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Martello Tower Z was a Garrisoned Sea Defence Post, and was part of a chain of Martello Towers that ran along the south and east coast of England dating from the early 19th century. Positioned south east of Buckanay Farm in Alderton between Tower Y in Bawdsey and Tower AA in Shingle Street. The Tower was repurposed during World War II with an additional reinforced concrete compressed T-shaped Gun Emplacement, with over hanging roof, the projecting enclosed chambers have widely splayed embrasures facing forward and twin embrasures on the side face.
The Martello Tower has been unused since World War II, whilst these towers are generally robust and structurally sound, a 2014 condition survey undertaken as part of the National Lottery Heritage Fund ''Touching the Tide'' Project has indicated the need for repairs to prevent water ingress. Further discussions with the owner are needed to consider any urgent conservation works to help save Martello Tower Z.
Photos from previous visit 12th September 1915 – www.flickr.com/photos/139375961@N08/shares/JHJ26ikX8U
A chain of towers based on the original Mortella Tower were built to defend the south and east coast of England, to guard against possible invasion from France, then under the rule of Emperor Napoleon. A total of 103 Martello Towers were built in England, set at regular intervals along the coast from Seaford, Sussex, to Aldeburgh, Suffolk. Most were constructed under the direction of General William Twiss (1745–1827) and a Captain Ford.
The northern-most tower at Aldeburgh is of 'quatrefoil' design, included in the scheme were three much larger circular forts or redoubts that were constructed at Harwich, Dymchurch and Eastbourne; they acted as supply depots for the smaller towers as well as being powerful fortifications in their own right.
The effectiveness of Britain's Martello Towers was never actually tested in combat against a Napoleonic invasion fleet. They were, however, effective in hindering smuggling. After the threat had passed, the Martello Towers in England met a variety of fates. The Coastguard took over many to aid in the fight against smuggling.
Fifteen towers were demolished to enable the re-use of their masonry. The sea washed thirty away and the military destroyed four in experiments to test the effectiveness of the new rifled artillery. During World War II, some Martello Towers returned to military service as observation platforms and firing platforms for anti-aircraft artillery.
Forty-seven Martello Towers have survived in England, a few of which have been restored and transformed into museums, visitor centres, and galleries. Some are privately owned or are private residences, The remainder are derelict. A survey of the East Coast towers in 2007 found of the 17 remaining, most were in a reasonable condition.
Three Martello Towers were built in Scotland, the first on offshore rocks facing the Firth of Forth in 1807–09 to defend Leith Harbour. The Tally Toor now lies land-locked within the eastern breakwater. Two towers were then built at Hackness and Crockness, near Longhope in Orkney. They were constructed between 1813 and 1815 to guard against the threat of French and American raiders attacking convoys assembling offshore. Historic Scotland now operates the Hackness tower as a museum.
A small number of Martello Towers were also built in Wales, of which few survive. The most notable surviving towers are the two located in Pembroke Dock, which were built between 1848 and 1857 to protect the naval base there. Today, one of the towers is privately owned. The other is located on the town's riverfront, next to the old entrance of the naval base. It has been converted into a small museum that focuses on the local history of the dock and its defences.
Information sourced from – Martello Towers in the UK - Martello Towers share.google/qlUvQhN23j8XUUZEg
Cette scène ordinaire de la vie du marais est, en fait, une scène assez dramatique. En effet j'ai observé un long moment cette cistude d'Europe avec sa compagne, une tortue de Floride. La cistude, probablement un mâle, n'a pas cessé de poursuivre la tortue de Floride en essayant de s'accoupler avec elle. Malheureusement ce mâle cistude croit avoir à faire à une de ses congénère femelle et il va s'épuiser en vain à essayer de féconder cette tortue de Floride. Devant la prolifération inexorable de cette dernière notre pauvre cistude d'Europe demeure plus que jamais menacées d'extinction.
Dur dur !
{Explore} Highest Position: 169 on Wednesday, May 13, 2009
I drink dew for wine, and hearken to
The voices of the birds, and dance
To the rhythmic swaying of the grass.
I am the lover's gift; I am the wedding wreath;
I am the memory of a moment of happiness;
I am the last gift of the living to the dead;
I am a part of joy and a part of sorrow.
But I look up high to see only the light,
And never look down to see my shadow.
This is wisdom which man must learn.
~ Kahlil Gibran (Last 3 Verses)
I was introduced to the works of Kahlil Gibran back when I was in high school by a good friend who knew of my passion for good literature. She gave me The Prophet which is a series of philosophical poetic essays written in english prose. Must have read that book a hundred times and had to buy another one in hardbound since the pages of my old one were already falling apart. Gibran's work has been an inspiration in my writings and in mine own poetry... now a mere shadow of my past.
HPPT my flickr friends. Good evening to those who's homes are now blanketed in a veil of night and good morning to the rest who have already glimpsed the smiling rays of the rising sun.
Built on the crest of a hill in a prominent position overlooking St Kilda and the bay is the grand St Kilda Presbyterian Church. Opened in 1886, the St Kilda Presbyterian church was designed by the architects firm of Wilson and Beswicke, a business founded in 1881 by Ralph Wilson and John Beswicke (1847 - 1925) when they became partners for a short period. The church is constructed of bluestone with freestone dressings and designed in typical Victorian Gothic style. The foundation stone, which may be found on the Alma Road facade, was laid by the Governor of Victoria Sir Henry Barkly on 27 January. When it was built, the St Kilda Presbyterian Church was surrounded by large properties with grand mansions built upon them, so the congregation were largely very affluent and wished for a place of worship that reflected its stature not only in location atop a hill, but in size and grandeur.
The exterior facades of the church on Barkley Street and Alma Road are dominated by a magnificent tower topped by an imposing tower. The location of the church and the height of the tower made the spire a landmark for mariners sailing into Melbourne's port. The tower features corner pinnacles and round spaces for the insertion of a clock, which never took place. Common Victorian Gothic architectural features of the St Kilda Presbyterian Church include complex bar tracery over the windows, wall buttresses which identify structural bays, gabled roof vents, parapeted gables and excellent stone masonry across the entire structure.
The St Kilda Presbyterian Church's interior is cool, spacious and lofty, with high ceilings of tongue and groove boards laid diagonally, and a large apse whose ceiling was once painted with golden star stenciling. The bluestone walls are so thick that the sounds of the busy intersection of Barkley Street and Alma Road barely permeate the church's interior, and it is easy to forget that you are in such a noisy inner Melbourne suburb. The cedar pews of the church are divided by two grand aisles which feature tall cast iron columns with Corinthian capitals. At the rear of the building towards Alma Road there are twin porches and a narthex with a staircase that leads to the rear gallery where the choir sang from. It apparently once housed an organ by William Anderson, but the space today is used as an office and Bible study area. The current impressive Fincham and Hobday organ from 1892 sits in the north-east corner of the church. It cost £1030.00 to acquire and install. The church is flooded with light, even on an overcast day with a powerful thunder storm brewing (as the weather was on my visit). The reason for such light is because of the very large Gothic windows, many of which are filled with quarry glass by Ferguson and Urie featuring geometric tracery with coloured borders. The church also features stained glass windows designed by Ferguson and Urie, British stained glass artist Ernest Richard Suffling, Brooks, Robinson and Company Glass Merchants, Mathieson and Gibson of Melbourne and one by Australian stained glass artist Napier Waller.
The final call on a short four church crawl.
Brenchley is where Jools' Nan grew up, and a place I had not been to, but is a chocolate box pretty place, damning it with feint praise, but the village pub, The Bull, look inviting, though we had already had lunch and a pint, so best not.
The church lay opposite the village square with its water fountain, and access to the church was down a fine tree-lined path to the porch.
I have reviewed my shots, and All Saints is a fine church, just not outstanding. It has some fine monuments, some good Victorian glass and nice painted ceiling and roof beams, but it is the setting that makes the church.
Nice turret staircase in the south chapel, unusual to an interior one rather than exterior.
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All Saints is an interesting church standing in a beautifully kept churchyard. The crownpost roof incorporates a canopy of honour over the eastern bay, where it would have emphasised the position of the rood figures. The lower part of the rood screen survives and is dated 1536 - making it (with Lullingstone) one of the last to be built in Kent before the Reformation. The sedilia and piscina survive in the chancel and date from the fourteenth century, even though this part of the church was rebuilt in the nineteenth century. The east window is by Morris and Co., and dates from 1910, whilst the windows to north and south of the sanctuary are also of twentieth century date and are by the well known artist Robert Anning Bell who is not usually associated with stained glass. There is a fine memorial in the north transept to Barbara and Walter Roberts, showing the two figures holding hands. It dates from 1652. One of the bells in the tower carries the inscription, 'Untouched I am a silent thing, But strike me and I sweetly sing.'
www.kentchurches.info/church.asp?p=Brenchley
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BRENCHLEY
WRITTEN in old deeds BRANCHESLE, and in the Textus Roffensis, BTÆNCESLE, lies the next parish eastward from Pembury. The village of it is, almost all of it, within this hundred, though the hundred of Twyford extends itself over a narrow district of the northeast part of this parish into the town of Brenchley, some of the houses of which on the eastern side are within the jurisdiction of it.
