I recently decided to start using one of my old cameras, a Rank Aldis range finder to be precise, to document a some wanderings around London and Bristol. Using film makes a nice change and makes me slow down having a limited number of shots.

 

The 5th photo, is taken while walking around Camden stables market. The place can get a bit touristy but still worth a visit.

Singapore's Poh Swee Kiat Johnson in action during the 28th SEA Games Men's Individual Round 4 at the Sentosa Serapong Golf Course on 12 June 2015

Une photo n'est pas toujours capable de montrer aussi précisément les détails que ce que nos yeux voient, encore moins de faire vivre les sensations percues dans un endroit ou á un moment donné, comme la chaleur, l'ambiance, la lumière, les odeurs etc. Les émotions ressenties rendent magiques ces instants, il est probable que personne ne puisse les apprécier á notre manière. Les photos qui nous font vibrer suite á ce vécu ne recoivent parfois pas l'attention que l'on croirait, ce n'est pas grave, elle font partie de notre jardin secret...

 

No siempre puede una foto mostrar precisamente los detalles que nuestros ojos ven, aún menos hacer vivir las sensaciones percibidas en un lugar o en un momento dado, como el calor, el ambiente, la luz, las fragancias, etc. Las emociones experimentadas hacen que estén mágicos estos instantes, es probable que nadie pueda apreciarlas a nuestra manera. A veces las fotos que nos hacen vibrar por lo vivido no reciben la atención que se pensaría, no esta grave, hacen parte de nuestro jardín secreto...

"Dive bombing requires precise maneuverability and accuracy to fly at steep trajectory and hit a moving target. The Douglas SBD Dauntless was sturdy enough for pilots to dive at a near-vertical 80 degrees. The US Navyâs primary dive-bomber at the warâs start, the bomber earned its reputationâand helped earn victoryâat the 1942 Battle of Midway, sinking four Japanese carriers. By some accounts, the Dauntless sank more Japanese ships than any other plane.

SBD-3 Dauntless Dive Bomber

 

SBD-3, Bureau Number (BuNo) 06508 was built by Douglas Aircraft Company at El Segundo, California, and is a combat veteran of the Guadalcanal Campaign operating from Henderson Field by Marine Scout Bombing Squadrons (VMSB) 141 and 132. In the spring of 1943, BuNo 06508 was assigned to Navy Bombing Squadron 10 aboard the aircraft carrier Enterprise for a short time before being returned to the States to serve as a trainer at Naval Air Station Glenview, Illinois. In November 1944, this aircraft was lost on a training flight in Lake Michigan where it remained until 1990 when it was recovered by the US Navy and restored to its present condition." - www.nationalww2museum.org

Look at the rhythmic motion of the legs...it's very precise...

Kathakali (Malayalam: കഥകളി, kathakaḷi; Sanskrit: कथाकळिः, kathākaḷiḥ) is a stylized classical Indian dance-drama noted for the attractive make-up of characters, elaborate costumes, detailed gestures and well-defined body movements presented in tune with the anchor playback music and complementary percussion. It originated in the country's present day state of Kerala during the 17th century and has developed over the years with improved looks, refined gestures and added themes besides more ornate singing and precise drumming.

 

HISTORY

Popular belief is that kathakali is emerged from "Krishnanattam", the dance drama on the life and activities of Lord Krishna created by Sri Manavedan Raja, the Zamorin of Calicut (1585-1658 AD). Once Kottarakkara Thampuran, the Raja of Kottarakkara who was attracted by Krishnanattam requested the Zamorin for the loan of a troupe of performers. Due to the political rivalry between the two, Zamorin did not allow this. So Kottarakkara Thampuran created another art form called Ramanattam which was later transformed into Aattakatha. Krishnanaattam was written in Sanskrit, and Ramanattam was in Malayalam. By the end of 17th century, Attakatha was presented to the world with the title 'Kathakali'.

 

Kathakali also shares a lot of similarities with Krishnanattam, Koodiyattam (a classical Sanskrit drama existing in Kerala) and Ashtapadiyattam (an adaptation of 12th-century musical called Gitagovindam). It also incorporates several other elements from traditional and ritualistic art forms like Mudiyettu, Thiyyattu, Theyyam and Padayani besides a minor share of folk arts like Porattunatakam. All along, the martial art of Kalarippayattu has influenced the body language of Kathakali. The use of Malayalam, the local language (albeit as a mix of Sanskrit and Malayalam, called 'Manipravaalam'), has also helped the literature of Kathakali sound more transparent for the average audience.

 

As a part of modernising, propagating, promoting and popularizing Kathakali, the International Centre for Kathakali at New Delhi has taken up a continuing project since 1980 of producing new plays based on not only traditional and mythological stories, but also historical stories, European classics and Shakespeare's plays. Recently they produced Kathakali plays based on Shakespeare's Othello and Greek-Roman mythology of Psyche and Cupid.

 

Even though the lyrics/literature would qualify as another independent element called Sahithyam, it is considered as a component of Geetha or music, as it plays only a supplementary role to Nritham, Nrithyam and Natyam.

 

KATHAKALI PLAYS

Traditionally there are 101 classical Kathakali stories, though the commonly staged among them these days total less than one-third that number. Almost all of them were initially composed to last a whole night. Nowadays, there is increasing popularity for concise, or oftener select, versions of stories so as the performance lasts not more than three to four hours from evening. Thus, many stories find stage presentation in parts rather than totality. And the selection is based on criteria like choreographical beauty, thematic relevance/popularity or their melodramatic elements. Kathakali is a classical art form, but it can be appreciated also by novices—all contributed by the elegant looks of its character, their abstract movement and its synchronisation with the musical notes and rhythmic beats. And, in any case, the folk elements too continue to exist. For better appreciation, perhaps, it is still good to have an idea of the story being enacted.

 

The most popular stories enacted are Nalacharitham (a story from the Mahabharata), Duryodhana Vadham (focusing on the Mahabharata war after profiling the build-up to it), Kalyanasougandhikam, (the story of Bhima going to get flowers for his wife Panchali), Keechakavadham (another story of Bhima and Panchali, but this time during their stint in disguise), Kiratham (Arjuna and Lord Shiva's fight, from the Mahabharata), Karnashapatham (another story from the Mahabharata), Nizhalkuthu and Bhadrakalivijayam authored by Pannisseri Nanu Pillai. Also staged frequently include stories like Kuchelavrittam, Santanagopalam, Balivijayam, Dakshayagam, Rugminiswayamvaram, Kalakeyavadham, Kirmeeravadham, Bakavadham, Poothanamoksham, Subhadraharanam, Balivadham, Rugmangadacharitam, Ravanolbhavam, Narakasuravadham, Uttaraswayamvaram, Harishchandracharitam, Kacha-Devayani and Kamsavadham.

 

Recently, as part of attempts to further popularise the art, stories from other cultures and mythologies, such as those of Mary Magdalene from the Bible, Homer's Iliad, and William Shakespeare's King Lear and Julius Caesar besides Goethe's Faust too have been adapted into Kathakali scripts and on to its stage. Synopsis of 37 kathakali stories are available in kathakalinews.com.

 

MUSIC

The language of the songs used for Kathakali is Manipravalam. Though most of the songs are set in ragas based on the microtone-heavy Carnatic music, there is a distinct style of plain-note rendition, which is known as the Sopanam style. This typically Kerala style of rendition takes its roots from the temple songs which used to be sung (continues even now at several temples) at the time when Kathakali was born.

 

As with the acting style, Kathakali music also has singers from the northern and southern schools. The northern style has largely been groomed by Kerala Kalamandalam in the 20th century. Kalamandalam Neelakantan Nambisan, an overarching Kathakali musician of those times, was a product of the institute. His prominent disciples include Kalamandalam Unnikrishna Kurup, Kalamandalam Gangadharan, Kalamandalam P.G. Radhakrishnan, Rama Varrier, Madambi Subramanian Namboodiri, Tirur Nambissan, Kalamandalam Sankaran Embranthiri, Kalamandalam Hyderali, Kalamandalam Haridas, Subramanian, Kalanilayam Unnikrishnan and Kalamandalam Bhavadasan. The other prominent musicians of the north feature Kottakkal Vasu Nedungadi, Kottakkal Parameswaran Namboodiri, Kottakkal P.D. Narayanan Namboodiri, Kottakkal Narayanan, Kalamandalam Anantha NarayananKalamandalam Sreekumar Palanad Divakaran, Kalanilayam Rajendran, Kolathappilli Narayanan Namboodiri, Kalamandalam Narayanan Embranthiri, Kottakkal Madhu, Kalamandalam Babu Namboodiri, Kalamandalam Harish and Kalamandalam Vinod. In the south, some of whom are equally popular in the north these days, include Pathiyur Sankarankutty. Southerner musicians of the older generation include Cherthala Thankappa Panikker, Thakazhi Kuttan Pillai, Cherthala Kuttappa Kurup, Thanneermukkam Viswambharan and Mudakkal Gopinathan.

 

PERFORMANCE

Traditionally, a Kathakali performance is usually conducted at night and ends in early morning. Nowadays it isn't difficult to see performances as short as three hours or fewer. Kathakali is usually performed in front of the huge Kalivilakku (kali meaning dance; vilakku meaning lamp) with its thick wick sunk till the neck in coconut oil. Traditionally, this lamp used to provide sole light when the plays used to be performed inside temples, palaces or abodes houses of nobles and aristocrats. Enactment of a play by actors takes place to the accompaniment of music (geetha) and instruments (vadya). The percussion instruments used are chenda, maddalam (both of which underwent revolutionary changes in their aesthetics with the contributions of Kalamandalam Krishnankutty Poduval and Kalamandalam Appukutty Poduval) and, at times, edakka. In addition, the singers (the lead singer is called “ponnani” and his follower is called “singidi”) use chengila (gong made of bell metal, which can be struck with a wooden stick) and ilathalam (a pair of cymbals). The lead singer in some sense uses the Chengala to conduct the Vadyam and Geetha components, just as a conductor uses his wand in western classical music. A distinguishing characteristic of this art form is that the actors never speak but use hand gestures, expressions and rhythmic dancing instead of dialogue (but for a couple of rare characters).

 

ACTING

A Kathakali actor uses immense concentration, skill and physical stamina, gained from regimented training based on Kalaripayattu, the ancient martial art of Kerala, to prepare for his demanding role. The training can often last for 8–10 years, and is intensive. In Kathakali, the story is enacted purely by the movements of the hands (called mudras or hand gestures) and by facial expressions (rasas) and bodily movements. The expressions are derived from Natyashastra (the tome that deals with the science of expressions) and are classified into nine as in most Indian classical art forms. Dancers also undergo special practice sessions to learn control of their eye movements.

 

There are 24 basic mudras—the permutation and combination of which would add up a chunk of the hand gestures in vogue today. Each can again can be classified into 'Samaana-mudras'(one mudra symbolising two entities) or misra-mudras (both the hands are used to show these mudras). The mudras are a form of sign language used to tell the story.

 

The main facial expressions of a Kathakali artist are the 'navarasams' (Navarasas in anglicised form) (literal translation: Nine Tastes, but more loosely translated as nine feelings or expressions) which are Sringaram (amour), Hasyam (ridicule, humour), Bhayanakam (fear), Karunam (pathos), Roudram (anger, wrath), Veeram (valour), Beebhatsam (disgust), Adbhutam (wonder, amazement), Shantam (tranquility, peace). The link at the end of the page gives more details on Navarasas.

 

One of the most interesting aspects of Kathakali is its elaborate make-up code. Most often, the make-up can be classified into five basic sets namely Pachcha, Kathi, Kari, Thaadi, and Minukku. The differences between these sets lie in the predominant colours that are applied on the face. Pachcha (meaning green) has green as the dominant colour and is used to portray noble male characters who are said to have a mixture of "Satvik" (pious) and "Rajasik" (dark; Rajas = darkness) nature. Rajasik characters having an evil streak ("tamasic"= evil) -- all the same they are anti-heroes in the play (such as the demon king Ravana) -- and portrayed with streaks of red in a green-painted face. Excessively evil characters such as demons (totally tamasic) have a predominantly red make-up and a red beard. They are called Red Beard (Red Beard). Tamasic characters such as uncivilised hunters and woodsmen are represented with a predominantly black make-up base and a black beard and are called black beard (meaning black beard). Women and ascetics have lustrous, yellowish faces and this semi-realistic category forms the fifth class. In addition, there are modifications of the five basic sets described above such as Vella Thadi (white beard) used to depict Hanuman (the Monkey-God) and Pazhuppu, which is majorly used for Lord Shiva and Balabhadra.

 

NOTABLE TRAINING CENTRES & MASTERS

Kathakali artistes need assiduous grooming for almost a decade's time, and most masters are products of accomplished institutions that give a minimum training course of half-a-dozen years. The leading Kathakali schools (some of them started during the pre-Independent era India) are Kerala Kalamandalam (located in Cheruthuruthy near Shoranur), PSV Natya Sangham (located in Kottakal near Kozhikode), Sadanam Kathakali and Classical Arts Academy (or Gandhi Seva Sadan located in Perur near Ottappalam in Palakkad), Unnayi Varier Smaraka Kalanilayam (located in Irinjalakuda south of Thrissur), Margi in Thiruvananthapuram, Muthappan Kaliyogam at Parassinikkadavu in Kannur district and RLV School at Tripunithura off Kochi and Kalabharathi at Pakalkkuri near Kottarakkara in Kollam district, Sandarshan Kathakali Kendram in Ambalapuzha and Vellinazhi Nanu Nair Smaraka Kalakendra in Kuruvattor. Outside Kerala, Kathakali is being taught at the International Centre for Kathakali in New Delhi, Santiniketan at Visva-Bharati University in West Bengal, Kalakshetra in Chennai and Darpana Academy in Ahmedabad among others. PadmaSree Guru Chengannur Raman Pillai mostly known as 'Guru Chengannur'was running a traditional Gurukula Style approach to propagate Kathakali.

 

‘Guru Chengannur” is ever renowned as the Sovereign Guru of Kathakali. His precision in using symbols, gestures and steps were highest in the field of Kathakali. Guru Chegannur's kaththi vesham, especially the portrayal of Duryodhana enthralled the audience every time he performed. A master of the art, he found immense happiness and satisfaction in the success and recognition of his disciples.

 

Senior Kathakali exponents of today include Padma Bhushan Kalamandalam Ramankutty Nair, Padma Shri Kalamandalam Gopi, Madavoor Vasudevan Nair, Chemancheri Kunhiraman Nair, Kottakkal Krishnankutty Nair, Mankompu Sivasankara Pillai, Sadanam Krishnankutty, Nelliyode Vasudevan Namboodiri, Kalamandalam Vasu Pisharody, FACT Padmanabhan, Kottakkal Chandrasekharan, Margi Vijayakumar, Kottakkal Nandakumaran Nair, Vazhenkada Vijayan, Inchakkattu Ramachandran Pillai, Kalamandalam Kuttan, Mayyanad Kesavan Namboodiri, Mathur Govindan Kutty, Narippatta Narayanan Namboodiri, Chavara Parukutty, Thonnakkal Peethambaran, Sadanam Balakrishnan, Kalanilayam Gopalakrishnan, Chirakkara Madhavankutty, Sadanam K. Harikumaran, Thalavadi Aravindan, Kalanilayam Balakrishnan, Pariyanampatta Divakaran, Kottakkal Kesavan, Kalanilayam Gopi and Kudamaloor Muralikrishnan. The late titan actor-dancers of Kathakali's modern age (say, since the 1930s) include Pattikkamthodi Ravunni Menon, Chenganoor Raman Pillai, Chandu Panicker, Thakazhi Guru Kunchu Kurup, Padma Shri Kalamandalam Krishnan Nair, Padma Shri Vazhenkada Kunchu Nair, Kavalappara Narayanan Nair, Kurichi Kunhan Panikkar, Thekkinkattil Ramunni Nair, Padma Shri Keezhpadam Kumaran Nair, Kalamandalam Padmanabhan Nair, Mankulam Vishnu Namboodiri, Oyur Kochu Govinda Pillai, Vellinezhi Nanu Nair, Padma Shri Kavungal Chathunni Panikkar, Kudamaloor Karunakaran Nair, Kottakkal Sivaraman, Kannan Pattali, Pallippuram Gopalan Nair, Haripad Ramakrishna Pillai, Champakkulam Pachu Pillai, Chennithala Chellappan Pillai, Guru Mampuzha Madhava Panicker, and Vaikkom Karunakaran.

 

Kathakali is still hugely a male domain but, since the 1970s, females too have made entry into the art form on a recognisable scale. The central Kerala temple town of Tripunithura has, in fact, a ladies troupe (with members belonging to several part of the state) that performs Kathakali, by and large in Travancore.

 

KATHAKALI STYLES

Known as Sampradäyaṃ(Malayalam: സമ്പ്രദായം); these are leading Kathakali styles that differ from each other in subtleties like choreographic profile, position of hand gestures and stress on dance than drama and vice versa. Some of the major original kathakali styles included:

 

Vettathu Sampradayam

Kalladikkodan Sampradyam

Kaplingadu Sampradayam

 

Of late, these have narrowed down to the northern (Kalluvazhi) and southern (Thekkan) styles. It was largely developed by the legendary Pattikkamthodi Ravunni Menon (1881-1949) that is implemented in Kerala Kalamandalam (though it has also a department that teaches the southern style), Sadanam, RLV and Kottakkal. Margi has its training largely based on the Thekkan style, known for its stress on drama and part-realistic techniques. Kalanilayam, effectively, churns out students with a mix of both styles.

 

OTHER FORMS OD DANCE & OFFSHOOTS

Kerala Natanam is a kind of dance form, partly based on Kathakali techniques and aesthetics, developed and stylised by the late dancer Guru Gopinath in the mid-20th century. Kathakali also finds portrayal in Malayalam feature films like Vanaprastham, Parinayam, Marattam, and Rangam. Besides documentary films have also been shot on Kathakali artistes like Chenganoor Raman Pillai, Kalamandalam Krishnan Nair, Keezhpadam Kumaran Nair, Kalamandalam Ramankutty Nair, Kalamandalam Gopi and Kottakkal Sivaraman.

 

As for fictional literature, Kathakali finds mention in several Malayalam short stories like Karmen (by N.S. Madhavan) and novels like Keshabharam (by P.V. Sreevalsan). Even the Indo-Anglian work like Arundhati Roy's Booker prize-winning The God of Small Things has a chapter on Kathakali, while, of late, Anita Nair's novel, Mistress, is entirely wrapped in the ethos of Kathakali.

 

Similar musical theater is popular in Kasaragod and the coastal and Malenadu regions of Karnataka, viz. Yakshagana. Though Yakshagana resembles Kathakali in terms of its costume and makeup to an extent, Yakshagana is markedly different from Kathakali as it involves dialogues and method acting also the narration is in Kannada, wherein philosophical debates are also possible within framework of the character. As per records the art form of Yakshagana was already rooted and well established at the time of Sri Manavedan Raja. There is possibilities of its significant influence in formation of Kathakkali as the troupe of performers of "Krishnanattam" designed the basic costume of the art form already established in other parts of south India including Males playing the female roles (until more recently).

 

Kottayam thamburan's way of presenting kathakali was later known as Kalladikkoden sambradayam. Chathu Paniker,the introducer of Kallikkoden Sambrathayam, stayed in Kottayam for five years with Kottayam Thamburan's residence and practiced Kalladikkoden Sambrathayam. Then he returned to his home place. After a short period Chathu Paniker reached Pulapatta as instructed by Kuthiravattath nair. That was around the year ME 865. Many deciples from Kadathanadu, Kurumbra nadu, Vettathu nadu, Palakkadu and Perumpadappu studied kathakali(Kalladikkoden Sambrathayam ) By that time Chathu Paniker was an old man. Some years later he died from Pulapatta.

 

NOTED KATHAKALI VILLAGES & BELTS

There are certain pockets in Kerala that have given birth to many Kathakali artistes over the years. If they can be called Kathakali villages (or some of them, these days, towns), here are some of them: Vellinezhi, Kuruvattoor, Karalmanna, Cherpulassery, Kothachira, peringode, sreekrishnapuram Kongad and Ottapalam in Palakkad district, Vazhenkada in Malappuram district, Thichur or Tichoor, Guruvayur, Thiruvilwamala and Irinjalakuda in Thrissur district, Tripunithura, Edappally, Thekkan Chittoor in Ernakulam district and Kuttanad, Harippad belt in Alappuzha district besides places in and around Thiruvanathapuram in south Travancore and Payyannur in north Malabar.

 

AWARDS FOR KATHAKALI ARTISTS

Sangeet Natak Akademi Awardees - Kathakali (1956–2005)

Nambeesan Smaraka Awards—For artistic performances related kathakali{1992-2008}

 

KATHAKALI ATTAMS (ELAKI ATTAMS)

Attams or more specifically "elaki attams" are sequences of acting within a story acted out with the help of mudras without support from vocal music. The actor has the freedom to change the script to suit his own individual preferences. The actor will be supported ably by Chenda, Maddalam, and Elathalam (compulsory), Chengila (not very compulsory).

 

The following are only some examples. 'Kailasa Udharanam' and 'Tapas Attam' are very important attams and these are described at the end. Two of the many references are Kathakali Prakaram, pages 95 to 142 by Pannisheri Nanu Pillai and Kathakaliyile Manodharmangal by Chavara Appukuttan Pillai.

 

VANA VARNANA: BHIMA IN KALYANA SAUGANDHIKA

Modern man looks at the forest, indeed the birthplace of primates, with a certain wonder and a certain respect. Kathakali characters are no exception.

 

When Pandavas were living in the forest, one day, a flower, not seen before, wafted by the wind, comes and falls at the feet of Panchali. Exhilarated by its beauty and smell, Panchali asks Bhima to bring her more such flowers. To her pleasure Bhima is ready to go at once. But Panchali asks him what he shall do for food and drink on the way. Bhima thinks and says "Food and Drink! Oh, this side glance (look) of yours. This look of longing. This look of anticipation. The very thought fills me up. I don't need any food and drink at all. Let me go." He takes his mace and off he goes. Ulsaham (enthusiasm) is his Sdhayi Bhavam (permanent feature).

 

"Let me go at once in search of this flower," says Bhima. "The scented wind is blowing from the southern side. Let me go that way." After walking some distance he sees a huge mountain called Gandhamadana and three ways. He decides to take the middle one which goes over the mountain. After going further "The forest is getting thicker. Big trees, big branches in all directions. The forest looks like a huge dark vessel into which even light can not penetrate. This is my (Bhima's) way. Nothing can hinder me." So saying he pulls down many trees. Sometimes he shatters the trees with his mace. Suddenly he sees an elephant. "Oh! Elephant." He describes it. Its trunk. Sharp ears.

 

The itching sensation in the body. It takes some mud and throws on the body. Oh good. Then it sucks water and throws on the body. Somewhat better. Slowly it starts dosing even though alert at times. A very huge python is approaching steadily. Suddenly it catches hold of the elephant's hind leg. The elephant wakes up and tries to disengage the python. The python pulls to one side. The elephant kicks and drags to the other side. This goes on for some time. Bhima looks to the other side where a hungry lion is looking for food. It comes running and strikes the elephants head and eats part of the brain and goes off. The python completes the rest. "Oh my god, how ruthless!" says Bhima and proceeds on his way.

 

UDYANA VARNANA: NALA IN NALACHARITHAM SECOND DAY

Descriptions of gardens are found in most dance forms of India and abroad. These are also common in Kathakali.

 

Newly married Nala and Damayanthi are walking in the garden. When Nala was lovingly looking at Damayanthi a flower falls on her. Nala is overjoyed and thinks that this is a kindness nature has shown on his wife. Nala says "On seeing the arrival of their queen, the trees and climbers are showing happiness by dropping flowers on you." He tells her, "See that tree. When I used to be alone the tree used to hug the climber and seemingly laugh at my condition." Then he looks at the tree and says, "Dear Tree, look at me now. See how fortunate I am with my beautiful wife."

 

Both wander about. A bumblebee flies towards Damayanthi. Immediately Nala protects her face with a kerchief. He looks at the bee and then at Damayanthi. He says, "On seeing your face the bee thought it was a flower and came to drink the nectar." Nala and Damayanthi listen to the sounds coming out of the garden. Damayanti says, "It appears that the whole garden is thrilled. The flowers are blooming and smiling. Cuckoos are singing and the bees are dancing. Gentle winds are blowing and rubbing against our bodies. How beautiful the whole garden looks." Then Nala says that the sun is going down and it is time for them to go back and takes her away.

 

SHABDA VARNANA: HANUMAN IN KALYANA SAUGANDHIKAM

While Bhima goes in search of the flower, here Hanuman is sitting doing Tapas with mind concentrated on Sri Rama.

 

When he hears the terrible noises made by Bhima in the forest he feels disturbed in doing his Tapas. He thinks "What is the reason for this?" Then the sounds become bigger. "What is this?" He thinks, "The sounds are getting bigger. Such a terrible noise. Is the sea coming up thinking that the time is ripe for the great deluge (Pralaya). Birds are flying helter-skelter. Trees look shocked. Even Kali Yuga is not here. Then what is it? Are mountains quarreling with each other? No, That can't be it. Indra had cut off the wings of mountains so that they don't quarrel. Is the sea changing its position? No it can't be. The sea has promised it will not change its position again. It can't break the promise." Hanuman starts looking for clues. "I see elephants and lions running in fear of somebody. Oh a huge man is coming this way. Oh, a hero is coming. He is pulling out trees and throwing it here and there. Okay. Let him come near, We will see."

 

THANDEDATTAM: RAVANA IN BALI VADHAM

After his theranottam Ravana is seen sitting on a stool. He says to himself "I am enjoying a lot of happiness. What is the reason for this?" Thinks. "Yes I know it. I did Tapas to Brahma and received all necessary boons. Afterwards I won all ten directions. I also defeated my elder brother Vaishravana. Then I lifted Kailas mountain when Siva and Parvathi were having a misunderstanding. Parvathi got frightened and embraced Siva in fear. Siva was so happy he gave a divine sword called Chandrahasa. Now the whole world is afraid of me. That is why I am enjoying so much happiness." He goes and sits on the stool. He looks far away. "Who is coming from a distance. he is coming fast. Oh, it is Akamba. Okay. Let me find out what news he has for me."

 

ASHRAMA VARNANA: ARJUNA IN KIRATHAM

Arjuna wants to do Tapas to Lord Siva and he is looking a suitable place in the Himalayan slopes. He comes to place where there is an ashram. Arjuna looks closely at the place. "Oh. What a beautiful place this is. A small river in which a very pure water is flowing. Some hermits are taking baths in the river. Some hermits are standing in the water and doing Tapsas. Some are facing the Sun. Some are standing in between five fires." Arjuna salutes the hermits from far. He says to himself "Look at this young one of a deer. It is looking for its mother. It seems to be hungry and thirsty. Nearby a female tiger is feeding its young ones. The little deer goes towards the tigress and pushes the young tiger cubs aside and starts drinking milk from the tigress. The tigress looks lovingly at the young deer and even licks its body as if it were its own child. How beautiful. How fulfilling."

 

Again he looks "Here on this side a mongoose and a serpent forgetting their enmity are hugging each other. This place is really strange and made divine by saints and hermits. Let me start my Tapas somewhere nearby."

 

A sloka called "Shikhini Shalabha" can be selected instead of the above if time permits.

 

AN ATTAM BASED ON A SLOKA

Sansrit slokas are sometimes shown in mudras and it has a pleasing and exhilarating effect. Different actors use slokas as per his own taste and liking. However, the slokas are taught to students during their training period. An example is given below.

 

Kusumo Kusumolpatti Shrooyathena Chathushyathe

Bale thava Mukhambuje Pashya Neelolpaladwayam

 

Meaning a flower blooming inside another flower is not known to history. But, my dear, in your lotus like face are seen two blue Neelolpala flowers (eyes).

 

A CONVERSATION BASED ON A SLOKA

Sanskrit slokas can also be used to express an intent. One such example is a sloka used by Arjuna addressed to Mathali the charioteer in Kalakeya Vadham. Sloka:

Pitha: Kushalee Mama hritha Bhujaam

Naatha Sachee Vallabha:

Maatha: kim nu Pralomacha Kushalinee

Soonurjayanthasthayo

Preethim va Kushchate Thadikshnavidhow

Cheta Samutkanuthe

Sutha: tvam Radhamashu Chodaya vayam

Dharmadivam Mathala

 

Meaning: The husband of Indrani and the lord of gods my father - Is he in good health? His son Jayantha - Is he strictly following the commands of his father? Oh, I am impatient to see all of them.

 

SWARGA VARNANA: ARJUNA IN KELAKEYA VADHAM

Arjuna goes to heaven on the invitation of his father, Indra. After taking permission from Indrani he goes out to see all the places in Swarga. First he sees a building, his father's palace. It is so huge with four entrances. It is made of materials superior to gold and jewels of the world. Then he goes ahead and sees Iravatha. Here he describes it as a huge elephant with four horns. He is afraid to touch it. Then he thinks that animals in Swarga can't be cruel like in the world and so thinking he goes and touches and salutes Iravatha. He describes the churning of the white sea by gods and demons with many details and how Iravatha also came out of the white sea due to this churning.

 

He walks on and sees his father's (Indra's) horse. It is described as being white and its mane is sizzling like the waves of the white sea from which it came. He touches and salutes the horse also. Then he goes to see the river of the sky (or milky way). He sees many birds by this river and how the birds fly and play is shown.

 

Then he sees the heavenly ladies. Some are collecting flowers, and one of them comes late and asks for some flowers for making garland. The others refuse. She goes to the Kalpa Vriksha and says "please give me some flowers." Immediately a shower of flowers occurs which she collects in her clothes and goes to make garlands chiding the others. "See... I also got flowers." After this he sees the music and dance of the heavenly ladies. First it starts with the adjustments of instruments Thamburu, Mridangam, Veena. Then the actual music starts along with the striking of cymbals. Then two or three types of dances are shown. Then comes juggling of balls. It is described by a sloka thus:

 

Ekopi Thraya Iva Bhathi Kandukoyam

 

Kanthayaa: Karathala Raktharaktha:

Abhrastho Nayanamareechi Neelaneelo

Popular belief is that kathakali is emerged from "Krishnanattam", the dance drama on the life and activities of Lord Krishna created by Sri Manavedan Raja, the Zamorin of Calicut (1585-1658 AD). Once Kottarakkara Thampuran, the Raja of Kottarakkara who was attracted by Krishnanattam requested the Zamorin for the loan of a troupe of performers. Due to the political rivalry between the two, Zamorin did not allow this. So Kottarakkara Thampuran created another art form called Ramanattam which was later transformed into Aattakatha. Krishnanaattam was written in Sanskrit, and Ramanattam was in Malayalam. By the end of 17th century, Attakatha was presented to the world with the title 'Kathakali'. Kathakali also shares a lot of similarities with Krishnanattam, Koodiyattam (a classical Sanskrit drama existing in Kerala) and Ashtapadiyattam (an adaptation of 12th-century musical called Gitagovindam). It also incorporates several other elements from traditional and ritualistic art forms like Mudiyettu, Thiyyattu, Theyyam and Padayani besides a minor share of folk arts like Porattunatakam. All along, the martial art of Kalarippayattu has influenced the body language of Kathakali. The use of Malayalam, the local language (albeit as a mix of Sanskrit and Malayalam, called ), has also helped the literature of Kathakali sound more transparent for the average audience. As a part of modernising, propagating, promoting and popularizing Kathakali, the International Centre for Kathakali at New Delhi has taken up a continuing project since 1980 of producing new plays based on not only traditional and mythological stories, but also historical stories, European classics and Shakespeare's plays. Recently they produced Kathakali plays based on Shakespeare's Othello and Greek-Roman mythology of Psyche and Cupid.

 

Even though the lyrics/literature would qualify as another independent element called Sahithyam, it is considered as a component of Geetha or music, as it plays only a supplementary role to

Bhumau Talcharana Naghamshu Gaurgaura:

 

Meaning One ball looks like three balls. When it is in the hands of the juggler, it takes the redness of the hands, when it goes up it takes the blueness of the eyes, when it strikes the ground it becomes white from the whiteness of the leg nails. Once a juggled ball falls down. Then she, the juggler, somehow manages to proceed and remarks "See.. how I can do it".

