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I had been to Marden many times, but never been to, or seen, the church.
Marden is a fine village, at least in the centre, although the locals seem vexed regarding a plan to build two thousand new homes in and around Marden.
As it is, Marden has some narrow streets and lots of parked cars. Getting in or out of the village is an "interesting" experience.
We parked near to the memorial to the remains of PLUTO, then walked along the main street to the church.
Oh, there it is.
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A picturesque church, especially when viewed from the south, with a little weatherboarded top to its short tower. There was a fire here in 1554, which did great damage to the thirteenth-century building. The south arcade has some finely carved capitals of fourteenth-century date, and there is a contemporary tomb recess in the south chapel. The pretty font cover of the seventeenth century has some of the best Jacobean carving in this part of Kent. The rood loft stairway may be seen in the south-eastern pier. The east window, which depicts the Vision of St John, was designed in 1962 by Patrick Reyntiens. It is one of the finest modern windows in Kent and may be compared to the roughly contemporary glass at Tudeley by Chagall. In spite of its unashamedly modern approach the work here is far more conventional and appropriate for its setting.
www.kentchurches.info/church.asp?p=Marden
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MARDEN.
THE next parish north-eastward from Horsemonden is Marden, called in antient records, Merdenne, which lies wholly within the district of the Weald.
That part of this parish, which is within the manor of Hunton, is in the borough of Hunton, and hundred of Twyford; a small part of it belonging to the estate called Tilden, is in the hundred of Maidstone, and another small part of it is within the hundred of Eyhorne.
The manor of East Farleigh and East Peckham claims over the den of Chillenden in this parish, as does the manor of Gillingham over that of Haydhurst, alias Haytherst, in it.
THE PARISH OF MARDEN is about five miles long, and not more than one broad. There are about three hundred houses, and fifteen hundred inhabitants in it, the rents amounting to about 3,500l. per annum. The river Teis, being one of the principal heads of the Medway, flows along the western boundaries of it, as another head of it, which rises at Great Chart, does the northern boundary, and having passed Stylebridge, joins the former one, and then take their course together to the main river, which they join at Yalding. The turnpike road, which leads over Cocksheath to Style-bridge, separates there at the 44th mile-stone from London, the left branch passing to Cranbrook, and the right through this parish towards Goudhurst, the only parts of it which may be said to be above ground, the rest of it being so deep and miry as to be nearly impassable in wet weather. The town of Marden, as it is usually called, is situated on it, nearly in the middle of the parish. It is not paved, and consists of three streets, the houses of which are but meanly built, the church stands at the west end of the town, with the patronage opposite to it, and the vicarage on the entrance to it from Maidstone. The country here is much the same as the lower parts of the adjoining parishes of Hunton and Yalding already described in a former volume of this history. (fn. 1) Near the road from Style-bridge to Goudhurst it is very pleasant, but towards Hunton, and towards Staplehurst much the contrary, being of a very dreary and sorlorn aspect. It lies very low and flat, the soil in general a stiff clay, a very heavy tillage land; in winter the lands are exceeding wet, and much subject to inundations, and was it not for the manure of their native marle, and the help of chalk and lime brought from the northern hills would be still more unferstile than they were at present, notwithstanding which there are partially dispersed some very rich lands among them, and there were some years ago three hundred acres of hop-ground here, which have of late been lessened near one hundred acres. The farms are in general small, the houses of them antient well-timbered buildings, standing dispersed at wide distances, many of them on the different greens or forstals throughout the parish.
A fair is held here yearly on October 10, for toys and pedlary. The profits of which the portreve of the hundred of Milton receives of antient custom, which officer executed within this hundred the office of clerk of the market in all points, whilst the market was held, but it has been disused time out of mind.
THE MANOR AND HUNDRED OF MARDEN has been from the earliest time esteemed as an appendage to the king's manor and hundred of Milton.
King Edward I. settled it in jointure on his queen Eleanor, who in the 11th year of that reign procured a market and fair to be held at Mereden, parcel of the manor of Middleton. Queen Eleanor died in 1291, anno 20 Edward I. and the king again took possession of this manor, and the next year it was found, upon an inquisition taken for that purpose, that this hundred then belonged to the king, and, together with the hundred of Middleton, was worth 22l. 13s. 8d. per annum. (fn. 2)
The inhabitants of this hundred from time to time petitioned the crown, to have this manor separated from the jurisdiction of that of Milton, and to be esteemed as an entire and independent manor of itself; but this appears never to have been attended to; so that it continues in the same dependant state at this time.
Although there was from time to time several grants made by the crown, of the manor of Middleton, with this of Marden appendant to it, yet the fee of it remained parcel of the royal revenue, as may be more particularly seen under the description of that manor, till the 10th year of king Charles I. who then granted it to Sir Edward it Browne and Christopher Favell, in fee, from whence it passed through the several intermediate owners there mentioned, down to the right hon. Philip, viscount Wenman, and Mrs. Anne Herbert, the present possessors of the manor of Middleton, with this of Marden appendant to it.
THE MANOR OF CHEVENEY, and CHEVENEYHOUSE, are both situated in this parish, and are now distinguished by the names of Great and Little Chevnney. They were antiently the property of a family of that surname: Henry del Chyvene held the manor of Chyvene at his death in the 2d year of Edward II. anno 1308, of the king in capite. His descendant John Chivene died possessed of them in the reign of Edward III. as did his widow Joane in the 32d year of it. After which there is no farther traces of this family, but in the 2d year of the next reign of king Richard II. it appears by the antient court-rolls of this manor, that William At-Weld was properietor of them, in whose descendants they contined till the beginning of the reign of king Henry VI. and then they passed by sale to Couper, and in the 13th year of it, William Couper discharged several persons from the amerciaments and fines imposed on them, for not persforming suit and service to his manor of Cheveney.
In this family they continued till the beginning of queen Mary's reign, when they came into the possession of two brothers, as coheirs in gavelkind, who made a partition of their inheritance; one of them, who had the allotment of the manor, passed it away to Lone, one of whose descendants, a little while before the restoration of king Charles II. alienated it to Thomas Twisden, esq. sergeant-at-law, afterwards knighted, and made one of the judges of the king's bench, and created a baronet. He seated himself at Bradbourne, and in his descendants this manor, since known by the name of Great Cheveney, was continued down to his great-grandsion Sir Roger Twisden, bart. of Bradborne, who died possessed of it, without male issue, in 1779, upon which it came to his widow, lady Rebecca Twisden, who is the present possessor of it. (fn. 3) A court baron is held for it.
But CHEVENE-HOUSE, since called LITTLE CHEVENEY, fell to the lot of the other brother, and was alienated by him to Maplesden, which branch of that family had been seated in this parish for some generations before. Many of them lie buried in this church, where several of the inscriptions on their gravestones are become obliterated, through the dampness of it. Several of their wills are in the Prerogative-office, Canterbury. They bore for their arms, Argent, a cross fermee, fitchee, sable. In which name it continued down to George Maplesden, esq. who resided here, where he died in 1688, leaving two sons, George, who, though married, died s. p. in 1735, and was succeeded in this estate by his brother Edward; and two daughters, Anne, who was married to Booth, and Catherine to Courthope, of Horsemonden. Edward Maplesden, esq. above mentioned, was of the Middle Temple, and died, unmarried and interstate, in 1755; upon which this, among the rest of his estates, descended to Alexander Courthope, esq. of Horsemonden, the son of his sister Cantherine, and to Charles Booth, esq. the grandson of his sister Anne, beforementioned, as his coheirs in gavelkind, and upon a partition of his whole estate, this house became the sole property of the former, who likewise died unmarried in 1779; upon which Chevene-house, with the rest of his estates, came to his nephew and heir-at-law John Cole, esq. (son of his sister Barbara) who now resides at Sprivers, in Horsemonden, and is the present possessor of it.