The boroughs of Stoberfield and Roeden, in this parish, are within the manors of East Farleigh and East Peckham, of which the lands in them are held in free socage tenure. (fn. 1)
THIS PARISH is of large extent, being upwards of four miles from north to south, and about three in width. It consists of hill and dale, the soil is various, on the hill on which the village stands, it is a sand, intermixed with much of the rock or sand stone, which soil continues mostly over the northern part of it, and towards Horsemonden green, the rest of it is a stiff miry clay in winter, excepting the high road, hardly passable, and in summer has a cakey surface, as hard as iron.
This parish is very woody, especially on the skirts of it, the whole of it has a dreary gloomy aspect, as well from that as from the quantities of large spreading oaks throughout it. The houses, which are mostly old-fashioned timbered buildings, are situated in general round the different small greens or sostals; the bye roads here are broad, and covered on each side with green swerd, and in wet weather, as well as the country round them very deep and miry; the farms are but small, and of moderate rents, and there are several plantations of hop-ground belonging to them.
¶The village, or town of Brenchley, as it is frequently stiled in antient writings, is situated pleasant enough on a hill, the turnpike road leading through it towards Horsemonden, Goudhurst, and the southern parts of the Weald. The houses in it are mostly large well-timbered buildings, and of antient date; at the south end of it is the church and parsonage; at a small distance eastward is a seat called BROADOAK, which was in queen Elizabeth's reign purchased of several persons, by George Paine, citizen of London, whose heirs in 1698 alienated it to Mr. John Hooker, of West-Peckham, younger brother of Thomas, the grandfather of Thomas Hooker, esq. late of Tunbridge, his son of the same name, died in 1717, whose third son Stephen at length became possessed of it, and left one son, John Hooker, esq. now of Broadoak, which he rebuilt. He married Mary, daughter of Thomas Cooke, of the county of Salop, by whom he has one son Stephen, and now resides in it.
About a mile westward of the village, among others round Matfield-green, is a modern house belonging to Mr. Bowls Merchant, whose father Thomas Merchant, built it about sixty years ago, and he resides here as his ancestors have done for some generations. At no great distance eastward from Broadoak, at Castle-hill, just at the point of the eminence, stands the remarkable toll of trees, called Brenchley toll, which from their high situation, are a remarkable object for many miles round.
In the adjoining wood there are the remains of a square mote, containing between three and four acres of ground, probably the scite of some manor. This wood, and the farm belonging to it, are the property of Mr. John Monckton, they have now no particular name, but have the reputation of having had a very extensive manor once belonging to them.
There are the remains of another mote or intrenchment in this parish, of great width and depth, undoubtedly inclosing a building of considerable strength; the area of which is, I think, not quite so large as that above-mentioned. There is no name used either to the wood or farm adjoining to it. The family of Daffy, of Rumford, in Essex, were formerly owners of it, and continued so till one of them alienated it to Mr. Thomas Outeridge, the present possessor of it.
The poor who receive constant relief yearly are in number about eighty, those casually 180.
BRENCHLEY is within the ECCLESIASTICAL JURISDICTION of the diocese of Rochester and deanry of Malling.
The church is dedicated to All Saints. In it there are monuments and inscriptions for the families of Roberts and Courthope, and an inscription for Elizabeth, wife of George Fane, esq. of Tudeley, in 1566.
This church seems antiently to have been esteemed but as a chapel to the adjoining parish church of Yalding; Richard de Clare, earl of Hertford, gave that church, with this chapel, and all its appurtenances, in pure and perpetual alms, to the priory of Tunbridge, lately founded by him there.
After which I find it no longer mentioned as a chapel, but as an independent parochial church. Bishop Henry de Sandford, who came to the see of Rochester in 1227, confirmed the church of Brenchley to the prior and canons before mentioned, to be possessed by them as an appropriation for ever; saving, a perpetual vicarage for a priest, to be presented to it by them, who should for the time being personally serve in it; and that he should, in the name of a perpetual vicarage, have the whole altarage, and all small tithes, obventions of the altar, and tithes of curtilages, and all the tithes of corn and pulse, and hay of Westroterindenne, (now called Witherenden) which was of the fee of the abbess of Malling, and lay between the way which leads from Yalding towards Condingebery and the land of Hamon de la Downe, and extended itself in length from Badeshulle to Matefeld; and that he should have, in the name of a glebe, four acres of land, which lay adjoining to the messuage of Simon de Wahull, towards the north, between the road which leads to the house of the parson of Brenchley and the house of Fulk; and that he should have yearly from the barns of the prior and canons of Brenchesle, two seams of oats, and two seams of crowe for his palfry, paying yearly to the prior and canons from the vicarage, two wax tapers of four pounds each; but that the vicar should sustain all episcopal burthens, and all others due and accustomed. As to the two seams of crowe as above-mentioned, in the Latin deed it is, duas Summas de Crowe, the meaning of which, I own, I do not understand, but think it is most probably a mistake of the transcriber. At present the payment is made to the vicar in two seams of oats.
In which state this rectory, with the advowson of the vicarage, and THE MANOR OF BARNES likewise appendant to the rectory of Brenchley, remained till the dissolution of the priory of Tunbridge in the reign of king Henry VIII. who in the 17th year of it, granted that priory, with all its possessions, among which was this church and the manor of Barnes, with the land and appurtenances belonging to them, to cardinal Wolsey, for the better endowment of his college, commonly called Cardinal's college, in Oxford. (fn. 6) But that great prelate being cast in a prœmunire, all the estates of the above-mentioned college, which had not been firmly settled on it, were forfeited, and came into the king's hands, where this rectory, manor, and advowson remained, till the 31st year of that reign, when the king granted them to Paul Sydnor, gent. to hold in capite by knights service. His son, William Sydnor, esq. succeeded to these premises in the 5th year of queen Elizabeth, and not long afterwards alienated them to William Waller, esq. of Groombridge, who married Elizabeth, daughter and coheir of Sir Walter Hendley, by whom he had three sons and three daughters. She survived him, and appears to have possessed these premises in Brenchley, and afterwards married George Fane, esq. of Badsell.
Her eldest son, by her first husband Sir Walter Waller, succeeded her here, and his son Sir Thomas Waller, of Groombridge, alienated the manor of Barnes, and the rectory of Brenchley, with the advowson of the vicarage, to John Courthope, esq. afterwards of Brenchley, youngest brother of Sir George Courthope, of Whileigh, in Suffex, who died possessed of them in 1649, in whose family they have continued down to George Courthope, esq. now of Uckfield, in Sussex, the present owner of them.
¶This family is supposed by some to have been originally seated at Courthope-street, commonly written Court-at-street, near Limne, in this county. One branch of them settled at Goddards green, in Cranbrook, whence descended those of Danny, in Sussex, and of Horsemonden, in this county, both now extinct. Another branch settled at Stodmarsh, near Canterbury, now likewise extinct; and another at Whileigh, in Sussex, the only one now remaining of it, who now reside at Uckfield, in Sussex; of which branch is George Courthope, esq. the present possessor of this rectory, whose father and grandfather, both of the name of George, intermarried into the family of Campion, of Danny, in Sussex. The present Mr. George Courthope, (whose younger brother Henry was vicar of this parish, and died unmarried), married Francis Barbara, daughter of William Campion, esq. of Danny, and has two sons, George; and William now vicar of this parish, and a daughter Frances. They bear for their arms, Argent, a fess between three estoils azure.
The vicarage is valued in the king's books at 12l. 18s. 9d. and the yearly tenths at 1l. 5s. 10½d.
In 1608 there were 664 communicants.
Nikon D80
Nikkor 18-55mm F/3.5-5.6 Lens
ISO 100
45mm
f/5.3
1/8
Vivitar 285HV
1/16 power at 3ft
Cybersync trigger
For children to be able to understand and communicate positions and directions, knowledge of ordinal numbers is important. Print, laminate and play simple games involving ordinal numbers with your pupils or for spelling too. They can also be used as classroom display. Available for FREE at:
www.sharemylesson.com/teaching-resource/Trophy-and-amp-Ro...
Greenpoint Historic District, Greenpoint, Brooklyn, New York City, New York, United States of America
If you want to know more about my walks and photos, check out my blog.
About the historic district:
The Greenpoint Histrict District occupies a unique position among Brooklyn's historic districts. Unlike the middle-class neighborhoods of Brooklyn's "brownstone belt,—Brooklyn Heights, Fort Greene, Clinton Hill, and Park Slope— whose residents commuted to professional and white collar jobs in downtown Brooklyn or Manhattan, Greenpoint was intimately linked to Brooklyn's industrial development. Its residents worked in nearby factories, and its architecture reflects the varied nature of the neighborhood's occupants. The buildings include substantial rowhouses built for the owners and managers of nearby businesses and factories, more modest rowhouses and numerous flathouses (walk-up apartment houses) for the factory laborers, as well as a variety of commercial buildings on the streets where the residents shopped.
Residential development of the area followed the advent of industry, the first of which was shipbuilding, located on the waterfront. The residential area grew inland from the waterfront. Perhaps because of the industrial character of the area, real estate developers were much less active in Greenpoint than in many other Brooklyn sections where it was common to find long rows of houses erected by developers for resale to middle-class occupants. Although there are examples of this in the district, particularly on the land originally owned by James R. Sparrow and his son (one of the rows they erected consists of twenty-one buildings), more often it was a single individual who bought one lot and had the house he intended to live in built on it. This is particularly so during the earliest period of growth in the area, prior to the Civil War.