 

At one time a garment slips from a lady's body and she adjusts the cloth showing shameful shyness (Lajja). Then the ladies go in for a Kummi dance. As Arjuna was enjoying this dance, suddenly somebody calls him. Arjuna feels scared. "Oh God, where am I?" he says and beats a hasty retreat.

 

TAPAS ATTAM: RAVANA IN RAVANA ULBHAVAM

[Background: Mali, Sumali and Malyavan were three brothers ruling Sri Lanka. During a war between them and Indra, Indra requested help from Lord Vishnu and as a consequence Lord Vishnu killed Mali. Sumali and Malyavan escaped to Patala. Kaikasi was the daughter of Sumali. She wandered in the forest. She belong three boys through a great sage called Vishravassu. (Vishravassu had an earlier son called Vaishravana who became the richest among all people.) The eldest boy of Kaikasi was Ravana followed by Kumbhakarna and Vibhishana.]

 

SCENE 1

When Ravana was a young boy (Kutti Ravana vesham), one day he was sleeping on his mothers lap in a place called madhuvanam. At that time Kaikasi sees Vaishravana flying overhead in his vimana (mythical aeroplane). She thinks “Oh, that is Vaishravana, technically a brother of my son who is sleeping on my lap. He is rich and strong. My son is so poor and weak. While thinking thus a drop of tear from her eyes drops on Ravana’s face. Ravana suddenly wakes up and sees his mother crying. When he knew the reason he could not bear it. He says he is going to do tapas to Brahma to get boons so that he will be strong and rich.

 

SCENE 2

(The tapas itself is shown as a part of autobiographical narration of adult ravana)

 

Ravana (adult Ravana, not kutti Ravana) is sitting on a stool. He thinks “Why am I so happy? How did I become so rich and strong? Oh yes. It is because of the tapas I did. What made me do the tapas? When I was a young boy, one day I was sleeping on my mother’s lap in a place called Madhuvanam. A drop of tear from her eyes falls on my face. I asked her why she was crying. She said she saw Vaishravana flying overhead in his vimana (plane). She told me Vaishravan was a brother of mine now flying in a plane. He is rich and strong. I am so poor and weak. When I heard this comparison between me and my brother, I could not bear it. I am going to do tapas to Brahma to get boons so that I will be strong and rich.

 

I made five different types of fires (while doing tapas gods are approached through Agni the god of fire). Then I started my tapas. I asked my brothers to stand guard and also keep the fires burning. Then I fully concentrated on tapas. Time passed but Brahma did not appear. I looked. Why is Brahma not appearing? I doubled my concentration. Time passed. Brahma is not appearing. Still not appearing? I cut one of my heads and put it in the fire. Waited, Brahma did not come. One more head rolls. Still no Brahma comes. Heads roll and roll. No Brahma. Only one head is left. First I thought of stopping my tapas. But no! Never! That will be an insult to me and my family. It is better to die than stop. Also when I die Brahma will be judged as being partial. With great determination I swung the sword at my last neck, when, lo and behold, suddenly Brahma appeared and caught my hand. I looked at him with still un-subsided, but gradually subsiding anger. Brahma asked me what boons I wanted. I asked for a boon that I should win all the worlds and have all the wealth and fame and that I should not be killed except by man. I also asked him to give boons for my brothers.

 

In the next scene Ravana asks Kumbhakarna and Vibhishana what boons they got. Unfortunately Kumbhakarna’s tongue got twisted while asking for boon and he got ‘sleep’ instead of becoming the ‘king of gods’. Ravana laughed it off. As for Vibhishana, he being a bhaktha of Vishnu, asked for Vishnu’s blessings and got it. Ravana laughs it off and also decides to conquer all the worlds and starts preparing his grand army for the big conquest of the worlds.

 

[This method of presentation with a peculiar sequence has a tremendous dramatic affect. The main actor redoes a small part of what happened to kutti Ravana vesham, and this gives a view of the high contrast between the boy and the man Ravana. Similarly the presence of Kumbhakarna and Vibhishana in the subsequent scene offers a good smile on the face of the viewer at the end of the play.]

 

KAILASA UDDHARANAM: RAVANA IN BALI VIJAYAM

[Background and Previous scene: After receiving the boons, and widening his kingdom in all directions, Ravana lives in Sri Lanka with great pomp and splendor. One day he sees Saint Narada approaching his palace singing songs in praise of him ‘Jaya jaya Ravana, Lanka Pathe’. Happily he receives Narada and seats him next to him. After telling Narada about the victory of his son Indrajith on Indra, Ravana tells Narada “Now there is nobody on earth or other worlds who can fight with me”. To this Narada replies “ Very true indeed, but there is one huge monkey called Bali who says he can defeat you. He even said that you are just like a blade of grass to him. Well let him say what he wants. You are unbeatable.” Then Narada says ‘let us go there and see him’. Both decide to go. But Ravana takes his famous sword called “Chandrahasam”. Then Narada asks the history of this sword. Ravana’s Attam Starts.]

 

Ravana says “I received this sword from Lord Siva. It happened thus. Once when I was conquering new places and expanding my empire I happened to be going across the Kailasa mountain. The plane got stuck on the mountain unable to move forward. I got down from the plane and looked at the mountain. (Looks from one end to the other first horizontally and then vertically.) So huge it was. Then I decided to lift it with my bare hand and keep it aside and move forward. I started sticking my hands under it one by one. Then I tried to lift it. It doesn’t move. I put more force and more force. It moved just a bit. I pushed harder and harder, slowly it started moving then again and again and it moved easily. Then I lifted it up with my hands and started juggling it (exaggeration evident).

 

“At that particular time Lord Siva was quarreling with his wife Parvathi. Why did they fight? The story is as follows. Parvathi had gone for enjoying swimming and bathing in some beautiful pond. At that time Siva opened his jata (disheveled long hair) and called Ganga for some entertainment after asking Ganapathi and Subramania to go for some errands. Somehow becoming suspicious, right at that time, Parvathi came back in a hurry with wet clothes and saw Siva with Ganga. Siva was wondering what to do and it was at that time that Ravana started lifting the Kailasa. When Kailasa started shaking Parvathi got scared and ran to Siva and hugged him. So the quarrel ended and Siva was happy. “As a reward Siva called me and gave me this famous Chandrahasa sword.”

 

Then Narada and Ravana leave to meet Bali. Ravana wanted to take the sword along with him, but Narada suggested that the sword is not required for teaching a lesson to Bali who is after all an unarmed monkey.

 

WIKIPEDIA

Ahi weaves precise slashes and pyroclastic strikes to form his unique eruptive fighting style, leaving only ash and obsidian in his wake.

 

Made some changes to Ahi. The shins have been replaced to be more sleek, and some of the torso colors have been changed to be less messy. Also, the sword blade is the correct color. The leg articulation is a lot better in this version, so he can actually pull off some neat poses.

Renamed the Burlington Bay James N. Allan Skyway Bridge to be precise(I use the locals' original name "Skyway").

 

This bridge is a rare surviving example in Canada of a suspended deck truss bridge. The suspended deck variety of truss has the appearance of a though arch bridge, but functions as a arch-shaped continuous through truss. The arch shape of the truss takes the truss far above the height of the deck at the center of the span, and thus the deck must be connected to this section of the truss by hangers, which is the suspended deck portion of the bridge. A high level bridge that allows freighters to pass under the fixed bridge, this bridge has a very long approach system of deck truss and deck girder spans.

 

The bridge has a number of unusual details. The approach spans are unusual because they include a series of spans that are supported by two alternating types of supports: traditional concrete piers and unusual riveted steel piers. It is unclear why two different supports were used. The bridge also has unusual trussed floor beams. Floor beams are more commonly solid rolled or built-up i-beams. The trussed floor beams give the underside of the bridge a unique geometric complexity.

 

The bridge's channel span is 495 feet (150.9 meters) while the anchor spans on either side are 275 feet (83.8 meters).

 

John Turner Bell was a noted Hamilton architect who assisted in the design of this bridge. The famous Philip Louis Pratley was the consulting engineer for the bridge, although he died in 1958, the year this bridge was completed.

 

For such a major bridge, very little online information about the history of this bridge is available. HistoricBridges.org hopes to expand this article with additional information in the future.

 

In 1985, this bridge was turned into part of a one way couplet of bridges with the construction of a second high level bridge at this location. Now, the heritage bridge carries traffic toward Toronto while the new bridge carries traffic toward the Niagara Region. The construction of this second bridge is sometimes described as the "twinning" of the bridge. Such a statement is highly inaccurate and misleading however. The replacement bridge is one of the ugliest bridges ever encountered, with the appearance of little more than a slab of concrete. Visually, the second bridge only serves to obstruct the view of the heritage bridge. Absolutely no attempt appears to have been made to make the second bridge compliment the heritage bridge. The second bridge is useful however as a "teaching tool" to describe how most post 1970 bridges lack aesthetics or beauty of any kind, while unaltered pre-1970 bridges usually include at least some level of aesthetic quality.

 

Rachel Ruysch

Dutch, 1664-1750

Oil on canvas

Detroit Institute of Arts

 

Can you smell the roses?

 

It almost seems possible, with lilies, poppies, tulips and roses painted in such precise detail. But this painting by master artist Rachel Ruysch doesn't simply represent highly realistic flowers; it reminds viewers that life, like flowers besieged by insects, is fleeting.

  

Rachel Ruysch was born in The Hague, the daughter of the botanist, physician and anatomist, Frederik Ruysch. Her family settled in Amsterdam when she was young and she trained there with the still life painter Willem van Aelst, from 1679.

 

In the 1680s, Ruysch was influenced by the still life painter Otto Marseus van Schriek, who was famous for his representations of dark forest flora with insects and lizards.

 

Ruysch worked in The Hague from 1701 to 1708, where she was the first female member of the artist’s society, Confrerie Pictura. From 1708 until 1716, she was court painter to the Elector Palatine, Johan Willem, in Düsseldorf.

 

In 1693 she married the Amsterdam portrait painter Juriaen Pool, with whom she had ten children. Throughout her marriage and adult life she continued to paint and produce commissions for an international circle of patrons. Other women at this time were expected to participate in art forms more traditionally practiced by women, such as sewing and spinning. Ruysch continued working as a painter after she married, mostly likely because her contribution to the family's income allowed them to hire help to care for their children.

 

After her death, despite changing attitudes about flower paintings, Ruysch has maintained a strong reputation.

 

I think it should be noticed, with admiration, that Rachel had ten children! And was still an accomplished artist.

 

It helped that her husband was also a painter-artist and likely gave her his full support.

 

An entire world view is contained within the gracefully arcing forms of this set of antlers. Antler is a fairly common medium in Inuit art, but the inclusion of a full pair is a rarity. Oopakak demonstrated extraordinary technical skill in his ability to carve figures in this delicate material. His training jewellery making comes into play in the precise and delicate details.

Created in the 1930s and redeveloped in more recent years to include artist-designed ornamental gardens, events area, play area with splash pad, Café and toilets. Grassed areas and riverside walks for quiet relaxation, picnics and kite flying or more vigorous pursuits such as running and cycling.

 

Chester-le-Street is a market town in the County Durham district, in the ceremonial county of Durham, England. It is located around 6 miles (10 kilometres) north of Durham and is also close to Newcastle upon Tyne. The town holds markets on Tuesdays, Fridays and Saturdays. In 2011, it had a population of 24,227.

 

The town's history is ancient; records date to a Roman-built fort called Concangis. The Roman fort is the Chester (from the Latin castra) of the town's name; the Street refers to the paved Roman road that ran north–south through the town, now the route called Front Street. The parish church of St Mary and St Cuthbert is where the body of Anglo-Saxon St Cuthbert remained for 112 years before being transferred to Durham Cathedral and site of the first Gospels translation into English, Aldred writing the Old English gloss between the lines of the Lindisfarne Gospels there.

 

The Romans founded a fort named Concangis or Concagium, which was a Latinisation of the original Celtic name for the area, which also gave name to the waterway through the town, Cong Burn. The precise name is uncertain as it does not appear in Roman records, but Concangis is the name most cited today. Although a meaning "Place of the horse people" has been given, scholarly authorities consider the meaning of the name obscure.

 

Old English forms of the name include Cuneceastra and Conceastre, which takes its first two syllables from the Roman name, with the addition of the Old English word ceaster 'Roman fortification' The Universal etymological English dictionary of 1749 gives the town as Chester upon Street (and describes it as "a Village in the Bishoprick of Durham"). At some point this was shortened to the modern form.

 

There is evidence of Iron Age use of the River Wear near the town, but the history of Chester-le-Street starts with the Roman fort of Concangis. This was built alongside the Roman road Cade's Road (now Front Street) and close to the River Wear, around 100 A.D., and was occupied until the Romans left Britain in 410 A.D. At the time, the Wear was navigable to at least Concangis and may also have provided food for the garrisons stationed there.

 

After the Romans left, there is no record of who lived there (apart from some wounded soldiers from wars who had to live there), until 883 when a group of monks, driven out of Lindisfarne seven years earlier, stopped there to build a wooden shrine and church to St Cuthbert, whose body they had borne with them. While they were there, the town was the centre of Christianity for much of the north-east because it was the seat of the Bishop of Lindisfarne, making the church a cathedral. There the monks translated into English the Lindisfarne Gospels, which they had brought with them. They stayed for 112 years, leaving in 995 for the safer and more permanent home at Durham. The title has been revived as the Roman Catholic titular see of Cuncacestre.

 

The church was rebuilt in stone in 1054 and, despite the loss of its bishopric, seems to have retained a degree of wealth and influence. In 1080, most of the huts in the town were burned and many people killed in retaliation for the death of William Walcher, the first prince-bishop, at the hands of an English mob. After this devastation wrought by the Normans the region was left out of the Domesday Book of 1086; there was little left to record and the region was by then being run from Durham by the prince-bishops, so held little interest for London.

 

Cade's Road did not fall out of use but was hidden beneath later roads which became the Great North Road, the main route from London and the south to Newcastle and Edinburgh. The town's location on the road played a significant role in its development, as well as its name, as inns sprang up to cater for the travelling trade: both riders and horses needed to rest on journeys usually taking days to complete. This trade reached a peak in the early 19th century as more and more people and new mail services were carried by stagecoach, before falling off with the coming of the railways. The town was bypassed when the A167 was routed around the town and this was later supplanted by the faster A1(M).

 

The coal industry also left its mark on the town. From the late 17th century onwards, coal was dug in increasing quantities in the region. Mining was centred around the rivers, for transportation by sea to other parts of the country, and Chester-le-Street was at the centre of the coal being dug and shipped away down the Wear, so a centre of coal related communication and commerce. At the same time, the growth of the mines and the influx of miners supported local businesses, not just the many inns but new shops and services, themselves bringing in more people to work in them. These people would later work in new industries established in the town to take advantage of its good communications and access to raw materials.

 

One of the most tragic episodes in the town's history and that of the coal industry in NE England occurred during a miners' strike during the winter of 1811/12. Collieries owned by the Dean and Chapter of Durham Cathedral were brought to a standstill by the strike, causing much hardship amongst the people of the town. The strike was broken on New Year's Day, 1 January 1812, when the Bishop of Durham, Shute Barrington, sent a detachment of troops from Durham Castle to force a return to work. It is thought that this uncharacteristic act by Barrington was due to pressure from the national government in Westminster who were concerned that the strike was affecting industrial output of essential armaments for the Napoleonic Wars.

 

On the evening of 5 October 1936, the Jarrow Marchers stopped at the town centre after their first day's walk. The church hall was used to house them before they continued onward the following day.

 

From 1894 until 2009, local government districts were governed from the town. From 1894 to 1974, it had a rural district, which covered the town and outlying villages. In 1909, the inner rural district formed an urban district, which covered the town as it was at that time.

 

By 1974, the town expanded out of the urban district, during that year's reforms the urban and rural districts, as well as other areas formed a non-metropolitan district. It was abolished in 2009 reforms when the non-metropolitan county became a unitary authority.

 

The town has a mild climate and gets well below average rainfall relative to the UK. It does though experience occasional floods. To the east of the town lies the Riverside cricket ground and Riverside Park. They were built on the flood plains of the River Wear, and are often flooded when the river bursts its banks. The town centre is subject to occasional flash flooding, usually after very heavy rain over the town and surrounding areas, if the rain falls too quickly for it to be drained away by Cong Burn. The flooding occurs at the bottom of Front Street where the Cong Burn passes under the street, after it was enclosed in concrete in 1932.

 

Chester-le-Street's landmarks

A brick-red, elliptically curved arch, twice as wide as it is high, over an open area with a brick-red surface

Front of a three-storey building, six windows across, with a large-framed wood door at ground level and a painted sign with the words "THE QUEENS HEAD"

Square castle with square tower

A large railway viaduct made from red bricks, topped by railings and electric pylons

The general Post Office, the marketplace with the former Civic Heart sculpture (now demolished), the Queens Head Hotel on Front Street, Lumley Castle and Chester Burn viaduct

John Leland described Chester-le-Street in the 1530s as "Chiefly one main street of very mean building in height.", a sentiment echoed by Daniel Defoe.

 

The viaduct to the northwest of the town centre was completed in 1868 for the North Eastern Railway, to enable trains to travel at high speed on a more direct route between Newcastle and Durham. It is over 230m long with 11 arches, now spanning a road and supermarket car-park, and is a Grade II listed structure.

 

Lumley Castle was built in 1389. It is on the eastern bank of the River Wear and overlooks the town and the Riverside Park.

 

The Queens Head Hotel is located in the central area of the Front Street. It was built over 250 years ago when Front Street formed part of the main route from Edinburgh and Newcastle to London and the south of England. A Grade II listed building, it is set back from the street and is still one of the largest buildings in the town centre.

 

Chester-le-Street Post Office at 137 Front Street is in Art Deco style and replaced a smaller building located on the corner of Relton Terrace and Ivanhoe Terrace. It opened in 1936 and is unusual in that it is one of a handful[30] of post offices that display the royal cypher from the brief reign of Edward VIII.

 

Main article: St Mary and St Cuthbert, Chester-le-Street

St Mary and St Cuthbert church possesses a rare surviving anchorage, one of the best-preserved in the country. It was built for an anchorite, an extreme form of hermit. His or her walled-up cell had only a slit to observe the altar and an opening for food, while outside was an open grave for when the occupant died. It was occupied by six anchorites from 1383 to c. 1538, and is now a museum known as the Anker's House. The north aisle is occupied by a line of Lumley family effigies, only five genuine, assembled circa 1590. Some have been chopped off to fit and resemble a casualty station at Agincourt, according to Sir Simon Jenkins in his England's Thousand Best Churches. This and Lumley Castle are Chester-le-Street's only Grade I listed buildings.

 

The Bethel United Reformed church on Low Chare

The small United Reformed Church on Low Chare, just off the main Front Street, was built in 1814 as the Bethel Congregational Chapel and remodelled in 1860. It is still in use and is a Grade II listed building.

 

The Riverside Ground, known for sponsorship reasons as the Seat Unique Riverside, is home to Durham County Cricket Club which became a first class county in 1992. Since 1999, the ground has hosted many international fixtures, usually involving the England cricket team. The ground was also host to two fixtures at the 1999 Cricket World Cup, and three fixtures at the 2019 Cricket World Cup. The town also has its own cricket club, Chester-le-Street Cricket Club based at the Ropery Lane ground. They are the current Champions of the North East Premier League, won the national ECB 45 over tournament in 2009 and reached the quarter-final of the national 20/20 club championship in 2009.

 

Chester-le-Street Amateur Rowing Club is based on the River Wear near the Riverside cricket ground and has been there for over 100 years. During the summer months the club operate mainly on the river, but in the winter move to indoor sessions during the evenings and use the river at weekends.

 

The club has over 160 members of which 90 are junior members, with numbers increasing annually. The club are well thought of by British Rowing as a lead club for junior development with many juniors now competing at GB level, and some competing for GB at international events.

 

Medieval football was once played in the town. The game was played annually on Shrove Tuesday between the "Upstreeters" and "Downstreeters". Play started at 1 pm and finished at 6 pm. To start the game, the ball was thrown from a window in the centre of the town and in one game more than 400 players took part. The centre of the street was the dividing line and the winner was the side where the ball was (Up or Down) at 6 pm. It was played from the Middle Ages until 1932, when it was outlawed by the police and people trying to carry on the tradition were arrested. Chester-le-Street United F.C. were founded in 2020 and compete in the Northern Football League Division Two. In the 2022/23 season they finished above their local rivals Chester-le-Street Town F.C. who were founded in 1972 and compete in the Northern Football League Division Two and based just outside Chester-le-street in Chester Moor.

 

Chester-le-Street railway station is a stop on the East Coast Main Line of the National Rail network between Newcastle and Durham; it opened in 1868. The station is served by two train operating companies:

 

TransPennine Express provides services between Liverpool Lime Street, Manchester Piccadilly, Leeds, York, Durham and Newcastle;

Northern Trains runs a limited service in early mornings and evenings; destinations include Newcastle, Carlisle and Darlington.

The station is managed by Northern Trains.

 

The town is mentioned in the 1963 song "Slow Train" by Flanders and Swann:

 

No churns, no porter, no cat on a seat,

At Chorlton-cum-Hardy or Chester-le-Street.

 

Chester-le-Street's bus services are operated primarily by Go North East and Arriva North East; routes connect the town with Newcastle, Durham, Middlesbrough and Seaham.

 

The town is the original home of The Northern General Transport Company, which has since grown into Go North East; it operated from the Picktree Lane Depot until 2023 when it was demolished. It also pioneered the use of Minilink bus services in the North East in 1985.

 

Front Street first carried the A1 road, between London and Edinburgh, through the town. A bypass was built in the 1950s, which still exists today as the A167. The bypass road itself was partly bypassed by, and partly incorporated in, the A1(M) motorway in the 1970s.

 

The northern end of Front Street was once the start of the A6127, which is the road that would continue through Birtley, Gateshead and eventually over the Tyne Bridge; it become the A6127(M) central motorway in Newcastle upon Tyne. However, when the Gateshead-Newcastle Western Bypass of the A1(M) was opened, many roads in this area were renumbered; they followed the convention that roads originating between single digit A roads take their first digit from the single digit A road in an anticlockwise direction from their point of origin. Newcastle Road, which was formerly designated A1, is now unclassified. The A6127 was renamed the A167. Car traffic is now banned from the northern part of Front Street and it is restricted to buses, cyclists and delivery vehicles.

 

Education

Primary schools

Cestria Primary School

Bullion Lane Primary School

Woodlea Primary School

Lumley Junior and Infant School

Newker Primary School

Red Rose Primary School

Chester-le-Street CE Primary School

St Cuthbert's RCVA Primary School

Secondary schools

Park View School

Hermitage Academy

 

Notable people

Michael Barron, footballer

Aidan Chambers, children's author, Carnegie Medal and Hans Christian Andersen Award winner

William Browell Charlton, trade union leader, Durham County Colliery Enginemen's Association, National Federation of Colliery Enginemen and Boiler Firemen

Ellie Crisell, journalist and television presenter

Ronnie Dodd, footballer

Danny Graham, footballer

Andrew Hayden-Smith, actor and presenter

Grant Leadbitter, footballer

Sheila Mackie, artist

Jock Purdon, folk singer and poet

Adam Reach, footballer

Bryan Robson, former England football captain, and his brothers Justin and Gary, also footballers

Gavin Sutherland, conductor and pianist

Colin Todd, football manager and former England international player

Olga and Betty Turnbull, child entertainers of the 1930s who performed for royalty

Kevin "Geordie" Walker, guitarist of post-punk group Killing Joke

Peter Ward, footballer

Bruce Welch of pop group The Shadows

 

It is twinned with:

Germany Kamp-Lintfort in Germany.

 

County Durham, officially simply Durham is a ceremonial county in North East England. The county borders Northumberland and Tyne and Wear to the north, the North Sea to the east, North Yorkshire to the south, and Cumbria to the west. The largest settlement is Darlington, and the county town is the city of Durham.

 

The county has an area of 2,721 km2 (1,051 sq mi) and a population of 866,846. The latter is concentrated in the east; the south-east is part of the Teesside built-up area, which extends into North Yorkshire. After Darlington (92,363), the largest settlements are Hartlepool (88,855), Stockton-on-Tees (82,729), and Durham (48,069). For local government purposes the county comprises three unitary authority areas—County Durham, Darlington, and Hartlepool—and part of a fourth, Stockton-on-Tees. The county historically included the part of Tyne and Wear south of the River Tyne, and excluded the part of County Durham south of the River Tees.

 

The west of the county contains part of the North Pennines uplands, a national landscape. The hills are the source of the rivers Tees and Wear, which flow east and form the valleys of Teesdale and Weardale respectively. The east of the county is flatter, and contains by rolling hills through which the two rivers meander; the Tees forms the boundary with North Yorkshire in its lower reaches, and the Wear exits the county near Chester-le-Street in the north-east. The county's coast is a site of special scientific interest characterised by tall limestone and dolomite cliffs.

 

What is now County Durham was on the border of Roman Britain, and contains survivals of this era at sites such as Binchester Roman Fort. In the Anglo-Saxon period the region was part of the Kingdom of Northumbria. In 995 the city of Durham was founded by monks seeking a place safe from Viking raids to house the relics of St Cuthbert. Durham Cathedral was rebuilt after the Norman Conquest, and together with Durham Castle is now a World Heritage Site. By the late Middle Ages the county was governed semi-independently by the bishops of Durham and was also a buffer zone between England and Scotland. County Durham became heavily industrialised in the nineteenth century, when many collieries opened on the Durham coalfield. The Stockton and Darlington Railway, the world's first public railway to use steam locomotives, opened in 1825. Most collieries closed during the last quarter of the twentieth century, but the county's coal mining heritage is remembered in the annual Durham Miners' Gala.

 

Remains of Prehistoric Durham include a number of Neolithic earthworks.

 

The Crawley Edge Cairns and Heathery Burn Cave are Bronze Age sites. Maiden Castle, Durham is an Iron Age site.

 

Brigantia, the land of the Brigantes, is said to have included what is now County Durham.

 

There are archaeological remains of Roman Durham. Dere Street and Cade's Road run through what is now County Durham. There were Roman forts at Concangis (Chester-le-Street), Lavatrae (Bowes), Longovicium (Lanchester), Piercebridge (Morbium), Vindomora (Ebchester) and Vinovium (Binchester). (The Roman fort at Arbeia (South Shields) is within the former boundaries of County Durham.) A Romanised farmstead has been excavated at Old Durham.

 

Remains of the Anglo-Saxon period include a number of sculpted stones and sundials, the Legs Cross, the Rey Cross and St Cuthbert's coffin.

 

Around AD 547, an Angle named Ida founded the kingdom of Bernicia after spotting the defensive potential of a large rock at Bamburgh, upon which many a fortification was thenceforth built. Ida was able to forge, hold and consolidate the kingdom; although the native British tried to take back their land, the Angles triumphed and the kingdom endured.

 

In AD 604, Ida's grandson Æthelfrith forcibly merged Bernicia (ruled from Bamburgh) and Deira (ruled from York, which was known as Eforwic at the time) to create the Kingdom of Northumbria. In time, the realm was expanded, primarily through warfare and conquest; at its height, the kingdom stretched from the River Humber (from which the kingdom drew its name) to the Forth. Eventually, factional fighting and the rejuvenated strength of neighbouring kingdoms, most notably Mercia, led to Northumbria's decline. The arrival of the Vikings hastened this decline, and the Scandinavian raiders eventually claimed the Deiran part of the kingdom in AD 867 (which became Jórvík). The land that would become County Durham now sat on the border with the Great Heathen Army, a border which today still (albeit with some adjustments over the years) forms the boundaries between Yorkshire and County Durham.

 

Despite their success south of the river Tees, the Vikings never fully conquered the Bernician part of Northumbria, despite the many raids they had carried out on the kingdom. However, Viking control over the Danelaw, the central belt of Anglo-Saxon territory, resulted in Northumbria becoming isolated from the rest of Anglo-Saxon Britain. Scots invasions in the north pushed the kingdom's northern boundary back to the River Tweed, and the kingdom found itself reduced to a dependent earldom, its boundaries very close to those of modern-day Northumberland and County Durham. The kingdom was annexed into England in AD 954.

 

In AD 995, St Cuthbert's community, who had been transporting Cuthbert's remains around, partly in an attempt to avoid them falling into the hands of Viking raiders, settled at Dunholm (Durham) on a site that was defensively favourable due to the horseshoe-like path of the River Wear. St Cuthbert's remains were placed in a shrine in the White Church, which was originally a wooden structure but was eventually fortified into a stone building.

 

Once the City of Durham had been founded, the Bishops of Durham gradually acquired the lands that would become County Durham. Bishop Aldhun began this process by procuring land in the Tees and Wear valleys, including Norton, Stockton, Escomb and Aucklandshire in 1018. In 1031, King Canute gave Staindrop to the Bishops. This territory continued to expand, and was eventually given the status of a liberty. Under the control of the Bishops of Durham, the land had various names: the "Liberty of Durham", "Liberty of St Cuthbert's Land" "the lands of St Cuthbert between Tyne and Tees" or "the Liberty of Haliwerfolc" (holy Wear folk).

 

The bishops' special jurisdiction rested on claims that King Ecgfrith of Northumbria had granted a substantial territory to St Cuthbert on his election to the see of Lindisfarne in 684. In about 883 a cathedral housing the saint's remains was established at Chester-le-Street and Guthfrith, King of York granted the community of St Cuthbert the area between the Tyne and the Wear, before the community reached its final destination in 995, in Durham.

 

Following the Norman invasion, the administrative machinery of government extended only slowly into northern England. Northumberland's first recorded Sheriff was Gilebert from 1076 until 1080 and a 12th-century record records Durham regarded as within the shire. However the bishops disputed the authority of the sheriff of Northumberland and his officials, despite the second sheriff for example being the reputed slayer of Malcolm Canmore, King of Scots. The crown regarded Durham as falling within Northumberland until the late thirteenth century.

 

Following the Battle of Hastings, William the Conqueror appointed Copsig as Earl of Northumbria, thereby bringing what would become County Durham under Copsig's control. Copsig was, just a few weeks later, killed in Newburn. Having already being previously offended by the appointment of a non-Northumbrian as Bishop of Durham in 1042, the people of the region became increasingly rebellious. In response, in January 1069, William despatched a large Norman army, under the command of Robert de Comines, to Durham City. The army, believed to consist of 700 cavalry (about one-third of the number of Norman knights who had participated in the Battle of Hastings), entered the city, whereupon they were attacked, and defeated, by a Northumbrian assault force. The Northumbrians wiped out the entire Norman army, including Comines, all except for one survivor, who was allowed to take the news of this defeat back.

 

Following the Norman slaughter at the hands of the Northumbrians, resistance to Norman rule spread throughout Northern England, including a similar uprising in York. William The Conqueror subsequently (and successfully) attempted to halt the northern rebellions by unleashing the notorious Harrying of the North (1069–1070). Because William's main focus during the harrying was on Yorkshire, County Durham was largely spared the Harrying.

 

Anglo-Norman Durham refers to the Anglo-Norman period, during which Durham Cathedral was built.

 

Matters regarding the bishopric of Durham came to a head in 1293 when the bishop and his steward failed to attend proceedings of quo warranto held by the justices of Northumberland. The bishop's case went before parliament, where he stated that Durham lay outside the bounds of any English shire and that "from time immemorial it had been widely known that the sheriff of Northumberland was not sheriff of Durham nor entered within that liberty as sheriff. . . nor made there proclamations or attachments". The arguments appear to have prevailed, as by the fourteenth century Durham was accepted as a liberty which received royal mandates direct. In effect it was a private shire, with the bishop appointing his own sheriff. The area eventually became known as the "County Palatine of Durham".

 

Sadberge was a liberty, sometimes referred to as a county, within Northumberland. In 1189 it was purchased for the see but continued with a separate sheriff, coroner and court of pleas. In the 14th century Sadberge was included in Stockton ward and was itself divided into two wards. The division into the four wards of Chester-le-Street, Darlington, Easington and Stockton existed in the 13th century, each ward having its own coroner and a three-weekly court corresponding to the hundred court. The diocese was divided into the archdeaconries of Durham and Northumberland. The former is mentioned in 1072, and in 1291 included the deaneries of Chester-le-Street, Auckland, Lanchester and Darlington.