WIDEHURST is a manor in this parish, which was formerly written in old records Wogherst, and was, as early as the reigns of king John and king Henry III. the patrimony of the family of Corbie, of no small account in this county, in which it continued till it passed by a female heir by marriage into that of Wotton, ennobled by the title of lords Wotton, of Marley, and thence again by a daughter and coheir Catherine, in marriage to Henry, lord Stanhope, son and heir of Philip, earl of Chesterfield, who died in his father's life-time, and she again carried it in marriage to her second husband John Poliander Kirkhoven, lord of Hemfleet, in Holland, (fn. 4) and they, in 1652, joined in the sale of it to John Boughton, esq. who in 1656 alienated it to Mr. John Godden, and his heirs, in 1683, conveyed it to John Brewer, esq. of West Farleigh, whose descendant of the same name died possessed of it in 1724, leaving an only daughter and heir Jane, who was twice married, first to John Carney, esq. and secondly to John Shrimpton, esq. both of whom the survived, and died in 1726 S. P. She devised this manor, with the rest of her estates, to her kinsman John Davis, D. D. who died in 1766, and his only son and heir John Davis, esq. alienated it, to John Cole, esq. of Horsemonden, who is now proprietor of it.
SHIPHURST is another manor in the western part of this parish, which was possessed by owners of that name till the latter end of king Edward III, and then it became the property of William Atweld, owner likewise of Cheveney before-mentioned, in whose descendants they continued till the beginning of king Henry VI. and then they were both passed by sale to Couper, from which name this manor was soon afterwards alienated to Field, and his descendant Edward Field held it in the 4th year of queen Elizabeth, and afterwards gave it to his kinsman Thomas Gilbert, whose successor of the same name settled it on his widow Sibil Gilbert, whose second husband Richard Knight, possessed it, in her right, in the year 1656. (fn. 5) After some intermediate owners, it passed into the name of Mitchell, and Charles Mitchell, of London, possessed it in 1734, after whose death it came to his brother-in-law Mr. George Whyvall, of London, from whence it passed to Mr. Peirse, of London, who about the year 1760 alienated it to Mr. Thomas Twort, of Horsemonden, whose two sons Thomas and David Twort afterwards possessed it; the latter of whom devised his moiety of it to his nephew John Coleman, whose son John Coleman, together with the last-mentioned Mr. Thomas Twort, now possess this manor in undivided moieties. A court baron is held for it.
MONKTON is a manor in that part of this parish next to Staplehurst, in which part of the lands belonging to it lie. It formerly belonged to the priory of Leeds, (fn. 6) and after the suppression of it in the reign of Henry VIII. was granted to Thomas Colepeper, esq. of Bedgebury, who soon afterwards sold it to Thomas Wilsford, esq. and he in the 7th year of queen Elizabeth, alienated it to Edward Herbert, from which name it passed by sale, at the latter end of that reign, to Thomas Stanley, in whose family it remained till the reign of king James I. when it passed by sale to Board, of Sussex, in whose descendants it continued till about 1756, when it was, soon after the death of Mr. William Board, alienated by his heirs to John Henniker, esq of West Ham, in Essex, since Sir John Henniker, bart. who is the present owner of it.
The family of Henniker, Heneker, or as it was originally called, De Henekin, has been of long continuance in this county. One of them, Peter de Henekin, was lieutenant-governor of Dover castle in the reign of king Edward II. They afterwards, in the reign of Edward IV. wrote themselves Heneker, and resided in different parishes of this county, where their estates lay, as may be seen in the different volumes of this history. John Henniker, who died at Lenham in 1616, was ancestor to those of Chatham and Rochester, from whom descended Sir John Henniker, bart. now of West Ham, the present possessor of this estate, who in 1758 served the office of sheriff for Essex. He married Anne, the eldest of the two only daughters and coheirs of Sir John Major, bart. of Worlingworthhall, in Suffolk, (the other daughter Elizabeth marrying Henry, duke of Chandois) by whom he had three sons, John Henniker Major, esq. M. P. for Steyning, who married Miss Emely Jones; Major, a merchant in London, who married Miss Mary Phœnix, and died in 1789; and John, colonel in the army; and one daughter Elizabeth, married to Edward Stratford, earl of Aldborough. Lady Henniker lies buried in the south isle of Rochester cathedral, under a most beautiful monument. Sir John Major was created a baronet in 1765, and the title was limited, in default of his issue male, to his son-in-law John Henniker, esq. before-mentioned, and his heirs male, at which time a patent also passed for the latter to quarter the arms of Major, viz. Azure, three pillars of the Corinthian order, on the top of each a ball, or, with those of Henniker; Gules, a chevron charged with three estoils, argent, two crescents in chief, and an escallop shell in base, azure. Sir John Major died in 1781, upon which the title of baronet descended to his son-inlaw, now Sir John Henniker, bart. the present possessor of this manor, and late member in two successive parliaments for the town and port of Dover.
READ is a manor in this parish, the mansion of which, called Read-court, is situated on the northern side of it. It was once the inheritance of the noted family of Fremingham, one of whom, John, son of Sir Ralph de Fremingham, of Lose, died in the 12th year of Henry IV. possessed of this manor, and leaving no issue, he by his will devised it to feoffees, who by deed, next year, assigned it over accordingly to John, son of Reginald de Pimpe, and his heirs male, with remainder to Roger Isley, as being nearest of blood to him. (fn. 7)
It seems afterwards to have come into the possession of the Isleys, for William Isley, esq. was possessed of it at the time of his attainder, in the 1st year of queen Mary, by which his lands became forfeited to the crown; whence this manor was granted that year to Sir John Baker, attorney-general, to hold in capite, whose son Sir Richard Baker afterwards possessed it, but in the 10th year of queen Elizabeth's reign it was come into the possession of Edward Morrys, who held it of the queen, in manner as before-mentioned. In later times it was become the property of Master, one of which name, Giles Master, held it in 1652, as appears by the survey of Marden manor then taken. In his descendants it continued some time, but at length. after some intermediate owners, it came into the possession of Nicholas Bonfoy, esq. sergeant-at-arms of the house of commons, who at his death in 1775 devised it by his will to Mr. S. H. Babb, one of the officers of that house, and he is the present owner of it.
TILDENS, TUBBINS, and BROOKE, are three small manors in this parish, which had formerly three separate owners of those names; the first were persons of some note in this county, and were possessed of estates both at Kennington, Brenchley, and Tilmanstone likewise, so early as the reign of king Edward III. These three families continued in the possession of these manors till the latter end of Henry IV.'s reign, and then one of the family of Tubbins passed away that manor to Tilden, in which name both Tildens and Tubbins remained till the beginning of king Henry VI.'s reign, and then they were demised by sale to Thomas Stidulfe, esq. who, as appears by his will in 1453, had likewise purchased Brooke manor of Richard Brooke.
His grandson Thomas Stidulfe, esq. of Badsell, left an only daughter and heir Agnes, who carried these three manors in marriage to Richard Fane, esq. of Tudeley, from whom they descended, in like manner as Mereworth, to John Fane, earl of Westmoreland, and from him again, together with the barony of Le Despencer, down to the right hon. T. Stapleton, lord le Despencer, who is the present possessor of them. (fn. 8)
THE LIBERTY of the corporation of Maidstone claims over the manor of Tildens, which is situated near Style-bridge, where there is likewise an estate called Little Tildens, which in 1675 belonged to Thomas Wall, gent. of London. It lately was the property of Nicholas Haddock, esq. who sold it to John Cole, esq. the present possessor of it.
There was a family of the name of Symons, which resided at Marden for some generations; one of whom Edward Symons, gent. in 1652, held lands here, late Sir John Packington's. In 1662 he had a grant of this coat of arms, Party per fess, sable, and, or, a pale and three cinquefoils, counterchanged. (fn. 9) He resided here in 1663, and was possessed of much land in this parish.
Charities.
EDWARD MAPLESDEN, gent. by will gave to the poor of this parish 5l. per annum for ever, payable out of a house and lands situated near Horsemonden-heath, let at 10l. per annum, subject to 20s. per annum, to be paid to a learned minister, for the preaching of two charity sermons yearly on Ash Wednesday and Whit Sunday.
CERTAIN LANDS near Apledore-heath, let at 11l. 15s. per annum, were formerly the property of Mrs. Mary Allen, who by will gave to the poor of this parish 100l. payable out of them. After which her son, Mr. John Allen, gave another 100l. and charged the said land with it, subject to a decree in chancery, under which the churchwardens and overseers, with the approbation of the parishioners, legally purchased all the whole of those lands for 320l. as appears more at large by the said decree and other writings.
AN OLD COTTAGE, now in three small dwellings, built on the waste has belonged to the parish time out of mind.
There is a work-house here for the poor, those maintained in it are yearly about fifty, out of it about forty-five.
MARDEN is within the ECCLESIASTICAL JURISDICTION of the diocese of Canterbury, and deanry of Sutton.