The buildings within the district also reflect the importance of the builder tradition in nineteenth-century American architecture. The role between the builder and the architect was not clearly defined until about the time of the Civil War. When the American Institute of Architects was founded in 1857, its members were the most prominent men in the field in the country. This professionalism did not filter down to less well-known practitioners until later in the century.
The usual practice in Greenpoint and elsewhere in Brooklyn was for the owner of a piece of property to hire a builder, i.e., a mason or carpenter, to erect the house on the site. If the owner made particular design requirements, the builder might hire a draftsman to produce plans from which to work. But, because the vast majority of rowhouses have similar plans and construction, a practiced builder needed little outside aid. Also widely used were builders' guidebooks which gave practical advice on construction techniques to those in the building trade and often included plans for houses and designs for architectural details. Moreover, architectural elements such as foliate brackets, window and entrance enframements, and wooden doors, sashes, and shutters could be mass produced at local lumberyards and foundaries. Hence, many buildings within the district have nearly identical window and door lintels, cornices and iron railings.
The ambiguous distinction between builder and architect is illustrated by two men who lived in the area: Thomas C. Smith and Frederick Weber. Smith, an important figure in the history of the district, had been trained as a builder and worked in that trade for nearly thirty years before retiring to Greenpoint where he had come into possession of a bankrupt porcelain factory. He purchased a large tract of land on Milton Street and over a period of years built on it. Since he retired from tne trade because of ill health, it is improbable that Smith acted as mason or carpenter on these houses but it is evident by comparision of interiorand exterior features that he was the architect who designed them. Frederick Weber, who is responsible for a number of buildings, is listed as a carpenter in the directories of the 1870s but, ten years later, he signs Brooklyn Buildings Department permits as an architect.
Within the designated boundaries for the area, the buildings exhibit the architectural styles popular between 1850 and the end of the centuryT often executed in the vernacular builder tradition. The first buildings were erected in the early 1850s and were designed in the then current Italianate style or in a transitional style that combined elements of both the Greek Revival and the Italianate—a not uncommon practice in the builder tradition. The mixture of stylistic elements is particularly evident in the early tenements with"commercial ground floors on Franklin Street. The ground floors are trabeated granite and brick, based on the prototypical Tappan Store (1829) on Pearl Street in Manhattan that had set the standard for commercial architecture for twenty years. The upper floors are pierced by square-headed windows with two-over-two or six-over-six double-hung sash and cap molded lintels. The roof entablatures are simple, with plain fascias, dentils and diminutive curvilinear brackets carrying the cornice.
The early frame houses were also built in this transitional style. Sheathed with clapboards, they had square-headed windows, possibly with six-over-six sash, and were topped with cap-molded lintels. The simple cornices were carried on delicate curvilinear brackets. Some had erosseted enframements at the windows and entrance. The single, panelled door was enframed by square colonettes carrying an entablature above which was a transom, as can be seen at No. 100 Milton Street. A few of these houses still retain their squared, columned porches. These early frame structures occupy an important place within the district and in the city. Some were built individually by shipwrights and shipcarpenters connected with the nearby shipyards. Although most have now been resurfaced with modern materials, the original mass, size, scale and window arrangement remain as does the underlying framing which tangibly link them with one of New York's most romantic eras, the age of the graceful wooden ships.
The Italianate style, free of elements from the earlier Greek Revival, Is by far the most prevalent mode in the historic district and remained popular with builders in Greenpoint for over twenty years. The typical Italianate rowhouse is usually masonry, either brick or brownstone-faced, rising three or four stories above a basement, and approached by a high stoop. Arched doorway enframements with pilasters topped by triangular or segmental pediments supported on ornate foliate brackets, window enframements with bracketed lintels ana wide projecting sills, plate glass one-over-one or two-over-two window sash and deep wooden cornices with heavy foliate brackets are common on the Italianate houses found throughout New York City. Other typical forms include floor-length parlor windows, rusticated basements with arched openings, deeply inset double doors, heavy cast-iron balusters ana newel posts, and areaway railings with bold curving forms.. Nos. 144 and 146 Kent Street are good examples of the mode.
In Greenpoint, characteristic elements of the style are brick facades, unenframed round-arched doorways topped by round-arched lintels carried on foliate brackets, segmental-arched windows with eyebrow lintels, two-over-two window sash, and roof cornices with foliate brackets and arched fascias. Rows of these houses on Noble Street (Nos. 128-132) and Kent Street (Nos. 112-124) create rhythmically massed and unified block-fronts of great dignity.
A variant of the Italianate is the far less common Anglo-Italianate style. Whereas most Italianate style houses have high stoops leading to ornate doorways, Anglo-Italianate dwellings have low stoops or English basement entrances. The stoops lead to simple round-arched door enframements set into rusticated brownstone ground floors. These houses are often faced with brick above the ground floor and frequently have segmental or round-arched windows. No. 128 Kent Street is an example of the style, and two rows of houses on Milton Street (Nos. 93-109) and Noble Street (Nos. 119-125) are designed with English basements.
Much more common than the Anglo-Italianate is the French Second Empire style, most strongly identified with the decade of the 1860s. As the name implies, this style originated in Paris during the Second Empire period of the 1850s. As interpreted in the builder tradition, French Second Empire style uses all of the forms and details common to typical Italianate rowhouses but has the added feature of a full-story mansard roof placed above the cornice line of the house. These steeply pitched mansards are clad with slate shingles. The mansards are pierced by dormer windows and are frequently crowned by ornate cast-iron crestings. In many areas French Second Empire houses are more ornate than Italianate style residences, but this is not the case in Greenpoint where the two styles co-exist. Usually the Second Empire house displays the features of an Italianate house but is crowned by a mansard as at Nos. 94-100 Kent Street.
In the 1870s, a new style, the neo-Grec, replaced the Italianate and Second Empire in popularity. The basic form for neo-Grec rowhouses is very similar to that for Italianate rowhouses but in its detailing the neo-Grec house differs from those built in earlier styles. The neo-Grec reflects a movement away from the fluid, curvacous forms of the mid-century period to a sharper, more angular and geometric taste, evident not only in architecture, but also in the decorative arts produced in the 1870s.
The most notable attributes of the neo-Grec style are the extensive use of angular forms and stylized incised carving, which are indicative of the machine technology which became prevalent in America in the last half of the nineteenth century. Innovations in technology led to the advent of machines that could cut decorative elements in stone more cheaply than hand carving. Thus the naturalistic foliate detailing of hand-carved Italianate brackets was replaced by crisply cut angular foliate forms or more abstract geometric designs. Also reflecting the advent of mechanization is the replacement of wooden cornices by pressed, galvanized iron ones. The cornices also reflect the new taste for angularity with stylized brackets cut with incised details. There are particularly fine examples of the style at Nos. 110-114 Milton Street, which are also notable for their exceptional ironwork, Nos. 122-130 Calyer Street, and Nos. 1093-1103 Lorimer Street.
The Queen Anne and Romanesque Revival were contemporary styles popular in the 1800s and both are freer in their design than earlier nineteenth-century styles. Picturesque Queen Anne buildings gain their individuality from a sense of asymmetry, subtle textural relationships, and rich, though often eccentric, ornament. Much of the ornament is classical in derivation, but forms such as triumphal arches, pediments, and swags are used in a distinctive unclassical manner. A recurrent motif is the sunflower, a symbol of homevness. The Queen Anne style originated in England during the 1860s when architects led by Richard Norman Shaw began to design houses which combined Classical, Medieval, Renaissance, Flemish, and other forms in a new and highly original manner.
This style became popular in the United States during the 1800s, particularly for freestanding houses. In the district, examples of this style may be seen at No. 143 Kent Street and the pair of houses at Nos. 122 and 124 Milton Street, all designed by architect Theobald Engelhardt. There is also a long row at Nos. 139-151 Milton Street in a late, modified version of the style. Many of the clapboard, frame houses erected in the 1850s and 1860s during the early phases of residential development were re-sided with shingles in the 1880s. These shingles, known as novelty shingles, were cut and laid up in a picturesque manner in keeping with the tenets of the Queen Anne style. Good examples of this siding may be seen at Nos. 109 and 126 Noble Street and No. 156 Cayler Street.
The American Romanesque Revival was initiated by Henry Hobson Richardson in Boston in 1873 and the style quickly spread throughout the United States and Canada becoming the most wide-spread design mode in the 1880s. The Romanesque Revival style broke away from the smooth monochromatic work of the decades between the 1850s and 1870s, developing highly textured and frequently subtle polychromatic designs. Many Romanesque Revival buildings combine rough-faced and smooth-faced stone with Roman brick and terra cotta. The facades are further enlivened by stained-glass windows, galvanized-iron cornices, bays, oriels, and slate-covered sloping roofs. The buildings tend to be massive, but this is tempered by a picturesque asymmetry. Ornament includes round arches, dwarf columns, stone piers, L-shaped stoops, heavy stone transom bars, and elaborate foliate carving modeled after the ornament found in Byzantine structures.