 

The term palatinus is applied to the bishop in 1293, and from the 13th century onwards the bishops frequently claimed the same rights in their lands as the king enjoyed in his kingdom.

 

The historic boundaries of County Durham included a main body covering the catchment of the Pennines in the west, the River Tees in the south, the North Sea in the east and the Rivers Tyne and Derwent in the north. The county palatinate also had a number of liberties: the Bedlingtonshire, Islandshire and Norhamshire exclaves within Northumberland, and the Craikshire exclave within the North Riding of Yorkshire. In 1831 the county covered an area of 679,530 acres (2,750.0 km2) and had a population of 253,910. These exclaves were included as part of the county for parliamentary electoral purposes until 1832, and for judicial and local-government purposes until the coming into force of the Counties (Detached Parts) Act 1844, which merged most remaining exclaves with their surrounding county. The boundaries of the county proper remained in use for administrative and ceremonial purposes until the Local Government Act 1972.

 

Boldon Book (1183 or 1184) is a polyptichum for the Bishopric of Durham.

 

Until the 15th century, the most important administrative officer in the Palatinate was the steward. Other officers included the sheriff, the coroners, the Chamberlain and the chancellor. The palatine exchequer originated in the 12th century. The palatine assembly represented the whole county, and dealt chiefly with fiscal questions. The bishop's council, consisting of the clergy, the sheriff and the barons, regulated judicial affairs, and later produced the Chancery and the courts of Admiralty and Marshalsea.

 

The prior of Durham ranked first among the bishop's barons. He had his own court, and almost exclusive jurisdiction over his men. A UNESCO site describes the role of the Prince-Bishops in Durham, the "buffer state between England and Scotland":

 

From 1075, the Bishop of Durham became a Prince-Bishop, with the right to raise an army, mint his own coins, and levy taxes. As long as he remained loyal to the king of England, he could govern as a virtually autonomous ruler, reaping the revenue from his territory, but also remaining mindful of his role of protecting England’s northern frontier.

 

A report states that the Bishops also had the authority to appoint judges and barons and to offer pardons.

 

There were ten palatinate barons in the 12th century, most importantly the Hyltons of Hylton Castle, the Bulmers of Brancepeth, the Conyers of Sockburne, the Hansards of Evenwood, and the Lumleys of Lumley Castle. The Nevilles owned large estates in the county. John Neville, 3rd Baron Neville de Raby rebuilt Raby Castle, their principal seat, in 1377.

 

Edward I's quo warranto proceedings of 1293 showed twelve lords enjoying more or less extensive franchises under the bishop. The repeated efforts of the Crown to check the powers of the palatinate bishops culminated in 1536 in the Act of Resumption, which deprived the bishop of the power to pardon offences against the law or to appoint judicial officers. Moreover, indictments and legal processes were in future to run in the name of the king, and offences to be described as against the peace of the king, rather than that of the bishop. In 1596 restrictions were imposed on the powers of the chancery, and in 1646 the palatinate was formally abolished. It was revived, however, after the Restoration, and continued with much the same power until 5 July 1836, when the Durham (County Palatine) Act 1836 provided that the palatine jurisdiction should in future be vested in the Crown.

 

During the 15th-century Wars of the Roses, Henry VI passed through Durham. On the outbreak of the Great Rebellion in 1642 Durham inclined to support the cause of Parliament, and in 1640 the high sheriff of the palatinate guaranteed to supply the Scottish army with provisions during their stay in the county. In 1642 the Earl of Newcastle formed the western counties into an association for the King's service, but in 1644 the palatinate was again overrun by a Scottish army, and after the Battle of Marston Moor (2 July 1644) fell entirely into the hands of Parliament.

 

In 1614, a Bill was introduced in Parliament for securing representation to the county and city of Durham and the borough of Barnard Castle. The bishop strongly opposed the proposal as an infringement of his palatinate rights, and the county was first summoned to return members to Parliament in 1654. After the Restoration of 1660 the county and city returned two members each. In the wake of the Reform Act of 1832 the county returned two members for two divisions, and the boroughs of Gateshead, South Shields and Sunderland acquired representation. The bishops lost their secular powers in 1836. The boroughs of Darlington, Stockton and Hartlepool returned one member each from 1868 until the Redistribution of Seats Act 1885.

 

The Municipal Corporations Act 1835 reformed the municipal boroughs of Durham, Stockton on Tees and Sunderland. In 1875, Jarrow was incorporated as a municipal borough, as was West Hartlepool in 1887. At a county level, the Local Government Act 1888 reorganised local government throughout England and Wales. Most of the county came under control of the newly formed Durham County Council in an area known as an administrative county. Not included were the county boroughs of Gateshead, South Shields and Sunderland. However, for purposes other than local government, the administrative county of Durham and the county boroughs continued to form a single county to which the Crown appointed a Lord Lieutenant of Durham.

 

Over its existence, the administrative county lost territory, both to the existing county boroughs, and because two municipal boroughs became county boroughs: West Hartlepool in 1902 and Darlington in 1915. The county boundary with the North Riding of Yorkshire was adjusted in 1967: that part of the town of Barnard Castle historically in Yorkshire was added to County Durham, while the administrative county ceded the portion of the Borough of Stockton-on-Tees in Durham to the North Riding. In 1968, following the recommendation of the Local Government Commission, Billingham was transferred to the County Borough of Teesside, in the North Riding. In 1971, the population of the county—including all associated county boroughs (an area of 2,570 km2 (990 sq mi))—was 1,409,633, with a population outside the county boroughs of 814,396.

 

In 1974, the Local Government Act 1972 abolished the administrative county and the county boroughs, reconstituting County Durham as a non-metropolitan county. The reconstituted County Durham lost territory to the north-east (around Gateshead, South Shields and Sunderland) to Tyne and Wear and to the south-east (around Hartlepool) to Cleveland. At the same time it gained the former area of Startforth Rural District from the North Riding of Yorkshire. The area of the Lord Lieutenancy of Durham was also adjusted by the Act to coincide with the non-metropolitan county (which occupied 3,019 km2 (1,166 sq mi) in 1981).

 

In 1996, as part of 1990s UK local government reform by Lieutenancies Act 1997, Cleveland was abolished. Its districts were reconstituted as unitary authorities. Hartlepool and Stockton-on-Tees (north Tees) were returned to the county for the purposes of Lord Lieutenancy. Darlington also became a third unitary authority of the county. The Royal Mail abandoned the use of postal counties altogether, permitted but not mandatory being at a writer wishes.

 

As part of the 2009 structural changes to local government in England initiated by the Department for Communities and Local Government, the seven district councils within the County Council area were abolished. The County Council assumed their functions and became the fourth unitary authority. Changes came into effect on 1 April 2009.

 

On 15 April 2014, North East Combined Authority was established under the Local Democracy, Economic Development and Construction Act 2009 with powers over economic development and regeneration. In November 2018, Newcastle City Council, North Tyneside Borough Council, and Northumberland County Council left the authority. These later formed the North of Tyne Combined Authority.

 

In May 2021, four parish councils of the villages of Elwick, Hart, Dalton Piercy and Greatham all issued individual votes of no confidence in Hartlepool Borough Council, and expressed their desire to join the County Durham district.

 

In October 2021, County Durham was shortlisted for the UK City of Culture 2025. In May 2022, it lost to Bradford.

 

Eighteenth century Durham saw the appearance of dissent in the county and the Durham Ox. The county did not assist the Jacobite Rebellion of 1715. The Statue of Neptune in the City of Durham was erected in 1729.

 

A number of disasters happened in Nineteenth century Durham. The Felling mine disasters happened in 1812, 1813, 1821 and 1847. The Philadelphia train accident happened in 1815. In 1854, there was a great fire in Gateshead. One of the West Stanley Pit disasters happened in 1882. The Victoria Hall disaster happened in 1883.

 

One of the West Stanley Pit disasters happened in 1909. The Darlington rail crash happened in 1928. The Battle of Stockton happened in 1933. The Browney rail crash happened in 1946.

 

The First Treaty of Durham was made at Durham in 1136. The Second Treaty of Durham was made at Durham in 1139.

 

The county regiment was the Durham Light Infantry, which replaced, in particular, the 68th (Durham) Regiment of Foot (Light Infantry) and the Militia and Volunteers of County Durham.

 

RAF Greatham, RAF Middleton St George and RAF Usworth were located in County Durham.

 

David I, the King of Scotland, invaded the county in 1136, and ravaged much of the county 1138. In 17 October 1346, the Battle of Neville's Cross was fought at Neville's Cross, near the city of Durham. On 16 December 1914, during the First World War, there was a raid on Hartlepool by the Imperial German Navy.

 

Chroniclers connected with Durham include the Bede, Symeon of Durham, Geoffrey of Coldingham and Robert de Graystanes.

 

County Durham has long been associated with coal mining, from medieval times up to the late 20th century. The Durham Coalfield covered a large area of the county, from Bishop Auckland, to Consett, to the River Tyne and below the North Sea, thereby providing a significant expanse of territory from which this rich mineral resource could be extracted.

 

King Stephen possessed a mine in Durham, which he granted to Bishop Pudsey, and in the same century colliers are mentioned at Coundon, Bishopwearmouth and Sedgefield. Cockfield Fell was one of the earliest Landsale collieries in Durham. Edward III issued an order allowing coal dug at Newcastle to be taken across the Tyne, and Richard II granted to the inhabitants of Durham licence to export the produce of the mines, without paying dues to the corporation of Newcastle. The majority was transported from the Port of Sunderland complex, which was constructed in the 1850s.

 

Among other early industries, lead-mining was carried on in the western part of the county, and mustard was extensively cultivated. Gateshead had a considerable tanning trade and shipbuilding was undertaken at Jarrow, and at Sunderland, which became the largest shipbuilding town in the world – constructing a third of Britain's tonnage.[citation needed]

 

The county's modern-era economic history was facilitated significantly by the growth of the mining industry during the nineteenth century. At the industry's height, in the early 20th century, over 170,000 coal miners were employed, and they mined 58,700,000 tons of coal in 1913 alone. As a result, a large number of colliery villages were built throughout the county as the industrial revolution gathered pace.

 

The railway industry was also a major employer during the industrial revolution, with railways being built throughout the county, such as The Tanfield Railway, The Clarence Railway and The Stockton and Darlington Railway. The growth of this industry occurred alongside the coal industry, as the railways provided a fast, efficient means to move coal from the mines to the ports and provided the fuel for the locomotives. The great railway pioneers Timothy Hackworth, Edward Pease, George Stephenson and Robert Stephenson were all actively involved with developing the railways in tandem with County Durham's coal mining industry. Shildon and Darlington became thriving 'railway towns' and experienced significant growths in population and prosperity; before the railways, just over 100 people lived in Shildon but, by the 1890s, the town was home to around 8,000 people, with Shildon Shops employing almost 3000 people at its height.

 

However, by the 1930s, the coal mining industry began to diminish and, by the mid-twentieth century, the pits were closing at an increasing rate. In 1951, the Durham County Development Plan highlighted a number of colliery villages, such as Blackhouse, as 'Category D' settlements, in which future development would be prohibited, property would be acquired and demolished, and the population moved to new housing, such as that being built in Newton Aycliffe. Likewise, the railway industry also began to decline, and was significantly brought to a fraction of its former self by the Beeching cuts in the 1960s. Darlington Works closed in 1966 and Shildon Shops followed suit in 1984. The county's last deep mines, at Easington, Vane Tempest, Wearmouth and Westoe, closed in 1993.

 

Postal Rates from 1801 were charged depending on the distance from London. Durham was allocated the code 263 the approximate mileage from London. From about 1811, a datestamp appeared on letters showing the date the letter was posted. In 1844 a new system was introduced and Durham was allocated the code 267. This system was replaced in 1840 when the first postage stamps were introduced.

 

According to the Encyclopædia Britannica Eleventh Edition (1911): "To the Anglo-Saxon period are to be referred portions of the churches of Monk Wearmouth (Sunderland), Jarrow, Escomb near Bishop Auckland, and numerous sculptured crosses, two of which are in situ at Aycliffe. . . . The Decorated and Perpendicular periods are very scantily represented, on account, as is supposed, of the incessant wars between England and Scotland in the 14th and 15th centuries. The principal monastic remains, besides those surrounding Durham cathedral, are those of its subordinate house or "cell," Finchale Priory, beautifully situated by the Wear. The most interesting castles are those of Durham, Raby, Brancepeth and Barnard. There are ruins of castelets or peel-towers at Dalden, Ludworth and Langley Dale. The hospitals of Sherburn, Greatham and Kepyer, founded by early bishops of Durham, retain but few ancient features."

 

The best remains of the Norman period include Durham Cathedral and Durham Castle, and several parish churches, such as St Laurence Church in Pittington. The Early English period has left the eastern portion of the cathedral, the churches of Darlington, Hartlepool, and St Andrew, Auckland, Sedgefield, and portions of a few other churches.

 

'Durham Castle and Cathedral' is a designated UNESCO World Heritage Site. Elsewhere in the County there is Auckland Castle.

No precise date on this one, Crosville Bristol RE TFM268K which has ECW C47F is seen with a little boy climbing or descending the mountainous steps at Victoria Coach Station.

The coach was new in July 1972 and was I think one of the first two Crosville coaches delivered in National livery, give the coaches behind it and next to it are in company livery I would guess this is late 1972 or 1973.

Image from a slide in my collection by an unknown photographer.

At the precise time,

something extraordinary

may sprout

out of something dull dark.

 

At the exact place

something different

may reborn

out of something pitch black.

 

At the right person

something new

may resurface

out of something pure simple.

    

Bass Harbor Head Lighthouse

Mount desert island

Trenton, Maine

lighting after sunset on foggy summer night

Provincial Yelets was once considered one of the most beautiful towns in Russia. It was adorned with two monasteries, three dozen Orthodox churches, a Polish Catholic church, a German church, and a Jewish synagogue. The precise rhythm of its domes and bell towers still defines the skyline of the old town.

 

The great Russian writer Ivan Bunin, in exile in a distant land, recalled "...the ringing, the roar of the bells from the bell tower of St. Michael the Archangel, towering above everything in such grandeur, such splendor, such as the Roman Church of St. Peter never dreamed of, and such enormity that the Pyramid of Cheops could never again impress me." The Church of St. Michael the Archangel stands next to the administration building in the center of Yelets, the city where the future Nobel laureate spent his high school years. He often spoke warmly of the city of his youth.

 

On Red Square stands the colossal Ascension Cathedral. It claims to be the second largest Orthodox church in Russia after St. Isaac's Cathedral in St. Petersburg. The cathedral was designed by the renowned architect Konstantin Andreevich Ton (1794-1881), the architect of the Cathedral of Christ the Savior and the Grand Kremlin Palace. Approving the design, Tsar Nicholas I ordered the architect to be granted royal favor for the cathedral's beauty. The interior decoration was worked on by the Itinerant artists and academicians of painting, Alexei Ivanovich Korzukhin (1835-1894) and Klavdy Vasilyevich Lebedev (1852-1916).

 

Above the cathedral's left iconostasis is a painting of the "Mother of God of Yelets." The Virgin Mary and her heavenly host block the path of Tamerlane's invasion in 1395.

 

To commemorate the 500th anniversary of Rus''s miraculous deliverance from the invasion, the Church of Our Lady of Yelets was founded in Yelets. Its tented roof still dominates the modern architecture of the southern part of the city. People call it "the red church," either for the color of its brick or for the beauty of its unusual shapes.

 

Yelets has seen so many people within its walls over its thousand-year history. Presumably founded in 986 as the center of an appanage principality, the city was first mentioned in the Nikon Chronicle for 1146:

 

“Prince Svyatoslav Olgovich went to Rezan and visited Mchensk, and Tula, and Dubok on the Don, and Yelets, and Pronsk, and came to Rezan on the Oka...”

 

Its location on the southeastern outskirts of the Russian lands, bordering the "wild field," determined the city's fate for several centuries: "it was... the protector of the Russian lands." Polovtsian raids, Tatar-Mongol invasions, and attacks by Crimean and Golden Horde hordes repeatedly brought the city to desolation, but it was rebuilt and rose again.

 

"The city itself also boasted of its antiquity, and had every right to do so: it truly was one of the most ancient cities lying among the great black earth fields of the Substeppe, on that fateful line beyond which once stretched "wild, unknown lands," and in the times of the principalities of Suzdal and Ryazan, it belonged to those most important strongholds of Rus' that, according to the chroniclers, were the first to breathe in the storm, dust, and cold from under the menacing Asian clouds that continually passed over it, the first to see the glow of the terrible night and day fires ignited by them, the first to let Moscow know of the impending disaster and the first to lay down their lives for it..." (I. A. Bunin).

 

From the mid-17th century, Yelets developed as a city of artisans and traders. Livestock trading, tanneries, trade in grain, flour, and semolina, and the famous Yelets lace made the city prosperous and brought it fame.

 

Yelets's historical heritage includes approximately two hundred architectural monuments. The city itself is a monument to Russian urban planning. Narrow, straight streets running north to south and east to west, combined with low, two- and three-story buildings that are spacious enough to accommodate a person, create a uniquely cozy atmosphere. In Yelets, you don't feel lost, as you might in a larger city. Perhaps this is why the constant flow of tourists eager to see the green Russian city...

 

A small town, wandering its cozy streets, and visiting the church. Perhaps it's also because the Yelets region is the birthplace of writers Ivan Bunin and Mikhail Prishvin, philosopher Vasily Rozanov, composer Tikhon Khrennikov, and artists Vasily Meshkov, Nikolai Ulyanov, and Nikolai Zhukov. Yelets attracts visitors with its lacemaking industry, museums, art gallery, picturesque landscapes, and fascinating natural sites. It also draws visitors with its centuries-long, dramatic history, closely linked to the fate of Russia.

 

Many of Yelets' churches have suffered a tragic fate. Not all survived the destruction and hard times. Birch trees grow on the exposed domes of the Church of the Archangel Michael, which so captivated Ivan Bunin's youthful imagination. The traces of abandonment and neglect on many of the remaining churches speak to the hearts of the people. With Russia's rebirth comes a renaissance of its small and medium-sized towns, and Yelets is at the top of that list.

 

Will we restore its former beauty?

 

V. Gorlov.

Made for SWFactions on Eurobricks.

www.eurobricks.com/forum/index.php?/forums/topic/180827-j...

 

Captured by pirates! While searching for the natives of Imynusoph, our trio are beset upon by the cavalier Colonel Corbett's callous rogues! The murderous pirates and their flamboyant leader drag our heroes to their camp, where intrigue abounds!

  

Clod blinked against the harsh light streaming in from above. His hands were shackled. It wasn’t the worst situation he’d been in, he thought. Then, to his surprise, his next thoughts were about his two companions. He hoped they were alright. It would be a million years before he’d admit it.

The sergeant called “Slyfoot” stood in the darkness a few feet away. He could feel the man watching him, disturbingly calm. Precise.

“Look at you,” he sneered. “A treasure hunter. Ha! I believed Klatoonians to be nothing but pirates and scum.”

It was a struggle to form words, but Clod couldn’t give up the opportunity for a zinger. “Look how the…tables have turned.”

He almost immediately regretted it. The droid administered a searing shock to his ribs that sent his limbs convulsing. His skin burned. He shouted, and for a moment, he panicked.

“Such wit. No more of that, I think,” he heard Slyfoot say. “You should put your words to better use, like securing a release for you and your companions. All you must do is tell me what it was you were searching for.”

“Fat chance—Augh!” Another shock. More horrible pain.

Slyfoot stepped into the light. He slowly shook his head.

“’Fat chance’, you say? On the contrary, Mr. Clod,” he said, and a smile crept onto his face. “I quite like my odds.”

      

“Tea or Caf, Professor?” offered Colonel Corbett, busying himself with a gleaming pot and an ion heater.

“O-Oh, tea, I suppose.”

The Colonel looked up at him, a pleasant expression on his face. “I see you appreciate my décor!”

Floon had been staring at some of the trophies scattered about; horns, hides, huge eggs, droid parts, scraps of clothing. Some from beasts, others from treasure hunters who’d come before.

“Why…yes! It’s very…eclectic. Er, thank you again for having me, Colonel.”

“Of course, of course! I must say, I’ve positively chuffed about you being here. An academy man! On Imynusoph! Chandrila, you say?”

“Er, yes. I had, er, tenure at the Chandrila Academy.”

“Ha! Chandrila! A professor from Chandrila makes my acquaintance here, of all places. Who would have thought it would happen? Certainly not me! I admit it! Please, make yourself comfortable, my questions are bound to be numerous.”

The Neimodian professor looked nervously around the tent. One of the pirates loitered at the door. Floon felt that he should do some great act of bravery, try to free Mr. Clod and Ms. Rigo, but he didn’t know where he would even start.

“Professor?”

The question shook Floon from his thoughts. “Oh, y-yes?”

Colonel Corbett smiled. “You don’t look very comfortable. Come, you’re in good company. I am a man of learning and intelligence myself.”

“Why, o-of course!” said Floon. Unable to muster a relaxed smile, he summoned a polite grimace.

The Colonel frowned. “Professor, I brought you here that we might engage in riveting conversation! Without conversation, I have no reason to bring you here rather than lock you up in our brig. Do you understand?”

Floon did, but he was not very good at staying calm when faced with threats. He knew all too well what the murderous pirates might do if the Colonel permitted. With a great amount of sweating and stuttering, he apologized. “I’m…m-most…s-sorry, Colonel. Most s-sorry. Let us…er…converse, s-shall we?”

“Very good, very good!” said the Colonel, settling in and looking at the professor expectantly. “Well then, let us get down to, as they say, brass tacks. I want to hear everything you know about the giant birds of Imynusoph! I expect I’ll be quite fascinated!”

“Er, yes…” mumbled Floon. “Quite.”

       

“Let go of me, you idiots!” Kitsa did her best to break her restraints through sheer will, but no dice. She settled for whacking one of her captors instead, sending him reeling with a broken nose. She couldn’t believe how lucky her aim was. And finally, something for her story!

“Let the Stud take care of her! I don’t want to get kicked again,” whined one of the pirates. The others parted, allowing the largest one, the one with the bandolier and the AT-AT driver helmet, to step towards her. He was enormous, at least 6’8”, and not what you’d call ‘lanky’. There was no chance she’d make a dent against this guy. He settled one giant hand on her shoulder, and he steered her away.

She muttered threats as they walked through the Imperial camp, shooting glances around to take in everything she was seeing. They had left the treeline onto an open savannah. The camp had clearly been an Imperial outpost, but now was all ramshackle and bolted together to keep out the wildlife. There was a junkyard of impounded vehicles that caught her attention. Most of them were scrap, but one airspeeder, red-and-white, looked intact. She took note of this for later.

She eyed the pirate. He was a muscular guy, that was for sure. Where was he taking her? A pit of gundarks, or an interrogation chamber?

Neither, it turned out. She was escorted to a quiet corner of the pirate camp, a breeze-blown tent with foliage breaking in overhead and enshrouding the space.

“You can stay here,” said the big pirate.

She scoffed. “What are you, good cop? And what’s this place, the torture waiting room?”

“It’s, well,” the pirate hesitated. “No, it’s just a tent. I had a wife when we came here. This used to be hers. Thought you’d like it more than a cage, but if I’m wrong…”

That was unexpected. She turned and sized him up suspiciously, but there wasn’t much to observe in the blank stare of the helmet’s facemask. “A wife, huh? What happened to her? Your pirate buddies shoot her?”

“You think they’d get past me? Nah, not in a million years,” he chuckled, but his tone turned somber. “No, one day she went out to get clean water, our purifier was broken, and one of the jungle beasts came out of the trees. She couldn’t get away fast enough. Her blaster misfired. That’s all it took.”

In a rare moment, Kitsa didn’t know what to say.

The pirate took a deep breath, then said, “So if you were thinking of running, I wouldn’t.”

“Sure,” she nodded, collecting herself. “Sorry about your wife. Thanks for the tent.”

“No problem,” said the pirate. He then stood there awkwardly for a moment, before asking, “So, uh, you, uh, some kind of reporter?”

Kitsa lit up. “I sure am, Galactic Gazette.”

The man swayed on his feet, coughing uncomfortably. “What’s, uh, what’s going on out there? In the galaxy? Rebels gone, yet? We heard we had another Death Star.”

Kitsa stared at the emotionless facemask for a moment. Of course, it made sense. When was the last time they would’ve heard any news?

Her story was really heating up.

She smiled and deflected the question. “What’s your name?”

“Deksen. They call me ‘the Stud’. What’s your name, uh, miss?”

“Kitsa Rigo,” she answered smartly. “What do you say about sitting for an interview with me, Deksen? In return, I’ll tell you whatever you want to know.”

The pirate said nothing for a moment. He looked over his shoulder to see if anyone was watching. “I guess that’d be alright. We don’t exactly get much press on Imynusoph. I suppose you can tell the galaxy about our bravery.”

Kitsa sat on the medical bed, her pen poised. “So, Deksen, what’s it been like for you, out here?”

The pirate set his gun to the side and took a deep breath.

“Well…” he began.

     

Another shock, another burn, another stab. Harnaby Clod struggled in the interrogation gurney, his mouth full of spit. He couldn’t take much more of this. He felt like his mind was slipping through his fingers, jolted free by every prod from the droid. Karfing droid. He’d smash that droid to bits if he ever got out of this.

Another stab of a needle. His vision swam. He’d get out of this, right? Could he?

“Tell me why you’re here. Tell me what you know,” Slyfoot said, walking around him. “I’d love to see you dead, believe me. Who will remember you if you’re gone? Some dog-faced lunatic on the edge of the galaxy, no one important. No accomplishments, no fealty, nothing of note. Another dead alien.”

“You…don’t…know…mersh.”

“Hm, perhaps. But tell me…am I wrong, Mr. Clod?”

The dark room blinked in and out of existence before Clod’s eyes. He felt his tongue go limp. His heart felt like it was drying up.

The sergeant watched him, smiling cruelly. “Alright, I’ll get it out of the Neimodian, then. Good bye, Mr.-“

“Waitsh, waitsh!” Clod gasped. “Ah’ll tell yoush…”

Slyfoot brightened. “Indeed, Mr. Clod? If you tell me, as I’ve said, this can all end.”

He couldn’t do this anymore. What was he thinking?

He wasn’t. Anything to stop this. Karf this place.

“Ah’ll…ah’ll…tell yoush anything…” he wheezed.

Slyfoot straightened his cap. “Very good, Mr. Clod. Go on then.” He leaned in, until his face dominated Clod’s view. Slyfoot tried to manage his own expectations, but he couldn’t suppress his excitement. He looked down at the drooling Klatoonian.

“Mr. Clod,” he said. “Is the treasure…real?”

       

“Wow!” muttered Kitsa, scribbling in her notebook.

“That’s just how it is out here. It’s made the other pirates what they are. It’s made me…” he shrugged. “Changed.”

“That’s really…tough! I’m so sorry you’ve had to suffer through this place.”

“Hm, I’ve been lucky…I think. But what about you, Ms. Rigo?” asked the pirate called Deksen.

“M-Me?”

He leaned in attentively. “How does a woman such as you find yourself in a place like this?”

Even with the facemask in the way, Rigo felt his gaze on her face. She frowned.

“Well, I work for the Gazette.”

He tilted his head. “Because you wish to tell stories?”

“Because I want to…” she paused before answering. “I want to make others see the truth.”

Deksen nodded slowly. He was impressed by the honesty of her answer. “Will you tell me more?”

In a strange moment, the both of them felt the softening in their spirits take its full course, and they entirely let down their guards. Kitsa avoided his gaze, but launched into a treatise on how it was she ended up here, the absurdity of the situation, and how she hoped she might get something out of it anyway because while she was here there was no one investigating the Ubrikkian corporation and something had to be done soon because those poor Duros in the factories had no one standing up for them, and if no one else was going to take Ubrikkian to task, she sure as shaft would.

Deksen listened quietly, occasionally asking questions or affirming how Kitsa felt. Eventually she had completed her story. She took a deep breath, which she had expended whilst going on about her passions.

Deksen folded his hands. “Your spirit…moves me.”

“Oh!” said Kitsa, not sure how to respond. She felt her cheeks burn, and said quietly, “Thanks for listening.”

“And thank you for talking.”

She laughed. “You’d be a much better editor than the one I’ve got. Getting him to listen is a full time job.”

A breeze blew through the tent, carrying the sounds of harsh laughter from where the other pirates were getting into the brew. Far off, Kitsa heard a howl of pain that made her skin crawl and her mind turn towards her lost companions.

After a moment of silence, she looked into Deksen’s facemask. It was a risk, could she trust an ex-stormtrooper-turned-pirate? Strangely, she felt that she could trust him more than almost anyone she’d met. This disturbed her in a profound way, but she didn’t have time to dwell on her emotions. She had to take action.

“Deksen, I need to get out of here.”

“Yes, you do.” His shoulders slumped as he prepared himself for the choice he was making. His life would never be the same after this. “And yes, before you ask; I will help you.”

Kitsa sighed with relief, but there was no time to waste. They had to get down to business. “Alright, here’s what I was thinking. Tell me if it makes sense…”

       

“Spiritual creatures, you say?”

Colonel Corbett stroked his moustache, listening to what Professor Floon had to say with a most attentive mind.

“Well, y-yes. Regarded as spiritual creatures by…” Floon kept himself from revealing the natives at only the last moment. “…by all who visit this planet, I’ve heard.”

It was all Floon could do to keep the existence of the native tribes a secret. Apparently these pirates had no clue they might still be around.

“Fascinating! And you say the wingspan…”

The words tumbled out of Floon like a brook. His trepidation could not dampen his excitement. “No one has seen it in millennia, but I do not lie when I say,” he leaned in, saying conspiratorially, “it is said to be three men across!”

Corbett rubbed his hands together and grinned. “Incredible! Simply incredible. Say, Professor, I know you count yourself among the squeamish, but do you suppose that shooting down a bird of spiritual importance grants a hunter more, how do you say, ‘bragging rights’?”

Floon raised an eyeridge and stared. “Are…are you…joking, sir?”

“I assure you, I am not!” said Corbett, jabbing the desk with his finger. “A hunter such as myself has precious little time for jokes, what with so much glory left unobtained. You’re the closest thing in the galaxy to an expert, Professor. Do you believe killing such a creature would grant me more glory?”

Floon watched the officer nervously. His eyes were eager, his face covered in sweat. The heat was dull and damp in the shade of the tent, the kind of environment Floon had been born into. Very much a comfort zone.

The professor summoned up all his courage, swelling up his chest in rather an alarming way. Corbett’s eyes widened.

“No!” squeaked Floon.

Corbett was puzzled. “…’No’?”

“No!” Floon stood his ground. “How can you talk of killing a creature such as this? For all your talk about appreciating great beasts, you end their magnificent lives with such…relish!” He licked his lipless mouth, his words sputtering and cracking as adrenaline shot through him. He’d never confronted anyone in his life. Certainly not anyone who was willing to kill him. “I don’t mind saying that it is…despicable! Yes, despicable!”

Colonel Corbett, who had initially been very surprised, now furrowed his brow. When he spoke, his tone was dark. “Professor…I’m not used to being talked to in such a-”

“Indeed, indeed!” squawked Floon, suddenly desperate to turn his situation around. “But nor are you used to talking to your intellectual equal, as you have said! This is true, yes?”

Corbett considered it. “Yes, it is true,” he admitted.

“Then please, hear my words, as another man of learning! These creatures are not for killing, they are for studying! For conserving! For…loving! Please, take my offer of friendship and understand I mean you no ill will. I only wish to see a force such as yourself used for…better things!”

Colonel Corbett looked bothered. He had never thought of it in such terms before. Professor Floon breathed heavily, waiting in silence, heart hammering, hoping for a reaction that spared his life.

Finally, the Colonel’s expression softened, and he began to speak. “Professor, I—“

“Colonel Corbett!” came a voice from the tent’s opening. Floon, uncharacteristically, cursed in his head. His heart sank.

“How dare you interrupt me? I said, very clearly I thought, that no one was to interrupt!”

The pirate at the opening was the huge, shirtless one, with the AT-AT driver’s helmet. “But it’s the others, sir, they’ve broken out!”

The moment had passed, Corbett’s mind was on other things. He grabbed his cap and marched towards the entrance. “Well then! Wait here with the Professor, we must hunt them down!”