The church consists of three isles and three chancels, with a low square tower at the west end of it, in which there are six bells. It is situated very low and damp, at the west end of the town. In it was a chapel, dedicated to St. John the Baptist. In 1763 this church was beautified by subscription, at the expence of 96l. 3s. 9d.
Richard de Lucy, chief justice of England, on the foundation and endowment of the abbey at Lesnes, gave the church of Merden to it, in pure and perpetual alms; which gift was confirmed by several kings afterwards; and in the 16th year of the latter reign, there was a vicarage endowed here by archbishop Stratford. (fn. 10)
The appropriation of this church, together with the advowson of the vicarage, remained part of the possessions of that abbey till the final dissolution of it in the reign of Henry VIII. when being one of those smaller monasteries, which cardinal Wolsey had obtained of the king in the 17th year of his reign, for the endowment of his colleagues, it was surrendered, with all its possessions, into the cardinal's hands, and afterwards granted by him, by the like letters patent, for the better endowment of his college, called Cardinal's college, in Oxford. But this church staid with that college only four years; when the cardinal being cast in a prœmunire, in 1529, all the estates of it were forfeited to the king, and became part of the revenues of the crown, whence it was soon afterwards granted to the Carthusian monastery of Shene, in Surry, and on the dissolution of that house within a few years afterwards, it came again to the crown, where it seems to have remained till queen Elizabeth having, in her 3d year, taken into her hands several manors, lands, &c. parcel of the revenue of the see of Canterbury, by her letters patent that year, granted to archbishop Parker and his successors, several rectories and parsonages in lieu of them, among which latter was this church of Marden appropriate, then valued at fifteen pounds, (being the reserved rent by the lessee of it) with the advowson of the vicarage appurtenant to it. Since which it has remained parcel of the possessions of the see of Canterbury, and does so at this time.
In the 8th year of king Richard II. this church was valued at 26l. 13s. 4d. annual value. In 1643 Sir William Acton, knight and baronet, was lessee of this rectory, at the yearly rent of fifteen pounds. John Cole, of Horsemonden, is the present lessee of it.
The vicarage is valued in the king's books at 7l. 18s. 4d. and the yearly tenths at 15s. 10d. In 1557 here were three hundred families, communicants five hundred. In 1569 four hundred and twenty families. Since which this parish has greatly increased in number of inhabitants. In 1640 this vicarage was valued at seventy-five pounds per annum. It is now of much greater value. There is no glebe belonging to it.
Archbishop Juxon, in conformity to the king's letters mandatory, anno 15 Charles II. augmented this vicarage, by increasing the old pension from the lessee of the parsonage, from three pounds to twenty pounds per annum.
¶An estate in this parish, of about fifteen pounds per annum value, formerly belonging to Mottenden priory, now to John Sawbridge, esq. claims an exemption of tithes.
Brandi was tired of me punching her every time I saw a punch buggy (classic or new) and so she made up a new game. It then expanded to include non VW beetles and a point scoring system. Instead of punching on the shoulder instead now it's poking, pinching and squeezing. I tend to target Brandi's boobs, she'll target my butt. Points are scored based on the number of fingers use.
Five Points Mall opened in 1978 as North Park Mall. Original anchor tenants were Hills, JCPenney, Meis, and Sears. In 2008 the mall went under renovation. Since the renovation there has been a mass exodus of stores. Sears closed its store in early 2013 and JCPenney closed in early 2014.
(for further information please click on the link at the end of page!)
Palais Daun-Kinsky
If the Freyung once has been one of the most prestigious residential addresses in town, so for it was next to the Palais Harrach especially the Grand Palais Kinsky responsible. In its place in the middle ages were two parcels, each with a small building. The front part of the Freyung was since the 16th Century always in aristocratic in hands (Bernhard Menesis Freiherr von Schwarzeneck, Countess Furstenberg, Counts Lamberg). 1686 acquired Karl Ferdinand Count Waldstein the house of Count Lamberg. His son bought also the adjacent house in Rose Street (Rosengasse) and united both plots to one parcel. He had three granddaughters, who sold the site in 1709 to Wirich Philipp Laurenz Graf Daun. This came from an old Rhenish nobility. His ancestors were mostly working for the Elector of Trier as officers. In the battle of the Habsburgs against the Turks, Spanish and Frenchmen, he acquired great military merit. He brought it to the General Feldzeugmeister (quartermaster) and Viceroy of Naples. In 1713 he had the house at the Freyung demolished and by Johann Lukas von Hildebrandt built in its place until 1716 a palace, him serving as Vienna's city residence. Down may have been Antonio Beduzzi requested the creation of reconstruction plans, but was eventually Hildebrandt entrusted with the work. In 1719, the palace was largely completed. Daun lived there but rarely because he stayed a lot in Italy and in Austria preferred his country castles Ladendorf, Kirchstetten and Pellendorf. In 1746 acquired Johann Joseph Count von Khevenhüller the Palais from Leopold Joseph von Daun, the son of the owner, who happened to be in financial difficulty. The Reichsgraf (count of empire) was appointed in 1763 by the Empress Maria Theresa for his services to the Lord Steward and Lord Chamberlain, and raised to the hereditary imperial princes (princes of the Holy Roman Empire).
Door knocker
He sold the palace in 1764 to the Imperial Councilor President Ferdinand Bonaventura Harrach Count II. This worked as a diplomat, especially in Holland and Italy. At times of Maria Theresa, the building was inhabited by her Swiss Guards until they 1784 moved to their new quarters in Hofstallgebäude (court stable building). Ferdinand Bonaventura's daughter Rosa brought the palace in 1790 into her marriage to Josef Graf Kinsky. Whose family belonged to the Bohemian nobility. Its members appear at the beginning of the 13th Century documented. Wilhelm Freiherr von Kinsky was a colonel and friend of Wallenstein. He was murdered with this 1634 in Eger. His confiscated estates were divided among the assassins. Only two masteries (Chlumez and Bohemian Kamnitz ) remained through the timely change of front of his nephew, Johann Octavian with the family. The Kinsky but succeeded soon to rise again. They occupied again high positions in the administration and the military. 1798 the had modernized their Viennese palace by the architect Ernst Koch inside. Thus, the original Baroque interior was lost. As in 1809 the Frenchmen had occupied Vienna, a french Marshal and General were billeted in the palace. Prince Ferdinand Kinsky was a great patron of Beethoven, which he paid an annual salary of 4,000 florins for life along with two other nobles. In 1856, the Palace was refurbished in the interior by the architect Friedrich Stache. In the 19th Century lived the Princes Kinsky mostly on their Bohemian goods or in Prague. The building was therefore temporarily rented to some posh tenants. So lived here temporarily Field Marshal Radetzky and Archduke Albrecht. 1904 redecorated the French interior designer Armand Decour the piano nobile.
Staircase - second floor
With the end of World War II began a tough time for the Kinsky family. Almost all goods and industrial holdings, with the exception of the hunting lodge Rosenhof at Freistadt lay in Bohemia. By 1929, 50 % of the extensive Bohemian possessions were expropriated. There were still about 12,000 acres, a sugar factory and breweries. 1919 had to be a part of Vienna's Palais force-let. During World War II it was requisitioned by the German army. For fear of air raids the in the palace remaining objects of art were transferred to some Bohemian castles. The Palais Kinsky was not destroyed, its art treasures but remained in Bohemia. After the Second World War, the remaining Czech possessions were lost by nationalization for the family. In the Viennese palace were temporarily housed the embassies of China and Argentina. In 1986 it was sold by Franz Ulrich Prince Kinsky. After several short-term owners, the palace was acquired by the Karl Wlaschek private foundation in 1997. It was generously restored from 1998 to 2000 and adapted for offices and shops. The Grand Ballroom is often used because of its excellent acoustics as a concert hall. Since 1992, acclaimed art auctions are held at the Palais.
The Palais Kinsky is probably next to the Belvedere the most prominent secular work of the great Baroque architect and one of the best preserved baroque palaces in Vienna. Despite multiple changes of ownership and of numerous rearrangements inside the main components such as Baroque facade, vestibule, staircase, hall and gallery remained largely unchanged. The building extends between Freyung and Rosengasse. The property is only 30 meters wide, but three times longer. It was therefore not an easy task to build on it a representative palace with a grand staircase. Hildebrandt but has brilliantly overcome by putting up four floors at 24 m height, and yet preserving the proportions. He grouped the construction with two long side wings and a cross section around two consecutive large courtyards. The pomp and living rooms of the palace are mounted around the first courtyard, while the second contained carriage houses and stables. Here have yet been preserved the marble wall panels with the animal waterings made of cast iron and enamel from the late 19th century. Hildebrandt integrated various parts of the previous building into the new building. The seven-axle face side at the Freyung is divided several times. Stability is procured by the rusticated ground floor with its inserted diamond blocks. On it sit the two residential floors. They are embraced by Corinthian Riesenpilaster (giant pilasters). The mezzanine floor above it features in comparison with the underlying main floor tiny windows.