The colors vary from house to house and within each facade, but they are generally limited to earth tones such as red, orange, brown, gray, and buff. The style was not widely used in the district but there are examples at Nos. 168-172 Franklin Street, No. 112 Noble Street, and No. 128-132 Greenpoint Avenue.
The 1800s had been the heyday of romanticism and the picturesque; in the 1890s there was a reawakening interest in a correct classicism. The World's Columbian Exposition of 1893 in Chicago introduced Americans to the grandeur of the architecture and planning of the ancient world and of the Renaissance, and this resulted in a return to classicism. Architecture in this new style ranged from buildings designed in the most academically correct classical manner to the freest interpretation of Renaissance styles. Two excellent examples of the style are represented in the district; the Mechanics and Traders Bank at 144 Franklin Street, and the Greenpoint Savings Bank at 807 Manhattan Avenue. Within the district, there are a number of flathouses and rowhouses in this style including Nos. 159-163 and Nos. 140-144 Milton Street. *
As the population of Brooklyn increased and as residential neighborhoods developed, a need arose for new institutional buildings, particularly churches, to serve the growing communities and to add a requisite moral tone to each neighborhood. As each rural area grew into a new residential section, new church societies were founded, each having the desire to build an imposing church edifice. Greenpoint was no exception to this trend and in the mid-nineteenth century a number of churches of different denominations were erected in the district. Today, there are six church edifices in the district. They range in style from the Gothic Revival Church of the Ascension built in 1866 on Kent Street to the Victorian Gothic Church of St. Anthony of Padua (1873) on Manhattan Avenue to the Early Romanesque Revival Union Baptist Church of 1863 on Noble Street.
Three other important institutions are the St. Elias Greek Rite Catholic Church on Kent Street, originally built in 1869 and 1879 as the Greenpoint Dutch Reformed Church, St. John's Evangelical Lutheran Church of 1897 on Milton Street, and the Greenpoint Home for the Aged of 1887 on Oak Street.
Fortunately, the architectural quality of Greenpoint has been largely undisturbed since its development. The streets present vistas unchanged since the turn of the century. The district has so far largly avoided the rapid pace of rebuilding and alteration so typical of much of the city. Many of the fine old row-houses and flathouses have been preserved with little change. The graceful Italianate, Second Empire and neo-Grec rows create a unified architectural composition that continues to reflect their appearance in the third quarter of the nineteenth century. A cause for concern today is the "modernization" of houses by the application of spurious veneers. The occasional addition of a roof parapet has almost invariably resulted in the loss of a fine cornice. Stoops have sometimes been removed to provide basement entrances. Such changes and "improvements" create jarring notes in otherwise harmonious rows of houses. Ill-conceived improvements almost always result in an erosion of architectural quality.
Historic district designation of Greenpoint will help to insure the protection of the area's distinctive architectural character.
- From the 1982 NYCLPC Historic District Designation Report
Three and four year olds don't have a long attention span. Getting into ready position was usually an invitation to play in the dirt.
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I recently did an identity concept for an art exhibition titled shifting positions. This is the invitation which doubles as a promotional poster. I totally fell in love with Optima while working on this project.
The final version — which was printed in a different colour hue — can be seen here (PDF). A photo of the finished product is coming up.
The exhibition features the duo Prinz Gholam and Franz Erhard Walther. Curated by Christoph Platz.
Iqra Award Distribution Ceremony held for position holders of Chitral
CHITRAL: Iqra Awards from Qari Faizullah Chitral were distributed
among the position holders students of Chitral in annual examination
of metric (Secondary school certificate). A simple but prompt function
was held at Government Centennial Model High School. District
Coordination Officer Rahmatullah Wazir was chief guest on the occasion
while the ceremony was presided over by Mulvi Abudl Rahman Amir JUI
and former MPA Chitral. Three position holders were students of
private schools while there was no student from government boys
schools which show negligence of teachers of government schools. First
Award was given to Tosif Ahamd son of Qazi Sharif Ahmad of Broze
Public School Broze who secured 895 marks with 40000 cash prize.
Second award was given to Nighat Tariq daughter of Tariq Mahmood of
Muslim Model School Chitral who secured 882 marks who was given second
award and 30000 cash prize while third award was given Ihtishamul Haq
son of Asmat Wali of Orien School Booni who obtained 860 marks who was
given third award with 20000 cash prize While in government side firs
award was given to Ayesha Sultana daughter of Sultan Shah a student of
Government Girls high school Moldeh who obtained 827 marks in metric
examination who was given first award with cash prize of 40000 rupees,
second award was given to Hina Ghani daughter of Ghaniur Rehman of
Government girls high school Moldeh with cash prize of 30000 who
secured 818 marks while third award was honor to Saima Qayum daughter
of Qayum Khan of the same school who obtained 811 marks with cash
prize of rupees 20000. Special award was given to Dr. Akbar Shah
surgeon at Khayat Teaching hospital Peshawar who rendering meritorious
services to Chitrali patients at KTH Peshawar. An other special award
was given to Ataullah student of Frontier Corps Public School Drosh
who stood first in Federal Board of Intermediate and Secondary
Education. AS well as special award was also given to Mrs Saliha Bebi
Head Mistress of Government girls high school Moldeh because three
positions were obtained by her school students.
Addressing on the occasion DCO Chitral and EDO Elementary and
Secondary Education Chitral Siraj Muhammad Khan stressed on students
to read with great zeal and zest and try of their best to show
Excellency position in their examinations. EDO expressed his concerned
over that Education department took some stern steps against
defaulter teachers for their reform but they were supporting by some
politicians and influential persons of Chitral. He lamented over
cheating ratio and emphasized on student to never try of cheating
because there is quantity education but very poor position of quality
education in Chitral. He also pointed out that a student of private
school stood first but his father is a teacher in government school
its mean that his father have no trust on government schools so that
why he enrolled his son in a private school. A large number of
students, teachesr and people belonging to all walks of life
participated in Qari Faizullah Award cum Iqra award distribution
ceremony.
G.H. Farooqi C/O Manager bank Islami Main branch Chitral Pakistan
phone No 0943-320737, 0943-316052, 0943-414418 , 03025989602,
03337069572, 03159698446, 03469002167
email: gulhamad@gmail.com
WW1 gun position XXXVI:1. Set: Base XXXVI (1915) (Espoo, Finland)
Yksi kolmesta Leppävaaran eteläpuolella sijaitsevasta tuliasemasta. Tämä on alkuperäisessä muodossaan. Yksi jäi Turunväylän alle 50-luvulla. Sen kupu nostettiin lähellä sijaitsevan keskeneräiseksi jääneen tuliaseman katoksi. Nykyään tien rakentaminen linnoituslaitteiden päälle on mahdotonta, sillä ne nauttivat lain suojelusta. Näitä on muuten todella vaikea havaita tieltä päin!
DAY 1 of the FINALE to the 2021 Motorsport Season and the end of the Season Brings us once again Back to Brands Hatch for a weekend Dedicated to the Enduro KA Series with Many Ford KA'S Ready to do Battle on the Track along with other Support Races such as Champion of Brands MSVT Track Day Trophy and MSV Super Cup Championship to name Just a Few.
With a Full Day of Motorsport on the Circuit Each Driver was Getting their Car Ready and making sure they had a Really Hardy Breakfast Before Getting into their Cars to Begin their Respective Qualifying Sessions for the Day.
Lets Get to it and See what The Last Event of the Motorsport Season Brings and who has Taken the First Pole of the Weekend.
Champion Of Brands-(Qualifying)
First Up onto the Circuit was The Champion of Brands and these Cars are Formula Ford Based and can be Very Quick in a Straight Line and through the Corner. With Cars such as the Van Diemen JL13 and the Ray GR16 Thease Cars and Drivers know how to Really Push Hard and Get Superb Results.
Lets Find Out who Took Pole and By How Much
In First Place Taking the First Pole Position of the Weekend was (Morgan Quinn) in his Formula Ford 1600 Kent with a Best Lap Time of 50.561 and a Top Speed of 86.00mph. Brilliant Work there Morgan Fantastic Lap to Start the Weekend of with a Bang.
In Second Place was (Lucas Romanek) in his Van Diemen JL13 with a Best Lap Time of 50.594 and a Top Speed of 85.95mph. Amazing Drive there Lucas Fantastic Work and a Very Good Spot on the Front Row for Race 1.
In Third Place was (Johnny Cochran) in his Formula Ford LA10 with a Best Lap Time of 51.250 and a Top Speed of 84.85mph. Great Drive there Johnny Fantastic Car Control and a Brilliant Lap to Complete The Top Three.
A Really Great First Qualifying Session of the Day with the Likes of Morgan Lucas and Johnny all taking the Top Three Spots in Qualifying but will anyone Else in the Field be able to Beat them off the Line into the First Corner at Paddock Hill Bend?
Lets Find Out
Champion Of Brands-(Race 1 Results)
After a Thrilling Qualifying Session which saw the likes of Morgan Quinn take Pole Position from Second Place Lucas Romanek with Johnny Cochran in Third Position in a Very Close Battle at the Top, it was Now Time to see which of thease Top Three Drivers could Defend their Positions thought the Race and who would be Brave Enough to make a Challenge for the Podium.
In First Place Taking the Victory was (Lucas Romanek) in his Van Diemen JL13 with a Best Lap Time of 50.711 and an Average Speed of 84.44mph. Congratulations Lucas a Really Well Deserved Win Under Immense Pressure Thought The Entire Race from Morgan Quinn. Brilliant Drive.