Corbett marched toward the tent flap, where he was promptly whacked in the head with a blaster handle, and fell flat on his back. He lay there, hair mussed, tongue out, and unconscious.

“Oh my goodness!” cried Floon.

“Quiet, Professor! It’s just me, Kitsa. Ms. Rigo.”

Indeed it was. The reporter came ducking in, blaster in hand. The large pirate stood guard while she knelt down to rummage in Corbett’s holster.

“What-what is going on? Who is this abnormally large man at the door?” asked Floon, who’s voice dropped to an anxious whisper as he added, “Is he not one of the pirates?”

Kitsa pushed a strand of hair out of her face. “Huh? Oh, that’s Deksen,” she explained simply. “He’s gonna help us escape.”

The pirate named Deksen raised a hand in casual greeting.

“O-Oh, how do you do?” Floon replied weakly, and he tipped his hat on instinct. “You are…very big!”

“I get that a lot,” came Deksen’s reply, filtered through his helmet.

“He is, isn’t he?” Kitsa grinned.

“Y-Yes—hold on; escape, you said?” squeaked Floon, who’s brain was beginning to catch up at last.

“Yes, escape,” she repeated firmly, looking him in the eye. “But we have to go now, understand? Otherwise we’ll die?”

Floon withdrew a handkerchief and dabbed at his face. “O-Oh, my. This is all rather a lot. And so sudden…”

“Yes, it is. We still have to save Clod, against my better judgement.”

“S-Save…Clod, you say?” said Floon, wilting with every word, and very close to fainting.

Kitsa smiled wryly and patted him on the shoulder. “Come on, Professor,” she said, and she handed him the Colonel’s blaster before turning to leave. Deksen made to follow her.

Floon went after them, but before reaching the tent’s exit he spun around awkwardly to address his host.

“I’m…very sorry for all this,” he said to Corbett’s unconscious body. “It really w-was lovely meeting you.”

Floon felt it was polite for one to wait to be excused, but Corbett did not reply.

Thus, with a great deal of stumbling and nervous mumbling, the professor hurried to catch up with the others.

     

“And the natives,” said Slyfoot with relish. “You said you’ve met them before, is that true?”

“Yesh,” spat Clod. He eyed the interrogation droid floating a foot away, its red receptor blinking, prod extended towards him.

“Then you could lead us to them. You will lead me to them.”

“Didn’t you hear a word I said? They found me the first time. I don’t know how to find them now!”

Slyfoot waved a hand dismissively. “Well, no matter. They asked you to return, I’m sure they’ll show up to you soon.”

Clod wished he could wipe his mouth where he’d drooled after one of the many electroshocks. It was starting to chape. “…Thought you…were gonna let us go?” he groaned.

Slyfoot laughed. “Really? You did? I didn’t take you for a fool. No, Mr. Clod. You’ll stay in this luxury for many days to com--I said I wanted no interruptions!”

Light had flooded the room from the now-open door. He heard a blaster go off, and a red bolt smashed into the interrogation droid, knocking it to the ground.

“Pardon me!” said Professor Floon, turning the gun on Slyfoot. The pirate sergeant raised his hands in surrender. “I nearly forgot something on my way out!”

“P-professor?” slurred Clod, craning his neck to see. “I can’t believe it.”

“That’s right, it’s me! I’ve come to rescue you, Mr. Clod.”

Clod groaned with relief. He hadn’t expected this in a million years. “You gotta get me out of here, doc.”

“Indeed!” said the Professor, who prodded Slyfoot with his pistol until he gave up the key to the bindings.

“Nice entry."

Floon seemed pleased. “Thank you! I am honored by the compliment, especially from someone as…daring-do as yourself! I practiced on the way here.”

“It paid off. Now…” he stretched and groaned his weary, burnt muscles. Then he turned towards Slyfoot, who held to his dignity even while fear seeped in the cracks. Weakened though he was, the Klatoonian was dangerous. He proved this to Slyfoot by knocking him to the floor with a right hook.

“Jerk. Wish I had more time.”

“We really must go, Rigo is waiting! She found a way out!”

Clod looked at the Professor and raised an eyebrow. “You already saved her?”

“Saved her?” replied the professor, leading him into the daylight. “Why, it was her who saved me!”

“You’re kidding!”

“I am not kidding, Mr. Clod! I assure you, I am entirely serious!”

  

They caught up with Kitsa and Deksen at the camp’s boneyard, where ship and vehicle carcasses formed a monument to the pirates’ past conquests.

“He’s fine,” said Kitsa, in response to the alarmed look on Clod’s face. “His name is Deksen, he’s helping us.”

“Nice to meet you,” said Deksen, voice filtered through his helmet.

“Sure, sure. A pleasure,” muttered Clod. “Listen, I told that creepy imp about the natives.”

Kitsa and Floon looked at him with dismay.

“It wasn’t exactly by choice,” grumbled Clod, but he avoided their gaze. “I’m betting they didn’t torture either of you.”

They answered by way of silence.

“Of course not,” he grunted. “Who else here has a face like a Corellian hound?”

“Ahem...I cannot imagine what you went through in that little room, so I cannot blame you for anything you’ve done,” said Floon seriously. “Besides…I let slip quite a lot about the wildlife to the Colonel, and I was under no compulsion besides a foolish enthusiasm for my subject! Oh, how moronic of me. I’m far worse than you, Mr. Clod. Fear no condemnation from us.”

Clod looked at him with something approaching humility and gratitude.

“I didn’t tell anyone anything,” said Kitsa. “Except about myself.”

“Their knowledge simply means we must make greater haste to find the natives first. And with the skills and talents of us three, I find our chances encouraging!”

Kitsa gestured to their soon-to-be-stolen ride. “Especially with this thing.”

Clod hurried forward to look at what she’d found. Underneath a tarp sat a small, aged red-and-white craft. Barely enough space for two people. “What is this, an Incom? Tiny, isn’t it?”

“Who cares who built it?” she replied shortly. “It’s an Airspeeder. Deksen says it’ll still fly.”

Deksen shrugged. “We use it for scout missions.

“Wait," Clod frowned. "We can’t leave yet.”

Kitsa threw up her hands. “Why not?”

“Hat."

“Oh, for karf’s sake--I got your hat, here. Can’t believe you’d get us killed over your hat.”

“My hat! You’re alright, Rigo.”

 

Deksen cleared his throat. “You three should climb in, you don’t have a lot of time.”

They threw their things in the speeder. Clod clambered into the pilot’s seat and brushed some crumbs off the controls. He checked various switches and toggles with an air of familiarity. Floon crammed himself into the back.

Kitsa was last to get in. She turned and threw herself at Deksen, hugging him awkwardly. She didn’t hug many people. Were you supposed to do it so forcefully? Fortunately, Deksen didn't seem to mind. He folded her gently in his massive arms.

“Thank you. I wish you could come with us.”

His tone carried a smile she couldn’t see through his facemask.

“It was good to meet you. I’ll see you again.”

“And you’ll be okay? The other pirates won’t…”

He put a calming hand on her shoulder. “You think they could?”

“Miss Rigo!” called the professor from the speeder. “I’m quite nervous waiting in here! I wouldn’t say anything, except that my muttering has made Mr. Clod angry.”

The two shared a chuckle. Kitsa smiled sadly and let go of him. She clambered into the airspeeder with the others, where she discovered it was a much tighter fit than she’d expected. Once she’d negotiated space with Floon, she leaned against the window and gave Deksen a final wave.

The pirate waved back.

  

“Whoof. He’s ripped, huh?” she said wistfully.

“Ripped?” Floon squeaked. “I’d say his shirt is beyond ripped, madam! There’s hardly a shirt there at all!”

The speeder was humming to life, the way any vehicle does that’s taken some battering. A warm, clanky kind of hum.

“Alright,” said Clod from the front. “Off to find the natives?”

“Before the pirates do!” said Kitsa.

“Oh my! A race against pirates, for the good of knowledge and sentient life!” flushed Floon. “It’s all rather exciting, isn’t it?”

 

50mm macro inverse test

 

1 of the 15 official wallpapers for ubuntu 12.04 Precise Pangolin.

 

higher resolution:

bugs.launchpad.net/ubuntu/+source/ubuntu-wallpapers/+bug/...

The San Francisco cable car system is the world's last manually operated cable car system and an icon of the city of San Francisco. The system forms part of the intermodal urban transport network operated by the San Francisco Municipal Railway, which also includes the separate E Embarcadero and F Market & Wharves heritage streetcar lines, and the Muni Metro modern light rail system. Of the 23 cable car lines established between 1873 and 1890, only three remain (one of which combines parts of two earlier lines): two routes from downtown near Union Square to Fisherman's Wharf, and a third route along California Street.

 

While the cable cars are used to a certain extent by commuters, the vast majority of the millions of passengers who use the system every year are tourists, and as a result, the wait to get on can often reach two hours or more. They are among the most significant tourist attractions in the city, along with Alcatraz Island, the Golden Gate Bridge, and Fisherman's Wharf.

 

San Francisco's cable cars are listed on the National Register of Historic Places and is one of only two street railways to be named a National Historic Landmark, along with the St. Charles Streetcar Line in New Orleans.

 

In 1869, Andrew Smith Hallidie had the idea for a cable car system in San Francisco, reportedly after witnessing an accident in which a streetcar drawn by horses over wet cobblestones slid backwards, killing the horses. Hallidie solicited financial support in 1871 and 1872, and his primary backers were Henry L. Davis, Joseph Britton, and James Moffit.

 

The first successful cable-operated street running train was the Clay Street Hill Railroad, which had its inaugural run on August 2, 1873. The promoter of the line was Hallidie, and the engineer was William Eppelsheimer; both Hallidie and Eppelsheimer obtained several patents for their work on the Clay Street line. The line involved the use of grip cars, which carried the grip that engaged with the cable, towing trailer cars; the design was the first to use grips. The term "grip" became synonymous with the operator.

 

The line started regular service on September 1, 1873, and its success led it to become the template for other cable car transit systems. It was a financial success, and Hallidie's patents were enforced on other cable car promoters, making him wealthy.

 

Accounts differ as to the precise degree of Hallidie's involvement in the inception of the line, and to the exact date on which it first ran. According to the franchise granted by the city, operations were required to begin by August 1, 1873. A retrospective published in 1895 stated that a single car was run over the line at 4 am on the morning of August 1 with few witnesses to ensure the franchise would not expire.  Eppelsheimer would later bring a suit against Hallidie and the Clay Street Hill RR in June 1877 over patents, but dismissed it voluntarily the following March.

 

The next cable car line to open was the Sutter Street Railway, which converted from horse operation in January 1877. This line introduced the side grip, and lever operation, both designed by Henry Casebolt and his assistant Asa Hovey, and patented by Casebolt.  This idea came about because Casebolt did not want to pay Hallidie royalties of $50,000 a year for the use of his patent. The side grip allowed cable cars to cross at intersections.

 

In 1878, Leland Stanford opened his California Street Cable Railroad (Cal Cable). This company's first line was on California Street, and is the oldest cable car line still in operation. In 1880, the Geary Street, Park & Ocean Railway began operation. The Presidio and Ferries Railway followed two years later, and was the first cable company to include curves on its routes. The curves were "let-go" curves, in which the car drops the cable and coasts around the curve on its own momentum.

 

In 1883, the Market Street Cable Railway opened its first line. This company was controlled by the Southern Pacific Railroad and would grow to become San Francisco's largest cable car operator. At its peak, it operated five lines, all of which converged on Market Street to a common terminus at the Ferry Building. During rush hours, cars left that terminus every 15 seconds.

 

In 1888, the Ferries and Cliff House Railway opened its initial two-line system. The Powell–Mason line is still operated on the same route today; their other route was the Powell–Washington–Jackson line, stretches of which are used by today's Powell–Hyde line. The Ferries & Cliff House Railway was also responsible for the building of a car barn and powerhouse at Washington and Mason, and this site is still in use today. In the same year, it also purchased the original Clay Street Hill Railway, which it incorporated into a new Sacramento–Clay line in 1892.

 

In 1889, the Omnibus Railroad and Cable Company became the last new cable car operator in San Francisco. The following year the California Street Cable Railroad opened two new lines, these being the last entirely new cable car lines built in the city. One of them was the O'Farrell–Jones–Hyde line, the Hyde section of which still remains in operation as part of the current Powell–Hyde line.

 

In all, twenty-three lines were established between 1873 and 1890.

 

The San Francisco cable car system is the world's last manually operated cable car system and an icon of the city of San Francisco. The system forms part of the intermodal urban transport network operated by the San Francisco Municipal Railway, which also includes the separate E Embarcadero and F Market & Wharves heritage streetcar lines, and the Muni Metro modern light rail system. Of the 23 cable car lines established between 1873 and 1890, only three remain (one of which combines parts of two earlier lines): two routes from downtown near Union Square to Fisherman's Wharf, and a third route along California Street.

 

While the cable cars are used to a certain extent by commuters, the vast majority of the millions of passengers who use the system every year are tourists, and as a result, the wait to get on can often reach two hours or more. They are among the most significant tourist attractions in the city, along with Alcatraz Island, the Golden Gate Bridge, and Fisherman's Wharf.

 

San Francisco's cable cars are listed on the National Register of Historic Places and is one of only two street railways to be named a National Historic Landmark, along with the St. Charles Streetcar Line in New Orleans.

 

In 1869, Andrew Smith Hallidie had the idea for a cable car system in San Francisco, reportedly after witnessing an accident in which a streetcar drawn by horses over wet cobblestones slid backwards, killing the horses. Hallidie solicited financial support in 1871 and 1872, and his primary backers were Henry L. Davis, Joseph Britton, and James Moffit.

 

The first successful cable-operated street running train was the Clay Street Hill Railroad, which had its inaugural run on August 2, 1873. The promoter of the line was Hallidie, and the engineer was William Eppelsheimer; both Hallidie and Eppelsheimer obtained several patents for their work on the Clay Street line. The line involved the use of grip cars, which carried the grip that engaged with the cable, towing trailer cars; the design was the first to use grips. The term "grip" became synonymous with the operator.

 

The line started regular service on September 1, 1873, and its success led it to become the template for other cable car transit systems. It was a financial success, and Hallidie's patents were enforced on other cable car promoters, making him wealthy.

 

Accounts differ as to the precise degree of Hallidie's involvement in the inception of the line, and to the exact date on which it first ran. According to the franchise granted by the city, operations were required to begin by August 1, 1873. A retrospective published in 1895 stated that a single car was run over the line at 4 am on the morning of August 1 with few witnesses to ensure the franchise would not expire.  Eppelsheimer would later bring a suit against Hallidie and the Clay Street Hill RR in June 1877 over patents, but dismissed it voluntarily the following March.

 

The next cable car line to open was the Sutter Street Railway, which converted from horse operation in January 1877. This line introduced the side grip, and lever operation, both designed by Henry Casebolt and his assistant Asa Hovey, and patented by Casebolt. This idea came about because Casebolt did not want to pay Hallidie royalties of $50,000 a year for the use of his patent. The side grip allowed cable cars to cross at intersections.

 

In 1878, Leland Stanford opened his California Street Cable Railroad (Cal Cable). This company's first line was on California Street, and is the oldest cable car line still in operation. In 1880, the Geary Street, Park & Ocean Railway began operation. The Presidio and Ferries Railway followed two years later, and was the first cable company to include curves on its routes. The curves were "let-go" curves, in which the car drops the cable and coasts around the curve on its own momentum.

 

In 1883, the Market Street Cable Railway opened its first line. This company was controlled by the Southern Pacific Railroad and would grow to become San Francisco's largest cable car operator. At its peak, it operated five lines, all of which converged on Market Street to a common terminus at the Ferry Building. During rush hours, cars left that terminus every 15 seconds.

 

In 1888, the Ferries and Cliff House Railway opened its initial two-line system. The Powell–Mason line is still operated on the same route today; their other route was the Powell–Washington–Jackson line, stretches of which are used by today's Powell–Hyde line. The Ferries & Cliff House Railway was also responsible for the building of a car barn and powerhouse at Washington and Mason, and this site is still in use today. In the same year, it also purchased the original Clay Street Hill Railway, which it incorporated into a new Sacramento–Clay line in 1892.

 

In 1889, the Omnibus Railroad and Cable Company became the last new cable car operator in San Francisco. The following year the California Street Cable Railroad opened two new lines, these being the last entirely new cable car lines built in the city. One of them was the O'Farrell–Jones–Hyde line, the Hyde section of which still remains in operation as part of the current Powell–Hyde line.

 

In all, twenty-three lines were established between 1873 and 1890.

 

The cable cars are pulled by a cable running below the street, held by a grip that extends from the car through a slit in the street surface, between the rails. Each cable is 1.25 inches (3.2 cm) in diameter, running at a constant speed of 9.5 miles per hour (15.3 km/h), and driven by a 510 horsepower (380 kW) electric motor located in the central power house (see below), via a set of self-adjusting sheaves. Each cable has six steel strands, with each strand containing 19 wires, wrapped around a sisal rope core (to allow easier gripping). The cable is coated with a synthetic lubricant to reduce wear and friction. Historically, pine tar was used to lubricate the cable. To start and stop the movement of the car, the grip operator (see below) closes and opens the grip around the cable (similar to the clutch of a conventional car). The grip's jaws exert a pressure of up to 30,000 pounds per square inch (210,000 kPa) on the cable. Due to wear and tear, a grip's dies have to be replaced after three days of usage.

 

There are four separate cables: one 16,000-foot (4,900 m) length and one 10,300-foot (3,100 m) length for the Hyde and Mason segments, a 9,300-foot (2,800 m) length for their common Powell section, and one 21,000-foot (6,400 m) length for the California Street line.

 

Apart from the cable itself (which limits the speeds of cars when going downhill), the cable cars use three separate braking systems:

 

Metal brake shoes on the wheels. The single-ended cars used on the Powell–Mason and Powell–Hyde lines have a foot pedal, controlled by the grip operator, that applies the brakes on the front wheels and a handle, operated by the conductor, that applies the brakes on the rear wheels. On the double-ended cars used on the California St. line, there are pedals near both grips, one controlled by the grip operator, the other by the conductor.

 

Wooden brake blocks pressed against the track when the gripman pulls a lever. The four blocks are made of Monterey Fir and can produce a smell of burning wood when in operation. They have to be replaced after just a few days.

An emergency brake consisting of a piece of steel, around 1.5 inches (40 mm) thick and 18 inches (460 mm) long, suspended beneath the car and pushed into the track slot when the gripman pulls a red lever. It wedges tightly into the slot and often has to be removed with a cutting torch.

 

Electrical system

Over the years, the cable cars have been retrofitted with several electrical components, including headlights, interior lighting, a GPS tracking system and cameras. However, unlike most modern trains, the cable cars have no method to generate power on board and instead must use large batteries that are recharged in the car barn. In 2018, the incandescent bulbs used for the headlights and interior lighting were replaced with LED bulbs which increased visibility for operators and had a lower drain on the batteries.

 

The current cable car network consists of three routes:

The Powell–Mason (Line 59 or PM) line, follows a common route with the Powell–Hyde line, running north and steeply uphill from a terminal at Powell and Market Streets, before crossing the California Street line at the crest of the hill. Once California Street has been crossed, cars coast downhill, off the cable, for three and a half blocks until the lines split as they turn left onto Jackson Street (as this is one-way, cable cars in the opposite direction use the parallel Washington Street). This line turns North, merges, and continues downhill along Mason Street, briefly half left along Columbus Avenue, and then down Taylor Street to a terminal at Taylor and Bay. This terminus is two blocks south of Fisherman's Wharf and is the closest to Pier 39. As with the Powell–Hyde line, there are manually-powered turntables at each end to reverse the cars. The Powell–Mason line has been in operation since 1888.

The Powell–Hyde (Line 60 or PH) line, follows a common route with the Powell–Mason line, running north and steeply uphill from a terminal at Powell and Market Streets, before crossing the California Street line at the crest of the hill. Once California Street has been crossed, cars coast downhill, off the cable, for three and a half blocks until the lines split as they turn left onto Jackson Street. As this section is one-way, cable cars in the opposite direction use the parallel Washington Street. The cars on this line continue uphill on Jackson/Washington to a crest at Hyde Street. Here the line turns North past the "crooked" Lombard Street, then runs steeply downhill (at 21%, the steepest grade in the cable car system) along Hyde Street, to the Hyde and Beach terminal, which is adjacent to the waterfront at the San Francisco Maritime Museum and Ghirardelli Square. As with the Powell–Mason line, there are manually-powered turntables at each end to reverse the cars. The line was spliced together in 1957 using portions of the O'Farrell, Jones & Hyde line and the Washington–Jackson line. Because this line offers iconic views of Alcatraz Island, passes Lombard Street and terminates near popular tourist destinations, it is the most popular with tourists and often has long waits to board.

The California Street (Line 61 or C) line runs east and west on California Street from a terminal at California and Market Streets, close to the famed Embarcadero to Van Ness Avenue. The California Street cable cars use double-ended cars with "grip" levers at either end of the longer cars which are operated in each direction without the cars being turned at the ends of the line, where the double tracks converge into a single "stub-end" track. The line once ran a much longer distance from Presidio Avenue to Market Street but service west of Van Ness Avenue was discontinued in 1954. Calls to restore the route to its original length are heard from time to time but nothing serious towards this end has been proposed. This route runs only on California Street, running at first uphill to the summit of Nob Hill, then more gently downhill to a terminus at Van Ness Avenue. This line is used to a greater extent by commuters, with the majority of passengers on weekdays being commuters.

There is also a set of non-revenue tracks from the California Street line along Hyde Street to join the Powell–Hyde line at Hyde and Washington. This connection exists to enable California Street cars to reach the car barn.

 

A small signal tower controls the crossing of the lines at the intersection of California Street and Powell Street. It has been rebuilt in 1907, 1937, 1967, and 2020–2021.

 

The system generally starts operating at 5:30 am each day and shuts down at 1:30 am.

 

The cable car system connects at both its terminals on Market Street with the F Market heritage streetcar line. The Taylor and Bay terminal, and the Hyde and Beach terminal, are both short walks from the F Market line. The system connects with other Muni lines and BART at the Powell & Market and California & Drumm terminals.

 

As of January 1, 2020, riding a cable car costs $8 for a single ride, except for seniors riding before 7 am or after 9 pm when the fare is $4. Cable car rides are included in monthly Muni passes, as well as 1-day, 3-day, 7-day passes, and the CityPASS program. Passes loaded on a Clipper card can be read by the conductor with a mobile device. Transfers or fare receipts are not accepted. In the 1960s, the fare for a single ride was 15 cents.

 

There are 27 cars in rotation when the system is operating. They come in two kinds:

Single-ended cars serve the Powell–Hyde and Powell–Mason lines. These cars have an open-sided front section, with outward-facing seats flanking the gripman and a collection of levers that actuate the grip and various brakes. The rear half of the car is enclosed with seats facing inward and entrances at each end, and the car has a small platform at the rear. These cars are 27 feet 6 inches (8.4 m) long and 8 feet (2.4 m) wide and weigh 15,500 pounds (7,000 kg). They have a passenger capacity of 60, 29 of them seated. These cars must be rotated to reverse direction at each end of the line, an operation performed on turntables. Most of these cars were built or rebuilt at Muni's Woods Carpentry Division.

Double-ended cars serve the California Street line. These cars are somewhat longer, having open-sided grip sections at both ends and an enclosed section in the middle. These cars are 30 feet 3 inches (9.2 m) long and 8 feet (2.4 m) wide and weigh 16,800 pounds (7,600 kg). They can hold 68 passengers, 34 of them seated. The California Street line lacks turning capabilities at each end, resulting in the necessity of the double-ended cars. Some of these cars are former O'Farrell, Jones, and Hyde Street cable cars, while some cars were built at Muni's Woods Carpentry Division.

There are 28 single-ended cars available for operation on the Powell lines and 12 double-ended cars on the California Street line.

 

Both types of car ride on a pair of four-wheel trucks, to fit the track's 3 ft 6 in (1,067 mm) narrow gauge. The term California Street car, as in a car running on the California Street line, should not be confused with the term California Car. The latter term applies to all the cable cars currently operating in San Francisco and is a historical term distinguishing this style of car from an earlier style where the open grip section and the enclosed section were separate four-wheel cars (known as the grip car and trailer).

 

The cable cars are occasionally replaced with new or restored cars, with the old cars being moved to storage for later restoration. There are two historic cable cars in storage in the cable car museum: car numbers 19 and 42, which were used on the Sacramento-Clay and O'Farrell, Jones and Hyde Street lines, respectively.

 

The cable-car barn is located between Washington and Jackson Streets just uphill of where Mason Street crosses them. Cars reverse into the barn off Jackson Street and run out into Washington Street, coasting downhill for both moves. To ensure that single-ended cars leave facing in the correct direction, the car barn contains a fourth turntable. Cars are moved around the car barn with the assistance of a rubber-tired tractor.

 

As of 2018, the cable-car barn was staffed with 17 mechanics, six custodians, three carpenters, two painters, two supervisors and one superintendent.

 

The car barn is situated directly west of the power house and the Cable Car Museum. The museum's entrance is at Washington and Mason. It contains several examples of old cable cars, together with smaller exhibits and a shop. Two galleries allow the visitor to overlook the main power house, and also to descend below the junction of Washington and Mason Streets and see the large cavern where the cables are routed out to the street via huge sheaves.

 

The car is driven by the grip, whose job requires strength, coordination, and balance. The grip must smoothly grip and release the cable, know the points at which the grip must be released to coast over intersecting lines or places where the cable does not follow the tracks, and maintain clearance from other traffic. The conductor collects fares, manages crowding, and controls the rear-wheel brakes on some hills.

 

On the second or third Thursday of each July, a cable car bell-ringing contest is held in Union Square between cable car crews, following a preliminary round held during the second to last or the last week of June. The preliminary round determines which contestants go on to the finals in Union Square, by a process of points awarded by a panel of judges

 

San Francisco officially the City and County of San Francisco, is a commercial, financial, and cultural center in Northern California. With a population of 808,437 residents as of 2022, San Francisco is the fourth most populous city in the U.S. state of California. The city covers a land area of 46.9 square miles (121 square kilometers) at the end of the San Francisco Peninsula, making it the second-most densely populated large U.S. city after New York City and the fifth-most densely populated U.S. county, behind only four New York City boroughs. Among the 92 U.S. cities proper with over 250,000 residents, San Francisco was ranked first by per capita income and sixth by aggregate income as of 2022. Colloquial nicknames for San Francisco include Frisco, San Fran, The City, and SF (although Frisco and San Fran are generally not used by locals).

 

Prior to European settlement, the modern city proper was inhabited by the Yelamu, who spoke a language now referred to as Ramaytush Ohlone. On June 29, 1776, settlers from New Spain established the Presidio of San Francisco at the Golden Gate, and the Mission San Francisco de Asís a few miles away, both named for Francis of Assisi. The California Gold Rush of 1849 brought rapid growth, transforming an unimportant hamlet into a busy port, making it the largest city on the West Coast at the time; between 1870 and 1900, approximately one quarter of California's population resided in the city proper. In 1856, San Francisco became a consolidated city-county. After three-quarters of the city was destroyed by the 1906 earthquake and fire, it was quickly rebuilt, hosting the Panama-Pacific International Exposition nine years later. In World War II, it was a major port of embarkation for naval service members shipping out to the Pacific Theater. In 1945, the United Nations Charter was signed in San Francisco, establishing the United Nations and in 1951, the Treaty of San Francisco re-established peaceful relations between Japan and the Allied Powers. After the war, the confluence of returning servicemen, significant immigration, liberalizing attitudes, the rise of the beatnik and hippie countercultures, the sexual revolution, the peace movement growing from opposition to United States involvement in the Vietnam War, and other factors led to the Summer of Love and the gay rights movement, cementing San Francisco as a center of liberal activism in the United States.

 

San Francisco and the surrounding San Francisco Bay Area are a global center of economic activity and the arts and sciences, spurred by leading universities, high-tech, healthcare, finance, insurance, real estate, and professional services sectors. As of 2020, the metropolitan area, with 6.7 million residents, ranked 5th by GDP ($874 billion) and 2nd by GDP per capita ($131,082) across the OECD countries, ahead of global cities like Paris, London, and Singapore. San Francisco anchors the 13th most populous metropolitan statistical area in the United States with 4.6 million residents, and the fourth-largest by aggregate income and economic output, with a GDP of $729 billion in 2022. The wider San Jose–San Francisco–Oakland Combined Statistical Area is the fifth-most populous, with 9.0 million residents, and the third-largest by economic output, with a GDP of $1.32 trillion in 2022. In the same year, San Francisco proper had a GDP of $252.2 billion, and a GDP per capita of $312,000. San Francisco was ranked fifth in the world and second in the United States on the Global Financial Centres Index as of September 2023. Despite an ongoing post-COVID-19 pandemic exodus of over 30 retail businesses from the northeastern quadrant of San Francisco, including the downtown core, the city is still home to numerous companies inside and outside of technology, including Salesforce, Uber, Airbnb, X Corp., Levi's, Gap, Dropbox, and Lyft.

 

In 2022, San Francisco had more than 1.7 million international visitors - the fifth-most visited city from abroad in the United States after New York City, Miami, Orlando, and Los Angeles - and approximately 20 million domestic visitors for a total of 21.9 million visitors. The city is known for its steep rolling hills and eclectic mix of architecture across varied neighborhoods, as well as its cool summers, fog, and landmarks, including the Golden Gate Bridge, cable cars, and Alcatraz, along with the Chinatown and Mission districts. The city is home to a number of educational and cultural institutions, such as the University of California, San Francisco, the University of San Francisco, San Francisco State University, the San Francisco Conservatory of Music, the de Young Museum, the San Francisco Museum of Modern Art, the San Francisco Symphony, the San Francisco Ballet, the San Francisco Opera, the SFJAZZ Center, and the California Academy of Sciences. Two major league sports teams, the San Francisco Giants and the Golden State Warriors, play their home games within San Francisco proper. San Francisco's main international airport offers flights to over 125 destinations while a light rail and bus network, in tandem with the BART and Caltrain systems, connects nearly every part of San Francisco with the wider region.

 

California is a state in the Western United States, located along the Pacific Coast. With nearly 39.2 million residents across a total area of approximately 163,696 square miles (423,970 km2), it is the most populous U.S. state and the 3rd largest by area. It is also the most populated subnational entity in North America and the 34th most populous in the world. The Greater Los Angeles area and the San Francisco Bay Area are the nation's second and fifth most populous urban regions respectively, with the former having more than 18.7 million residents and the latter having over 9.6 million. Sacramento is the state's capital, while Los Angeles is the most populous city in the state and the second most populous city in the country. San Francisco is the second most densely populated major city in the country. Los Angeles County is the country's most populous, while San Bernardino County is the largest county by area in the country. California borders Oregon to the north, Nevada and Arizona to the east, the Mexican state of Baja California to the south; and has a coastline along the Pacific Ocean to the west.

 

The economy of the state of California is the largest in the United States, with a $3.4 trillion gross state product (GSP) as of 2022. It is the largest sub-national economy in the world. If California were a sovereign nation, it would rank as the world's fifth-largest economy as of 2022, behind Germany and ahead of India, as well as the 37th most populous. The Greater Los Angeles area and the San Francisco Bay Area are the nation's second- and third-largest urban economies ($1.0 trillion and $0.5 trillion respectively as of 2020). The San Francisco Bay Area Combined Statistical Area had the nation's highest gross domestic product per capita ($106,757) among large primary statistical areas in 2018, and is home to five of the world's ten largest companies by market capitalization and four of the world's ten richest people.

 

Prior to European colonization, California was one of the most culturally and linguistically diverse areas in pre-Columbian North America and contained the highest Native American population density north of what is now Mexico. European exploration in the 16th and 17th centuries led to the colonization of California by the Spanish Empire. In 1804, it was included in Alta California province within the Viceroyalty of New Spain. The area became a part of Mexico in 1821, following its successful war for independence, but was ceded to the United States in 1848 after the Mexican–American War. The California Gold Rush started in 1848 and led to dramatic social and demographic changes, including large-scale immigration into California, a worldwide economic boom, and the California genocide of indigenous people. The western portion of Alta California was then organized and admitted as the 31st state on September 9, 1850, following the Compromise of 1850.