Hercules
The large windows on the main floor are particularly detailed designed. While the outer pairs of windows possess pagoda-like over roofings, those of the three windows of the central projection are round-arched. The trophies and weapons depicted in the lintel fields refer to the military profession of the owner. Vertically is the extensive looking facade accented by the slightly protruding, tri-part central risalite, the pilasters are decorated much richer than that of the side projections. In the Fantasiekapitelle (fantasy capital) of the pilasters are diamond lattices incorporated, an important component of the coat of arms of the Counts Down. The with figures and trophies decorated attica is over the central part formed as balustrade. The sculptures are believed to originate from Joseph Kracker, representing the gods Minerva, Juno, Hercules, Neptune, Diana and Constantia. Very elegant looks the plastically protruding portal. Its composition goes back to Johann Lukas von Hildebrandt. It is considered one of the most beautiful Baroque portals of Vienna. The draft was submitted in 1713 and carried out until 1715. The richly decorated wooden gate dates from the period around 1856, when it was renewed. It is outside flanked by two, obliquely placed Doric columns that match the rusticated ground floor. Sloped to the inside carry two, on pillar stumps standing atlases (also from Kracker) the entablature with the overlying structured segment gable. On it sit the stone figures of Prudence and Justice. The middle window in between is much richer decorated than the rest of the window openings on the first floor. Instead of the usual trapezoidal over roofings here it is crowned by a cartouche held by two putti. The originally thereon located coat of arms of the owner was replaced after the change of ownership by that of the Kinsky family with three boar's teeth. Above the shield hangs an chain with the Order of the Golden Fleece. Both the gusset of the archway as well as the overlying triglyph frieze are decorated with trophies.
Banquet Hall
If someone passes the portal, so one gets into one, by strong pillars divided three-aisled gatehouse. The massive spatial impression is something mitigated by the large sculptures in the niches. They were created by Joseph Kracker. Among the somewhat restrained stucco decorations you can see the coat of arms of the owner, with its characteristic diamond motif. At this gate hall adjoins the widely embedded and more than twice as high vestibule with its domed ceiling. This transverse oval space is divided by pilasters and Doric columns. The rich stucco decoration of the ceiling provided with lunettes could come from Alberto Camesina or from his workshop. The here used motifs are again relating to the career of the client as a commander. For instance, in the lunette caps are reliefs of Roman soldiers. On the left side of the vestibule leads an anteroom to the grand staircase. It is dominated by a vault carrying Hercules, a work by Lorenzo Mattielli. As the monogram of Charles VI proves, with it the Emperor was meant to be worshiped. In two oval niches stand above the two double doors of the Treppenvorhauses (stairway hall way) busts of Caesar and Emperor Titus Flavius Vespasian. The elongated stairway occupies almost the entire length of the left wing of the first courtyard. In the stairwell are eleven statues of Roman deities in stucco niches. The relatively narrow, crossed grand stairway is considered one of the most beautiful of Vienna. It overall design might go back to Antonio Beduzzi. On the second floor stand on the from winded perforated volute forms constructed stone balustrade four groups of playing or scrapping putti. They serve in part as a lantern holders, partly just as a decoration. The statue cycle in the staircase is a work of Lorenzo Mattielli, but the cherubs are believed to stem from Joseph Kracker. This type of decoration already points to the coming Rococo. A fresco by Carlo Innocenzo Carlone adorns the ceiling. The simulated architecture painted Antonio Beduzzi. The large wall mirror of the staircase were added after 1907 .
Staircase/ceiling fresco
The somewhat playful balustrade leads to the reception rooms on the second floor. The large oval ballroom above the entrance hall is oriented towards the courtyard. Its allegorical ceiling painting stems from Carlo Innocenzo Carlone. The other frescoes are of him and Marcantonio Chiarini. The walls are covered with marble. The room was several times, most recently in 1904 changed structurally. In front of the banquet hall is the former dining room. It is now called Yellow Salon. In 1879/80 was installed in it a choir stalls from the Pressburg Cathedral by Georg Raphael Donner ( 1736) and partly completed. The also acquired confessionals were converted into boxes that are in the antechamber of the second floor today. In the chapel, designed by Hildebrandt, was until 1741 as altarpiece Francesco Solimena's "Holy Family with the Infant John the Baptist". 1778 the sacred space, however, was already desecrated. The altarpiece is already since the 18th Century in Wiener Neustadt Neuklosterkirche (church in Lower Austria). In the cross-section between the first and the second courtyard lay the paneled gallery whose spatial effect in 1856 by an attached conservatory was changed something. Its vaulted ceiling is decorated with frescoes by Carlo Innocenzo Carlone. Marcantonio Chiarini created 1716/18 the quadrature paintings. At it followed a larger hall in which Francesco Solimena's oil painting "Phaeton and Apollo" was located. It can be admired today in the National Gallery in Prague. The hall was later used as a library. Part of the state rooms 1714 was equipped with ceiling paintings by Peter Strudel. In the course of a radical redesign of the building's interior Ernest Koch has cut off all stucco ceilings of the staterooms 1798-1800 and also redesigned the walls. Since 1879 Carl Gangolf Kayser tried to restore the original spatial impression by the of Rudolf von Weyr created new Neo-Baroque stucco ceilings. Only in a few areas (vestibule, staircase, ballroom), the original substance remained. In the palace there are numerous Mamorkamine (marble fireplaces) and stoves from the 18th and 19th Century. The star parquet floors and many original door fittings date from the third quarter of the 19th Century. The facades of the first courtyard are structured by Tuscan pilasters. The arcades on the ground floor have already been closed in 1753. The with a mascaron decorated wall fountain is a work of Rudolf von Weyr. The second courtyard is kept simple. Remarkable at it rear end is the cenotaph for the current owner Karl Wlaschek.
Location/Address: 1010 Vienna, Freyung 4
Activities: The courtyards are freely accessible, the staircase usually also. A look at the state rooms is only possible if these are not just rented.
This is a photograph from the Longwood GAA 10KM and 5KM Road Races and Fun Runs 2014 which were held in Longwood Village, Co. Meath, Ireland on Sunday 19th October 2014 at 11:00. This is the fifth year which Longwood GAA have hosted race events. This year's event was an outstanding success with the number of participants doubling over last year's final numbers. There were almost 400 participants in both events with 224 in the 10KM and 166 in the 5KM. In the first three previous years the club had organised a 5KM road race. The events were organised as fundraisers for both the adult and juvenille teams at Longwood GAA club. The event also provided a fundraising opportunity for the local St. Vincent de Paul charity. Overall the whole day was a great success with the hard work put in by the organising committee ensuring that participants enjoyed their race experience. Both routes were accurately measured, kilometer points clearly marked, junctions well stewarded, and electronic timing provided. The event provided many local runners, joggers, fun runners and walkers with a local event to support whilst at the same time providing runners preparing for events such as the Dublin marathon with an opportunity to race a short, fast, distance in the lead up to marathon day. The GAA club provided excellent stewarding and traffic management all around the course. The race had a professional feel to it and it is sure to grow next year given the very positive feedback from many of the participants today.
This is a photograph which is part of a larger set of photographs taken at the event. There were photographs taken at the start of the races and the finishes of both races in Longwood GAA. The full set is available at this link www.flickr.com/photos/peterm7/sets/72157648845224981/
Longwood is a small village in South East Co. Meath and is close to the town of Enfield with access to the M4 Motorway.
Timing and event management was provided by Precision Timing. Results are available on their website at www.precisiontiming.net/result.aspx?v=2100 with additional material available on their Facebook page (www.facebook.com/davidprecisiontiming?fref=ts) See their promotional video on YouTube: www.youtube.com/watch?v=c-7_TUVwJ6Q
Overall Race Summary
Participants: There were about 400 participants over the two events.
Weather: The weather was very breezy but dry. The temperatures around 10C.