In Second Place was (Morgan Quinn) in his FF 1600 Kent with a Best Lap Time of 50.564 and an Average Speed of 84.42mph. Super Job out there Morgan Only 0.131 Seconds Behind Lucas and Some Really Good Defending and Battling From both of You Thought the Race. Fantastic Drive and Well Deserved.
In Third Place was (Benjamin Cochran) in his Formula Ford LA10 with a Best Lap Time of 51.095 and an Average Speed of 83.99mph. Great Work there Benjamin Keeping Hold of that P3 Position and Doing some Incredible work to Keep that Car on the Tarmac in Conditions that were Already Quite Dark.
A Really Thrilling Race to Open up the Weekend with the Likes of Lucas, Morgan and Benjamin all Taking Superb Victories in Race 1 as Well As Proving Thrilling Battles at The Top End of the Field.
Really Well Done to (Morgan Quinn) who also Took the Fastest Lap of the Race an Incredible (50.564) Second Lap Around The Famous Indy Circuit. Amazing Driving from Morgan.
A Big Congratulations to All of the other Drivers who also Took Part Your Passion and Dedication is Immense.
With One Last Race to Go will the likes of Lucas Romanek be able to Make it 2 out of 2 Wins for Champion of Brands or will the likes of both Benjamin and Morgan try to take that Last Victory Away from Him?
Lets Find Out
Champion Of Brands-(Race 2 Results FINAL)
In First Place taking the Last Victory for Champion of Brands Is (Lucas Romanek) in his Van Diemen JL13 with a Best Lap Time of 50.825 and an Average Speed of 83.45mph. Congratulations Once Again Lucas Two out of Two Wins and no Doubt a Very Happy Team and Family Awaiting You Before and After the Podium Fantastic Driving All Weekend.
In Second Place was (Morgan Quinn) in his FF 1600 Kent with a Best Lap Time of 50.754 and an Average Speed of 82.99mph. Very Well Driven there Morgan Great to See Such an Intense Battle Between you and Lucas for Victory in Conditions that were Almost Impossible to see anything in. Incredible Dedication and Drive.
In Third Place was (Benjamin Cochran) in his Formula Ford LA10 with a Best Lap Time of 51.862 and an Average Speed of 81.70mph. Nice Work there Benjamin Fantastic Driving in both Qualifying and The Two Races with a Brilliant P3 Finnish to Round off The Weekend for Champion of Brands.
What a Fantastic Day it has been for Champion of Brands seeing some Incredible Racing Action and a huge amount of Competitiveness from the Likes of Lucas Morgan and Benjamin who All Drove Fantastically and Put on One Hell of a Good Show.
A Huge Congratulations to both Lucas and Morgan as Well Who were in a Class of their Own at The Front of the Field Racing in Deteriorating Lighting Conditions with no Front Headlights on their Formula Fords to Light their Way around The Indy Circuit they Both Drove Insanely Well.
MSV Super Cup-(Qualifying)
Next Up onto the Circuit for the Day was the MSV Super Cup Championship and with a Wide Range and Variety of Racing Cars on Display it will be Very Interesting to see how many different Battles will Develop thought Both Qualifying and The Race.
From BMW E36's to Seat Super Copa's and even a Peugeot 205 GTI This Series has a Huge Amount of Variety Racing Within it.
Lets Take a Look at Qualifying and See Who Came Where
In First Place taking Pole Position was (Darren Goes) in his Seat Cup Racer with a Best Lap Time of 52.257 and a Top Speed of 82.21mph. Great Work there Darren Really Pushing the Car Hard and Having to Extract Everything from both Car and Driver to take P1. Super Job.
In Second Place was the Pairing of (A Bradley and D Bradley) in their BMW E36 with a Best Lap Time of 52.621 and a Top Speed of 82.64mph. Really Well Driven Gentlemen Very Close to Darren looking Forward to a Competitive First Race Between you All.
In Third Place was (Gary Hufford) in his BMW E46 M3 with a Best Lap Time of 52.723 and a Top Speed of 82.48mph. Nice Work there Gary Keeping that Fast and Capable BMW on the Track Looked to be no Easy Task but what a Fantastic Position to Start the First Race in.
Another Really Close Qualifying Session Between the likes of Darren Goes and the Pairing of A Brandley and D Bradley at the Top with Third Place Gary Hufford Following Closely Behind them.
With Their Only Race of the Day Coming Up Next will Daren Be able to Fend off the Charging Pair of A Bradley and D Bradley to take Home Victory or Will the Likes of Gary Hufford Surprise them All and Take the Victory for Himself?
Let's Find Out!
MSV Super Cup-(Race 1 Results FINAL)
In First Place Taking Victory was (Darren Goes) in his Seat Cup Racer with a Best Lap Time of 52.891 and an Average Speed of 77.05mph. Congratulations Darren A Well Deserved Victory Under Immense Pressure the Entire Time and No Doubt a Very Proud and Happy Family Waiting for Him Back in the Paddock.
In Second Place was the Pairing of (Brytchta/Smith) in their Seat Super Copa with a Best Lap Time of 52.594 and an Average Speed of 77.04mph. Great Drive from Both of You and Keeping Right on the Heels of Darren All The Time as well as Putting up a Huge Fight for First Place. Superb Drive and a Well Deserved P2 Finnish.
In Third Place was the Pairing of (A Bradley and D Bradley) in their BMW E36 with a Best Lap Time of 52.680 and an Average Speed of 76.93mph. Great Work to the Both of You Putting Pressure on Second Place Brytchta and Smith.
What an Intense Finnish to the Super Cup Championship with the Likes of Darren Goes Brytchta/Smith and A Bradley and D Bradley All Taking Superb Podium Finishes and no Doubt Going Back Home to a Very Happy and Proud Family of Great People.
Congratulations to All of the Other Drivers who were Also Out there Giving it their All You Guys are What Brings to Sprit of Every Racing Series to Life. Keep Working Hard and I'm Sure your Time Will Come.
MSVT Trackday Championship-(Qualifying)
Next Up was the Track Day Championship and with Another Massive Grid of 32 Cars from All Different Makes such as BMW Volkswagen Renault Ford and Caterham it was Going to be a Dynamic Qualifying Session with Many Different Cars and Drivers All Battling for Positions thought the Qualifying Session.
Lets Find Out who Came Out on Top and Who will be Starting on the Front Row for what Promises to be a Very Exciting and Close Race Later on.
In First Place taking the Victory and The Fastest Lap was (Scott Parkin) in his VW Golf TDI with a Best Lap Time of 54.419 and a Top Speed of 79.90mph. Congratulations Scott a Brilliant Pole Lap and Fantastic Car Control thought Every Corner.
In Second Place was (Chris Payne) in his Caterham Supersport with a Best Lap Time of 54.540 and an Average Speed of 79.73mph. Awesome Drive there from Chris Keeping up at The Front with Scott and Trading Fastest Laps thought the Qualifying Session. I Think both of them are going to put on a Brilliant Display of Racing Later.
In Third Place was The Pairing of (Keen and Roberts) in their Honda Civic Type R with a Best Lap Time of 55.231 and a Top Speed of 78.73mph. Amazing Drive from Thease Two Both Pushing Hard and Securing a Brilliant P3 Position for The Race. Great Job.
What a Qualifying Session with the Likes of Scott Parkin and Chris Payne Both Looking to be Very Competitive and Ready to Take Each other Head On Come the Race. But Will the Pairing of Keen and Roberts Come in and Also do Battle with Them?
Lets Find Out!
MSVT Trackday Championship-(Race 1 Results FINAL)
In First Place taking the Victory was (Scott Parkin) in his VW Golf TDI with a Best Lap Time of 54.706 and an Average Speed of 70.47mph. Congratulations Scott what a Performance and a Really Dominant Display of Driving to take Home a Wonderful Victory.
In Second Place was (Chris Payne) in his Caterham Supersport with a Best Lap Time of 54.397 and an Average Speed of 70.35mph. Amazing Drive there Chris Really Working Hard to Keep that 2nd Position while Also Fighting Hard to take 1st away from Scott at the front during some Laps.
In Third Place was (John Lyne) in his BMW E36 328i with a Best Lap Time of 55.309 and an Average Speed of 68.87mph. Congratulations John P3 with a Very Clean and Perfectly Controlled Drive thought, Its so Great to See a New Face on the Podium and Taking Victory. His Family and Close Friends Will be Very Proud of Him Indeed.
Another Incredible Race Today with the Likes of Scott Chris and John All Taking Home Superb Victories and no Doubt some Fantastic Memories from the Days Events too.
A Big Congratulations to both the Pairing of Keen and Roberts too who also put in a Monstrous Qualifying Lap to Land P3 on the Gird. Finishing the Race in 8th is not too Bad but I'm sure they have a lot of Work to-do Back at the Workshop and Will Come Back Next Year with an even more Competitive Honda Ready to Go.
Finally Congratulations to the Many other Drivers who also Took Part in this Race You All Put in a Tone of Hard Work and Dedication and I'm Sure that Over Time We Will See Some of You also on the Podium Just like John Lyne Today.
