approve of me as they had asked if I'd come back to teach them again.
Back when I was in their shoes and I was frustrated or upset I would steal away to the small piano room at the side of our music classroom and try to compose pieces or play the sheet music of songs that I loved. I'd even skip classes to stow away with the aged piano. I was never a good pianist though I got by on my limited skills since most of my compositions were emotionally driven and I could notate well enough. 'Pali Dala', 'Spiders' and 'Spirito Libero' are still, in my opinion, my best compositions that I have created and were all the products of the dusty little piano room.
Once I had left school and my keyboard was all that was available to me I lost interest in playing. It just wasn't the same I suppose.
This is the piano that I have photographed.
Print 1 of 6- SOLD
The Octave Rooftop Lounge & Bar. A 360º view rooftop bar on top of the Bangkok Marriott Hotel Sukhumvit.
A bit difficult to shoot there, no tripod and low light.
To more fully appreciate, please View On Black
Comments, criticisms, or tips for improvement are most welcome.
This remote Monastery (aka abbey) was built in 1830 close to Gardiki (one of the Aspropotamos villages in Trikala County, Greece).
The monastery celebrates on August 23, i.e. on the “Apodosis” of the Assuption of the Blessed Virgin Mary. Apodosis (“giving-back”) is the last (8th) day of an ecclesiastical “Octave” or “Afterfeast” with repetition of hymns. Vespers are also chanted there in the previous evening (on Aug 22). The church is completely surrounded (or overwhelmed) by an abundance of lush green vegetation.
Aspropótamos (Greek for “White River”) is a toponym for the 2nd largest Greek river, Acheloös or Achelōos. Achelōos runs for 220 km (137 mi) prior to disgorging its waters into the Ionian Sea. The precipitous flow of the river causes its crystal-clear waters to splash and foam over the many stones scattered throughout the river bed; the White River toponym emanates from the white foam occurring all along the river. Achelōos was worshipped as a god in ancient Greece (son of Ocean and Tēthys or Ocean and Naïás).
My just-finished Octave shawl. The pattern is by Dee O'Keefe and the yarn is Hazel Knits Artisan Sock in the Industrial colorway.
Currently discontinued!
The Pulsemonger is a one of a kind design by me. It takes an input signal, squares it up, divides it by 2 (the sub-octave), and sends each pitch through individual pulse width modulator circuits that generates synth like tones. With the internal shapeable triangle LFO chorus and sci-fi sounds can be produced. The pulse width is variable from 1-50% and each can be externally controlled via the 1/4" input jacks.
Nous sommes en ce moment avec Jessica en compagnie de Pierre (@LittleDarki) donc je n'ai pas pu m'empêcher de photographier cette miss qui est juste une petite merveille!
(Bisous Pierrouneeet)
Excerpt from www.veterans.gc.ca/eng/remembrance/memorials/national-inv...:
The Simcoe Carillon Tower is dedicated to Norfolk County residents who died in the First and Second World Wars. It was erected by the Committee of Prominent Veterans in 1925. Construction started November 4, 1924 and the dedication ceremony took place on June 17th, 1925. The structure is 60 feet in height and 22 feet square. It is constructed of Hagersville limestone and trimmed with carved Indianna stone and is set on a pile of foundation. It comprises 23 bells weighing over 8,000 pounds. In 1946, a plaque was added with the names of those killed in the Second World War. Excerpts from: The Carillon Tower Compiled by: Grade Six Enrichment Students of St. Joseph's School The Carillon Tower, in the stillness of the night, stands out as a guardian, watching over the Town of Simcoe. In the autumn of 1919 some of Simcoe's townspeople decided to do something about erecting a memorial in tribute to the soldiers who lost their lives in the war. Mr. George Werrett called a mass meeting in co-operation with the Great War Veteran's Association to consider a suitable memorial for Norfolk's war heroes who sacrificed their lives in the First World War. Sproatt and Rolph, famous architects from Toronto, were consulted, as well as Mr. Houseman, Managing Director from the Gillette & Johnston Bell Founding Company. Eventually the decision was made to construct a stone tower 60 feet in height that would contain a Carillon of 23 bells. The money for the construction