5KM Course: The 5KM started in Longwood village. Runners then took a left turn in the Village down St. Oliver's Road. This straight section of road brings runners to a left turn onto a very well maintained boreen road for less than one kilometer. The race then emerges and joins with the 10KM at Stoneyford where the runners take a left and then another left before arriving back at the finish line in Longwood GAA club. Overall this is a very fast and flat 5KM with no hills to speak of.
10KM Course: The 10KM event begins in Longwood Village outside Stoney's Pub (goo.gl/maps/Of4fW) and proceeds westward out of the village. There are some interesting points along this part of the course. At the 2KM point the runners will run under the double bridges - an aquaduct for the Royal Canal and a bridge carrying the Dublin Sligo Railway line. The race then enters county Kildare just before the 3km and after taking a right turn at the four-cross roads known locally as Lally's Cross it returns to County Meath on top of the River Boyne Bridge (Ashfield Bridge) which forms the county boundary. The race follows a straight road for the next 2KM until runners encounter Blackshade bridge which is the toughest climb on the route. As a point of interest Blackshade bridge brings runners back over the Royal Canal and the Railway line. The race then crosses the River Boyne again at Stoneyford before taking a right which will bring runners on a testing two kilometer stretch with some short hills. The 10KM course then joins with the 5Km course for the final 1.5KM back to Longwood GAA club for the finish.
Location Map: Longwood GAA club (Race Finish and Race Head Quarters - goo.gl/maps/4a8iQ Google StreetView)
Joining point of the two courses (Google Streetview goo.gl/maps/ICUvs)
Some Useful Links
RESULTS 2014: www.precisiontiming.net/result.aspx?v=2253
www.facebook.com/longwoodroadrace?fref=ts (may require Facebook logon)
Longwood GAA Facebook: www.facebook.com/longwoodgaa (may require Facebook logon)
Our photographs from Longwood 5KM 2013: www.flickr.com/photos/peterm7/sets/72157636477484093/
Our photographs from Longwood 5KM 2012: www.flickr.com/photos/peterm7/sets/72157631820426332/
Our photographs from Longwood 5KM 2011: www.flickr.com/photos/peterm7/sets/72157627782257481/
Our photographs from Longwood 5KM 2010: www.flickr.com/photos/peterm7/sets/72157625058772687/
Garmin GPS Trace for the 5KM Event in 2013: connect.garmin.com/player/238527691
Garmin GPS Trace for the 10KM Event in 2013: connect.garmin.com/activity/387453099
Can I use these photographs directly from Flickr on my social media account(s)?
Yes - of course you can! Flickr provides several ways to share this and other photographs in this Flickr set. You can share to: email, Facebook, Pinterest, Twitter, Tumblr, LiveJournal, and Wordpress and Blogger blog sites. Your mobile, tablet, or desktop device will also offer you several different options for sharing this photo page on your social media outlets.
We take these photographs as a hobby and as a contribution to the running community in Ireland. Our only "cost" is our request that if you are using these images: (1) on social media sites such as Facebook, Tumblr, Pinterest, Twitter,LinkedIn, Google+, etc or (2) other websites, blogs, web multimedia, commercial/promotional material that you must provide a link back to our Flickr page to attribute us.
This also extends the use of these images for Facebook profile pictures. In these cases please make a separate wall or blog post with a link to our Flickr page. If you do not know how this should be done for Facebook or other social media please email us and we will be happy to help suggest how to link to us.
I want to download these pictures to my computer or device?
You can download the photographic image here direct to your computer or device. This version is the low resolution web-quality image. How to download will vary slight from device to device and from browser to browser. However - look for a symbol with three dots 'ooo' or the link to 'View/Download' all sizes. When you click on either of these you will be presented with the option to download the image. Remember just doing a right-click and "save target as" will not work on Flickr.
I want get full resolution, print-quality, copies of these photographs?
If you just need these photographs for online usage then they can be used directly once you respect their Creative Commons license and provide a link back to our Flickr set if you use them. For offline usage and printing all of the photographs posted here on this Flickr set are available free, at no cost, at full image resolution.
Please email petermooney78 AT gmail DOT com with the links to the photographs you would like to obtain a full resolution copy of. We also ask race organisers, media, etc to ask for permission before use of our images for flyers, posters, etc. We reserve the right to refuse a request.
In summary please remember when requesting photographs from us - If you are using the photographs online all we ask is for you to provide a link back to our Flickr set or Flickr pages. You will find the link above clearly outlined in the description text which accompanies this photograph. Taking these photographs and preparing them for online posting does take a significant effort and time. We are not posting photographs to Flickr for commercial reasons. If you really like what we do please spread the link around your social media, send us an email, leave a comment beside the photographs, send us a Flickr email, etc. If you are using the photographs in newspapers or magazines we ask that you mention where the original photograph came from.
I would like to contribute something for your photograph(s)?
Many people offer payment for our photographs. As stated above we do not charge for these photographs. We take these photographs as our contribution to the running community in Ireland. If you feel that the photograph(s) you request are good enough that you would consider paying for their purchase from other photographic providers or in other circumstances we would suggest that you can provide a donation to any of the great charities in Ireland who do work for Cancer Care or Cancer Research in Ireland.
We use Creative Commons Licensing for these photographs
We use the Creative Commons Attribution-ShareAlike License for all our photographs here in this photograph set. What does this mean in reality?
The explaination is very simple.
Attribution- anyone using our photographs gives us an appropriate credit for it. This ensures that people aren't taking our photographs and passing them off as their own. This usually just mean putting a link to our photographs somewhere on your website, blog, or Facebook where other people can see it.
ShareAlike – anyone can use these photographs, and make changes if they like, or incorporate them into a bigger project, but they must make those changes available back to the community under the same terms.
Creative Commons aims to encourage creative sharing. See some examples of Creative Commons photographs on Flickr: www.flickr.com/creativecommons/
I ran in the race - but my photograph doesn't appear here in your Flickr set! What gives?
As mentioned above we take these photographs as a hobby and as a voluntary contribution to the running community in Ireland. Very often we have actually ran in the same race and then switched to photographer mode after we finished the race. Consequently, we feel that we have no obligations to capture a photograph of every participant in the race. However, we do try our very best to capture as many participants as possible. But this is sometimes not possible for a variety of reasons:
►You were hidden behind another participant as you passed our camera
►Weather or lighting conditions meant that we had some photographs with blurry content which we did not upload to our Flickr set
►There were too many people - some races attract thousands of participants and as amateur photographs we cannot hope to capture photographs of everyone
►We simply missed you - sorry about that - we did our best!
You can email us petermooney78 AT gmail DOT com to enquire if we have a photograph of you which didn't make the final Flickr selection for the race. But we cannot promise that there will be photograph there. As alternatives we advise you to contact the race organisers to enquire if there were (1) other photographs taking photographs at the race event or if (2) there were professional commercial sports photographers taking photographs which might have some photographs of you available for purchase. You might find some links for further information above.
Don't like your photograph here?
That's OK! We understand!
If, for any reason, you are not happy or comfortable with your picture appearing here in this photoset on Flickr then please email us at petermooney78 AT gmail DOT com and we will remove it as soon as possible. We give careful consideration to each photograph before uploading.
I want to tell people about these great photographs!
Great! Thank you! The best link to spread the word around is probably http://www.flickr.com/peterm7/sets
high key hedgehog
an african pygmy hedgehog. its called Olive. apparently all african pygmy hedgehogs are
Phone Panorama - as the play begins the panotama starts panning left to right. The play develops and everyone moves to the right, and players are captured multiple times. To the right you will see the ball carrier leaping across the pylon to score.
Sean Callahan, the 12-year old young man adopted by the Army West Point Football team ran for a touchdown on the first play of the game as Black defeated Gold, 40-17, April 19 and the Black Knights concluded spring practice with the annual Black-Gold Game at Michie Stadium.
Callahan joined the football program in June of last year through the Friends of Jaclyn Foundation and has been a fixture at games ever since. On Saturday, the Mahopac, New York, resident took a handoff from 26 and raced 74 yards for a touchdown on the first play from scrimmage, setting off a wild celebration under sunny skies in front of 2,015 fans. Callahan also closed out the spring game with a 75-yard touchdown rush.
Callahan and a host of young participated in a children's clinic run by the Army West Point Football team earlier in the day and the players and coaching staff signed autographs and mingled with the crowd following the contest.