MSVT Trackday Trophy-(Qualifying)
Now it was Time for The Penultimate Qualifying and Race of the Day for the Track Day Trophy. Just like with the Previous Track Day Championship Many of the Same cars that Competed Before Also Entered This Race Giving Some Drivers a Second change to Show their Skills and Talents on the Race Track.
Lets take a Look at Qualifying and See Who will be on Pole This Time.
In First Place Taking Pole Position and The Fastest Lap was The Pairing of (R. Parkin and S. Parkin) in their VW Golf with a Best Lap Time of 53.795 and a Top Speed of 80.83mph. Incredible Work by both of the Parkin Pair as Scott Parkin Previously Won in Super Cup and Now he takes His Second Pole Position of the Day! Brilliant Driving.
In Second Place was (Chris Kirby) in his Caterham 1.6 Super Sport with a Best Lap Time of 53.863 and a Top Speed of 80.73mph. Brilliant Driving there Chris Keeping the Two Parkins on their Toes and Almost Taking Away Pole Position from them by Just 0.068 at The Checkered Flag.
In Third Place was the Pair of (Palk and Pottinger) in their Reno Clio with a Best Lap Time of 54.757 and a Top Speed of 79.41mph. Very Well Done both Palk and Pottinger on a Well Deserved and Defended P3 Finish by Less than a Second to Start on the Second Row for The Race.
A Super Fast and Really Exciting Qualifying Session Once Again with the Pairing of R. Parkin and S. Parkin Taking Pole Position Followed Closely by Chris Kirby in Second Place and Finally The Pairing of Palk and Pottinger in Third Place.
With The Race Just Around the Corner Will it be the Pairing of R Parkin and Scott Parkin Taking Victory Once More or Will a New Challenger Appear to take the Fight right to the Front of the Field?
MSVT Trackday Trophy-(Race 1 Results FINAL)
In First Place Taking the Victory is (R.Parkin and S.Parkin) in their VW Golf with a Best Lap Time of 54.046 and an Average Speed of 74.44mph. What a Dominant Display of Driving from thease Two Drivers in a Class of their Own they Have Managed to Win in Both Trackday Championship and Trackday Trophy. Brilliant Driving Well Deserved.
In Second Place was (John Lyne) in his BMW E36 328 with a Best Lap Time of 55.415 and an Average Speed of 73.09mph. Congratulations Once Again John P2 Finish and a Lot of Smiles and Congratulations from the Family I'm sure when you Return to the Paddock. Great Driving All Weekend.
In Third Place was (Stewart Donavan) in his Toyota Celica with a Best Lap Time of 55.083 and an Average Speed of 73.08mph. Congratulations Stewart P3 and Another New Face on the Podium and a Brilliant Looking Celica too. Fantastic Driving Great Job.
What a Brilliant Race from the Trackday Trophy with the Likes of Scott Parkin and R Parkin Taking the Spoils on P1 Followed Closely by John Lyne in P2 and Finally Stewart Donavan in P3.
A Big Congratulations Once Again to All of the other Drivers who took Part and Fought their way Through the Field to Finnish at The Checkered Flag. Keep Racing and Keep Pushing.
Enduro KA -(Qualifying)
After a Long Days Racing and with Night Falling Fast The Headlights of The Enduro KA'S Began to Illuminate the Indy Circuit.
Every Part of the Track was a Wash with Darkness and The Only Thing Illuminating the Way for Each Driver was The Bright Headlights and LED'S Fitted to Each Car with some Teams and Driver Trying their Luck on the KA'S Standard Headlights to Brighten their Way to Victory.
A Silent Hum Came From the Engines as they Raced Around the Indy Circuit with Each Driver Pushing Hard to Set the Fastest Time Possible.
The Tension in the Air was Electrifying as Drivers Danced their Cars Through Traffic and Had Small Battles with One Another Trying to see what their Opponents Tactics were and How Brave each of Them Dare Go in Terms of Pace.
It Wasn't Long before Each Driver Began to Put their Right Foot Hard Down and Push their
73BHP KA To its Limits Trying Desperately to Grab Hold of Pole Position Ahead of Sundays Intense 8 Hour 500 Minute Race.
After a Really Hectic Day of Both Qualifying and Racing Lets Find Out Who Took The Last Pole of Today and Who Will be Starting on The Front Row for Tomorrow's 8 Hour Endurance Race.
In First Place Taking the Victory and pole Position was Team (IP Racings) (Adam Blair / Scott Parkin / Oliver Wilmot / Mark Witherington) in their Ford KA with a Best Lap Time of 1:02.845 and a Top Speed of 69.19mph. Congratulations IP Racing Fantastic Work and a Super Start to the Endurance Race at The Very Front of The Grid.
In Second Place Following Closely Behind by Just 0.261 Seconds was Team (JTR) Elliot Mason / Nick Tandy / David Mason / James Rhodes in their Ford KA with a Best Lap Time of 1:03.106 and a Top Speed of 68.90mph. Superb Job there JTR Fantastic Effort and Really Good Pace to Gain P2 on the Grid for Tomorrow.
In Third Place was Team (Octane Junkies) (Adam Smith / Martyn Smith / Bazza Ward) in their Ford KA with a Best Lap Time of 1:03.110 and a Top Speed of 68.90mph. Great Work Octane Junkies Pushing Hard and Giving it Everything for P3.
After an Intense Qualifying Session the Likes of
Team IP Racings
(Adam Blair / Scott Parkin / Oliver Wilmot / Mark Witherington) Start the Endurance Race in First Place with
(JTR) Elliot Mason / Nick Tandy / David Mason / James Rhodes in Second Place Followed By
(Octane Junkies) (Adam Smith / Martyn Smith / Bazza Ward) in Third Place with the Top Three Very Closely Matched on Lap Times Thought Qualifying.
With Tomorrows Endurance Race being 8 Hours and The use of Driver Changes after 2 Hours in a Team with Four Drivers as Well as Pit Stops and a Whole Field of 45 Cars and Drivers Will the Likes of Team IP Racing Be able to Hold Out and Take Victory After 8 Gruelling Hours of Hard Racing.
Or Will JTR or Octane Junkies Try and Take that Thunder Away From Them? and Can Anyone Else Have a Go at Taking The Victory?
Only Time Will Tell!
See You All On Sunday.........!
Information On Race Results Found on TSL Timing Solutions
Cave 1, Ajanta Caves
One of the finest monasteries at Ajanta. Graciously posed Bodhisattvas with elaborate head-dresses flank the antechamber doorway. On either side are two of the best known murals - Bodhisattva Padmapani (holding a lotus, on the left) and Bodhisattva Vajrapani (holding a thunderbolt, on the right) accompanied by attendants, divine musicians and flying figures. The left wall of the antechamber depicts the assault and temptation by Mara, the god of passion, and on the right wall is the dark princess being offered lotuses by a lady. In the shrine, the Buddha is seen in the teaching position. Under his throne appears the Wheel of Life. The left wall of the hall shows scenes from the Mahajanaka Jataka. To the right of the rear wall are episodes from the Champeyya Jataka.
Cave 1 was built on the eastern end of the horse-shoe shaped scarp and is now the first cave the visitor encounters. This cave, when first made, would have been a less prominent position, right at the end of the row. According to Spink, it is one of the last caves to have been excavated, when the best sites had been taken and was never fully inaugurated for worship by the dedication of the Buddha image in the central shrine. This is shown by the absence of sooty deposits from butter lamps on the base of the shrine image, and the lack of damage to the paintings that would have happened if the garland-hooks around the shrine had been in use for any period of time. Although there is no epigraphic evidence, Spink believes that the Vākāţaka Emperor Harishena was the benefactor of the work, and this is reflected in the emphasis on imagery of royalty in the cave, with those Jataka tales being selected that tell of those previous lives of the Buddha in which he was royal.
The cliff has a more steep slope here than at other caves, so to achieve a tall grand facade it was necessary to cut far back into the slope, giving a large courtyard in front of the facade. There was originally a columned portico in front of the present facade, which can be seen "half-intact in the 1880s" in pictures of the site, but this fell down completely and the remains, despite containing fine carvings, were carelessly thrown down the slope into the river, from where they have been lost.
This cave has one of the most elaborate carved façades, with relief sculptures on entablature and ridges, and most surfaces embellished with decorative carving. There are scenes carved from the life of the Buddha as well as a number of decorative motifs. A two pillared portico, visible in the 19th-century photographs, has since perished. The cave has a front-court with cells fronted by pillared vestibules on either side. These have a high plinth level. The cave has a porch with simple cells on both ends. The absence of pillared vestibules on the ends suggests that the porch was not excavated in the latest phase of Ajanta when pillared vestibules had become a norm. Most areas of the porch were once covered with murals, of which many fragments remain, especially on the ceiling. There are three doorways: a central doorway and two side doorways. Two square windows were carved between the doorways to brighten the interiors.
Each wall of the hall inside is nearly 40 feet (12 m) long and 20 feet (6.1 m) high. Twelve pillars make a square colonnade inside supporting the ceiling, and creating spacious aisles along the walls. There is a shrine carved on the rear wall to house an impressive seated image of the Buddha, his hands being in the dharmachakrapravartana mudra. There are four cells on each of the left, rear, and the right walls, though due to rock fault there are none at the ends of the rear aisle.