was raised through a county-wide campaign. The tenders received were higher, by thousands of dollars, than the original estimates hoped for by the committee and the architects. The Board of Education offered to supply the site where the Memorial now stands. It was apparent that the town was banding together and that the additional funds would be raised. The Starting of the Construction: On November 4, 1924, a carload of smooth stone had arrived. The stone was to be used in the design on the entrance, the belfry and the window. Due to the fact it was located near the Lynn River, it had to be built on a series of piles. The monument is built as a solid block with design features being divided into four horizontal components. Differences occur in the lower half of the tower with the upper half being the same on all four elevations. The side facing onto Norfolk Street is the most impressive of the four sides. The doorway opening contains a thick, vertical, wooden plank door with a semi-circular stone transom inscribed with the words "Norfolk's War Memorial". Two commemorative bronze plaques on either side of the doorway honour the soldiers who died in the First and Second World Wars. There are ten paned leaded windows located in the tower. Above the window, in the upper half of the tower, is the bronze dial of the clock. In the upper section of the tower above the Norman arch motif of the doorway is a series of six semi-circular openings which allow the sound of the bells to travel away from the tower. The decorative stone labels are carved to form gothic arches. Again each of the openings is surrounded by colonettes. In the year 1925, Gillette & Johnston, Croydon, England were well established in bell founding. This influenced Simcoe townspeople's' decision to request Gillette & Johnston to cast the bells for the Carillon Tower. Gillette & Johnston's Managing Director, Mr. R.F.A. Houseman, met with the Norfolk War Memorial Committee to agree on a contract. Thousands of people attended the inspirational dedication ceremony on the wonderfully sunny afternoon of Wednesday, June 17, 1925. Never in Simcoe's history had there been a larger parade that marched downtown to the Tower. The Boy Scouts led the parade, with over 500 Great War Veterans beside them. Next marched a firing party, the 1st Norfolk Rifles Band, the 1st Battalion of Norfolk Rifles, under Lieutenant Colonel A.A. Winter, and pupils of Simcoe High and other Public Schools. The two Memorial plaques on the west side, containing the 217 names of Norfolk County men, who had been killed, were unveiled by Mrs. Abram West, of Houghton. She was a mother of three sons lost in the war. The other two Memorial plaques on the east side, containing 12 names of former Simcoe Composite School students were unveiled by Mrs. Christian Quanbury. Her two sons names were also included. The Re-Dedication: June 29th, 1975 marked the 50th Anniversary of the Carillon Tower. It was celebrated by a Re-Dedication Ceremony. Thousands of Simcoe residents attended. The Norfolk War Memorial is the second carillon installed in Canada (the first being at the Metropolitan United Church, Toronto) and the twelfth in North America. What is a carillon? A carillon is a set of bells that cover at least two octaves (23 bells) in chromatic series. They are perfectly tuned and pleasing harmonies may be produced by playing two or more bells together. The carillon is generally played from a clavier of keyboard. This consists of two rows of short handles or levers which are struck with the extended fist, and a row of foot pedals. The Carilloneurs: It has been through the efforts of dedicated and talented people that the residents of Simcoe have been able to enjoy Carillon concerts throughout the years. The carilloneurs throughout the time have been: Percival Price - 1924 Kamiel Lefevere - 1926 Henri Sohier - 1925 - 1943 assisted by Herman Dreher Herman Dreher 1943 - 1969 Angus MacLeod - 1969 - 1975 June Somerville - 1975 to present time Monica Graham - 1983 to present time.
The first aircraft with the NP2000 prop upgrade for Minnesota's 133 AW arrived at MSP yesterday, and I caught it by pure dumb luck. With twice as many blades per revolution, the throaty, bassy roar they make flying over will shift up an octave, to a less thumpy, more buzzy hum.
C130 / 96-1003 / GOFER03 (NBG? - MSP) May 11, 2022
REFORD GARDENS | LES JARDINS DE METIS
Beautiful flowers at Reford Gardens.