Nine former players returned and served as honorary game captains and participated in the coin toss.
Following the touchdown by Callahan, the black squad put nine more points on the board to take a 16-3 lead into halftime. Ahmad Bradshaw connected with Edgar Poe on a 3-yard touchdown toss to make it 14-0 and then Justin Fahn sacked Matthew Kaufmann in the end zone for a safety and Black lead 16-0. Gold got on the board on a 32-yard field goal from Mitchell Howard on the final play of the half to give cut the Black lead to 16-3.
Gold started the third with a touchdown run from four yards out by Grant Escobar to cut the lead to 16-11, but the Black squad reeled off 24 unanswered points to open the game up to 40-11. Kemper, Alex Aukerman and Richie Smith each had touchdown runs and Grochowski booted home a 25-yard field goal.
On the final play from scrimmage, Callahan scampered 75 yards with a group of Gold team blockers to the end zone and the final was Black coming out with a 40-17 victory.
The Gold squad was coached by offensive coordinator Brent Davis with Sean Saturnio, Kevin Corless, Ray McCartney, Orlando Mitjans and Kyle Hoke. Honorary captains were Stan March, Lt. Col. Chad Davis, Ben Kotwica, Caleb Campbell and Gavin Lawrence.
Defensive coordinator Jay Bateman led the Black team and was joined by John Loose, Jovan Dewitt, Bob Bodine, Keith Gaither, Tucker Waugh, Capt. Dan Evans and Mitch Ware. The honorary captains were Mike Viti, Mike McElrath, Aaron Alexander and Collin Mooney. Pete Dawkins was selected as a captain but unable to attend.
The game marked the end of Army West Point's spring practice and was the team's 14th workout. Army West Point will open the 2015 season on Friday, Sept. 4 against Fordham at Michie Stadium. The game will kick-off at 7:05 p.m. on CBS Sports Network.
Photos by Eric S. Bartelt/Pointer View. Text by Army Athletic Communications.
I have owned this cash register for several decades now, of which I rescued from a fire damaged pharmacy on New York's Lower East Side around 1995. (At that time, one of the owners of the pharmacy chain I was working for (Thriftway Pharmacy) had a side business of buying out sundries & merchandise from bankrupt and smoke/water damaged retail stores at substantially cut prices, and reselling them at nominal prices thereby substantially increasing the profit margin.
In the process of clearing out one such place, I happened upon this cash register lying on its side under the pharmacy shelves in about 2 inches of murky water.
To be quite honest, it almost was not rescued, as my transportation that day was my bosses brand new Mercedes 500SEL, and as you can imagine he was extremely reluctant in allowing some dripping, sooty monstrosity in his new car. He wouldn't even allow it in the trunk. I managed to convince him to allow me to take it but only after I wrapped it in three contractor bags and agreed to hold it in my lap for the hour long ride home.
Upon my getting it home, I immediately proceeded to clean it up. I took note that one of the glass panels were broken (the customer side) and the top glass completely gone. The NO SALE flag was also missing. I had my local glazier cut me replacement glass and I installed it, but not before I made a crude NO SALE flag out of cardboard and a Qtip..
The dealer markings reflect that this machine was sold by:
Bronx Cash Register
341 East 149 Street,
Bronx, NY
established 1912,
MOtt Haven 9-5888
As it turned out Bronx Cash Register was still in business and I contacted them but they could not offer information, sales records or parts.
It operates fairly smoothly, then out of the blue, the keys will jam. I learned the mechanism pretty well from my cleaning, so I pretty much know how to unjam it without too much effort. Upon my examination I discovered that someone very crudely tried to repair the dollar position advance wheel and cam on the days tally wheel.
The tally advance up to 99 cents but does not advance the to the next dollar. I loosened up the set screw and pushed it off to the side, disabling the dollar advance.
After getting it all cleaned and lubricated I put some circa 1928 currency and older silver coinage in it. And it sat on my desk in my room for years. My father enjoyed its presence as he also had an National cash register (see other album), but his is a much younger Model 1098 that came from a toy store "Waldell's Hobbies on Cortelyou Road, Brooklyn) that bought out. (Model 1098 - s/n 2726474). I think is can be a safe conclusion that my affection for cash registers came from him!
After the internet makes its way into my life, I was able to determine it is a 300 series.
I subsequently move upstate and continued displaying it and has been a focal point of my furnishings.
Recently, events in my life have seen me relocate to Texas and of course, the register came with me. Space is a little more at a premium, so it was in storage. So for a rainy day project today, I decided to get the register out of storage and clean it up. Also, the keys got jammed again when a friend tried to operate it.
So, I took the case apart, vacuumed and blew down the innards with an air nozzle, and got the mechanism to release. Somehow that welded cam wheel slipped back to its original place in moving.
I lubricated all moving parts with a liberal application of PB Blaster and wipe down. Upon reassembly, and as I now had the advantage of the internet as a resource for parts and information, I decided to do a little research
After finding a lot of 300 series in brass, I found none painted. This made me slightly suspicious. Mine is clearly black wrinkle finish paint. Honestly, it appears quite well done, with all parts inside & out evenly coated. I couldn't help but feel it was a factory paint. I searched eBay, and the web, but alas couldn't not find a painted model.
I learned where the model number should be, but on first exam, it was not present on my machine and my tag area appeared blank. But, after a closer exam, there were in fact screws holding down a plate, so after quick work with a screwdriver, I realized the model s/n tag had been screwed on to the machine face down and painted over! This must have been done before I owned it as I would not have done such a thing..
This would now lead me to believe the machine has been painted after original purchase and now perhaps not original as I once thought.
Once I turned the tag over, I learned it was a Model 312, with s/n 1283677. (Made after 6/6/1913 if I understand the data records correctly). I also took the cash drawer out and read the guarantee label affixed to the bottom:
Register Number 2388283
Size 711
Finish Mah
Tracer (blank)
Customer (blank)
Not listed on the label but confirmed from collector websites is the ornate pattern on the case is "Dolphin" and was designed by none other the Tiffany.
So now my questions. Internet references reflect the following versions of the Model 312:
( A ) Bronze, oxidized and relieved
This cabinet was a solid bronze casting that was dipped in a black oxide chemical, which turned the cabinet black. The flat edges and the high points of the casting were polished, leaving the black in the low areas and highly shined bronze edging. It was then lacquered to maintain the finish.
( B ) Nickel plated*
This cabinet is usually a solid yellow brass (or sometimes cast iron)* casting that was nickel plated. The drawer front was generally solid nickel because the nickel plating would easily wear off when closing the drawer. Yellow brass is made from copper, zinc and tin. Bronze is copper and tin. Both copper and tin are expensive, so the zinc makes it a lot cheaper to make and was used for most plated machines. Often if they didn't have all of the parts in brass, they would use a bronze part. After many years of wear, the nickel becomes worn off in spots. If you remove all of the nickel, you often find 3 colors, red bronze, yellow brass and solid nickel. This machine will have to be re-plated? Highly polished and lacquered.
( C ) Bronze, natural color.
This cabinet was solid bronze castings. Highly polished and lacquered.
( D ) Oxidized copper and relieved*
This machine is usually made with yellow brass (or cast iron)* casting which were copper plated. The copper was thicker than nickel and would not wear off, so the drawer front was also copper plated brass. It was dipped in the black oxide chemical and the edges and high points of the pattern were highly polished, leaving bright copper edging with the lower areas black. Also lacquered.
( E ) Yellow brass, Natural color
This machine was solid brass castings that were highly polished and lacquered.
( En ) Black enamel, ornamented. (Class 100 only)
This machine is solid yellow castings that were dipped in black oxide and the edges and high points highly polished leaving the black in the low areas. Also lacquered.
Wood Cabinets
Some of the early machines were offered in a solid wood cabinet. These cabinets were made from Oak, Quarter Sawn Oak, Birch, Mahogany, Black Walnut and many other expense woods. They had burled veneer and fancy inlayed patterns of different wood veneers. These were often accented with brass and nickel inlays, as well as nickel plated drawer pull and other hardware.
Many inlay patterns were named such as: The Shell Pattern,Lilly of the Valley, Tulip Pattern, and the Persimmon pattern.
Clearly, my machine is NOT any of the above. It is NOT an early machine (those being 1800's), but my drawer is marked for Mah (Mahogany) and it's obvious there is no wooden cabinet. Was the current drawer a replacement?