 

Notable contributions to popular culture, for example in entertainment and sports, have their origins in California. The state also has made noteworthy contributions in the fields of communication, information, innovation, environmentalism, economics, and politics. It is the home of Hollywood, the oldest and one of the largest film industries in the world, which has had a profound influence upon global entertainment. It is considered the origin of the hippie counterculture, beach and car culture, and the personal computer, among other innovations. The San Francisco Bay Area and the Greater Los Angeles Area are widely seen as the centers of the global technology and film industries, respectively. California's economy is very diverse: 58% of it is based on finance, government, real estate services, technology, and professional, scientific, and technical business services. Although it accounts for only 1.5% of the state's economy, California's agriculture industry has the highest output of any U.S. state. California's ports and harbors handle about a third of all U.S. imports, most originating in Pacific Rim international trade.

 

The state's extremely diverse geography ranges from the Pacific Coast and metropolitan areas in the west to the Sierra Nevada mountains in the east, and from the redwood and Douglas fir forests in the northwest to the Mojave Desert in the southeast. The Central Valley, a major agricultural area, dominates the state's center. California is well known for its warm Mediterranean climate and monsoon seasonal weather. The large size of the state results in climates that vary from moist temperate rainforest in the north to arid desert in the interior, as well as snowy alpine in the mountains.

 

Settled by successive waves of arrivals during at least the last 13,000 years, California was one of the most culturally and linguistically diverse areas in pre-Columbian North America. Various estimates of the native population have ranged from 100,000 to 300,000. The indigenous peoples of California included more than 70 distinct ethnic groups, inhabiting environments from mountains and deserts to islands and redwood forests. These groups were also diverse in their political organization, with bands, tribes, villages, and on the resource-rich coasts, large chiefdoms, such as the Chumash, Pomo and Salinan. Trade, intermarriage and military alliances fostered social and economic relationships between many groups.

 

The first Europeans to explore the coast of California were the members of a Spanish maritime expedition led by Portuguese captain Juan Rodríguez Cabrillo in 1542. Cabrillo was commissioned by Antonio de Mendoza, the Viceroy of New Spain, to lead an expedition up the Pacific coast in search of trade opportunities; they entered San Diego Bay on September 28, 1542, and reached at least as far north as San Miguel Island. Privateer and explorer Francis Drake explored and claimed an undefined portion of the California coast in 1579, landing north of the future city of San Francisco. Sebastián Vizcaíno explored and mapped the coast of California in 1602 for New Spain, putting ashore in Monterey. Despite the on-the-ground explorations of California in the 16th century, Rodríguez's idea of California as an island persisted. Such depictions appeared on many European maps well into the 18th century.

 

The Portolá expedition of 1769-70 was a pivotal event in the Spanish colonization of California, resulting in the establishment of numerous missions, presidios, and pueblos. The military and civil contingent of the expedition was led by Gaspar de Portolá, who traveled over land from Sonora into California, while the religious component was headed by Junípero Serra, who came by sea from Baja California. In 1769, Portolá and Serra established Mission San Diego de Alcalá and the Presidio of San Diego, the first religious and military settlements founded by the Spanish in California. By the end of the expedition in 1770, they would establish the Presidio of Monterey and Mission San Carlos Borromeo de Carmelo on Monterey Bay.

 

After the Portolà expedition, Spanish missionaries led by Father-President Serra set out to establish 21 Spanish missions of California along El Camino Real ("The Royal Road") and along the Californian coast, 16 sites of which having been chosen during the Portolá expedition. Numerous major cities in California grew out of missions, including San Francisco (Mission San Francisco de Asís), San Diego (Mission San Diego de Alcalá), Ventura (Mission San Buenaventura), or Santa Barbara (Mission Santa Barbara), among others.

 

Juan Bautista de Anza led a similarly important expedition throughout California in 1775–76, which would extend deeper into the interior and north of California. The Anza expedition selected numerous sites for missions, presidios, and pueblos, which subsequently would be established by settlers. Gabriel Moraga, a member of the expedition, would also christen many of California's prominent rivers with their names in 1775–1776, such as the Sacramento River and the San Joaquin River. After the expedition, Gabriel's son, José Joaquín Moraga, would found the pueblo of San Jose in 1777, making it the first civilian-established city in California.

  

The Spanish founded Mission San Juan Capistrano in 1776, the third to be established of the Californian missions.

During this same period, sailors from the Russian Empire explored along the northern coast of California. In 1812, the Russian-American Company established a trading post and small fortification at Fort Ross on the North Coast. Fort Ross was primarily used to supply Russia's Alaskan colonies with food supplies. The settlement did not meet much success, failing to attract settlers or establish long term trade viability, and was abandoned by 1841.

 

During the War of Mexican Independence, Alta California was largely unaffected and uninvolved in the revolution, though many Californios supported independence from Spain, which many believed had neglected California and limited its development. Spain's trade monopoly on California had limited the trade prospects of Californians. Following Mexican independence, Californian ports were freely able to trade with foreign merchants. Governor Pablo Vicente de Solá presided over the transition from Spanish colonial rule to independent.

 

In 1821, the Mexican War of Independence gave the Mexican Empire (which included California) independence from Spain. For the next 25 years, Alta California remained a remote, sparsely populated, northwestern administrative district of the newly independent country of Mexico, which shortly after independence became a republic. The missions, which controlled most of the best land in the state, were secularized by 1834 and became the property of the Mexican government. The governor granted many square leagues of land to others with political influence. These huge ranchos or cattle ranches emerged as the dominant institutions of Mexican California. The ranchos developed under ownership by Californios (Hispanics native of California) who traded cowhides and tallow with Boston merchants. Beef did not become a commodity until the 1849 California Gold Rush.

 

From the 1820s, trappers and settlers from the United States and Canada began to arrive in Northern California. These new arrivals used the Siskiyou Trail, California Trail, Oregon Trail and Old Spanish Trail to cross the rugged mountains and harsh deserts in and surrounding California. The early government of the newly independent Mexico was highly unstable, and in a reflection of this, from 1831 onwards, California also experienced a series of armed disputes, both internal and with the central Mexican government. During this tumultuous political period Juan Bautista Alvarado was able to secure the governorship during 1836–1842. The military action which first brought Alvarado to power had momentarily declared California to be an independent state, and had been aided by Anglo-American residents of California, including Isaac Graham. In 1840, one hundred of those residents who did not have passports were arrested, leading to the Graham Affair, which was resolved in part with the intercession of Royal Navy officials.

 

One of the largest ranchers in California was John Marsh. After failing to obtain justice against squatters on his land from the Mexican courts, he determined that California should become part of the United States. Marsh conducted a letter-writing campaign espousing the California climate, the soil, and other reasons to settle there, as well as the best route to follow, which became known as "Marsh's route". His letters were read, reread, passed around, and printed in newspapers throughout the country, and started the first wagon trains rolling to California. He invited immigrants to stay on his ranch until they could get settled, and assisted in their obtaining passports.

 

After ushering in the period of organized emigration to California, Marsh became involved in a military battle between the much-hated Mexican general, Manuel Micheltorena and the California governor he had replaced, Juan Bautista Alvarado. The armies of each met at the Battle of Providencia near Los Angeles. Marsh had been forced against his will to join Micheltorena's army. Ignoring his superiors, during the battle, he signaled the other side for a parley. There were many settlers from the United States fighting on both sides. He convinced these men that they had no reason to be fighting each other. As a result of Marsh's actions, they abandoned the fight, Micheltorena was defeated, and California-born Pio Pico was returned to the governorship. This paved the way to California's ultimate acquisition by the United States.

 

In 1846, a group of American settlers in and around Sonoma rebelled against Mexican rule during the Bear Flag Revolt. Afterward, rebels raised the Bear Flag (featuring a bear, a star, a red stripe and the words "California Republic") at Sonoma. The Republic's only president was William B. Ide,[65] who played a pivotal role during the Bear Flag Revolt. This revolt by American settlers served as a prelude to the later American military invasion of California and was closely coordinated with nearby American military commanders.

 

The California Republic was short-lived; the same year marked the outbreak of the Mexican–American War (1846–48).

 

Commodore John D. Sloat of the United States Navy sailed into Monterey Bay in 1846 and began the U.S. military invasion of California, with Northern California capitulating in less than a month to the United States forces. In Southern California, Californios continued to resist American forces. Notable military engagements of the conquest include the Battle of San Pasqual and the Battle of Dominguez Rancho in Southern California, as well as the Battle of Olómpali and the Battle of Santa Clara in Northern California. After a series of defensive battles in the south, the Treaty of Cahuenga was signed by the Californios on January 13, 1847, securing a censure and establishing de facto American control in California.

 

Following the Treaty of Guadalupe Hidalgo (February 2, 1848) that ended the war, the westernmost portion of the annexed Mexican territory of Alta California soon became the American state of California, and the remainder of the old territory was then subdivided into the new American Territories of Arizona, Nevada, Colorado and Utah. The even more lightly populated and arid lower region of old Baja California remained as a part of Mexico. In 1846, the total settler population of the western part of the old Alta California had been estimated to be no more than 8,000, plus about 100,000 Native Americans, down from about 300,000 before Hispanic settlement in 1769.

 

In 1848, only one week before the official American annexation of the area, gold was discovered in California, this being an event which was to forever alter both the state's demographics and its finances. Soon afterward, a massive influx of immigration into the area resulted, as prospectors and miners arrived by the thousands. The population burgeoned with United States citizens, Europeans, Chinese and other immigrants during the great California Gold Rush. By the time of California's application for statehood in 1850, the settler population of California had multiplied to 100,000. By 1854, more than 300,000 settlers had come. Between 1847 and 1870, the population of San Francisco increased from 500 to 150,000.

 

The seat of government for California under Spanish and later Mexican rule had been located in Monterey from 1777 until 1845. Pio Pico, the last Mexican governor of Alta California, had briefly moved the capital to Los Angeles in 1845. The United States consulate had also been located in Monterey, under consul Thomas O. Larkin.

 

In 1849, a state Constitutional Convention was first held in Monterey. Among the first tasks of the convention was a decision on a location for the new state capital. The first full legislative sessions were held in San Jose (1850–1851). Subsequent locations included Vallejo (1852–1853), and nearby Benicia (1853–1854); these locations eventually proved to be inadequate as well. The capital has been located in Sacramento since 1854 with only a short break in 1862 when legislative sessions were held in San Francisco due to flooding in Sacramento. Once the state's Constitutional Convention had finalized its state constitution, it applied to the U.S. Congress for admission to statehood. On September 9, 1850, as part of the Compromise of 1850, California became a free state and September 9 a state holiday.

 

During the American Civil War (1861–1865), California sent gold shipments eastward to Washington in support of the Union. However, due to the existence of a large contingent of pro-South sympathizers within the state, the state was not able to muster any full military regiments to send eastwards to officially serve in the Union war effort. Still, several smaller military units within the Union army were unofficially associated with the state of California, such as the "California 100 Company", due to a majority of their members being from California.

 

At the time of California's admission into the Union, travel between California and the rest of the continental United States had been a time-consuming and dangerous feat. Nineteen years later, and seven years after it was greenlighted by President Lincoln, the First transcontinental railroad was completed in 1869. California was then reachable from the eastern States in a week's time.

 

Much of the state was extremely well suited to fruit cultivation and agriculture in general. Vast expanses of wheat, other cereal crops, vegetable crops, cotton, and nut and fruit trees were grown (including oranges in Southern California), and the foundation was laid for the state's prodigious agricultural production in the Central Valley and elsewhere.

 

In the nineteenth century, a large number of migrants from China traveled to the state as part of the Gold Rush or to seek work. Even though the Chinese proved indispensable in building the transcontinental railroad from California to Utah, perceived job competition with the Chinese led to anti-Chinese riots in the state, and eventually the US ended migration from China partially as a response to pressure from California with the 1882 Chinese Exclusion Act.

 

Under earlier Spanish and Mexican rule, California's original native population had precipitously declined, above all, from Eurasian diseases to which the indigenous people of California had not yet developed a natural immunity. Under its new American administration, California's harsh governmental policies towards its own indigenous people did not improve. As in other American states, many of the native inhabitants were soon forcibly removed from their lands by incoming American settlers such as miners, ranchers, and farmers. Although California had entered the American union as a free state, the "loitering or orphaned Indians" were de facto enslaved by their new Anglo-American masters under the 1853 Act for the Government and Protection of Indians. There were also massacres in which hundreds of indigenous people were killed.

 

Between 1850 and 1860, the California state government paid around 1.5 million dollars (some 250,000 of which was reimbursed by the federal government) to hire militias whose purpose was to protect settlers from the indigenous populations. In later decades, the native population was placed in reservations and rancherias, which were often small and isolated and without enough natural resources or funding from the government to sustain the populations living on them. As a result, the rise of California was a calamity for the native inhabitants. Several scholars and Native American activists, including Benjamin Madley and Ed Castillo, have described the actions of the California government as a genocide.

 

In the twentieth century, thousands of Japanese people migrated to the US and California specifically to attempt to purchase and own land in the state. However, the state in 1913 passed the Alien Land Act, excluding Asian immigrants from owning land. During World War II, Japanese Americans in California were interned in concentration camps such as at Tule Lake and Manzanar. In 2020, California officially apologized for this internment.

 

Migration to California accelerated during the early 20th century with the completion of major transcontinental highways like the Lincoln Highway and Route 66. In the period from 1900 to 1965, the population grew from fewer than one million to the greatest in the Union. In 1940, the Census Bureau reported California's population as 6.0% Hispanic, 2.4% Asian, and 89.5% non-Hispanic white.

 

To meet the population's needs, major engineering feats like the California and Los Angeles Aqueducts; the Oroville and Shasta Dams; and the Bay and Golden Gate Bridges were built across the state. The state government also adopted the California Master Plan for Higher Education in 1960 to develop a highly efficient system of public education.

 

Meanwhile, attracted to the mild Mediterranean climate, cheap land, and the state's wide variety of geography, filmmakers established the studio system in Hollywood in the 1920s. California manufactured 8.7 percent of total United States military armaments produced during World War II, ranking third (behind New York and Michigan) among the 48 states. California however easily ranked first in production of military ships during the war (transport, cargo, [merchant ships] such as Liberty ships, Victory ships, and warships) at drydock facilities in San Diego, Los Angeles, and the San Francisco Bay Area. After World War II, California's economy greatly expanded due to strong aerospace and defense industries, whose size decreased following the end of the Cold War. Stanford University and its Dean of Engineering Frederick Terman began encouraging faculty and graduates to stay in California instead of leaving the state, and develop a high-tech region in the area now known as Silicon Valley. As a result of these efforts, California is regarded as a world center of the entertainment and music industries, of technology, engineering, and the aerospace industry, and as the United States center of agricultural production. Just before the Dot Com Bust, California had the fifth-largest economy in the world among nations.

 

In the mid and late twentieth century, a number of race-related incidents occurred in the state. Tensions between police and African Americans, combined with unemployment and poverty in inner cities, led to violent riots, such as the 1965 Watts riots and 1992 Rodney King riots. California was also the hub of the Black Panther Party, a group known for arming African Americans to defend against racial injustice and for organizing free breakfast programs for schoolchildren. Additionally, Mexican, Filipino, and other migrant farm workers rallied in the state around Cesar Chavez for better pay in the 1960s and 1970s.

 

During the 20th century, two great disasters happened in California. The 1906 San Francisco earthquake and 1928 St. Francis Dam flood remain the deadliest in U.S. history.

 

Although air pollution problems have been reduced, health problems associated with pollution have continued. The brown haze known as "smog" has been substantially abated after the passage of federal and state restrictions on automobile exhaust.

 

An energy crisis in 2001 led to rolling blackouts, soaring power rates, and the importation of electricity from neighboring states. Southern California Edison and Pacific Gas and Electric Company came under heavy criticism.

 

Housing prices in urban areas continued to increase; a modest home which in the 1960s cost $25,000 would cost half a million dollars or more in urban areas by 2005. More people commuted longer hours to afford a home in more rural areas while earning larger salaries in the urban areas. Speculators bought houses they never intended to live in, expecting to make a huge profit in a matter of months, then rolling it over by buying more properties. Mortgage companies were compliant, as everyone assumed the prices would keep rising. The bubble burst in 2007–8 as housing prices began to crash and the boom years ended. Hundreds of billions in property values vanished and foreclosures soared as many financial institutions and investors were badly hurt.

 

In the twenty-first century, droughts and frequent wildfires attributed to climate change have occurred in the state. From 2011 to 2017, a persistent drought was the worst in its recorded history. The 2018 wildfire season was the state's deadliest and most destructive, most notably Camp Fire.

 

Although air pollution problems have been reduced, health problems associated with pollution have continued. The brown haze that is known as "smog" has been substantially abated thanks to federal and state restrictions on automobile exhaust.

 

One of the first confirmed COVID-19 cases in the United States that occurred in California was first of which was confirmed on January 26, 2020. Meaning, all of the early confirmed cases were persons who had recently travelled to China in Asia, as testing was restricted to this group. On this January 29, 2020, as disease containment protocols were still being developed, the U.S. Department of State evacuated 195 persons from Wuhan, China aboard a chartered flight to March Air Reserve Base in Riverside County, and in this process, it may have granted and conferred to escalated within the land and the US at cosmic. On February 5, 2020, the U.S. evacuated 345 more citizens from Hubei Province to two military bases in California, Travis Air Force Base in Solano County and Marine Corps Air Station Miramar, San Diego, where they were quarantined for 14 days. A state of emergency was largely declared in this state of the nation on March 4, 2020, and as of February 24, 2021, remains in effect. A mandatory statewide stay-at-home order was issued on March 19, 2020, due to increase, which was ended on January 25, 2021, allowing citizens to return to normal life. On April 6, 2021, the state announced plans to fully reopen the economy by June 15, 2021.

 

A very precise and literal title for a weird abstract.

Playing around with CD refraction, light, water and reflections.

Didn't get anything near what I though I wanted, got this instead.

 

view weird on black

This image is from some place in the rural area around Grimsby, Ontario, but I have no precise recollection of where I took this shot of the fence post. That said, I clearly followed my instincts, i.e. if it is red, shoot it, although that could have an altogether different interpretation given it is a chicken depicted here. Somebody may have inadvertently allowed remnants of red Tuck Tape to remain on this home-made sign likely to help direct people to a chicken operation of some type. The number is a reference to a specific location/address but I don’t know which farm it specifies. If you know, please let me know. I took the shot because I was amused by the sign. I did dabble with a B&W version but it just did not work for me so, colour it is. – JW

 

Date Taken: 2023-10-10

Date PP: 2026-04-15

 

(c) Copyright 2026 JW Vraets

 

If you are interested in prints or licensing of any of my images, DM me with a brief description of what you may be looking for.

 

Tech Details:

 

Taken using tripod-mounted Nikon D800 fitted with an AF-S Nikkor 24-120mm VR 1:4.0 lense set to 100mm, ISO100 (Auto ISO), Daylight WB, Matrix metering, Shutter Priority Mode, f/10.0, 1/200 sec with an EV-0.33 exposure bias. PP in free Open Source RAWTherapee from Nikon RAW/NEF source: Set final image size to 9000px wide, apply Tone-Mapping at default levels, use Tone Curve 2 tool in Parametric mode to brighten the Shadows, slightly increase Vibrance, sharpen, save. PP in free Open Source GIMP: I wanted to bring out he shadow detail in the bottom right, so… added a non-destructive dodge/burn layer and used it to lighten the deep shadow area further, created a new working layer from the visible result, used the Brightness-Contrast tool to very slightly increase both Brightness and Contrast, sharpen, save, scale to 6000 px wide, sharpen, save, add fine black-and-white frame, add bar and text on left, save, scale image to 3200 px wide for posting online, sharpen very slightly, save.

Verona (/vəˈroʊnə/ və-ROH-nə, Italian: [veˈroːna]; Venetian: Verona or Veròna) is a city on the Adige River in Veneto, Italy, with 259,610 inhabitants. It is one of the seven provincial capitals of the region. It is the largest city municipality in the region and the second largest in northeast Italy. The metropolitan area of Verona covers an area of 1,426 km2 (550.58 sq mi) and has a population of 714,310 inhabitants. It is one of the main tourist destinations in northern Italy because of its artistic heritage and several annual fairs and shows as well as the opera season in the Arena, an ancient Roman amphitheater.

 

Between the 13th and 14th century the city was ruled by the Della Scala Family. Under the rule of the family, in particular of Cangrande I della Scala, the city experienced great prosperity, becoming rich and powerful and being surrounded by new walls. The Della Scala era is survived in numerous monuments around Verona.

 

Two of William Shakespeare's plays are set in Verona: Romeo and Juliet (which also features Romeo's visit to Mantua) and The Two Gentlemen of Verona. It is unknown if Shakespeare ever visited Verona or Italy, but his plays have lured many visitors to Verona and surrounding cities. Verona was also the birthplace of Isotta Nogarola, who is said to be the first major female humanist and one of the most important humanists of the Renaissance. In november of 2000 the city has been declared a World Heritage Site by UNESCO because of its urban structure and architecture.

 

History

 

The precise details of Verona's early history remain a mystery along with the origin of the name. One theory is it was a city of the Euganei, who were obliged to give it up to the Cenomani (550 BCE). With the conquest of the Valley of the Po, the Veronese territory became Roman (about 300 BCE). Verona became a Roman colonia in 89 BCE. It was classified as a municipium in 49 BCE, when its citizens were ascribed to the Roman tribe Poblilia or Publicia.

 

The city became important because it was at the intersection of several roads. Stilicho defeated Alaric and his Visigoths here in 403. But, after Verona was conquered by the Ostrogoths in 489, the Gothic domination of Italy began. Theoderic the Great was said to have built a palace there. It remained under the power of the Goths throughout the Gothic War (535–552), except for a single day in 541, when the Byzantine officer Artabazes made an entrance. The defections of the Byzantine generals over the booty made it possible for the Goths to regain possession of the city. In 552 Valerian vainly endeavored to enter the city, but it was only when the Goths were fully overthrown that they surrendered it.

 

In 569, it was taken by Alboin, King of the Lombards, in whose kingdom it was, in a sense, the second most important city. There, Alboin was killed by his wife in 572. The dukes of Treviso often resided there. Adalgisus, son of Desiderius, in 774 made his last desperate resistance in Verona to Charlemagne, who had destroyed the Lombard kingdom. Verona became the ordinary residence of the kings of Italy, the government of the city becoming hereditary in the family of Count Milo, progenitor of the counts of San Bonifacio. From 880 to 951 the two Berengarii resided there. Otto I ceded to Verona the marquisate dependent on the Duchy of Bavaria, however, the increasing wealth of the burgher families eclipsed the power of the counts, and in 1135 Verona was organised as a free commune. In 1164 Verona joined with Vicenza, Padua and Treviso to create the Veronese League, which was integrated with the Lombard League in 1167 to battle against Frederick I Barbarossa. Victory was achieved at the Battle of Legnano in 1176, and the Treaty of Venice signed in 1177 followed by the Peace of Constance in 1183.

 

When Ezzelino III da Romano was elected podestà in 1226, he converted the office into a permanent lordship. In 1257 he caused the slaughter of 11,000 Paduans on the plain of Verona (Campi di Verona). Upon his death, the Great Council elected Mastino I della Scala as podestà, and he converted the "signoria" into a family possession, though leaving the burghers a share in the government. Failing to be re-elected podestà in 1262, he affected a coup d'état, and was acclaimed Capitano del Popolo, with the command of the communal troops. Long internal discord took place before he succeeded in establishing this new office, to which was attached the function of confirming the podestà. In 1277, Mastino della Scala was killed by the faction of the nobles.

 

The reign of his son Alberto as capitano (1277–1302) was a time of incessant war against the counts of San Bonifacio, who were aided by the House of Este. Of his sons, Bartolomeo, Alboino and Cangrande I, only the last shared the government (1308); he was great as warrior, prince, and patron of the arts; he protected Dante, Petrarch, and Giotto. By war or treaty, he brought under his control the cities of Padua (1328), Treviso (1308) and Vicenza. At this time before the Black death the city was home to more than 40,000 people.

 

Cangrande was succeeded by Mastino II (1329–1351) and Alberto, sons of Alboino. Mastino continued his uncle's policy, conquering Brescia in 1332 and carrying his power beyond the Po. He purchased Parma (1335) and Lucca (1339). After the King of France, he was the richest prince of his time. But a powerful league was formed against him in 1337 – Florence, Venice, the Visconti, the Este, and the Gonzaga. After a three years war, the Scaliger dominions were reduced to Verona and Vicenza (Mastino's daughter Regina-Beatrice della Scala married to Barnabò Visconti). Mastino's son Cangrande II (1351–1359) was a cruel, dissolute, and suspicious tyrant; not trusting his own subjects, he surrounded himself with Brandenburg mercenaries. He was killed by his brother Cansignorio (1359–1375), who beautified the city with palaces, provided it with aqueducts and bridges, and founded the state treasury. He also killed his other brother, Paolo Alboino. Fratricide seems to have become a family custom, for Antonio (1375–87), Cansignorio's natural brother, slew his brother Bartolomeo, thereby arousing the indignation of the people, who deserted him when Gian Galeazzo Visconti of Milan made war on him. Having exhausted all his resources, he fled from Verona at midnight (19 October 1387), thus putting an end to the Scaliger domination, which, however, survived in its monuments.

 

The year 1387 is also the year of the Battle of Castagnaro, between Giovanni Ordelaffi, for Verona, and John Hawkwood, for Padua, who was the winner.

 

Antonio's son Canfrancesco attempted in vain to recover Verona (1390). Guglielmo (1404), natural son of Cangrande II, was more fortunate; with the support of the people, he drove out the Milanese, but he died ten days after, and Verona then submitted to Venice (1405). The last representatives of the Scaligeri lived at the imperial court and repeatedly attempted to recover Verona by the aid of popular risings.

 

From 1508 to 1517, the city was in the power of the Emperor Maximilian I. There were numerous outbreaks of the plague, and in 1629–33 Italy was struck by its worst outbreak in modern times. Around 33,000 people died in Verona (over 60 per cent of the population at the time) in 1630–1631.

 

In 1776 was developed a method of bellringing called Veronese bellringing art. Verona was occupied by Napoleon in 1797, but on Easter Monday the populace rose and drove out the French. It was then that Napoleon made an end of the Venetian Republic. Verona became Austrian territory when Napoleon signed the Treaty of Campo Formio in October 1797. The Austrians took control of the city on 18 January 1798. It was taken from Austria by the Treaty of Pressburg in 1805 and became part of Napoleon's Kingdom of Italy, but was returned to Austria following Napoleon's defeat in 1814, when it became part of the Austrian-held Kingdom of Lombardy-Venetia.

 

The Congress of Verona, which met on 20 October 1822, was part of the series of international conferences or congresses, opening with the Congress of Vienna in 1814–15, that marked the continuing enforcement of the "Concert of Europe".

 

In 1866, following the Third Italian War of Independence, Verona, along with the rest of Venetia, became part of United Italy.

 

The advent of fascism added another dark chapter to the annals of Verona. Throughout Italy, the Jewish population was hit by the Manifesto of Race, a series of anti-Semitic laws passed in 1938, and after the invasion by Nazi Germany in 1943, deportations to Nazi concentration camps. An Austrian Fort (now a church, the Santuario della Madonna di Lourdes), was used to incarcerate and torture Allied troops, Jews and anti-fascists, especially after 1943, when Verona became part of the Italian Social Republic.

 

As in Austrian times, Verona became of great strategic importance to the regime. Galeazzo Ciano, Benito Mussolini's son-in-law, was accused of plotting against the republic; in a show trial staged in January 1944 by the Nazi and fascist hierarchy at Castelvecchio (the Verona trial), Ciano was executed on the banks of the Adige with many other officers on what is today Via Colombo. This marked another turning point in the escalation of violence that would only end with the final liberation by allied troops and partisans in 1945. After World War II, as Italy joined the NATO alliance, Verona once again acquired its strategic importance, due to its geographical closeness to the Iron Curtain.

 

The city became the seat of SETAF (South European Allied Terrestrial Forces) and had during the whole duration of the Cold War period a strong military presence, especially American, which has since decreased.

 

(Wikipedia)

 

Verona ist eine Großstadt in der Region Venetien im Nordosten Italiens. Sie hat 259.608 Einwohner (Stand 31. Dezember 2019) und ist Hauptstadt der Provinz Verona. Verona liegt an der Etsch etwa 59 m über dem Meeresspiegel am Austritt des Etschtals und der Brenner-Transitroute in die Po-Ebene. Seit 2000 gehört die Altstadt von Verona zum UNESCO-Welterbe.

 

Geschichte

 

Frühgeschichte

 

Die erste vorübergehende Besiedlung Veronas kann zwischen dem 11. und dem 8. Jahrhundert v. Chr. angesiedelt werden, wie Grabbeigaben und vereinzelte Keramikfunde belegen. Besiedelt wurde zunächst das linke Etschufer rund um den Colle San Pietro, an dem eine Furt auf die andere Flussseite führte. Erst mit dem 4. Jahrhundert v. Chr. war der Hügel und seine nähere Umgebung erneut Ort einer festen Siedlung. Funde, die den Rätern, Euganeern und Cenomanen zugeordnet werden können, unterstreichen, dass die Siedlung an der Grenze verschiedener Kulturbereiche lag. Bereits römische Quellen hatten sich in dieser Richtung geäußert und Verona mit den genannten Völkern und Stämmen in Verbindung gebracht. Im 2. Jahrhundert v. Chr. tauchten die ersten römischen Siedler auf. Der Bau der Via Postumia 148 v. Chr. förderte die weitere römische Ansiedlung. Mit der Verleihung des latinischen Bürgerrechts an die Bewohner der Gallia cisalpina 89 v. Chr. wurde Verona zum Oppidum ausgebaut.

 

Mit der Verleihung der römischen Bürgerrechte unter Gaius Iulius Caesar wurde Verona 49 v. Chr. zum Municipium, was als offizieller Gründungsakt der Stadt angesehen wird. Mit der Ernennung erfuhr Verona auch einen radikalen städtebaulichen Schnitt. Lag das Zentrum des Ortes bis dahin am linken Etuschfer, wurde Verona nun am rechten Ufer innerhalb der Etschschleife neu angelegt und an der zur Po-Ebene offenen Seite mit Stadtmauern geschützt. Zwischen Etsch und den römischen Stadtmauern entstand bereits unter Kaiser Augustus die römische Stadt Verona, die bald über ihre Mauern hinaus wuchs. So wurde das gut erhaltene Amphitheater – die Arena von Verona – ein knappes Jahrhundert später bereits vor den Stadtmauern angelegt.

 

Im Vierkaiserjahr 69 n. Chr. entging Verona im Gegensatz zu Cremona der Verwüstung im Kampf zwischen den Legionen des Vespasian und den Legionen des Vitellius. Danach setzte bis zur Reichskrise des 3. Jahrhunderts eine friedlichere Phase ein. Der Usurpator Decius schlug hier 249 den Kaiser Philippus Arabs, Konstantin 312 den Pompejanus (Schlacht von Verona)

 

Während der Völkerwanderung wurde Verona 402 von den Westgoten unter Alarich bedroht. Zwar konnte Stilicho in der Schlacht bei Verona noch einen Sieg über Alarich erringen. Aber bereits 452 plünderten die Hunnen unter Attila die Stadt. Nach dem Sieg des Ostgotenkönigs Theoderich über Odoaker bei Verona 489 wurde die Stadt neben Pavia und Ravenna zur Residenz des Ostgotenkönigs, der später im deutschen Hoch- und Spätmittelalter zur Sagenfigur Dietrich von Bern stilisiert wurde. Aus dem Sagenkreis um Dietrich von Bern stammt auch der alte Name der Stadt: „Dietrichsbern“. Weiterhin war in alter Zeit die Bezeichnung „Welsch-Bern“ gebräuchlich (zimbrisch: Bearn). Im 5. und 6. Jahrhundert war Verona nicht nur Residenz der Ostgoten, sondern auch für den Langobardenkönig Alboin, bis es an das fränkische Reich kam.