Mrs Elsie Reford loved visiting that village (Saint Octave de Metis) close to Reford Gardens.
Reference: Elsie's Paradise, The Reford Gardens, Alexander Reford, 2004, ISBN 2-7619-1921-1, That book is a must for Reford Gardens lovers!
''Elsie often ventured into the back country near the gardens, admiring the hilly country behind the village of St. Octave.'' (page 99)
''One thing I can do that no one else can is to pass the love that I feel for this place and this woman'' Alexander Reford
Visit : www.refordgardens.com/
From Wikipedia:
Elsie Stephen Meighen - born January 22, 1872, Perth, Ontario - and Robert Wilson Reford - born in 1867, Montreal - got married on June 12, 1894.
Elsie Reford was a pioneer of Canadian horticulture, creating one of the largest private gardens in Canada on her estate, Estevan Lodge in eastern Québec. Located in Grand-Métis on the south shore of the St. Lawrence River, her gardens have been open to the public since 1962 and operate under the name Les Jardins de Métis and Reford Gardens.
Born January 22, 1872 at Perth, Ontario, Elsie Reford was the eldest of three children born to Robert Meighen and Elsie Stephen. Coming from modest backgrounds themselves, Elsie’s parents ensured that their children received a good education. After being educated in Montreal, she was sent to finishing school in Dresden and Paris, returning to Montreal fluent in both German and French, and ready to take her place in society.
She married Robert Wilson Reford on June 12, 1894. She gave birth to two sons, Bruce in 1895 and Eric in 1900. Robert and Elsie Reford were, by many accounts, an ideal couple. In 1902, they built a house on Drummond Street in Montreal. They both loved the outdoors and they spend several weeks a year in a log cabin they built at Lac Caribou, south of Rimouski. In the autumn they hunted for caribou, deer, and ducks. They returned in winter to ski and snowshoe. Elsie Reford also liked to ride. She had learned as a girl and spent many hours riding on the slopes of Mount Royal. And of course, there was salmon-fishing – a sport at which she excelled.
In her day, she was known for her civic, social, and political activism. She was engaged in philanthropic activities, particularly for the Montreal Maternity Hospital and she was also the moving force behind the creation of the Women’s Canadian Club of Montreal, the first women club in Canada. She believed it important that the women become involved in debates over the great issues of the day, « something beyond the local gossip of the hour ». Her acquaintance with Lord Grey, the Governor-General of Canada from 1904 to 1911, led to her involvement in organizing, in 1908, Québec City’s tercentennial celebrations. The event was one of many to which she devoted herself in building bridges with French-Canadian community.
During the First World War, she joined her two sons in England and did volunteer work at the War Office, translating documents from German into English. After the war, she was active in the Victorian Order of Nurses, the Montreal Council of Social Agencies, and the National Association of Conservative Women.
In 1925 at the age of 53 years, Elsie Reford was operated for appendicitis and during her convalescence, her doctor counselled against fishing, fearing that she did not have the strength to return to the river.”Why not take up gardening?” he said, thinking this a more suitable pastime for a convalescent woman of a certain age. That is why she began laying out the gardens and supervising their construction. The gardens would take ten years to build, and would extend over more than twenty acres.
Elsie Reford had to overcome many difficulties in bringing her garden to life. First among them were the allergies that sometimes left her bedridden for days on end. The second obstacle was the property itself. Estevan was first and foremost a fishing lodge. The site was chosen because of its proximity to a salmon river and its dramatic views – not for the quality of the soil.
To counter-act nature’s deficiencies, she created soil for each of the plants she had selected, bringing peat and sand from nearby farms. This exchange was fortuitous to the local farmers, suffering through the Great Depression. Then, as now, the gardens provided much-needed work to an area with high unemployment. Elsie Reford’s genius as a gardener was born of the knowledge she developed of the needs of plants. Over the course of her long life, she became an expert plantsman. By the end of her life, Elsie Reford was able to counsel other gardeners, writing in the journals of the Royal Horticultural Society and the North American Lily Society. Elsie Reford was not a landscape architect and had no training of any kind as a garden designer. While she collected and appreciated art, she claimed no talents as an artist.