What does an original Model 312 in Mah finish look like?Does that mean a brown paint? This machine is clearly black wrinkle finish and the only wood is the base, which is painted black as well.
I looked at some of the locations where the paint was chipped and the underlying metal does appear to be polished nickel. Therefore, would the paint be original from National or is this a customer applied paint job?
Hours of research on the web does not turn up painted examples of a 312. Also the case is mostly not magnetic, however in some areas this is a weak pull, but I'm concluding the magnet is attracted to the cast iron internal frames.
If the black wrinkle finish is not original, whether to leave the machine as is or strip the finish is to be decided. I wish to make it clear, I know this decision is up to my preference, but I also wish to make it clear the machine is more of sentimental value than monetary value, so a restoration to original condition for eventual resale or to increase in value is not my intent as I have no plans to sell it..
The denomination keys "buttons": I looked at the vintage catalog, and it shows white numerals on black for all keys except NO SALE which is black on orange. My register however has:
- black numerals on white for the 10 cent denominations (10, 20, 30, 40, 50);
- white numerals on red for the cent denominations (1 through 9 EXCEPT the 5 which is black on white).
- black on orange for NO SALE.
I know that the 5 button on adding machines, calculators and other registers almost always contrasted for easy recognition so this I figure is original, and as dad's model 1098 is the same way.
I would like to replace the NO SALE flag with an original. An unrestored one to match the other flags would be preferred. As the NO SALE flag appears to be in the same position on all the 300 models (far right for the clerk - far left for the customer), I would conclude all the 300 series NO SALE flags are compatible.
The drawer front is clearly smooth painted metal. All the images I've encountered show the cast National drawer front. Is mine missing or was there / this a "budget" model 312 omitted some of the ornamentation or perhaps there was a wood front in Mahogany?
On the right side of the keyboard, the numerals 5145 are stamped into the front edge. This number is also stamped on the inside of the back metal case. It does not match the warranty registration or the serial number.
So many questions abound. If you have answers, please feel free to contact me at bedt14@aol.com
***
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Maxime Huscenot (St Gilles, REU) dominated proceedings throughout the finals' day, the former ASP World Junior Champion (2009) taking out the Inaugural ASP 3-Star Yop Reunion Surf Pro Junior in excellent wave conditions, while fellow islander Joanne Defay (St Leu) was clinching the women's ASP 2-Star Rexona Girls Pro Junior title
TROIS BASSINS, Reunion Island (Friday, April 15, 2011) – The inaugural Yop Reunion Surf Pro Junior, an ASP 3-Star Men’s event running along with the ASP 2-Star Rexona Girls Pro Junior, saw the crowning of local heroes Maxime Huscenot (St Gilles, REU), 19, and Joanne Defay (St Leu, REU), 17, both claiming this year’s ASP European Junior Series opening event in great fashion.
Taking valuable rankings’ points and confidence to start the year as European leaders, Huscenot and Defay were standouts throughout the final day, posting the event’s highest heat scores en route to their respective wins.
With clean four-to-five foot (1.5 meter) waves allowing some of the best levels of surfing ever witnessed on an ASP European sanctioned Pro Junior event, the final day was a mix of exceptional progressive surfing, smart heat tactics and full-on commitment for a stunning show.
“It’s the best feeling to win for my first event ever as a professional surfer in Reunion Island, at home,” Huscenot said. “Event officials couldn’t have made a better call by holding things for today as we enjoyed some of the best surf conditions I’ve ever seen in a junior event. To win in such waves, in front of my friends, is just ideal.”
Huscenot, a former ASP World Junior Champion (2009) and ASP European Junior Champion (2008), unleashed some of his best tactics and backhand surf to find his way through to victory, the event’s local favorite leaving few chance to his opponents to counter him.
“It’s been a great day and I felt good and in rhythm,” Huscenot said. “I got some solid scores earlier in the day and it helped me get confidence and relax for the final. I was young when I first won the European title and it’s definitely one thing I have on mind right now as this win may be of good help to try and chase a second crown. However, I am focused 100% on the ASP Star and Prime Series so I hope I’ll find the time to attend other junior contests.”
After a couple of lay days, the final day turned on for the remaining title hunters, runner-up Dimitri Ouvre (St Barth, BLM) coming just 0.2 poiints short of a career first win. Throwing fins)out turns and reverse airs round after round, the Caribbean native stepped-up against Huscenot but was not able to counter the unstoppable assaults of the former ASP World Junior Champion in the final.
“I was aiming at the win but that final is still my best result ever so I’ll take it for sure and hats off to Maxime for his exceptional run,” Ouvre said. “To start the year off with a runner-up in such a crucial event is of much importance and I am looking forward at capitalizing on it and definitely keep an eye on the ASP European Junior title if I can keep my game rolling.’
Ouvre, who has been rising through the ranks since a couple of years, confirmed he was definitely one of this year’s main ASP European Junior crown contenders. Mixing his custom-made progressive surfing and solid front-hand vertical attacks, Ouvre impressed the crowds heat after heat, netting the event’s second best heat result overall.
In the women’s division, former ASP European Women’s Junior champion Joanne Defay (St Leu, REU) had opened the Reunion kids’ domination roll earlier, claiming the Rexona Girls pro Junior in front of runner-up and fellow local Canelle Bulard (St Leu, REU). Defay, using her impressive powerful carves and wave pick to post a series of high coring waves and eventually take the win.
Already amongst the ASP Women’s Star Series and having performed well in the big league, Defay was at ease in the clean surf conditions staying in the lead heat after heat to naturally take her maiden ASP European Junior victory.
“I am overwhelmed with joy right now and couldn’t have thought of a better finish in front of my home crowds,” Defay said. “The waves were great and I caught quite a few lefts to build momentum through the day and it paid off all the way though to the final. Congratulations to all organisers and Canelle for her run.”
While other favorites Ramzi Boukiam (Agadir, MAR) and William Aliotti (St Martin, SXM) placed equal 3rd in the men’s division, Maud Lecar (Guadeloupe, FRA) and Garazi Sanchez (Sopelana, EUK) were able to make the Semifinals in the women’s event, all event equal 3rd finishers getting a solid start for this year’s ASP European Junior Series title.
The event is webcast LIVE via www.aspeurope.com
All photos, news, event updates and daily video highlights available at www.aspeurope.com/events2011/lareunion/index.php
REXONA GIRLS PRO JUNIOR RESULTS
Final: Joanne Defay (REU) 12.50 def. Canelle Bulard (REU) 11.10
Semi 1: Joanne Defay (REU) 16.25 def. Garazi Sanchez (EUK) 7.75
Semi 2: Canelle Bulard (REU) 16.15 def. Maud Lecar (REU) 10.50
Quarter 1: Joanne Defay (REU) 11.50 def. Joanna Giansanti (FRA) 5.60
Quarter 2: Garazi Sanchez (EUK) 12.25 def. Loiola Canales (EUK) 4.45
Quarter 3: Canelle Bulard (REU) 12.00 def. Maria Abecasis (PRT) 7.70
Quarter 4: Maud Lecar (REU) 14.40 def. Justine Dupont (FRA) 14.00
YOP REUNION SURF PRO JUNIOR RESULTS
Final: Maxime Huscenot (REU) 15.80 def. Dimitri Ouvre (BLM) 15.40
Semi 1: Dimitri Ouvre (BLM) 13.25 def. Ramzi Boukiam (MAR) 12.40
Semi 2: Maxime Huscenot (REU) def. William Aliotti (BLM)
Quarter 1: Ramzi Boukiam (MAR) 13.40 def. PV Laborde (FRA) 9.85
Quarter 2: Dimitri Ouvre (BLM) 15.15 def. Vasco Ribeiro (PRT) 14.90
Quarter 3: William Aliotti (BLM) 14.00 def.Tristan Guilbaud (FRA) 13.90
Quarter 4: Maxime Huscenot (REU) 18.00 def. Frederico Morais (PRT) 13.35
Photo © Aquashot/aspeurope.com
The Mallo Trail is somewhat unique in that it passes through several vegetative zones including riparian, aspen, spruce/fir, ponderosa pine, grassland, bare rock, and shrub communities.
Several points along the trail afford vistas of the Black Hills, and wildlife is abundant. Wildlife species common in the area include mule deer, whitetail deer, elk, wild turkey, ruffed grouse, and a variety of small mammals and birds. Predators such as coyotes and mountain lions are less common but do pass through the area.