 

Mittelalter und frühe Neuzeit

 

In der Folge der verheerenden Ungarneinfälle ab 899 in Oberitalien wurde die stark befestigte Stadt nach 900 Sitz einer Münzstätte, die zum Ausgangspunkt des Veroneser Währungsraums wurde. Ab 952 gehörte Verona zur Markgrafschaft Verona und damit zum Herzogtum Bayern und bzw. (ab 976) zu Kärnten. Erst zu Beginn des 12. Jahrhunderts wurde Verona selbständig und besaß eigene Stadtrechte. 1117 wurde die Stadt von einem Erdbeben getroffen, bei dem unter anderem Teile der Arena einstürzten. Die verheerenden Ausmaße, der von späteren Chronisten dargestellten Schäden, wurden in neueren Studien allerdings in Zweifel gestellt. Bei einem Stadtbrand 1172, ausgelöst durch Streitigkeiten zwischen Ghibellinen und Guelfen, brannten große Teile der Stadt ab. 1184 fand das Konzil von Verona statt.

 

m Kampf gegen Kaiser Friedrich I. stand Verona mit an der Spitze des Lombardischen Städtebundes. Darauf wurde es durch die Parteikämpfe der Adelsparteien, der Montecchi (Ghibellinen) und der San Bonifazios (Guelfen), erschüttert. Zu Anfang des 13. Jahrhunderts bemächtigten sich die Ezzelini, die Beschützer der Montecchi, der Stadt. Nach dem Tod Ezzelinos III. da Romano (1259) wählten die Veroneser 1260 Mastino I. della Scala zum Podestà. Die Scaliger herrschten fortan 127 Jahre lang über Verona und erreichten unter der Signoria von Cangrande I. ihre höchste Blüte und unter seinem Nachfolger Mastino II. die größte territoriale Ausdehnung.

 

1387 fiel Verona nach der Vertreibung von Antonio della Scala durch Gian Galeazzo Visconti an die Mailänder Viscontis. Nach dem Tod Gian Galeazzos 1402 nutzten die Carrarersi aus Padua das entstandene Machtvakuum und nahmen die Stadt 1404 in ihren Besitz. Aber bereits 1405 beendete die Republik Venedig die Träume eines paduanischen Herrschaftsgebietes auf der Terraferma und Francesco II. da Carrara musste Verona an die Serenissima übergeben. Mit dem von einer Vertretung der Stadt am 24. Juni 1405 geleisteten Treueid gegenüber der Republik Venedig begann die venezianische Herrschaft. Letztere wurde 1509 nach der Niederlage Venedigs in der Schlacht von Agnadello unterbrochen und die Stadt von den kaiserlichen Truppen Maximilian I. besetzt. Nach dem Ende des Krieges der Liga von Cambrai fiel Verona 1517 wieder an Venedig.

 

1630 wurde die Stadt erneut von der Pest heimgesucht, nachdem die Bevölkerung von Verona bereits im 14. und 15. Jahrhundert von Pestepidemien dezimiert worden war. Der im März 1630 ausgebrochenen Epidemie fielen bis November des gleichen Jahres etwa 30.000 der 50.000 Einwohner zum Opfer. An dem vom Geschichtsschreiber Francesco Pona abgefassten Bericht über die Epidemie inspirierte sich später Alessandro Manzoni für sein Werk I Promessi Sposi.

 

Moderne

 

Nach dem von Napoleon Bonaparte bedingten Ende der Republik Venedig fiel Verona im Frieden von Campo Formio 1797 an Österreich; der vorherige, antifranzösische Aufstand der Veroneser zu Ostern wurde blutig niedergeschlagen. Unter österreichischer Herrschaft war die Stadt Teil des oberitalienischen Festungsvierecks (it.: Quadrilatero), das 1815 zur Verteidigung der habsburgerischen Besitztümer in Italien in den Orten Peschiera, Mantua, Legnago und Verona errichtet wurde. Der Ausbau zur Festungsstadt wurde zwischen 1833 und 1866 nach Plänen des Ingenieurgenerals Franz von Scholl vorgenommen. 1866 kam Verona als Ergebnis des Deutschen Kriegs nach dem Dritten Italienischen Unabhängigkeitskrieg zum Königreich Italien.

 

1882 wurde die Stadt an der Etsch von einer schweren Flutkatastrophe heimgesucht, bei der mehrere Gebäude vollkommen zerstört, fast 200 beschädigt und 3000 Menschen obdachlos wurden. Der nachfolgende Wiederaufbau prägt nach wie vor das Stadtbild entlang des Etschufers. 1913 wurde zum 100. Geburtstags von Giuseppe Verdi in der römischen Arena die Oper Aida aufgeführt. Aus dem überwältigenden Erfolg entstanden nach dem Ersten Weltkrieg die Opernfestspiele in der Arena von Verona.

 

Nachdem Verona bereits im Ersten Weltkrieg zum Ziel der österreichisch-ungarischen Luftstreitkräfte geworden war, wurde die Stadt im Zweiten Weltkrieg mehrmals von den Alliierten bombardiert. Im Herbst 1943 fand im Castelvecchio der erste Parteitag der neugegründeten Republikanischen Faschistischen Partei statt, die nach dem Sturz Mussolinis im Juli 1943 und dem Verbot der Faschistischen Partei im September des gleichen Jahres gegründet worden war. An gleicher Stelle fand im Januar 1944 der sogenannte Prozess von Verona statt. In dem Schauprozess wurden sieben ehemalige Mitglieder des Großen Faschistischen Rats, die in der Sitzung vom 24./25. Juli 1943 im Rom im Palazzo Venezia für die Absetzung von Benito Mussolinis als Oberbefehlshaber der italienischen Streitkräfte gestimmt hatten, wegen Hochverrats zum Tode verurteilt, darunter Galeazzo Ciano, der Schwiegersohn Mussolinis. Am 26. April 1945 wurde Verona im Rahmen der alliierten Frühjahrsoffensive befreit. Zuvor hatten die abziehenden deutschen Truppen noch sämtliche zehn Etschbrücken der Stadt, darunter die Römerbrücke Ponte Pietra sowie die Scaligerbrücke, gesprengt.

 

Heute ist die Stadt durch die Nähe zum Gardasee und zu Venedig ein beliebtes Ausflugsziel für Touristen und wirtschaftliches Zentrum der Region Venetien. 2000 wurde die Altstadt von Verona in die Liste des UNESCO-Welterbes aufgenommen.

 

(Wikipedia)

via Instagram ift.tt/1ST5hSS

№ 18 is higly precise hunting rifle, combining advantages of american underbarrel magazine tube and elegancy of classic european bolt. With its excellent accuracy and .300 WHH caliber, this rifle is ideal for hunting large animals such as deers, bears, reindeers or wild boars.

 

Westinghouse also offers optional optics mounts, sling mounts of various sizes and 3 barrel lenghts (the one on picture is medium length).

  

So, yeah, for my 2nd Westinghouse weapon, I remade my first one. It´s been some time since I wanted to recreate combo underbarrel tube and classic bolt.

 

Now after I have this rifle, I can move onto another thing I wanted to recreate...... hunting rifle with underbarrel single shot shotgun barrel (if it causes chaos, you will see when I am finished).

 

Credits:

Westinghouse, Westinghouse logo and Westinghouse style goes to Xenol.

Engravings go to Worlock.

 

As ussualy, this weapon is fictional but is based on real weapons.

What craziness is this, a day in that London on a weekday? Well, working one day last weekend, and another next weekend, meant I took a day in Lieu.

 

So there.

 

And top of my list of places to visit was St Magnus. This would be the fifth time I have tried to get inside, and the first since I wrote to the church asking whether they would be open a particular Saturday, and then any Saturday. Letters which were ignored

 

So, I walked out of Monument Station, down the hill there was St Magnus: would it be open?

 

It was, and inside it was a box, nay a treasure chest of delights.

 

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St Magnus the Martyr, London Bridge is a Church of England church and parish within the City of London. The church, which is located in Lower Thames Street near The Monument to the Great Fire of London,[1] is part of the Diocese of London and under the pastoral care of the Bishop of London and the Bishop of Fulham.[2] It is a Grade I listed building.[3] The rector uses the title "Cardinal Rector". [4]

St Magnus lies on the original alignment of London Bridge between the City and Southwark. The ancient parish was united with that of St Margaret, New Fish Street, in 1670 and with that of St Michael, Crooked Lane, in 1831.[5] The three united parishes retained separate vestries and churchwardens.[6] Parish clerks continue to be appointed for each of the three parishes.[7]

St Magnus is the guild church of the Worshipful Company of Fishmongers and the Worshipful Company of Plumbers, and the ward church of the Ward of Bridge and Bridge Without. It is also twinned with the Church of the Resurrection in New York City.[8]

Its prominent location and beauty has prompted many mentions in literature.[9] In Oliver Twist Charles Dickens notes how, as Nancy heads for her secret meeting with Mr. Brownlow and Rose Maylie on London Bridge, "the tower of old Saint Saviour's Church, and the spire of Saint Magnus, so long the giant-warders of the ancient bridge, were visible in the gloom". The church's spiritual and architectural importance is celebrated in the poem The Waste Land by T. S. Eliot, who adds in a footnote that "the interior of St. Magnus Martyr is to my mind one of the finest among Wren's interiors".[10] One biographer of Eliot notes that at first he enjoyed St Magnus aesthetically for its "splendour"; later he appreciated its "utility" when he came there as a sinner.

 

The church is dedicated to St Magnus the Martyr, earl of Orkney, who died on 16 April in or around 1116 (the precise year is unknown).[12] He was executed on the island of Egilsay having been captured during a power struggle with his cousin, a political rival.[13] Magnus had a reputation for piety and gentleness and was canonised in 1135. St. Ronald, the son of Magnus's sister Gunhild Erlendsdotter, became Earl of Orkney in 1136 and in 1137 initiated the construction of St. Magnus Cathedral in Kirkwall.[14] The story of St. Magnus has been retold in the 20th century in the chamber opera The Martyrdom of St Magnus (1976)[15] by Sir Peter Maxwell Davies, based on George Mackay Brown's novel Magnus (1973).

 

he identity of the St Magnus referred to in the church's dedication was only confirmed by the Bishop of London in 1926.[16] Following this decision a patronal festival service was held on 16 April 1926.[17] In the 13th century the patronage was attributed to one of the several saints by the name of Magnus who share a feast day on 19 August, probably St Magnus of Anagni (bishop and martyr, who was slain in the persecution of the Emperor Decius in the middle of the 3rd century).[18] However, by the early 18th century it was suggested that the church was either "dedicated to the memory of St Magnus or Magnes, who suffer'd under the Emperor Aurelian in 276 [see St Mammes of Caesarea, feast day 17 August], or else to a person of that name, who was the famous Apostle or Bishop of the Orcades."[19] For the next century historians followed the suggestion that the church was dedicated to the Roman saint of Cæsarea.[20] The famous Danish archaeologist Professor Jens Jacob Asmussen Worsaae (1821–85) promoted the attribution to St Magnus of Orkney during his visit to the British Isles in 1846-7, when he was formulating the concept of the 'Viking Age',[21] and a history of London written in 1901 concluded that "the Danes, on their second invasion ... added at least two churches with Danish names, Olaf and Magnus".[22] A guide to the City Churches published in 1917 reverted to the view that St Magnus was dedicated to a martyr of the third century,[23] but the discovery of St Magnus of Orkney's relics in 1919 renewed interest in a Scandinavian patron and this connection was encouraged by the Rector who arrived in 1921

 

A metropolitan bishop of London attended the Council of Arles in 314, which indicates that there must have been a Christian community in Londinium by this date, and it has been suggested that a large aisled building excavated in 1993 near Tower Hill can be compared with the 4th-century Cathedral of St Tecla in Milan.[25] However, there is no archaeological evidence to suggest that any of the mediaeval churches in the City of London had a Roman foundation.[26] A grant from William I in 1067 to Westminster Abbey, which refers to the stone church of St Magnus near the bridge ("lapidee eccle sci magni prope pontem"), is generally accepted to be 12th century forgery,[27] and it is possible that a charter of confirmation in 1108-16 might also be a later fabrication.[28] Nonetheless, these manuscripts may preserve valid evidence of a date of foundation in the 11th century.

 

Archaeological evidence suggests that the area of the bridgehead was not occupied from the early 5th century until the early 10th century. Environmental evidence indicates that the area was waste ground during this period, colonised by elder and nettles. Following Alfred's decision to reoccupy the walled area of London in 886, new harbours were established at Queenhithe and Billingsgate. A bridge was in place by the early 11th century, a factor which would have encouraged the occupation of the bridgehead by craftsmen and traders.[30] A lane connecting Botolph's Wharf and Billingsgate to the rebuilt bridge may have developed by the mid-11th century. The waterfront at this time was a hive of activity, with the construction of embankments sloping down from the riverside wall to the river. Thames Street appeared in the second half of the 11th century immediately behind (north of) the old Roman riverside wall and in 1931 a piling from this was discovered during the excavation of the foundations of a nearby building. It now stands at the base of the church tower.[31] St Magnus was built to the south of Thames Street to serve the growing population of the bridgehead area[32] and was certainly in existence by 1128-33.[33]

The small ancient parish[34] extended about 110 yards along the waterfront either side of the old bridge, from 'Stepheneslane' (later Churchehawlane or Church Yard Alley) and 'Oystergate' (later called Water Lane or Gully Hole) on the West side to 'Retheresgate' (a southern extension of Pudding Lane) on the East side, and was centred on the crossroads formed by Fish Street Hill (originally Bridge Street, then New Fish Street) and Thames Street.[35] The mediaeval parish also included Drinkwater's Wharf (named after the owner, Thomas Drinkwater), which was located immediately West of the bridge, and Fish Wharf, which was to the South of the church. The latter was of considerable importance as the fishmongers had their shops on the wharf. The tenement was devised by Andrew Hunte to the Rector and Churchwardens in 1446.[36] The ancient parish was situated in the South East part of Bridge Ward, which had evolved in the 11th century between the embankments to either side of the bridge.[37]

In 1182 the Abbot of Westminster and the Prior of Bermondsey agreed that the advowson of St Magnus should be divided equally between them. Later in the 1180s, on their presentation, the Archdeacon of London inducted his nephew as parson.

 

Between the late Saxon period and 1209 there was a series of wooden bridges across the Thames, but in that year a stone bridge was completed.[39] The work was overseen by Peter de Colechurch, a priest and head of the Fraternity of the Brethren of London Bridge. The Church had from early times encouraged the building of bridges and this activity was so important it was perceived to be an act of piety - a commitment to God which should be supported by the giving of alms. London’s citizens made gifts of land and money "to God and the Bridge".[40] The Bridge House Estates became part of the City's jurisdiction in 1282.

 

Until 1831 the bridge was aligned with Fish Street Hill, so the main entrance into the City from the south passed the West door of St Magnus on the north bank of the river.[41] The bridge included a chapel dedicated to St Thomas Becket[42] for the use of pilgrims journeying to Canterbury Cathedral to visit his tomb.[43] The chapel and about two thirds of the bridge were in the parish of St Magnus. After some years of rivalry a dispute arose between the church and the chapel over the offerings given to the chapel by the pilgrims. The matter was resolved by the brethren of the chapel making an annual contribution to St Magnus.[44] At the Reformation the chapel was turned into a house and later a warehouse, the latter being demolished in 1757-58.

The church grew in importance. On 21 November 1234 a grant of land was made to the parson of St Magnus for the enlargement of the church.[45] The London eyre of 1244 recorded that in 1238 "A thief named William of Ewelme of the county of Buckingham fled to the church of St. Magnus the Martyr, London, and there acknowledged the theft and abjured the realm. He had no chattels."[46] Another entry recorded that "The City answers saying that the church of ... St. Magnus the Martyr ... which [is] situated on the king's highway ... ought to belong to the king and be in his gift".[47] The church presumably jutted into the road running to the bridge, as it did in later times.[48] In 1276 it was recorded that "the church of St. Magnus the Martyr is worth £15 yearly and Master Geoffrey de la Wade now holds it by the grant of the prior of Bermundeseie and the abbot of Westminster to whom King Henry conferred the advowson by his charter.

 

In 1274 "came King Edward and his wife [Eleanor] from the Holy Land and were crowned at Westminster on the Sunday next after the Feast of the Assumption of Our Lady [15 August], being the Feast of Saint Magnus [19 August]; and the Conduit in Chepe ran all the day with red wine and white wine to drink, for all such as wished."[50] Stow records that "in the year 1293, for victory obtained by Edward I against the Scots, every citizen, according to their several trade, made their several show, but especially the fishmongers" whose solemn procession including a knight "representing St Magnus, because it was upon St Magnus' day".

An important religious guild, the Confraternity de Salve Regina, was in existence by 1343, having been founded by the "better sort of the Parish of St Magnus" to sing the anthem 'Salve Regina' every evening.[51] The Guild certificates of 1389 record that the Confraternity of Salve Regina and the guild of St Thomas the Martyr in the chapel on the bridge, whose members belonged to St Magnus parish, had determined to become one, to have the anthem of St Thomas after the Salve Regina and to devote their united resources to restoring and enlarging the church of St Magnus.[52] An Act of Parliament of 1437[53] provided that all incorporated fraternities and companies should register their charters and have their ordinances approved by the civic authorities.[54] Fear of enquiry into their privileges may have led established fraternities to seek a firm foundation for their rights. The letters patent of the fraternity of St Mary and St Thomas the Martyr of Salve Regina in St Magnus dated 26 May 1448 mention that the fraternity had petitioned for a charter on the grounds that the society was not duly founded.

 

In the mid-14th century the Pope was the Patron of the living and appointed five rectors to the benefice.[56]

Henry Yevele, the master mason whose work included the rebuilding of Westminster Hall and the naves of Westminster Abbey and Canterbury Cathedral, was a parishioner and rebuilt the chapel on London Bridge between 1384 and 1397. He served as a warden of London Bridge and was buried at St Magnus on his death in 1400. His monument was extant in John Stow's time, but was probably destroyed by the fire of 1666.[57]

Yevele, as the King’s Mason, was overseen by Geoffrey Chaucer in his capacity as the Clerk of the King's Works. In The General Prologue of Chaucer's The Canterbury Tales the five guildsmen "were clothed alle in o lyveree Of a solempne and a greet fraternitee"[58] and may be thought of as belonging to the guild in the parish of St Magnus, or one like it.[59] Chaucer's family home was near to the bridge in Thames Street.

 

n 1417 a dispute arose concerning who should take the place of honour amongst the rectors in the City churches at the Whit Monday procession, a place that had been claimed from time to time by the rectors of St Peter Cornhill, St Magnus the Martyr and St Nicholas Cole Abbey. The Mayor and Aldermen decided that the Rector of St Peter Cornhill should take precedence.[61]

St Magnus Corner at the north end of London Bridge was an important meeting place in mediaeval London, where notices were exhibited, proclamations read out and wrongdoers punished.[62] As it was conveniently close to the River Thames, the church was chosen by the Bishop between the 15th and 17th centuries as a convenient venue for general meetings of the clergy in his diocese.[63] Dr John Young, Bishop of Callipolis (rector of St Magnus 1514-15) pronounced judgement on 16 December 1514 (with the Bishop of London and in the presence of Thomas More, then under-sheriff of London) in the heresy case concerning Richard Hunne.[64]

In pictures from the mid-16th century the old church looks very similar to the present-day St Giles without Cripplegate in the Barbican.[65] According to the martyrologist John Foxe, a woman was imprisoned in the 'cage' on London Bridge in April 1555 and told to "cool herself there" for refusing to pray at St Magnus for the recently deceased Pope Julius III.[66]

Simon Lowe, a Member of Parliament and Master of the Merchant Taylors' Company during the reign of Queen Mary and one of the jurors who acquitted Sir Nicholas Throckmorton in 1554, was a parishioner.[67] He was a mourner at the funeral of Maurice Griffith, Bishop of Rochester from 1554 to 1558 and Rector of St Magnus from 1537 to 1558, who was interred in the church on 30 November 1558 with much solemnity. In accordance with the Catholic church's desire to restore ecclesiastical pageantry in England, the funeral was a splendid affair, ending in a magnificent dinner.

 

Lowe was included in a return of recusants in the Diocese of Rochester in 1577,[69] but was buried at St Magnus on 6 February 1578.[70] Stow refers to his monument in the church. His eldest son, Timothy (died 1617), was knighted in 1603. His second son, Alderman Sir Thomas Lowe (1550–1623), was Master of the Haberdashers' Company on several occasions, Sheriff of London in 1595/96, Lord Mayor in 1604/05 and a Member of Parliament for London.[71] His youngest son, Blessed John Lowe (1553–1586), having originally been a Protestant minister, converted to Roman Catholicism, studied for the priesthood at Douay and Rome and returned to London as a missionary priest.[72] His absence had already been noted; a list of 1581 of "such persons of the Diocese of London as have any children ... beyond the seas" records "John Low son to Margaret Low of the Bridge, absent without licence four years". Having gained 500 converts to Catholicism between 1583 and 1586, he was arrested whilst walking with his mother near London Bridge, committed to The Clink and executed at Tyburn on 8 October 1586.[73] He was beatified in 1987 as one of the eighty-five martyrs of England and Wales.

 

Sir William Garrard, Master of the Haberdashers' Company, Alderman, Sheriff of London in 1553/53, Lord Mayor in 1555/56 and a Member of Parliament was born in the parish and buried at St Magnus in 1571.[74] Sir William Romney, merchant, philanthropist, Master of the Haberdashers' Company, Alderman for Bridge Within and Sheriff of London in 1603/04[75] was married at St Magnus in 1582. Ben Jonson is believed to have been married at St Magnus in 1594.[76]

The patronage of St Magnus, having previously been in the Abbots and Convents of Westminster and Bermondsey (who presented alternatively), fell to the Crown on the suppression of the monasteries. In 1553, Queen Mary, by letters patent, granted it to the Bishop of London and his successors.[77]

The church had a series of distinguished rectors in the second half of the 16th and first half of the 17th century, including Myles Coverdale (Rector 1564-66), John Young (Rector 1566-92), Theophilus Aylmer (Rector 1592-1625), (Archdeacon of London and son of John Aylmer), and Cornelius Burges (Rector 1626-41). Coverdale was buried in the chancel of St Bartholomew-by-the-Exchange, but when that church was pulled down in 1840 his remains were removed to St Magnus.[78]

On 5 November 1562 the churchwardens were ordered to break, or cause to be broken, in two parts all the altar stones in the church.[79] Coverdale, an anti-vestiarian, was Rector at the peak of the vestments controversy. In March 1566 Archbishop Parker caused great consternation among many clergy by his edicts prescribing what was to be worn and by his summoning the London clergy to Lambeth to require their compliance. Coverdale excused himself from attending.[80] Stow records that a non-conforming Scot who normally preached at St Magnus twice a day precipitated a fight on Palm Sunday 1566 at Little All Hallows in Thames Street with his preaching against vestments.[81] Coverdale's resignation from St Magnus in summer 1566 may have been associated with these events. Separatist congregations started to emerge after 1566 and the first such, who called themselves 'Puritans' or 'Unspottyd Lambs of the Lord', was discovered close to St Magnus at Plumbers' Hall in Thames Street on 19 June 1567.

 

St Magnus narrowly escaped destruction in 1633. A later edition of Stow's Survey records that "On the 13th day of February, between eleven and twelve at night, there happened in the house of one Briggs, a Needle-maker near St Magnus Church, at the North end of the Bridge, by the carelessness of a Maid-Servant setting a tub of hot sea-coal ashes under a pair of stairs, a sad and lamentable fire, which consumed all the buildings before eight of the clock the next morning, from the North end of the Bridge to the first vacancy on both sides, containing forty-two houses; water then being very scarce, the Thames being almost frozen over."[83] Susannah Chambers "by her last will & testament bearing date 28th December 1640 gave the sum of Twenty-two shillings and Sixpence Yearly for a Sermon to be preached on the 12th day of February in every Year within the Church of Saint Magnus in commemoration of God's merciful preservation of the said Church of Saint Magnus from Ruin, by the late and terrible Fire on London Bridge. Likewise Annually to the Poor the sum of 17/6."[84] The tradition of a "Fire Sermon" was revived on 12 February 2004, when the first preacher was the Rt Revd and Rt Hon Richard Chartres, Bishop of London.

 

Parliamentarian rule and the more Protestant ethos of the 1640s led to the removal or destruction of "superstitious" and "idolatrous" images and fittings. Glass painters such as Baptista Sutton, who had previously installed "Laudian innovations", found new employment by repairing and replacing these to meet increasingly strict Protestant standards. In January 1642 Sutton replaced 93 feet of glass at St Magnus and in June 1644 he was called back to take down the "painted imagery glass" and replace it.[86] In June 1641 "rail riots" broke out at a number of churches. This was a time of high tension following the trial and execution of the Earl of Strafford and rumours of army and popish plots were rife. The Protestation Oath, with its pledge to defend the true religion "against all Popery and popish innovation", triggered demands from parishioners for the removal of the rails as popish innovations which the Protestation had bound them to reform. The minister arranged a meeting between those for and against the pulling down of the rails, but was unsuccessful in reaching a compromise and it was feared that they would be demolished by force.[87] However, in 1663 the parish resumed Laudian practice and re-erected rails around its communion table.[88]

Joseph Caryl was incumbent from 1645 until his ejection in 1662. In 1663 he was reportedly living near London Bridge and preaching to an Independent congregation that met at various places in the City.[89]

During the Great Plague of 1665, the City authorities ordered fires to be kept burning night and day, in the hope that the air would be cleansed. Daniel Defoe's semi-fictictional, but highly realistic, work A Journal of the Plague Year records that one of these was "just by St Magnus Church"

 

Despite its escape in 1633, the church was one of the first buildings to be destroyed in the Great Fire of London in 1666.[91] St Magnus stood less than 300 yards from the bakehouse of Thomas Farriner in Pudding Lane where the fire started. Farriner, a former churchwarden of St Magnus, was buried in the middle aisle of the church on 11 December 1670, perhaps within a temporary structure erected for holding services.[92]

The parish engaged the master mason George Dowdeswell to start the work of rebuilding in 1668. The work was carried forward between 1671 and 1687 under the direction of Sir Christopher Wren, the body of the church being substantially complete by 1676.[93] At a cost of £9,579 19s 10d St Magnus was one of Wren's most expensive churches.[94] The church of St Margaret New Fish Street was not rebuilt after the fire and its parish was united to that of St Magnus.

 

The chancels of many of Wren’s city churches had chequered marble floors and the chancel of St Magnus is an example,[95] the parish agreeing after some debate to place the communion table on a marble ascent with steps[96] and to commission altar rails of Sussex wrought iron. The nave and aisles are paved with freestone flags. A steeple, closely modelled on one built between 1614 and 1624 by François d'Aguilon and Pieter Huyssens for the church of St Carolus Borromeus in Antwerp, was added between 1703 and 1706.[97] London's skyline was transformed by Wren's tall steeples and that of St Magnus is considered to be one his finest.[98]

The large clock projecting from the tower was a well-known landmark in the city as it hung over the roadway of Old London Bridge.[99] It was presented to the church in 1709 by Sir Charles Duncombe[100] (Alderman for the Ward of Bridge Within and, in 1708/09, Lord Mayor of London). Tradition says "that it was erected in consequence of a vow made by the donor, who, in the earlier part of his life, had once to wait a considerable time in a cart upon London Bridge, without being able to learn the hour, when he made a promise, that if he ever became successful in the world, he would give to that Church a public clock ... that all passengers might see the time of day."[101] The maker was Langley Bradley, a clockmaker in Fenchurch Street, who had worked for Wren on many other projects, including the clock for the new St Paul's Cathedral. The sword rest in the church, designed to hold the Lord Mayor's sword and mace when he attended divine service "in state", dates from 1708.

Duncombe and his benefactions to St Magnus feature prominently in Daniel Defoe's The True-Born Englishman, a biting satire on critics of William III that went through several editions from 1700 (the year in which Duncombe was elected Sheriff).

 

Shortly before his death in 1711, Duncombe commissioned an organ for the church, the first to have a swell-box, by Abraham Jordan (father and son).[103] The Spectator announced that "Whereas Mr Abraham Jordan, senior and junior, have, with their own hands, joinery excepted, made and erected a very large organ in St Magnus' Church, at the foot of London Bridge, consisting of four sets of keys, one of which is adapted to the art of emitting sounds by swelling notes, which never was in any organ before; this instrument will be publicly opened on Sunday next [14 February 1712], the performance by Mr John Robinson. The above-said Abraham Jordan gives notice to all masters and performers, that he will attend every day next week at the said Church, to accommodate all those gentlemen who shall have a curiosity to hear it".[104]

The organ case, which remains in its original state, is looked upon as one of the finest existing examples of the Grinling Gibbons's school of wood carving.[105] The first organist of St Magnus was John Robinson (1682–1762), who served in that role for fifty years and in addition as organist of Westminster Abbey from 1727. Other organists have included the blind organist George Warne (1792–1868, organist 1820-26 until his appointment to the Temple Church), James Coward (1824–80, organist 1868-80 who was also organist to the Crystal Palace and renowned for his powers of improvisation) and George Frederick Smith FRCO (1856–1918, organist 1880-1918 and Professor of Music at the Guildhall School of Music).[106] The organ has been restored several times - in 1760, 1782, 1804, 1855, 1861, 1879, 1891, 1924, 1949 after wartime damage and 1997 - since it was first built.[107] Sir Peter Maxwell Davies was one of several patrons of the organ appeal in the mid-1990s[108] and John Scott gave an inaugural recital on 20 May 1998 following the completion of that restoration.[109] The instrument has an Historic Organ Certificate and full details are recorded in the National Pipe Organ Register.[110]

The hymn tune "St Magnus", usually sung at Ascensiontide to the text "The head that once was crowned with thorns", was written by Jeremiah Clarke in 1701 and named for the church.

 

Canaletto drew St Magnus and old London Bridge as they appeared in the late 1740s.[112] Between 1756 and 1762, under the London Bridge Improvement Act of 1756 (c. 40), the Corporation of London demolished the buildings on London Bridge to widen the roadway, ease traffic congestion and improve safety for pedestrians.[113] The churchwardens’ accounts of St Magnus list many payments to those injured on the Bridge and record that in 1752 a man was crushed to death between two carts.[114] After the House of Commons had resolved upon the alteration of London Bridge, the Rev Robert Gibson, Rector of St Magnus, applied to the House for relief; stating that 48l. 6s. 2d. per annum, part of his salary of 170l. per annum, was assessed upon houses on London Bridge; which he should utterly lose by their removal unless a clause in the bill about to be passed should provide a remedy.[115] Accordingly, Sections 18 and 19 of 1756 Act provided that the relevant amounts of tithe and poor rate should be a charge on the Bridge House Estates.[116]

A serious fire broke out on 18 April 1760 in an oil shop at the south east corner of the church, which consumed most of the church roof and did considerable damage to the fabric. The fire burnt warehouses to the south of the church and a number of houses on the northern end of London Bridge.

 

As part of the bridge improvements, overseen by the architect Sir Robert Taylor, a new pedestrian walkway was built along the eastern side of the bridge. With the other buildings gone St Magnus blocked the new walkway.[117] As a consequence it was necessary in 1762 to 1763 to remove the vestry rooms at the West end of the church and open up the side arches of the tower so that people could pass underneath the tower.[118] The tower’s lower storey thus became an external porch. Internally a lobby was created at the West end under the organ gallery and a screen with fine octagonal glazing inserted. A new Vestry was built to the South of the church.[119] The Act also provided that the land taken from the church for the widening was "to be considered ... as part of the cemetery of the said church ... but if the pavement thereof be broken up on account of the burying of any persons, the same shall be ... made good ... by the churchwardens"

 

Soldiers were stationed in the Vestry House of St Magnus during the Gordon Riots in June 1780.[121]

By 1782 the noise level from the activities of Billingsgate Fish Market had become unbearable and the large windows on the north side of the church were blocked up leaving only circular windows high up in the wall.[122] At some point between the 1760s and 1814 the present clerestory was constructed with its oval windows and fluted and coffered plasterwork.[123] J. M. W. Turner painted the church in the mid-1790s.[124]

The rector of St Magnus between 1792 and 1808, following the death of Robert Gibson on 28 July 1791,[125] was Thomas Rennell FRS. Rennell was President of Sion College in 1806/07. There is a monument to Thomas Leigh (Rector 1808-48 and President of Sion College 1829/30,[126] at St Peter's Church, Goldhanger in Essex.[127] Richard Hazard (1761–1837) was connected with the church as sexton, parish clerk and ward beadle for nearly 50 years[128] and served as Master of the Parish Clerks' Company in 1831/32.[129]

In 1825 the church was "repaired and beautified at a very considerable expense. During the reparation the east window, which had been closed, was restored, and the interior of the fabric conformed to the state in which it was left by its great architect, Sir Christopher Wren. The magnificent organ ... was taken down and rebuilt by Mr Parsons, and re-opened, with the church, on the 12th February, 1826".[130] Unfortunately, as a contemporary writer records, "On the night of the 31st of July, 1827, [the church's] safety was threatened by the great fire which consumed the adjacent warehouses, and it is perhaps owing to the strenuous and praiseworthy exertions of the firemen, that the structure exists at present. ... divine service was suspended and not resumed until the 20th January 1828. In the interval the church received such tasteful and elegant decorations, that it may now compete with any church in the metropolis.