The walls and ceilings of Cave 1 are covered with paintings in a fair state of preservation, though the full scheme was never completed. The scenes depicted are mostly didactic, devotional, and ornamental, with scenes from the Jataka stories of the Buddha's former lives as a bodhisattva), the life of the Gautama Buddha, and those of his veneration. The two most famous individual painted images at Ajanta are the two over-life-size figures of the protective bodhisattvas Padmapani and Vajrapani on either side of the entrance to the Buddha shrine on the wall of the rear aisle (see illustrations above).
Cave 1 also features a fresco with characters with foreign looking faces and dresses. One of these shows Sassanian (or Persian) characters bowing before an Indian king. According to Spink, James Fergusson, a 19th-century architectural historian, had decided that this scene corresponded to the Persian ambassador in 625 CE to the court of the Hindu Chalukya king Pulakeshin II. An alternate theory has been that the fresco represents a Hindu ambassador visiting the Persian king Khusrau II in 625 CE, a theory that Fergusson disagreed with. These assumptions by colonial British era art historians, state Spink and other scholars, has been responsible for wrongly dating this painting to the 7th century, when in fact this reflects an incomplete Harisena-era painting of a Jataka tale with the representation of trade between India and distant lands such as Sassanian near East that was common by the 5th century.
The Ajanta Caves in Aurangabad district of Maharashtra state of India are about 29 rock-cut Buddhist cave monuments which date from the 2nd century BCE to about 480 or 650 CE. The caves include paintings and rock cut sculptures described as among the finest surviving examples of ancient Indian art, particularly expressive paintings that present emotion through gesture, pose and form.
According to UNESCO, these are masterpieces of Buddhist religious art that influenced Indian art that followed. The caves were built in two phases, the first group starting around the 2nd century BC, while the second group of caves built around 400–650 CE according to older accounts, or all in a brief period of 460 to 480 according to Walter M. Spink. The site is a protected monument in the care of the Archaeological Survey of India, and since 1983, the Ajanta Caves have been a UNESCO World Heritage Site.
The Ajanta Caves constitute ancient monasteries and worship halls of different Buddhist traditions carved into a 250 feet wall of rock. The caves also present paintings depicting the past lives and rebirths of the Buddha, pictorial tales from Aryasura's Jatakamala, as well as rock-cut sculptures of Buddhist deities in vogue between the 2nd century BCE and 5th century CE. Textual records suggest that these caves served as a monsoon retreat for monks, as well as a resting site for merchants and pilgrims in ancient India. While vivid colours and mural wall painting were abundant in Indian history as evidenced by historical records, Caves 16, 17, 1 and 2 of Ajanta form the largest corpus of surviving ancient Indian wall-painting.
Ajanta is famous for its ancient Buddhist paintings.
The Ajanta Caves site are mentioned in the memoirs of several medieval era Chinese Buddhist travelers to India and by a Mughal era official of Akbar era in early 17th century. They were covered by jungle until accidentally "discovered" and brought to the Western attention in 1819 by a colonial British officer on a tiger hunting party. The Ajanta caves are located on the side of a rocky cliff that is on the north side of a U-shaped gorge on the small river Waghur, in the Deccan plateau. Further round the gorge are a number of waterfalls, which when the river is high are audible from outside the caves.
The Ajanta Caves are generally agreed to have been made in three distinct periods, the first belonging to the 2nd century BCE to 1st century CE, and second period that followed several centuries later.
The caves consist of 36 identifiable foundations, some of them discovered after the original numbering of the caves from 1 through 29. The later identified caves have been suffixed with the letters of the alphabet, such as 15A identified between originally numbered caves 15 and 16. The cave numbering is a convention of convenience, and has nothing to do with chronological order of their construction
On 28 April 1819, a British officer named John K Smith, of the 28th Cavalry, while hunting tiger, "discovered" the entrance to Cave No. 10 when a local shepherd boy guided him to the location and the door. The caves were well known by locals already. Captain Smith went to a nearby village and asked the villagers to come to the site with axes, spears, torches and drums, to cut down the tangled jungle growth that made entering the cave difficult. He then vandalised the wall by scratching his name and the date over the painting of a bodhisattva. Since he stood on a five-foot high pile of rubble collected over the years, the inscription is well above the eye-level gaze of an adult today. A paper on the caves by William Erskine was read to the Bombay Literary Society in 1822.
Within a few decades, the caves became famous for their "exotic" setting, impressive architecture, and above all their exceptional and unique paintings. A number of large projects to copy the paintings were made in the century after rediscovery. In 1848, the Royal Asiatic Society established the "Bombay Cave Temple Commission" to clear, tidy and record the most important rock-cut sites in the Bombay Presidency, with John Wilson as president. In 1861 this became the nucleus of the new Archaeological Survey of India.
During the colonial era, the Ajanta site was in the territory of the princely state of the Hyderabad and not British India. In early 1920s, the Nizam of Hyderabad appointed people to restore the artwork, converted the site into a museum and built a road to bring tourists to the site for a fee. These efforts resulted in early mismanagement, states Richard Cohen, and hastened the deterioration of the site. Post-independence, the state government of Maharashtra built arrival, transport, facilities and better site management. The modern Visitor Center has good parking facilities and public conveniences and ASI operated buses run at regular intervals from Visitor Center to the caves.
The Ajanta Caves, along with the Ellora Caves, have become the most popular tourist destination in Maharashtra, and are often crowded at holiday times, increasing the threat to the caves, especially the paintings. In 2012, the Maharashtra Tourism Development Corporation announced plans to add to the ASI visitor centre at the entrance complete replicas of caves 1, 2, 16 & 17 to reduce crowding in the originals, and enable visitors to receive a better visual idea of the paintings, which are dimly-lit and hard to read in the caves.
The Ajanta Caves painting are a significant source of socio-economic information in ancient India. The Cave 1, for example, shows some Sassanian (or Persian) characters, as do other paintings that states Spink, are "filled with such foreign" looking types. This likely reflects merchants and visitors from the flourishing trade routes of that age.
In Position, an art exhibition by Brendan Fernandes at the Varley Art Gallery
This entire batch is a test to my post editing skills due to poor lighting...
Highest position: 142 on Sunday, February 17, 2008
Figlia di Zeus e di Demetra, venne rapita da Ade, dio dell'oltretomba, che la portò negli inferi per sposarla ancora fanciulla contro la sua volontà. Una volta negli inferi le venne offerta della frutta, ed ella mangiò senza appetito solo sei semi di melograno. Persefone ignorava però il trucco di Ade: chi mangia i frutti degli inferi è costretto a rimanervi per l'eternità.
La madre, dea dell'agricoltura, che prima di questo episodio procurava agli uomini interi anni di bel tempo e fertilità delle terre, reagì adirata al rapimento impedendo la crescita delle messi, scatenando un inverno duro che sembrava non avere mai fine. Con l'intervento di Zeus si giunse ad un accordo, per cui, visto che Persefone non aveva mangiato un frutto intero, sarebbe rimasta nell'oltretomba solo per un numero di mesi equivalente al numero di semi da lei mangiati, potendo così trascorrere con la madre il resto dell'anno. Così Persefone avrebbe trascorso sei mesi con il marito negli inferi e sei mesi con la madre sulla terra.
Old Mission Point as seen from the lighthouse tower. This is one of the most dramatic manifestations of the falling water levels of the Great Lakes over the last few decades. In 1989, when I first visited this spot, the water came up to the original beach (lower one-third of the photo) and only a few of the large rocks beyond were visible. Now, it is possible to walk perhaps half a mile out beyond the beach. Lake Michigan is very close to its all-time low-water level set in 1964.
C.J. Sapong of Sporting Kanas City for the header, and Chris Tierney of the New England Revolution struggling to get position.
Nikon D800 | ISO 4000 | 70-200mm lens at 200mm | f/ 2.8 | 1/2000 second.
47714 positioned around Leeming Bar, during a night photoshoot organised by Tom Robson and Chris Gee. 25/01/2025
(further information and pictures you can see quite easily by clicking on the link at the end of page!
Mausoleum
© Photo bruart
Mausoleum Graz with Domherrenhaus - bruart Photo
The Mausoleum of Emperor Ferdinand II
Among the three in Styria from the age of the Counter Reformation originating mausoleums, the chronologically last emerged Grazer Mausoleum occupies a transregional position: It is a building with a European dimension. Ferdinand II entrusted 1614 his from Lodi, near Milan, coming Court artist Giovanni Pietro de Pomis (1569-1633) with the design and execution of this monumental grave construction, which was completed in 1636.
The Mausoleum - consisting of the symbol associated form of a cross of St. Catherine's Church and the oval tomb (symbol of the resurrection) - shows the ecclesiastical and dynastic representation intentions of the client: the patronage of St. Catherine of Alexandria does not only refer to a medieval predecessor building, but also stands in the context of the by Archduke Charles II, the father of Ferdinand II, in 1585 founded and run by the Jesuit Order University, which also stood under the patronage of the female martyr, the patron saint of Sciences. The dynastic intentions are recognizable at the symbolic crownings of the domes - scepter and imperial eagle with imperial sword and orb. The sandstone statues on the west façade - the by two angels flanked saint Catherine and two of the Holy to Christianity converted people - and the painted copper plates in the niches with the scenes from the life of St. Catherine form additionally not only a to the titular saint of the Church and patron of the university related program, but also show in the two to Catholic faith converted figures Porphyry and Faustina a Counter-Reformation aspect.