Elsie Stephen Reford died at her Drummond Street home on November 8, 1967 in her ninety-sixth year.
In 1995, the Reford Gardens ("Jardins de Métis") in Grand-Métis were designated a National Historic Site of Canada, as being an excellent Canadian example of the English-inspired garden.(Wikipedia)
Visit : en.wikipedia.org/wiki/Elsie_Reford
LES JARDINS DE MÉTIS
Créés par Elsie Reford de 1926 à 1958, ces jardins témoignent de façon remarquable de l’art paysager à l’anglaise. Disposés dans un cadre naturel, un ensemble de jardins exhibent fleurs vivaces, arbres et arbustes. Le jardin des pommetiers, les rocailles et l’Allée royale évoquent l’œuvre de cette dame passionnée d’horticulture. Agrémenté d’un ruisseau et de sentiers sinueux, ce site jouit d’un microclimat favorable à la croissance d’espèces uniques au Canada. Les pavots bleus et les lis, privilégiés par Mme Reford, y fleurissent toujours et contribuent , avec d’autres plantes exotiques et indigènes, à l’harmonie de ces lieux.
Created by Elsie Reford between 1926 and 1958, these gardens are an inspired example of the English art of the garden. Woven into a natural setting, a series of gardens display perennials, trees and shrubs. A crab-apple orchard, a rock garden, and the Long Walk are also the legacy of this dedicated horticulturist. A microclimate favours the growth of species found nowhere else in Canada, while the stream and winding paths add to the charm. Elsie Reford’s beloved blue poppies and lilies still bloom and contribute, with other exotic and indigenous plants, to the harmony of the site.
Commission des lieux et monuments historiques du Canada
Historic Sites and Monuments Board of Canada.
Gouvernement du Canada – Government of Canada
© Copyright
This photo and all those in my Photostream are protected by copyright. No one may reproduce, copy, transmit or manipulate them without my written permission.
Lego Custom "The Night at the museum" in solo image.
Octave : "All is well Jedediah if you don't get smashed by bad feet!"
Maker: Antoine-Samuel Adam-Salomon (1818-1881)
Born: France
Active: France
Medium: woodburytype
Size: 9 3/8" x 7 1/2"
Location: France
Object No. 2018.692l
Shelf: I-2
Publication: Album de la Galerie Contemporaine, Biographies & Portraits, Revue Illustree, 125 Boulevard Ssint Germain, Paris
Galerie Contemporaine, Series 1, Vol 1, 1877
Other Collections:
Octave Feuillet (11 August 1821 – 29 December 1890) was a French novelist and dramatist.
Antoine Samuel Adam-Salomon (9 January 1818 – 28 April 1881 was a French sculptor and photographer. Antoine Samuel Adam-Salomon was born to a French Jewish family on 9 January 1818 in La Ferté-sous-Jouarre, Seine-et-Marne, France. Following a brief career as a modeler for the Jacob Petit pottery factory in Fontainebleau, he received a scholarship to study sculpture in Paris. He also traveled for studies to Switzerland and England. His notable sculptures include busts of Victor Cousin, Odilon Barrot, Pierre-Jean de Béranger, Alphonse de Lamartine, Gioachino Rossini, and Marie Antoinette. After becoming established as a sculptor, Adam-Salomon studied photography under the portraitist Franz Hanfstaengl in Munich in 1858. He became a leading portrait photographer. Adam-Salomon returned to Paris where he opened a portrait studio in 1859; in 1865 he opened a second Paris studio. In 1870 Adam-Salomon was made a member of the Société française de photographie and received the Légion d’honneur the same year. Adam-Salomon's portrait photographs were considered to be among the best existing works during his lifetime, and were renowned for their chiaroscuro produced by special lighting techniques. The photography of Adam-Salomon played a pivotal role in the mainstream acceptance of photography as an art form. For example, in 1858 the poet Alphonse de Lamartine described photography as "this chance invention which will never be art, but only a plagiarism of nature through a lens." A short time later, after seeing the photographs by Adam-Solomon, Lamartine changed his opinion.