 

In 1823 royal assent was given to ‘An Act for the Rebuilding of London Bridge’ and in 1825 John Garratt, Lord Mayor and Alderman of the Ward of Bridge Within, laid the first stone of the new London Bridge.[132] In 1831 Sir John Rennie’s new bridge was opened further upstream and the old bridge demolished. St Magnus ceased to be the gateway to London as it had been for over 600 years. Peter de Colechurch[133] had been buried in the crypt of the chapel on the bridge and his bones were unceremoniously dumped in the River Thames.[134] In 1921 two stones from Old London Bridge were discovered across the road from the church. They now stand in the churchyard.

Wren's church of St Michael Crooked Lane was demolished, the final service on Sunday 20 March 1831 having to be abandoned due to the effects of the building work. The Rector of St Michael preached a sermon the following Sunday at St Magnus lamenting the demolition of his church with its monuments and "the disturbance of the worship of his parishioners on the preceeding Sabbath".[135] The parish of St Michael Crooked Lane was united to that of St Magnus, which itself lost a burial ground in Church Yard Alley to the approach road for the new bridge.[136] However, in substitution it had restored to it the land taken for the widening of the old bridge in 1762 and was also given part of the approach lands to the east of the old bridge.[137] In 1838 the Committee for the London Bridge Approaches reported to Common Council that new burial grounds had been provided for the parishes of St Michael, Crooked Lane and St Magnus, London Bridge.

 

Depictions of St Magnus after the building of the new bridge, seen behind Fresh Wharf and the new London Bridge Wharf, include paintings by W. Fenoulhet in 1841 and by Charles Ginner in 1913.[139] This prospect was affected in 1924 by the building of Adelaide House to a design by John James Burnet,[140] The Times commenting that "the new ‘architectural Matterhorn’ ... conceals all but the tip of the church spire".[141] There was, however, an excellent view of the church for a few years between the demolition of Adelaide Buildings and the erection of its replacement.[142] Adelaide House is now listed.[143] Regis House, on the site of the abandoned King William Street terminus of the City & South London Railway (subsequently the Northern Line),[144] and the Steam Packet Inn, on the corner of Lower Thames Street and Fish Street Hill,[145] were developed in 1931.

 

By the early 1960s traffic congestion had become a problem[147] and Lower Thames Street was widened over the next decade[148] to form part of a significant new east-west transport artery (the A3211).[149] The setting of the church was further affected by the construction of a new London Bridge between 1967 and 1973.[150] The New Fresh Wharf warehouse to the east of the church, built in 1939, was demolished in 1973-4 following the collapse of commercial traffic in the Pool of London[151] and, after an archaeological excavation,[152] St Magnus House was constructed on the site in 1978 to a design by R. Seifert & Partners.[153] This development now allows a clear view of the church from the east side.[154] The site to the south east of The Monument (between Fish Street Hill and Pudding Lane), formerly predominantly occupied by fish merchants,[155] was redeveloped as Centurion House and Gartmore (now Providian) House at the time of the closure of old Billingsgate Market in January 1982.[156] A comprehensive redevelopment of Centurion House began in October 2011 with completion planned in 2013.[157] Regis House, to the south west of The Monument, was redeveloped by Land Securities PLC in 1998.[158]

The vista from The Monument south to the River Thames, over the roof of St Magnus, is protected under the City of London Unitary Development Plan,[159] although the South bank of the river is now dominated by The Shard. Since 2004 the City of London Corporation has been exploring ways of enhancing the Riverside Walk to the south of St Magnus.[160] Work on a new staircase to connect London Bridge to the Riverside Walk is due to commence in March 2013.[161] The story of St Magnus's relationship with London Bridge and an interview with the rector featured in the television programme The Bridges That Built London with Dan Cruickshank, first broadcast on BBC Four on 14 June 2012.[162] The City Corporation's 'Fenchurch and Monument Area Enhancement Strategy' of August 2012 recommended ways of reconnecting St Magnus and the riverside to the area north of Lower Thames Street.

 

A lectureship at St Michael Crooked Lane, which was transferred to St Magnus in 1831, was endowed by the wills of Thomas and Susannah Townsend in 1789 and 1812 respectively.[164] The Revd Henry Robert Huckin, Headmaster of Repton School from 1874 to 1882, was appointed Townsend Lecturer at St Magnus in 1871.[165]

St Magnus narrowly escaped damage from a major fire in Lower Thames Street in October 1849.

 

During the second half of the 19th century the rectors were Alexander McCaul, DD (1799–1863, Rector 1850-63), who coined the term 'Judaeo Christian' in a letter dated 17 October 1821,[167] and his son Alexander Israel McCaul (1835–1899, curate 1859-63, rector 1863-99). The Revd Alexander McCaul Sr[168] was a Christian missionary to the Polish Jews, who (having declined an offer to become the first Anglican Bishop in Jerusalem)[169] was appointed professor of Hebrew and rabbinical literature at King's College, London in 1841. His daughter, Elizabeth Finn (1825–1921), a noted linguist, founded the Distressed Gentlefolk Aid Association (now known as Elizabeth Finn Care).[170]

In 1890 it was reported that the Bishop of London was to hold an inquiry as to the desirability of uniting the benefices of St George Botolph Lane and St Magnus. The expectation was a fusion of the two livings, the demolition of St George’s and the pensioning of "William Gladstone’s favourite Canon", Malcolm MacColl. Although services ceased there, St George’s was not demolished until 1904. The parish was then merged with St Mary at Hill rather than St Magnus.[171]

The patronage of the living was acquired in the late 19th century by Sir Henry Peek Bt. DL MP, Senior Partner of Peek Brothers & Co of 20 Eastcheap, the country's largest firm of wholesale tea brokers and dealers, and Chairman of the Commercial Union Assurance Co. Peek was a generous philanthropist who was instrumental in saving both Wimbledon Common and Burnham Beeches from development. His grandson, Sir Wilfred Peek Bt. DSO JP, presented a cousin, Richard Peek, as rector in 1904. Peek, an ardent Freemason, held the office of Grand Chaplain of England. The Times recorded that his memorial service in July 1920 "was of a semi-Masonic character, Mr Peek having been a prominent Freemason".[172] In June 1895 Peek had saved the life of a young French girl who jumped overboard from a ferry midway between Dinard and St Malo in Brittany and was awarded the bronze medal of the Royal Humane Society and the Gold Medal 1st Class of the Sociâetâe Nationale de Sauvetage de France.[173]

In November 1898 a memorial service was held at St Magnus for Sir Stuart Knill Bt. (1824–1898), head of the firm of John Knill and Co, wharfingers, and formerly Lord Mayor and Master of the Plumbers' Company.[174] This was the first such service for a Roman Catholic taken in an Anglican church.[175] Sir Stuart's son, Sir John Knill Bt. (1856-1934), also served as Alderman for the Ward of Bridge Within, Lord Mayor and Master of the Plumbers' Company.

 

Until 1922 the annual Fish Harvest Festival was celebrated at St Magnus.[176] The service moved in 1923 to St Dunstan in the East[177] and then to St Mary at Hill, but St Magnus retained close links with the local fish merchants until the closure of old Billingsgate Market. St Magnus, in the 1950s, was "buried in the stink of Billingsgate fish-market, against which incense was a welcome antidote".

 

A report in 1920 proposed the demolition of nineteen City churches, including St Magnus.[179] A general outcry from members of the public and parishioners alike prevented the execution of this plan.[180] The members of the City Livery Club passed a resolution that they regarded "with horror and indignation the proposed demolition of 19 City churches" and pledged the Club to do everything in its power to prevent such a catastrophe.[181] T. S. Eliot wrote that the threatened churches gave "to the business quarter of London a beauty which its hideous banks and commercial houses have not quite defaced. ... the least precious redeems some vulgar street ... The loss of these towers, to meet the eye down a grimy lane, and of these empty naves, to receive the solitary visitor at noon from the dust and tumult of Lombard Street, will be irreparable and unforgotten."[182] The London County Council published a report concluding that St Magnus was "one of the most beautiful of all Wren's works" and "certainly one of the churches which should not be demolished without specially good reasons and after very full consideration."[183] Due to the uncertainty about the church's future, the patron decided to defer action to fill the vacancy in the benefice and a curate-in-charge temporarily took responsibility for the parish.[184] However, on 23 April 1921 it was announced that the Revd Henry Joy Fynes-Clinton would be the new Rector. The Times concluded that the appointment, with the Bishop’s approval, meant that the proposed demolition would not be carried out.[185] Fr Fynes-Clinton was inducted on 31 May 1921.[186]

The rectory, built by Robert Smirke in 1833-5, was at 39 King William Street.[187] A decision was taken in 1909 to sell the property, the intention being to purchase a new rectory in the suburbs, but the sale fell through and at the time of the 1910 Land Tax Valuations the building was being let out to a number of tenants. The rectory was sold by the diocese on 30 May 1921 for £8,000 to Ridgways Limited, which owned the adjoining premises.[188] The Vestry House adjoining the south west of the church, replacing the one built in the 1760s, may also have been by Smirke. Part of the burial ground of St Michael Crooked Lane, located between Fish Street Hill and King William Street, survived as an open space until 1987 when it was compulsorily purchased to facilitate the extension of the Docklands Light Railway into the City.[189] The bodies were reburied at Brookwood Cemetery.

 

The interior of the church was restored by Martin Travers in 1924, in a neo-baroque style,[191] reflecting the Anglo-Catholic character of the congregation[192] following the appointment of Henry Joy Fynes-Clinton as Rector.[193] Fr Fynes, as he was often known, served as Rector of St Magnus from 31 May 1921 until his death on 4 December 1959 and substantially beautified the interior of the church.[194]

Fynes-Clinton held very strong Anglo-Catholic views, and proceeded to make St Magnus as much like a baroque Roman Catholic church as possible. However, "he was such a loveable character with an old-world courtesy which was irresistible, that it was difficult for anyone to be unpleasant to him, however much they might disapprove of his views".[195] He generally said the Roman Mass in Latin; and in personality was "grave, grand, well-connected and holy, with a laconic sense of humour".[196] To a Protestant who had come to see Coverdale's monument he is reported to have said "We have just had a service in the language out of which he translated the Bible".[197] The use of Latin in services was not, however, without grammatical danger. A response from his parishioners of "Ora pro nobis" after "Omnes sancti Angeli et Archangeli" in the Litany of the Saints would elicit a pause and the correction "No, Orate pro nobis."

 

In 1922 Fynes-Clinton refounded the Fraternity of Our Lady de Salve Regina.[198] The Fraternity's badge[199] is shown in the stained glass window at the east end of the north wall of the church above the reredos of the Lady Chapel altar. He also erected a statue of Our Lady of Walsingham and arranged pilgrimages to the Norfolk shrine, where he was one of the founding Guardians.[200] In 1928 the journal of the Catholic League reported that St Magnus had presented a votive candle to the Shrine at Walsingham "in token of our common Devotion and the mutual sympathy and prayers that are we hope a growing bond between the peaceful country shrine and the church in the heart of the hurrying City, from the Altar of which the Pilgrimages regularly start".[201]

Fynes-Clinton was General Secretary of the Anglican and Eastern Orthodox Churches Union and its successor, the Anglican and Eastern Churches Association, from 1906 to 1920 and served as Secretary to the Archbishop of Canterbury's Eastern Churches Committee from 1920 to around 1924. A Solemn Requiem was celebrated at St Magnus in September 1921 for the late King Peter of the Serbs, Croats and Slovenes.

At the midday service on 1 March 1922, J.A. Kensit, leader of the Protestant Truth Society, got up and protested against the form of worship.[202] The proposed changes to the church in 1924 led to a hearing in the Consistory Court of the Chancellor of the Diocese of London and an appeal to the Court of Arches.[203] Judgement was given by the latter Court in October 1924. The advowson was purchased in 1931, without the knowledge of the Rector and Parochial Church Council, by the evangelical Sir Charles King-Harman.[204] A number of such cases, including the purchase of the advowsons of Clapham and Hampstead Parish Churches by Sir Charles, led to the passage of the Benefices (Purchase of Rights of Patronage) Measure 1933.[205] This allowed the parishioners of St Magnus to purchase the advowson from Sir Charles King-Harman for £1,300 in 1934 and transfer it to the Patronage Board.

 

St Magnus was one of the churches that held special services before the opening of the second Anglo-Catholic Congress in 1923.[207] Fynes-Clinton[208] was the first incumbent to hold lunchtime services for City workers.[209] Pathé News filmed the Palm Sunday procession at St Magnus in 1935.[210] In The Towers of Trebizond, the novel by Rose Macauley published in 1956, Fr Chantry-Pigg's church is described as being several feet higher than St Mary’s Bourne Street and some inches above even St Magnus the Martyr.[211]

In July 1937 Fr Fynes-Clinton, with two members of his congregation, travelled to Kirkwall to be present at the 800th anniversary celebrations of St Magnus Cathedral, Kirkwall. During their stay they visited Egilsay and were shown the spot where St Magnus had been slain. Later Fr Fynes-Clinton was present at a service held at the roofless church of St Magnus on Egilsay, where he suggested to his host Mr Fryer, the minister of the Cathedral, that the congregations of Kirkwall and London should unite to erect a permanent stone memorial on the traditional site where Earl Magnus had been murdered. In 1938 a cairn was built of local stone on Egilsay. It stands 12 feet high and is 6 feet broad at its base. The memorial was dedicated on 7 September 1938 and a bronze inscription on the monument reads "erected by the Rector and Congregation of St Magnus the Martyr by London Bridge and the Minister and Congregation of St Magnus Cathedral, Kirkwall to commemorate the traditional spot where Earl Magnus was slain, AD circa 1116 and to commemorate the Octocentenary of St Magnus Cathedral 1937"

 

A bomb which fell on London Bridge in 1940 during the Blitz of World War II blew out all the windows and damaged the plasterwork and the roof of the north aisle.[213] However, the church was designated a Grade I listed building on 4 January 1950[214] and repaired in 1951, being re-opened for worship in June of that year by the Bishop of London, William Wand.[215] The architect was Laurence King.[216] Restoration and redecoration work has subsequently been carried out several times, including after a fire in the early hours of 4 November 1995.[217] Cleaning of the exterior stonework was completed in 2010.

 

Some minor changes were made to the parish boundary in 1954, including the transfer to St Magnus of an area between Fish Street Hill and Pudding Lane. The site of St Leonard Eastcheap, a church that was not rebuilt after the Great Fire, is therefore now in the parish of St Magnus despite being united to St Edmund the King.

Fr Fynes-Clinton marked the 50th anniversary of his priesthood in May 1952 with High Mass at St Magnus and lunch at Fishmongers' Hall.[218] On 20 September 1956 a solemn Mass was sung in St Magnus to commence the celebration of the 25th anniversary of the restoration of the Holy House at Walsingham in 1931. In the evening of that day a reception was held in the large chamber of Caxton Hall, when between three and four hundred guests assembled.[219]

Fr Fynes-Clinton was succeeded as rector in 1960 by Fr Colin Gill,[220] who remained as incumbent until his death in 1983.[221] Fr Gill was also closely connected with Walsingham and served as a Guardian between 1953 and 1983, including nine years as Master of the College of Guardians.[222] He celebrated the Mass at the first National Pilgrimage in 1959[223] and presided over the Jubilee celebrations to mark the 50th anniversary of the Shrine in 1981, having been present at the Holy House's opening.[224] A number of the congregation of St Stephen's Lewisham moved to St Magnus around 1960, following temporary changes in the form of worship there.

 

In 1994 the Templeman Commission proposed a radical restructuring of the churches in the City Deanery. St Magnus was identified as one of the 12 churches that would remain as either a parish or an 'active' church.[226] However, the proposals were dropped following a public outcry and the consecration of a new Bishop of London.

The parish priest since 2003 has been Fr Philip Warner, who was previously priest-in-charge of St Mary's Church, Belgrade (Diocese in Europe) and Apokrisiarios for the Archbishop of Canterbury to the Serbian Orthodox Church. Since January 2004 there has been an annual Blessing of the Thames, with the congregations of St Magnus and Southwark Cathedral meeting in the middle of London Bridge.[227] On Sunday 3 July 2011, in anticipation of the feast of the translation of St Thomas Becket (7 July), a procession from St Magnus brought a relic of the saint to the middle of the bridge.[228]

David Pearson specially composed two new pieces, a communion anthem A Mhànais mo rùin (O Magnus of my love) and a hymn to St Magnus Nobilis, humilis, for performance at the church on the feast of St Magnus the Martyr, 16 April 2012.[229] St Magnus's organist, John Eady, has won composition competitions for new choral works at St Paul's Cathedral (a setting of Veni Sancte Spiritus first performed on 27 May 2012) and at Lincoln Cathedral (a setting of the Matin responsory for Advent first performed on 30 November 2013).[230]

In addition to liturgical music of a high standard, St Magnus is the venue for a wide range of musical events. The Clemens non Papa Consort, founded in 2005, performs in collaboration with the production team Concert Bites as the church's resident ensemble.[231] The church is used by The Esterhazy Singers for rehearsals and some concerts.[232] The band Mishaped Pearls performed at the church on 17 December 2011.[233] St Magnus featured in the television programme Jools Holland: London Calling, first broadcast on BBC2 on 9 June 2012.[234] The Platinum Consort made a promotional film at St Magnus for the release of their debut album In the Dark on 2 July 2012.[235]

The Friends of the City Churches had their office in the Vestry House of St Magnus until 2013.

 

Martin Travers modified the high altar reredos, adding paintings of Moses and Aaron and the Ten Commandments between the existing Corinthian columns and reconstructing the upper storey. Above the reredos Travers added a painted and gilded rood.[237] In the centre of the reredos there is a carved gilded pelican (an early Christian symbol of self-sacrifice) and a roundel with Baroque-style angels. The glazed east window, which can be seen in an early photograph of the church, appears to have been filled in at this time. A new altar with console tables was installed and the communion rails moved outwards to extend the size of the sanctuary. Two old door frames were used to construct side chapels and placed at an angle across the north-east and south-east corners of the church. One, the Lady Chapel, was dedicated to the Rector's parents in 1925 and the other was dedicated to Christ the King. Originally, a baroque aumbry was used for Reservation of the Blessed Sacrament, but later a tabernacle was installed on the Lady Chapel altar and the aumbry was used to house a relic of the True Cross.

The interior was made to look more European by the removal of the old box pews and the installation of new pews with cut-down ends. Two new columns were inserted in the nave to make the lines regular. The Wren-period pulpit by the joiner William Grey[238] was opened up and provided with a soundboard and crucifix. Travers also designed the statue of St Magnus of Orkney, which stands in the south aisle, and the statue of Our Lady of Walsingham.[239]

On the north wall there is a Russian Orthodox icon, painted in 1908. The modern stations of the cross in honey-coloured Japanese oak are the work of Robert Randall and Ashley Sands.[240] One of the windows in the north wall dates from 1671 and came from Plumbers' Hall in Chequer Yard, Bush Lane, which was demolished in 1863 to make way for Cannon Street Railway Station.[241] A fireplace from the Hall was re-erected in the Vestry House. The other windows on the north side are by Alfred Wilkinson and date from 1952 to 1960. These show the arms of the Plumbers’, Fishmongers’ and Coopers’ Companies together with those of William Wand when Bishop of London and Geoffrey Fisher when Archbishop of Canterbury and (as noted above) the badge of the Fraternity of Our Lady de Salve Regina.

The stained glass windows in the south wall, which are by Lawrence Lee and date from 1949 to 1955, represent lost churches associated with the parish: St Magnus and his ruined church of Egilsay, St Margaret of Antioch with her lost church in New Fish Street (where the Monument to the Great Fire now stands), St Michael with his lost church of Crooked Lane (demolished to make way for the present King William Street) and St Thomas Becket with his chapel on Old London Bridge.[242]

The church possesses a fine model of Old London Bridge. One of the tiny figures on the bridge appears out of place in the mediaeval setting, wearing a policeman's uniform. This is a representation of the model-maker, David T. Aggett, who is a Liveryman of the Worshipful Company of Plumbers and was formerly in the police service.[243]

The Mischiefs by Fire Act 1708 and the Fires Prevention (Metropolis) Act 1774 placed a requirement on every parish to keep equipment to fight fires. The church owns two historic fire engines that belonged to the parish of St Michael, Crooked Lane.[244] One of these is in storage at the Museum of London. The whereabouts of the other, which was misappropriated and sold at auction in 2003, is currently unknown.

In 1896 many bodies were disinterred from the crypt and reburied at the St Magnus's plot at Brookwood Cemetery, which remains the church's burial ground.

 

Prior to the Great Fire of 1666 the old tower had a ring of five bells, a small saints bell and a clock bell.[246] 47 cwt of bell metal was recovered[247] which suggests that the tenor was 13 or 14 cwt. The metal was used to cast three new bells, by William Eldridge of Chertsey in 1672,[248] with a further saints bell cast that year by Hodson.[249] In the absence of a tower, the tenor and saints bell were hung in a free standing timber structure, whilst the others remained unhung.[250]

A new tower was completed in 1704 and it is likely that these bells were transferred to it. However, the tenor became cracked in 1713 and it was decided to replace the bells with a new ring of eight.[251] The new bells, with a tenor of 21 cwt, were cast by Richard Phelps of the Whitechapel Bell Foundry. Between 1714 and 1718 (the exact date of which is unknown), the ring was increased to ten with the addition of two trebles given by two former ringing Societies, the Eastern Youths and the British Scholars.[252] The first peal was rung on 15 February 1724 of Grandsire Caters by the Society of College Youths. The second bell had to be recast in 1748 by Robert Catlin, and the tenor was recast in 1831 by Thomas Mears of Whitechapel,[253] just in time to ring for the opening of the new London Bridge. In 1843, the treble was said to be "worn out" and so was scrapped, together with the saints bell, while a new treble was cast by Thomas Mears.[254] A new clock bell was erected in the spire in 1846, provided by B R & J Moore, who had earlier purchased it from Thomas Mears.[255] This bell can still be seen in the tower from the street.

The 10 bells were removed for safe keeping in 1940 and stored in the churchyard. They were taken to Whitechapel Bell Foundry in 1951 whereupon it was discovered that four of them were cracked. After a long period of indecision, fuelled by lack of funds and interest, the bells were finally sold for scrap in 1976. The metal was used to cast many of the Bells of Congress that were then hung in the Old Post Office Tower in Washington, D.C.

A fund was set up on 19 September 2005, led by Dickon Love, a member of the Ancient Society of College Youths, with a view to installing a new ring of 12 bells in the tower in a new frame. This was the first of three new rings of bells he has installed in the City of London (the others being at St Dunstan-in-the-West and St James Garlickhythe). The money was raised and the bells were cast during 2008/9 by the Whitechapel Bell Foundry. The tenor weighed 26cwt 3qtr 9 lbs (1360 kg) and the new bells were designed to be in the same key as the former ring of ten. They were consecrated by the Bishop of London on 3 March 2009 in the presence of the Lord Mayor[256] and the ringing dedicated on 26 October 2009 by the Archdeacon of London.[257] The bells are named (in order smallest to largest) Michael, Margaret, Thomas of Canterbury, Mary, Cedd, Edward the Confessor, Dunstan, John the Baptist, Erkenwald, Paul, Mellitus and Magnus.[258] The bells project is recorded by an inscription in the vestibule of the church.

 

The first peal on the twelve was rung on 29 November 2009 of Cambridge Surprise Maximus.[260] Notable other recent peals include a peal of Stedman Cinques on 16 April 2011 to mark the 400th anniversary of the granting of a Royal Charter to the Plumbers' Company,[261] a peal of Cambridge Surprise Royal on 28 June 2011 when the Fishmongers' Company gave a dinner for Prince Philip, Duke of Edinburgh at their hall on the occasion of his 90th birthday[262] and a peal of Avon Delight Maximus on 24 July 2011 in solidarity with the people of Norway following the tragic massacre on Utoeya Island and in Oslo.[263] On the latter occasion the flag of the Orkney Islands was flown at half mast. In 2012 peals were rung during the Thames Diamond Jubilee Pageant on 3 June and during each of the three Olympic/Paralympic marathons, on 5 and 12 August and 9 September.

The BBC television programme, Still Ringing After All These Years: A Short History of Bells, broadcast on 14 December 2011, included an interview at St Magnus with the Tower Keeper, Dickon Love,[264] who was captain of the band that rang the "Royal Jubilee Bells" during the Thames Diamond Jubilee Pageant on 3 June 2012 to celebrate the Diamond Jubilee of Queen Elizabeth II.[265] Prior to this, he taught John Barrowman to handle a bell at St Magnus for the BBC coverage.

The bells are currently rung every Sunday around 12:15 (following the service) by the Guild of St Magnus.

 

Every other June, newly elected wardens of the Fishmongers' Company, accompanied by the Court, proceed on foot from Fishmongers' Hall[267] to St Magnus for an election service.[268] St Magnus is also the Guild Church of The Plumbers' Company. Two former rectors have served as master of the company,[269] which holds all its services at the church.[270] On 12 April 2011 a service was held to commemorate the 400th anniversary of the granting of the company's Royal Charter at which the Bishop of London, the Rt Revd and Rt Hon Richard Chartres KCVO, gave the sermon and blessed the original Royal Charter. For many years the Cloker Service was held at St Magnus, attended by the Coopers' Company and Grocers' Company, at which the clerk of the Coopers' Company read the will of Henry Cloker dated 10 March 1573.[271]

St Magnus is also the ward church for the Ward of Bridge and Bridge Without, which elects one of the city's aldermen. Between 1550 and 1978 there were separate aldermen for Bridge Within and Bridge Without, the former ward being north of the river and the latter representing the City's area of control in Southwark. The Bridge Ward Club was founded in 1930 to "promote social activities and discussion of topics of local and general interest and also to exchange Ward and parochial information" and holds its annual carol service at St Magnus.

 

en.wikipedia.org/wiki/St_Magnus-the-Martyr

 

Sheep on the road to Port Ellen (The Lagavulin Distillery to be precise) on the isle of Islay.

Provincial Yelets was once considered one of the most beautiful towns in Russia. It was adorned with two monasteries, three dozen Orthodox churches, a Polish Catholic church, a German church, and a Jewish synagogue. The precise rhythm of its domes and bell towers still defines the skyline of the old town.

 

The great Russian writer Ivan Bunin, in exile in a distant land, recalled "...the ringing, the roar of the bells from the bell tower of St. Michael the Archangel, towering above everything in such grandeur, such splendor, such as the Roman Church of St. Peter never dreamed of, and such enormity that the Pyramid of Cheops could never again impress me." The Church of St. Michael the Archangel stands next to the administration building in the center of Yelets, the city where the future Nobel laureate spent his high school years. He often spoke warmly of the city of his youth.

 

On Red Square stands the colossal Ascension Cathedral. It claims to be the second largest Orthodox church in Russia after St. Isaac's Cathedral in St. Petersburg. The cathedral was designed by the renowned architect Konstantin Andreevich Ton (1794-1881), the architect of the Cathedral of Christ the Savior and the Grand Kremlin Palace. Approving the design, Tsar Nicholas I ordered the architect to be granted royal favor for the cathedral's beauty. The interior decoration was worked on by the Itinerant artists and academicians of painting, Alexei Ivanovich Korzukhin (1835-1894) and Klavdy Vasilyevich Lebedev (1852-1916).

 

Above the cathedral's left iconostasis is a painting of the "Mother of God of Yelets." The Virgin Mary and her heavenly host block the path of Tamerlane's invasion in 1395.

 

To commemorate the 500th anniversary of Rus''s miraculous deliverance from the invasion, the Church of Our Lady of Yelets was founded in Yelets. Its tented roof still dominates the modern architecture of the southern part of the city. People call it "the red church," either for the color of its brick or for the beauty of its unusual shapes.

 

Yelets has seen so many people within its walls over its thousand-year history. Presumably founded in 986 as the center of an appanage principality, the city was first mentioned in the Nikon Chronicle for 1146:

 

“Prince Svyatoslav Olgovich went to Rezan and visited Mchensk, and Tula, and Dubok on the Don, and Yelets, and Pronsk, and came to Rezan on the Oka...”

 

Its location on the southeastern outskirts of the Russian lands, bordering the "wild field," determined the city's fate for several centuries: "it was... the protector of the Russian lands." Polovtsian raids, Tatar-Mongol invasions, and attacks by Crimean and Golden Horde hordes repeatedly brought the city to desolation, but it was rebuilt and rose again.

 

"The city itself also boasted of its antiquity, and had every right to do so: it truly was one of the most ancient cities lying among the great black earth fields of the Substeppe, on that fateful line beyond which once stretched "wild, unknown lands," and in the times of the principalities of Suzdal and Ryazan, it belonged to those most important strongholds of Rus' that, according to the chroniclers, were the first to breathe in the storm, dust, and cold from under the menacing Asian clouds that continually passed over it, the first to see the glow of the terrible night and day fires ignited by them, the first to let Moscow know of the impending disaster and the first to lay down their lives for it..." (I. A. Bunin).

 

From the mid-17th century, Yelets developed as a city of artisans and traders. Livestock trading, tanneries, trade in grain, flour, and semolina, and the famous Yelets lace made the city prosperous and brought it fame.

 

Yelets's historical heritage includes approximately two hundred architectural monuments. The city itself is a monument to Russian urban planning. Narrow, straight streets running north to south and east to west, combined with low, two- and three-story buildings that are spacious enough to accommodate a person, create a uniquely cozy atmosphere. In Yelets, you don't feel lost, as you might in a larger city. Perhaps this is why the constant flow of tourists eager to see the green Russian city...

 

A small town, wandering its cozy streets, and visiting the church. Perhaps it's also because the Yelets region is the birthplace of writers Ivan Bunin and Mikhail Prishvin, philosopher Vasily Rozanov, composer Tikhon Khrennikov, and artists Vasily Meshkov, Nikolai Ulyanov, and Nikolai Zhukov. Yelets attracts visitors with its lacemaking industry, museums, art gallery, picturesque landscapes, and fascinating natural sites. It also draws visitors with its centuries-long, dramatic history, closely linked to the fate of Russia.

 

Many of Yelets' churches have suffered a tragic fate. Not all survived the destruction and hard times. Birch trees grow on the exposed domes of the Church of the Archangel Michael, which so captivated Ivan Bunin's youthful imagination. The traces of abandonment and neglect on many of the remaining churches speak to the hearts of the people. With Russia's rebirth comes a renaissance of its small and medium-sized towns, and Yelets is at the top of that list.

 

Will we restore its former beauty?

 

V. Gorlov.

I have what is probably going to be a lengthy response to an e-mail I recently received but before I get into that, a bit about this image. This was taken with an Holga of mine, a 120S to be precise. I am fortunate enough to have gotten one of these before Holgas became mainstreamed and were subsequently "improved" to be attractive to a mass audience. It used to be that no two Holgas were quite alike. Most would leak light, but often each in its own unique way. They would routinely spool the film loose, causing further light leaks. They would flare. They were much softer around the edges. They did not come with a square mask, just the rectangular one, so your frame edges were not terribly even or straight. Alas, now they rarely leak light without modification, foam has been added to make the film spool tighter. They include a square mask so that each negative is a neat square. I have a newer Holga and I still love that camera, but pulling my old 120S out and shooting it again reminded me just how much I appreciated the quirky and unpredictable nature of this camera.

 

My 120S took up the habit of scratching my film. Quite heavily at that. It was one of the reasons I eventually put it down and switched to my newer 120FN. But I decided to finally see if I could fix the scratching. I am willing to let a lot of the Holga's quirks go, but scratching is one that I do have trouble coping with. So I lined the interior edges of the frame mask with black electrical tape thinking that would do the trick as there are not too many places the film contacts the camera, that being about the only.