The completion of the interior was only in 1687 by the glorious victor over the Turks Emperor Leopold I initiated. He extended in the same time the originally related to his grandfather Ferdinand II equipment program by a glorification of the house of Austria and an apothesosis directed to his person.
The designs for the remarkable stucco decorations and for the altar of Catherine delivered the 1687 in Graz born Imperial court painter Johann Bernhard Fischer von Erlach. The stucco work was carried out 1688/89 by Josef Serenio, Girolamo Rossi and Antonio Quadrio. The at the same emerged nave frescoes with the Apotheosis of the Habsburg dynasty were probably painted by Franz Steinpichler. At the center of these frescoes is the then most topical relief battle of Vienna (1683) shown. The sculptures of St. Catherine's altar carved Marx Schokotnigg (1697/99); from the same artist stem the angels of the Marian altar (1697/1701). The altarpiece depicting the Immaculate Virgin painted in 1699 Antonio Bellucci. Of the church furnishing is furthermore the "sacred grave" (1768/69) by Veit Koniger to emphasize, by its playing platform and the multi-figured ensemble counting to the most important "holy shrines" in Austria.
The frescoes in the chapel grave with representations of the virtues and deeds of the Catholic Emperor Ferdinand II and typological juxtapositions from the Old and the New Testament that refer to the resurrection and redemption of Christ, painted about 1689 Matthias Echter. He also established the fresco in the choir with the mystic marriage of St. Catherine. The niche figures of stucco - personifications of the virtues of "faith", "love", "hope" and "justice" - created around 1695/96 Marx Schokotnigg. The paintings "Saint Ignatius" by Franz Wagenschön (1766) and "Mary Immaculate" by Josef Tunner (1858 ) were formerly as altarpieces in use.
The stucco work of the tomb chamber manufactured around 1640 Mattia Camin (they were in 1694 renewed by Josef Serenio). The here represented substantial program shows the insignias and coats of arms of the countries and hereditary lands of Emperor Ferdinand II, symbols of death and last rites and painted scenes from the Old and the New Testament that refer to the resurrection.
The tombs of Emperor Ferdinand II (d. 1637) and of Archduchess Maria Anna of Bavaria (d. 1616), the first wife of Ferdinand II, are characterized by inscription panels. Also, here is a so-called Herzgrüftl (small heart tomb) with the hearts of Ferdinand II, his mother, Maria of Bavaria, his second wife Eleanor of Gonzaga and of other archducal family members.
The Rotmarmorsarkophag (red marble sarcophagus) in the crypt room with the three-dimensional recumbent figures of the parents of Ferdinand II, in which, however, only his mother is buried, stems from the ancient Grazer monastery of the Poor Clares and may have been manufactured about 1608 by Sebastian Carlone.
The Mausoleum of Ferdinand II is due to its complex architectural and iconological program a Hall of Fame of the Counter-Reformation. It identifies itself by its political-imperial statement as foundation building of the Imperial House of Austria. From the artistic point of view, it is also a main example of the manifestation of Roman art movements in the High Baroque in Styria.
Horst Schweigert
Das Mausoleum Kaiser Ferdinand II.
Unter den drei in der Steiermark aus dem Zeitalter der Gegenreformation stammenden Mausoleen nimmt das zeitlich zuletzt entstandene Grazer Mausoleum eine überregionale Stellung ein: Es ist ein Bauwerk von europäischem Rang. Ferdinand II. betraute 1614 seinen aus Lodi bei Mailand stam-menden Hofkünstler Giovanni Pietro de Pomis (1569-1633) mit der Konzeption und der Ausführung dieses monumentalen Grabbaus, der 1636 vollendet war.
Das Mausoleum – bestehend aus der symbolverbundenen Kreuzesform der Katharinenkirche und dem ovalen Grabbau (Symbol der Auferstehung) – zeigt die kirchlichen und dyna-stischen Repräsentationsabsichten des Bauherrn: Das Patronat der hl. Katharina von Alexandrien nimmt nicht nur auf einen mittelalterlichen Vorgängerbau Bezug, sondern steht auch in Kontext mit der von Erzherzog Karl II., dem Vater Ferdinands II., 1585 gegründeten und vom Jesuitenorden geführten Universität, die ebenfalls unter dem Patrozinium dieser Märtyrerin, der Patronin der Wissenschaften, stand. Die dyna-stischen Intentionen sind an den symbolischen Bekrönungen der Kuppeln – Zepter und Reichsadler mit Reichsschwert und Reichsapfel – zu erkennen. Die Sandsteinfiguren an der Westfassade – die von zwei Engeln flankierte hl. Katharina und zwei von der Heiligen zum Christentum Bekehrte - und die bemalten Kupfertafeln in den Nischen mit den Darstellungen aus dem Leben der hl. Katharina bilden zusätzlich nicht nur ein auf die Titelheilige der Kirche und Patronin der Universität bezogenes Programm, sondern zeigen auch in den beiden zum katholischen Glauben bekehrten Persönlichkeiten Porphyrius und Faustina einen gegenreformatorischen Aspekt.
Die Vollendung der Innenausstattung wurde erst 1687 durch Kaiser Leopold I„den glorreichen Sieger über die Türken, veranlaßt. Er erweiterte gleichzeitig das ursprünglich auf sei-nen Großvater Ferdinand II. bezogene Ausstattungsprogramm um eine Verherrlichung des Hauses Österreich und eine auf seine Person gerichtete Apotheose.
Die Entwürfe für die bemerkenswerten Stuckdekorationen und für den Katharinenaltar lieferte 1687 der in Graz geborene kaiserliche Hofkünstler Johann Bernhard Fischer von Erlach. Die Stuckarbeiten wurden 1688/89 von Josef Serenio, Girolamo Rossi und Antonio Quadrio ausgeführt. Die gleichzeitig entstandenen Langhausfresken mit der Apo-theose des Hauses Habsburg malte vermutlich Franz Stein-pichler. Im Zentrum dieser Fresken ist die damals höchst aktuel-le Entsatzschlacht von Wien (1683) darge-stellt. Die Skulpturen des Katharinenaltars schnitzte Marx Schokotnigg (1697/99); vom selben Künstler stammen die Engelsfiguren des Marienaltars (1697/1701). Das Altarblatt mit der Darstellung der Maria Immaculata malte 1699 Antonio Bellucci. Von der Kirchenausstattung ist weiters das „Heilige Grab" (1768/69) von Veit Königer hervorzuheben, das durch sein Schaugerüst und das vielfigurige Ensemble zu den bedeutendsten „Heiligen Gräbern" in Österreich zählt.
Die Fresken in der Grabkapelle (5) mit Darstellungen der Tugenden und katholischen Taten Kaiser Ferdinands II. und mit typologischen Gegenüberstellungen aus dem Alten und dem Neuen Testament, die sich auf die Auferstehung und Erlösung durch Christus beziehen, malte um 1689 Matthias Echter. Von ihm stammt auch das Fresko im Chor mit der mystischen Vermählung der hl. Katharina. Die Nischenfiguren aus Stuck - Personifikationen der Tugenden „Glaube", „Liebe", „Hoffnung" und „Gerechtigkeit" - schuf um 1695/96 Marx Schokotnigg. Die Gemälde „HI. Ignatius" von Franz Wagenschön (1766) und „Maria Immaculata" von Josef Tunner (1858) waren ehemals als Altarblätter in Verwendung.
Die Stukkaturen des Gruftraumes fertigte um 1640 Mattia Camin (Sie wurden 1694 von Josef Serenio erneuert). Das hier dargestellte inhaltliche Programm zeigt die Insignien und Wappen der Länder und Erbländer Kaiser Ferdinands II., Symbole des Todes und der Sterbesakramente sowie gemalte Szenen aus dem Alten und dem Neuen Testament, die auf die Auferstehung hinweisen.
Die Grabstätten Kaiser Ferdinands II. (gest. 1637) und von Erzherzogin Maria Anna von Bayern (gest. 1616), der ersten Gattin Ferdinands II., sind durch Inschrifttafeln gekennzeich-net. Außerdem befindet sich hier ein sogenanntes Herzgrüftl mit den Herzen Ferdinands II., seiner Mutter Maria von Bayern, seiner zweiten Gemahlin Eleonore von Gonzaga und von anderen erzherzoglichen Familienmitgliedern.
Der Rotmarmorsarkophag (6) im Gruftraum mit den vollpla-stischen Liegefiguren der Eltern Ferdinands II. (Erzherzog Karls II. und seiner Gattin Erzherzogin Maria Anna von Bayern), in dem aber nur seine Mutter bestattet ist, stammt aus dem ehemaligen Grazer Klarissinnenkloster und dürfte um 1608 von Sebastian Carlone verfertigt worden sein.
Das Mausoleum Ferdinands II. ist durch sein vielschichtiges architektonisches und ikonologisches Programm ein Ruhmestempel der Gegenreformation. Es weist sich durch seine politisch-imperiale Aussage als Stiftungshau des Erzhauses Österreich aus. In künstlerischer Hinsicht ist es aber auch ein Hauptbeispiel für die Manifestation römischer Kunstrichtungen im Hochbarock der Steiermark.