The Weston County portion of the trail is marked with a variety of fiberglass or wooden posts and rock cairns. From the trailhead, the trail leads south along the ridgeline on the Wyoming/South Dakota state line. The trail follows along a fence line for a distance of approximately one quarter of a mile to a gate in the fence where the trail re-enters Wyoming and continues onto BLM administered lands. The trail crosses a prominent two-track road and then makes a loop (with a cut across for those preferring a shorter hike) before returning to the gate at the Wyoming/South Dakota line. From there, visitors will hike back along the same trail they used to enter the loop trail. The entire trail is more than 3.5 miles.
The Mallo Trail trailhead is located at a small parking area approximately one mile east of Mallo Camp on Beaver Creek Road. Parking at the trailhead is limited. Dispersed camping on BLM-administered land is allowed. Organized groups advertising events on the trail must contact the Newcastle Field Office to obtain a special recreation permit for activities occurring on BLM administered lands.
BLM photo.
LATITUDE/LONGITUDE
44.08186498 / -104.0556015
DIRECTIONS
From Newcastle, WY: Take US Highway 85N 18 miles to the county road to Mallo Camp. Turn east at Mallo Camp sign and drive approximately 4 miles to the junction at Mallo Camp. Go approximately 1 mile east to the trailhead. The parking area is past Mallo Camp and on your right about a quarter mile. From Sundance, WY: Take US Highway 585 south 27 miles to Four Corners, then south on US Highway 85 approximately 0.2 mile to Mallo Camp turnoff. Turn east at the Mallo Camp sign and drive approximately 4 miles to the junction at Mallo Camp. Go approximately 1 mile east to the trailhead. From Deadwood, SD: Take US Highway 85S/14W 33 miles to Four Corners, then south on US Highway 85 approximately 0.2 mile to Mallo Camp turnoff. Turn east at the Mallo Camp sign and drive approximately 4 miles to the junction at Mallo Camp. Go approximately 1 mile east to the trailhead.
PHONE 307-746-6600
EMAIL newcastle_wymail@blm.gov
ADDRESS Newcastle Field Office
1101 Washington Blvd
Newcastle, WY 82701
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Mike Cohen
I salvaged the pretty embroidered points from a hand-stitched tablecloth that had some stains in the middle.. Paired it up with a pretty floral print for some elegant and cottage-style drawstring bags.
I'm giving this away on my blog!! Stop by and put your name in the hat!
St Andrew, Metton, Norfolk
Metton's is a church that I keep coming back to. It's handily placed for revisits, being set just south of Cromer, one of my regular starting points for bike rides. But there is something else too, something that seems to call me back to experience its quiet, dim stillness above the lonely road of the village.
I first came here with the late Tom Muckley in the summer of 2005, if you could call it a summer that year. Long, sultry days in June gave a promise of things to come, but the promise was never really fulfilled. July was not a particularly wet one, but neither was it very sunny. In East Anglia, we awoke again and again to gloomy cloud and a kind of ineffectual drizzle that eventually petered out, the clouds breaking. But the days never warmed up, and all too soon evening closed in. By early August, the hedgerows were still as green as they had been six weeks previously, and the conservation areas of graveyards had become jungles.
There was an illusion that the summer was still held in a fitful suspense. But already, the barley and wheat fields were being harvested, the lanes clogged by mud from combines and tractors, the signs all around of everything being safely gathered in. The evenings became cooler, the horse chestnuts began threatening to turn. Soon, it would be time for back to school promotions in the town shops, and the excitement of posters for harvest suppers on village noticeboards. Soon, it would be autumn.
But all that was in the future. In the first few days of August, the low cloud began to retreat, and there were high skeins of it dissolving above the rolling hills south of Cromer. Too early in the day to take advantage of it, we headed under overcast skies through tiny lanes banked up with green hedges. All the roads were narrow, and it seemed impossible that we were less than two miles from the nearest A road, less than six miles from Cromer, less than two hundred miles from central London. The fields were silent, the stillness in the air timeless.
Through the high banks we twisted, eventually coming out into the deep cut village of Metton, barely a hamlet really. A few council houses straggled beside the church. There were some larger, older houses to the east, and a farmer had cut a maze through his crops for children to run wild and freely in. We could hear their shouts from the churchyard. It was a lovely place to be, at once ancient and yet full of young life.
Most recently I returned to Metton in June 2019. The weather forecast had promised sunshine, but I'd got out at Roughton Road station under heavy cloud, and my bike ride to Felbrigg, my first port of call, had been into the chill of a wind carrying the occasional misty shreds of a sea fret from the coast, invisible beyond the northern horizon. But as I came into Metton, the clouds parted, and I felt the warmth of the sun for the first time that day like a benediction, and I pushed my bike through the awkward gate into the narrow churchyard.
St Andrew is a simple, aisleless 14th century church, heavily Victorianised with the introduction of late medieval-style window tracery. The high pitched nave roof rather overwhelms it all. As often in this part of Norfolk, refurbishing of the flint has been a cheap option, and that seems to have happened on the tower here. The most interesting feature is at the foot of the tower, for there is a processional way running from north to south, the western face of the tower being hard against the churchyard boundary. The northern side of the chancel is windowless now, but the prospect from the south, away from the village street, is gentle and timeless.
It must be said that this is always a gloomy interior to step into. This is mostly the fault of the Victorian restoration, which ceilured the roof, leaving nothing but a functionless wallplate with fascinating grotesques on it. The restoration here was fairly middle-of-the-road. The town church benches must have seemed the very thing in the 1870s, but today they are characterless and dull, out of keeping with the peace outside. You can't help thinking that the nave would be improved if they were replaced with modern wooden chairs. But the chancel recalls earlier days, rustic and simple, with a pammented floor and bare furnishings. The flowers make it feel a place at once well-loved and well-used, a delight. There are roundels of Flemish glass in the east window, set here by the Dennis King workshop in the early 1960s. A bishop stands and a monk kneels before the crucifixion. Another monk, a donor perhaps, kneels before St Jerome in the desert. An angel holds a chalice and a crucifix.
By the south door, hidden under the table, is a fine civilian brass to Robert and Matilda Doughty. Robert died in 1493, and presumably the brass was put in place before the death of his wife, because the place for her dates has been left blank. There are also a couple of brass inscriptions in the nave. One is directly beside the fine, if over-plastered, Norman tub font, which rather looks as if it was originally designed to stand against a wall or a pillar.
A curiosity is welded to the north wall, beside the door. This is the 19th century parish truncheon, a fascinating survival. These objects were symbols of authority rather than implements of aggression, but all the same I couldn't help wondering if it had cracked a few parish heads, and quite what the 18th century parishioners would say if they could come back and see it so fondly displayed.
I stood for a while, breathing in the silence. A bird started up in the churchyard, but it seemed distant. It was time to go. It struck me, not for the first time, that there is something sad about this church. Not exactly oppressive, for it calls me back again and again, but a feeling that this Victorian interior which had seemed so bright and earnest a century and a half ago has faded. It has seen its congregation shrink, as if they were leaving one by one, leaving only an echoing emptiness, except for services. The patina of the varnish and the tiles has dulled, and the whole place broods beneath the ceilure. Only the chancel still seems alive.
And there was something else, of course. As I signed the visitors' book, I noticed that several recent visitors mentioned their prayers for April. I thought that this was a lovely thing, that they remembered. I remembered too. Thirteen year old April Fabb's disappearance on the edge of this tiny village in the spring of 1969 haunted me as a little boy at the time, and still haunts East Anglia today. It regularly reappears in the news, most recently because of the event's fiftieth anniversary. Outside, beside the porch, an inscription to her memory on a headstone reads: Will you of your charity remember in your prayers APRIL FABB a child who disappeared from this parish in April 1969 of whom nothing has since been heard.
Soldiers from the Manassas-based 266th Military Police Company, 1030th Transportation Battalion, 329th Regional Support Group focus on their core military skills July 25 and 26 during their two-week annual training at Fort Pickett. At the request of Fort Pickett Range Operations, Soldiers established traffic control points where they conducted spot checks for drivers licenses, proper vehicle dispatch procedures, seat belt use and general vehicle safety checks. Soldiers also trained route regulation procedures where military police personnel conducted mounted vehicle convoys using Humvees and armored security vehicles where they evaluate routes, ensure proper markings are in place, provide security against route infiltration and facilitate efficient movement along the route. (Photo by Cotton Puryear, Virginia Department of Military Affairs)