 

It didn't work. I am still not quite sure why. Chalk it up to the Holga being a Holga. What is more, somewhere along the shooting, my tape came unstuck and stuck out into my negative, creating those black edges you see along the borders of the image.

 

When I scanned this image in, one of the first things I did was crop it out and make my edges clean. As soon as I did so though, this image lost something. I don't know what, but those black edges lend this photo some extra little element. So I reversed the crop and kept it. I still do not quite understand why, other than that slight feeling that the image is more with them than without.

 

Now onto the e-mail. I get this e-mail quite a bit, and I try to answer it the best that I can. The basic request is generally for any helpful advice I have for photographers just getting started, who are not sure how to get better, and are generally discouraged by looking at all the great photography out there and thinking they will never get there.

 

I have answered this question more times that I can remember, in e-mails, over the counter at Blue Moon Camera, in high school and college classrooms, out in the field, etc. Each time that I answer it, my answer tends to evolve a little, so here is the latest evolution:

 

Be patient. Of all the traits a photographer should endeavor to possess, patience is the most important. Getting better at photography is like getting better at anything else; it takes time, practice and patience.

 

Forget talent. Talent, or the lack of it, is often used as an excuse for good and poor photography. Dedication, passion, and persistence trump talent every day of the week. I would take one passionate photographer for a dozen talented photographers any time.

 

Every photographer, no matter how good they are now, at one time had to start at the beginning. We all did. None of us started out making exceptional images. We all started out stumbling and feeling our way around, in varying degrees of confusion. All those mistakes you are embarrassed about making? Chances are I have made every one of them at least ten times over.

 

Make mistakes. And don't be afraid to. You learn more from your mistakes I think than your successes. Everything you do with a camera, should be teaching you how to do it better, regardless of the immediate results you get that day. Experiment, fail, learn, experiment some more.

 

The more you put in, the more you will get out. If you are going out one weekend a month to take photos, you will get better, but at a much slower rate. If you are going out everyday you will get better much more quickly. Now, not all of us have the opportunity to work with photography everyday. Some of us can only manage a weekend a month. That is fine, just try not to get too discouraged when you do not think you are growing as a photographer. It will happen, it may just take a bit longer.

 

Carry your camera everywhere. Never leave home without a camera. Ever. The best way to guarantee you will see a photo you really want to take is to not have a camera with you. It does not do much good sitting at home. And when I say everywhere, I mean everywhere, no matter how mundane the trip seems to be.

 

Shoot for yourself. Peer response is certainly important and can teach you a lot about your own photography, and you should definitely share your pictures with others every chance you get, but ultimately take photos for yourself, in your own way. You are your most important critic. If you are not happy with the images you are taking, it does not matter how popular they are. And don't make apologies for your photography. Some people will love it. Some will not. Some will think it completely pointless. That is fine, as long as you like it.

 

Shoot film. A lot of photographers getting into photography these days are "growing up" on strictly digital diets. Digital can do a lot, but it is a far from everything. Pick up a film camera to complement your digital camera. Film teaches different habits and styles from digital. It is like trying to build a house using only a screwdiver and not a hammer. It can be done, but you are missing out on a lot of other ways to create images. And what film has to teach, can very readily apply to digital photography too.

 

Shoot digital. If you are only into film photography, pick up a cheap digital camera. The quickness and readily available nature of the feedback they can give you can be a valuable learning tool. If you are limiting yourself to just film, you are missing a huge portion of the photographic spectrum.

 

Expose yourself to lots of other photography. Flickr is a good start, but it is a small pond in a much larger landscape. Hit up your local library and check out as many books as you can carry and go through them. Go to openings at museums and galleries. Attend artist lectures. Go to a workshop or two or attend a class at a local community college, not just for the instruction but the exposure to other photographers. Arrange photo outings with peers. The more photography you are exposed to, the wider the range of perspectives you will learn to see the world with.

 

A photographer is a photographer, no matter where they are. There are always pictures to be taken, everywhere. It is a photographer's task to see them. A good photographer realizes this, even if they cannot always see the pictures to be taken, they still try to.

 

Learn the rules to break them. There are a ton of rules in photography and they can be an excellent framework around which to improve your skills. Learn them thoroughly and how to use them. But, again, be careful for that very framework that has helped build you up can eventually become a cage that restricts you. Those that hold too tightly to the rules tend to see their creativity suffer.

 

Don't get too hung up on not knowing the technicals. Technical knowledge will come quickly, especially with practice. At first things like Depth of Field, aperture, resolution, aspect ratio, color temperature, exposure, shadows, highlights, zone V, reciprocity failure, visible spectrum, focal length, shutter speed can all seem confusing. Start slowly, and start simply, and put the these technical terms into practice as you learn them. But don't worry too much about knowing them because you will learn them quickly. I remember when I first picked up a camera I had no concept of what in the hell an aperture was. I just knew I had to rotate that ring on the lens until my meter needle pointed to the middle. That was how I began. Now years later this is all reflexive knowledge. You will get there too, probably within a few months. So don't stress out too much right now if you don't understand some of these technical terms. Find somebody helpful to explain them, get a good book, or go out and experiment. Or do all three.

 

Shoot manually. My boss often jokes that "Automatic means bad". He has a point. Turn all your auto functions on your camera to manual, especially focus and exposure. Taking photos this way will be more cumbersome and you will make more mistakes. But you will learn at a much quicker rate, and eventually you will understand how to use these features better than the automatic modes of your camera can. You are smarter than your camera, so try not to let the automatic features become a crutch, they will impair how quickly you understand what each shutter speed does, what each aperture does, how to learn to focus, etc. Keep as much control over your photography as possible.

 

Make scrapbooks. Routinely take your favorite photos and put them together into small scrapbooks. It is like keeping a visual journal of your progress. I did this for the first few years of photography and I noticed two big influences this had on my opinions of my own photography. First, when I got discouraged I could get out my latest albums and flip through them and see a collection of what were then my favorite photos, and I could see the cream of the crop. I could see how in fact I actually was making great images that I really liked. These scrapbooks helped remind me that I really was making progress. Second, I could go back to my earliest scrapbooks and see just how "awful" those photos that I had once thought were my best really were. I generally got a good chuckle out of this remembering how proud I was of those collections and how many people I showed them to, and then I would go back and flip through them and see, in contrast, just how much better I had become, but more importantly it kept me humble because it reminded me that there are times where we think our photos are much better than they may be, because we are so personally invested in them. This humble reminder of my beginnings was probably the biggest influence of these albums. So do not throw away or replace your old albums if you do this. If you use Flickr for this purpose, don't delete your old photos. They have a lot to teach you when you come back a few years later with a more experienced eye.

 

Have fun. For today, the last and most important piece of advice I have to offer. If you enjoy what you do, the rest of this will come quite naturally. This ties in with what I said about being passionate about your photography. Just go out and have fun and love what you do. In comparison very little else is nearly as important.

 

Now stop reading this, get your camera and go out and make some pictures, wherever you are.

 

Photo from the Andreas Rink collection, slide kindly provided for scanning by Florian Weiß.

  

München-Riem

ca. May 1970

 

I-TIDI

Fokker F28-1000 Fellowship

11991

Itavia

 

I-TIDI is lined-up for take-off on Riem’s runway 25. The airframe was noted here on 17 May 1970, possibly the precise date for this shot, and on 3 May 1974 (probably there were more visits).

 

First flight as PH-ZAR on 8 April 1970 and delivered to Itavia as I-TIDI on 28 April 1970, so the aircraft was brand new at the time of this photo. Went on to Unifly in May 1984 and then to Canada as C-GTEO, first with Norcanair in December 1985, then with TimeAir (January 1988), Canadian Regional (April 1993), Air Canada Regional (April 2002) and Jazz Air (May 2002). Retired in 2006 and stored at Saskatoon (CYXE / YXE), broken up in September 2018. (Sources: rzjets, Gary Vincent on airhistory.net)

 

Registration details for this airframe:

rzjets.net/aircraft/?reg=143895

 

I-TIDI with Itavia at DUS in 1974 (later colours):

www.airhistory.net/photo/507770/I-TIDI

 

This airframe as C-GTEO with Norcanair at YXE ca. mid-1980s:

www.flickr.com/photos/steelhead2010/6558741889

 

C-GTEO with NorcanAir at MSP in August 1987 (later colours):

www.flickr.com/photos/georgehamlin/53361229383

 

C-GTEO with TimeAir at YYC in November 1992:

www.airhistory.net/photo/26321/C-GTEO

 

C-GTEO with Canadian Regional ca. late 1990s:

www.flickr.com/photos/130658785@N08/24781459902

 

C-GTEO at YXE in September 2018 shortly before scrapping:

airnieuws.nl/fokker/012/C-GTEO.CanadianRegional.jpg

  

Scan from slide (unknown brand).

Provincial Yelets was once considered one of the most beautiful towns in Russia. It was adorned with two monasteries, three dozen Orthodox churches, a Polish Catholic church, a German church, and a Jewish synagogue. The precise rhythm of its domes and bell towers still defines the skyline of the old town.

 

The great Russian writer Ivan Bunin, in exile in a distant land, recalled "...the ringing, the roar of the bells from the bell tower of St. Michael the Archangel, towering above everything in such grandeur, such splendor, such as the Roman Church of St. Peter never dreamed of, and such enormity that the Pyramid of Cheops could never again impress me." The Church of St. Michael the Archangel stands next to the administration building in the center of Yelets, the city where the future Nobel laureate spent his high school years. He often spoke warmly of the city of his youth.

 

On Red Square stands the colossal Ascension Cathedral. It claims to be the second largest Orthodox church in Russia after St. Isaac's Cathedral in St. Petersburg. The cathedral was designed by the renowned architect Konstantin Andreevich Ton (1794-1881), the architect of the Cathedral of Christ the Savior and the Grand Kremlin Palace. Approving the design, Tsar Nicholas I ordered the architect to be granted royal favor for the cathedral's beauty. The interior decoration was worked on by the Itinerant artists and academicians of painting, Alexei Ivanovich Korzukhin (1835-1894) and Klavdy Vasilyevich Lebedev (1852-1916).

 

Above the cathedral's left iconostasis is a painting of the "Mother of God of Yelets." The Virgin Mary and her heavenly host block the path of Tamerlane's invasion in 1395.

 

To commemorate the 500th anniversary of Rus''s miraculous deliverance from the invasion, the Church of Our Lady of Yelets was founded in Yelets. Its tented roof still dominates the modern architecture of the southern part of the city. People call it "the red church," either for the color of its brick or for the beauty of its unusual shapes.

 

Yelets has seen so many people within its walls over its thousand-year history. Presumably founded in 986 as the center of an appanage principality, the city was first mentioned in the Nikon Chronicle for 1146:

 

“Prince Svyatoslav Olgovich went to Rezan and visited Mchensk, and Tula, and Dubok on the Don, and Yelets, and Pronsk, and came to Rezan on the Oka...”

 

Its location on the southeastern outskirts of the Russian lands, bordering the "wild field," determined the city's fate for several centuries: "it was... the protector of the Russian lands." Polovtsian raids, Tatar-Mongol invasions, and attacks by Crimean and Golden Horde hordes repeatedly brought the city to desolation, but it was rebuilt and rose again.

 

"The city itself also boasted of its antiquity, and had every right to do so: it truly was one of the most ancient cities lying among the great black earth fields of the Substeppe, on that fateful line beyond which once stretched "wild, unknown lands," and in the times of the principalities of Suzdal and Ryazan, it belonged to those most important strongholds of Rus' that, according to the chroniclers, were the first to breathe in the storm, dust, and cold from under the menacing Asian clouds that continually passed over it, the first to see the glow of the terrible night and day fires ignited by them, the first to let Moscow know of the impending disaster and the first to lay down their lives for it..." (I. A. Bunin).

 

From the mid-17th century, Yelets developed as a city of artisans and traders. Livestock trading, tanneries, trade in grain, flour, and semolina, and the famous Yelets lace made the city prosperous and brought it fame.

 

Yelets's historical heritage includes approximately two hundred architectural monuments. The city itself is a monument to Russian urban planning. Narrow, straight streets running north to south and east to west, combined with low, two- and three-story buildings that are spacious enough to accommodate a person, create a uniquely cozy atmosphere. In Yelets, you don't feel lost, as you might in a larger city. Perhaps this is why the constant flow of tourists eager to see the green Russian city...

 

A small town, wandering its cozy streets, and visiting the church. Perhaps it's also because the Yelets region is the birthplace of writers Ivan Bunin and Mikhail Prishvin, philosopher Vasily Rozanov, composer Tikhon Khrennikov, and artists Vasily Meshkov, Nikolai Ulyanov, and Nikolai Zhukov. Yelets attracts visitors with its lacemaking industry, museums, art gallery, picturesque landscapes, and fascinating natural sites. It also draws visitors with its centuries-long, dramatic history, closely linked to the fate of Russia.

 

Many of Yelets' churches have suffered a tragic fate. Not all survived the destruction and hard times. Birch trees grow on the exposed domes of the Church of the Archangel Michael, which so captivated Ivan Bunin's youthful imagination. The traces of abandonment and neglect on many of the remaining churches speak to the hearts of the people. With Russia's rebirth comes a renaissance of its small and medium-sized towns, and Yelets is at the top of that list.

 

Will we restore its former beauty?

 

V. Gorlov.

The precise identification of aeroplanes produced by the Voisin brothers is difficult due to the non-existence of a specific factory identification system. The Voisin factory produced their aeroplanes. But there are also other complications.

The Voisin factory built its machines one by one. This meant that after the first completed machine, the next one built was based on the experience gained from the first. Most of the time something was altered in the design. This was a continuous process, resulting in machines that differed in some respects. A special point was the engine to be built in - a rotary or a water-cooled inline engine. This makes looking in detail to photographs of early Voisin pusher biplanes so fascinating.

 

Seen on this picture is a Voisin pusher biplane - generally identified as Voisin de Course (that is for competitions), dated around 1910. Ailerons with a somewhat rounded edge are mounted on the top wing only. The tail section consists of a single rudder and two small fixed ‘wings’- being the structural last remains of the box construction from former models. The elevator (single wing) is in the front connected to the short central fuselage. This elevator is operated by a rod - wheel construction, where the steering wheel is operated by the pilot. Behind the pilot is a large radiator for the inline or V-type engine. On the ground the machine rests on its tail skid but a large anti-nose over is attached to underneath the fuselage to prevent a ground loop. The whole fuselage is completely open and is a steel tube construction, giving more safety to the pilot but not much comfort in cold flights. The fuel tank is mounted somewhat above the engine.

 

When consulting other photos of what is generally identified as a Voisin de Course Type 1910 you will certainly notice differences between almost all of them.

 

In this photo their is a female in the pilot position. I was not able to identify her. Baronne Raymonde de Laroche - pseudo of Élisa Léontine Deroche - flew a Voisin pusher biplane but an earlier type which are generally identified as the Voisin Cellulaire type, distinguished by its compartments between the wings.

Provincial Yelets was once considered one of the most beautiful towns in Russia. It was adorned with two monasteries, three dozen Orthodox churches, a Polish Catholic church, a German church, and a Jewish synagogue. The precise rhythm of its domes and bell towers still defines the skyline of the old town.

 

The great Russian writer Ivan Bunin, in exile in a distant land, recalled "...the ringing, the roar of the bells from the bell tower of St. Michael the Archangel, towering above everything in such grandeur, such splendor, such as the Roman Church of St. Peter never dreamed of, and such enormity that the Pyramid of Cheops could never again impress me." The Church of St. Michael the Archangel stands next to the administration building in the center of Yelets, the city where the future Nobel laureate spent his high school years. He often spoke warmly of the city of his youth.

 

On Red Square stands the colossal Ascension Cathedral. It claims to be the second largest Orthodox church in Russia after St. Isaac's Cathedral in St. Petersburg. The cathedral was designed by the renowned architect Konstantin Andreevich Ton (1794-1881), the architect of the Cathedral of Christ the Savior and the Grand Kremlin Palace. Approving the design, Tsar Nicholas I ordered the architect to be granted royal favor for the cathedral's beauty. The interior decoration was worked on by the Itinerant artists and academicians of painting, Alexei Ivanovich Korzukhin (1835-1894) and Klavdy Vasilyevich Lebedev (1852-1916).

 

Above the cathedral's left iconostasis is a painting of the "Mother of God of Yelets." The Virgin Mary and her heavenly host block the path of Tamerlane's invasion in 1395.

 

To commemorate the 500th anniversary of Rus''s miraculous deliverance from the invasion, the Church of Our Lady of Yelets was founded in Yelets. Its tented roof still dominates the modern architecture of the southern part of the city. People call it "the red church," either for the color of its brick or for the beauty of its unusual shapes.

 

Yelets has seen so many people within its walls over its thousand-year history. Presumably founded in 986 as the center of an appanage principality, the city was first mentioned in the Nikon Chronicle for 1146:

 

“Prince Svyatoslav Olgovich went to Rezan and visited Mchensk, and Tula, and Dubok on the Don, and Yelets, and Pronsk, and came to Rezan on the Oka...”

 

Its location on the southeastern outskirts of the Russian lands, bordering the "wild field," determined the city's fate for several centuries: "it was... the protector of the Russian lands." Polovtsian raids, Tatar-Mongol invasions, and attacks by Crimean and Golden Horde hordes repeatedly brought the city to desolation, but it was rebuilt and rose again.

 

"The city itself also boasted of its antiquity, and had every right to do so: it truly was one of the most ancient cities lying among the great black earth fields of the Substeppe, on that fateful line beyond which once stretched "wild, unknown lands," and in the times of the principalities of Suzdal and Ryazan, it belonged to those most important strongholds of Rus' that, according to the chroniclers, were the first to breathe in the storm, dust, and cold from under the menacing Asian clouds that continually passed over it, the first to see the glow of the terrible night and day fires ignited by them, the first to let Moscow know of the impending disaster and the first to lay down their lives for it..." (I. A. Bunin).

 

From the mid-17th century, Yelets developed as a city of artisans and traders. Livestock trading, tanneries, trade in grain, flour, and semolina, and the famous Yelets lace made the city prosperous and brought it fame.

 

Yelets's historical heritage includes approximately two hundred architectural monuments. The city itself is a monument to Russian urban planning. Narrow, straight streets running north to south and east to west, combined with low, two- and three-story buildings that are spacious enough to accommodate a person, create a uniquely cozy atmosphere. In Yelets, you don't feel lost, as you might in a larger city. Perhaps this is why the constant flow of tourists eager to see the green Russian city...

 

A small town, wandering its cozy streets, and visiting the church. Perhaps it's also because the Yelets region is the birthplace of writers Ivan Bunin and Mikhail Prishvin, philosopher Vasily Rozanov, composer Tikhon Khrennikov, and artists Vasily Meshkov, Nikolai Ulyanov, and Nikolai Zhukov. Yelets attracts visitors with its lacemaking industry, museums, art gallery, picturesque landscapes, and fascinating natural sites. It also draws visitors with its centuries-long, dramatic history, closely linked to the fate of Russia.

 

Many of Yelets' churches have suffered a tragic fate. Not all survived the destruction and hard times. Birch trees grow on the exposed domes of the Church of the Archangel Michael, which so captivated Ivan Bunin's youthful imagination. The traces of abandonment and neglect on many of the remaining churches speak to the hearts of the people. With Russia's rebirth comes a renaissance of its small and medium-sized towns, and Yelets is at the top of that list.

 

Will we restore its former beauty?

 

V. Gorlov.

Other images of the Lake Wallis can be found in the Album Lake Wallis

 

The ferry Lake Wallis operated out of Forster for a long period and was well-known to both holidaymakers and schoolchildren as she plied the waters of Wallis Lake.

 

UPDATED OCTOBER 2018

 

Lake Wallis built by Harry Avery

Recent information supplied by Peter Emmerson, son of Albert CARL Emmerson, indicates that his father had the Lake Wallis built specifically for use on Wallis Lake by John Wright & Co. Ltd's chief shipwright, Harry Avery. Commenced circa 1940 and launched circa 1941/2 she was built prior to the time when Wright's shipyard was contracted to building a large number of vessels for the US Army and the Australian Army. While the timbers used in construction are unknown, the planking was of White Beech (Gmelina leichhardtii) sourced from the Comboyne Plateau.

 

From the images provided by Peter Emmerson it is clear that the hull was completed with timber frame to allow later finishing as a ferry; she was taken by cradle further upstream to an area adjacent to the Tuncurry coal-loader.

 

Albert CARL Emmerson fits out the Lake Wallis

It appears likely that Carl Emmerson bought the hull only and fitted her with steering gear and a 2 cyl. J2 Kelvin Diesel with petrol assist start. Petrol and spark plugs was used ignite the chamber and thus assist the flywheel to turn; this was an essential component of the starting procedure in cold weather. Carl fitted out the launch with anything that was available. In 1943, equipment and components were unavailable with invasion by Japanese forces appearing almost inevitable. Carl's innovative approach included using the steering wheel of an old Dodge truck. The new launch, named the Lake Wallis replaced his previous launch the ex-cream boat Dorrie May.

 

Carl Emmerson obtained a Special Lease to build a wharf on Wallis Lake and operated the Lake Wallis as the official mail boat, passenger ferry, delivery launch and later for excursionists. Carl operated his launch service at 9 am Monday, Wednesday and Friday (3h return trip). From Forster the launch travelled to Green Point (Lach Fraser’s dairy); then South to Charlotte Bay Creek then NW to Whoota; then to Coomba Park (Beddington’s) then to Sointu's wharf (John Sointu and Ida Niemi) on the SW side of Wallis Island and finally back to Forster. On the other days he operated his bus service to Elizabeth Beach, Booti Booti, Charlottte Bay and back to Forster. Carl also delivered boxes of butter from the Cape Hawke Co-operative Butter factory in Tuncurry to stores in Forster, three days a week.

 

Carl Emmerson starts tourist trips around Wallis lake

After the War, when people were again able to travel, Carl commenced a tourist operation taking visitors around the extensive Wallis Lake. His wife, Mollie, acted as deckhand and morning tea maker - pleasing everyone with her home-made shortbread biscuits.

 

In 1967 Carl sold his entire operation (including the Lake Wallis, the Special Lease, the established tourist route and wharf facilities to Stan Croad.

 

Stan Croad

The Master of the Lake Wallis from 1967 was Stan Croad, both a ferryman and film operator at the Regent Theatre in Forster. Stanley Osbourne Croad was born in Kempsey in 1912 and moved to Forster around 1937 when the Regent Theatre opened and he commenced work as film operator.

 

Prior to purchase of the Lake Wallis he operated a launch - name unknown. In 1944, newspaper reports show that Stan had secured a contract to transport schoolchildren from areas around Wallis Lake to Forster. In 1946 he sought a Special Lease from the Lands Board Office to operate his launch service, “carrying school children to and from school per motor launch, and conducting scenic tours of Wallis Lakes” - as indicated by this notice in the Northern Champion.

“It is notified in the Government Gazette of 19th and 26th September and 3rd and 10th October, 1947, that application has been made by Stanley Osbourne Croad, for Special Lease No. 47/37, Land District of Taree, for Jetty, containing about 2 perches below high water mark of Wallis Lake at Forster, between portions 297 and 343 and south of and adjoining the area applied for as Special Lease 46/62 (The Northern Champion (Taree, NSW: 1913 - 1954 Sat 11 Oct 1947).

 

Croad operated from Emmerson's Lease 38/21 post 1967 but the precise details of his earlier operation is unknown: According to Carl's son, Peter, the relationship between Carl Emmerson and Stan Croad was not a happy one. It was Stan Croad who replaced the Kelvin J2 diesel with the more powerful Lister diesel motor.

 

In 1975 the Wallis Lake was registered to carry 39 persons and provide life-saving devices for 18 persons. She was described only as 29 ft 3 inches long and only licenced to travel on CAPE HAWKE HARBOUR – Smooth Water only. Graeme Andrews recorded her dimensions as 9 ft 10 inches breadth and 5.3 tonnes.

 

AFLOAT MAGAZINE ARTICLE

The best description of Stan’s operation was published in the magazine AFLOAT. It was written by Graeme and Winsome Andrews in 1976. Excerpts are included below:

 

“Stan Croad of Forster is a throw-back. In 1976 he is probably the last of the travelling storemen who once could be seen on most of Australia’s waterways. These water-borne carriers could be found on any river. They brought stores and religion. They collected produce outbound and replaced it with passengers inbound.

 

Stan still does something like that. Along with his tourist passengers he carries beer, bread, mail and vegetables and at various wharves around the lake he is met by the locals. Meanwhile his passengers watch the process with interest, probably unaware of just what they are watching.

 

Stan’s small well-deck ferry Lake Wallis is one of the last of the small working craft of the Forster area, her lineage goes back to the time when Forster was a thriving coastal shipping port. The days of the small ferry are numbered as Forster’s population is increasing and new waterfront businesses are growing, along with bigger, faster and more obvious cruise boats. Stan reckons he will not be able to compete but he and his little boat might last long enough, particularly as her shallow draft allows her to reach places out of bounds to bigger craft.

 

In 1976 only one other boat competed with Stan for the tourist trade. The ex-river milk boat Sun with her liquor license and great size carried a different load to Stan and their paths rarely crossed. [In 2016 Sun is based in Brooklyn on the Hawkesbury River and services Dangar Island and the settlements such as Little Wobby.]

 

Stan collects his goods and passengers from almost the heart of Forster. The trip is advertised as starting at 0900hrs but Lake Wallis and her amiable Master are no longer young and not in any hurry. The ferry seems to have been built about 1944. She carries up to 38 passengers with a crew of one. A Lister diesel can give her about eight knots but six or seven will do her unless the wind and the lake look like whipping up. When we travelled with Stan he was contemplating buying a newer and bigger boat but was bothered that this would mean he would have to increase his prices.

 

At about 0920 the Lister rumbles into life and Lake Wallis moves away from her berth with perhaps 20 adults with a dozen or so kids. Passengers and crew are seated low in the hull. She is like an old private launch with the engine covered by a large flat-topped box, slap in the middle of the boat.

 

Nearing the Forster - Tuncurry Bridge the launch swings sharply to port and skirts a steep sand island where kids are sliding down the sand dune to end up with a great splash. The launch crosses the next channel past low-lying Cockatoo Island towards the ‘Cut’ which is the entrance to the Wallamba River. A considerable tidal outflow can be felt there and the Lister picks up a few revs to cope. Stan has done this many times but he still keeps his ship’s head lined up on the various official and local knowledge navigation markers and piles.

 

Along the top of Wallis Island the ferry plods. In the area between Regatta Island and Wallis Island the local people once held picnic regattas. Paddle steamers, early motor launches and sail craft of all types – private and commercial- competed in picnic races while the families ashore tucked into the goodies and egged on the contestants.

 

At Coomba, a hamlet on the western shores of Wallis Lake, a small jetty pokes out from the shore. Here a cluster of people await their purchases. A run-down public toilet attracts some sighs of relief from some of the intrepid passengers. Coomba was to be a glamour development but something went wrong and the 20 or so homes house retirees in considerable peace. Stores and money change hands and Lake Wallis backs carefully out into the channel and heads onwards.

 

On the south-western end of Wallis Island is a grand and remarkable two-storey house. It is obviously old and apparently houses a Finnish family who have crops, cattle and the obligatory sauna. Their ‘wharf’ consists of the remains of the steam paddle lighter, or ‘drogher’ Queen. About 40 m long by 10 or 12 m wide, this craft is a wooden boat enthusiast’s dream. Much of the exposed timber remains showing grown timbers and adzed wood working. Stores and monies change hands and off we go again.

 

Out in the middle of the lake the Lister’s muted growl suddenly fades into silence. Skipper Croad puts down his microphone, takes off his Captain’s hat and replaces it with a chef’s hat. A white apron mysteriously appears, while from a large white locker, good china cups and saucers appear. Within a few minutes Stan is passing around, via the ladies, cups of very hot tea or coffee, biscuits for those that want them and scones for those who prefer. The children get cold soft drinks and or cordial.

 

As the boat drifts Stan tells us more about the lake, his boat and of the locals. Fifteen minutes after ‘Tea-Oh!’ the diesel awakes, tea remnants disappear into the locker, the tablecloth leaves the top of the engine box and we press on somewhat refreshed and impressed.

 

The homeward, northward run takes us into shallows. Clumps of weeds slide past close to the hull and Stan keeps his eyes on his marks. He tells us about ‘The Step’. Between the mainland at Wallis Point and Wallis Island is a sand bank known as ‘The Step’. Here the incoming tide rolls over the edge of the Stockyards Channel and forms a sand ‘lip’. Here it is that deeper-draft vessels baulk but the little launch slides up and over, the Lister going flat out. All aboard feel the bow then the rest of the boat lift and then drop as we bump into deeper water. Lake Wallis has nearly completed her run.

 

She swings to starboard off the rarely-used airfield on Wallis Island and heads down Breckenridge Channel. Past Godwin Island Stan swings to starboard and eases in towards his pile berth. Lake Wallis’s stem settles into the low-tide shore-line mud as Stan secures his berthing lines before waving us ashore over a plank that is strong enough but makes one wonder anyway. Stan makes his personal farewell to every person leaving and then, as we straggle away, turns to and cleans up his place of work.

 

Stan Croad and his comfortable little launch provided one of the best-value tourist dollars the Grey Wanderers have ever had. More than 30 years later we sometimes talk of him, wondering what became of him. Perhaps one of Afloat’s amazing knowledgeable readers can complete the tale?

 

A more recent publication by the Coomba Progress Association describes Stan as follows:

“For many years people in Coomba had relied for mail delivery on the services of men like Stan Croad, who had operated excellent ferry services, and delivered so cheerfully and willingly not only their basic needs, but would even shop and bring back a grocery order without charging for this extra service.

 

Stan Croad sold his operation in 1978 to William and Noni Coombe who only ran the Lake Wallis for a couple of times when they replaced her with the younger and larger vessel - Amaroo. Matt Coombe, William Coombe's son noted "This paved the way for bigger and better vessels, all given the prestigious name of ‘Amaroo’" Manning-Great Lakes Focus BLOG 1st June 2010

 

Stan died in 1994.

 

Acknowledgement: We would like to thank Graeme and Winsome Andrews for their contribution and AFLOAT magazine for allowing us to extract a large part of the material in Tea and Scones on Lake Wallis in 1976

 

Image Source: Nicholson Family Collection

 

All Images in this photostream are Copyright - Great Lakes Manning River Shipping and/or their individual owners as may be stated above and may not be downloaded, reproduced, or used in any way without prior written approval.

 

GREAT LAKES MANNING RIVER SHIPPING, NSW - Flick Group --> Alphabetical Boat Index --> Boat builders Index --> Tags List

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Some people live a lifetime in the shadows of reality, a shallow existence of treading water and going through the motions. The wheel is turning but the hamster is already dead. Some folk live life on the ragged edge and even at my tender age, with killing in my blood, I guess you could say that I fit neatly into the latter category. Ronnie was the sort of mentor that you never forget. A stickler for details, precise and meticulous to the highest degree, his legacy lives on in these bones as I wait patiently as the morning light invades the dark confines of Covent Garden's sleepy belly. There is a lot riding on this, and I'm only too aware of the pressure that I am under to succeed with aplomb, the array of hastily smoked cigarettes that lay spent and flattened beneath the pointed toes of my highly polished shoes is a testament to that very fact. I should really kick the habit, I know I should. It's just that with a life that involves death and carnage on a regular basis, a man needs a couple of vices to temper the mayhem and madness. Viewing life through the bottom of a Souther Comfort bottle is another one, and I don't see myself kicking that habit in the near future either.

 

Failure here is not an option.

 

It's all in the detail, as Ronnie would frequently remind me. I remember his tuition from the days before the cancer claimed him, and the look of glee and delight upon his pained and tortured face through the ravages of the disease when he saw in me the potential to take the reigns in his much lamented absence. I like to think that he's still watching me, looking down on each move that I make, raging at my schoolboy errors, applauding me when I actually get it right. I hope I make him proud.

 

Another cigarette butt hits the hard cement surface of the paving stones and my eyes survey the scene around the little clothes boutique where the mark will soon be arriving, just as she always does around seven thirty, eager to prepare her shop for the day ahead, proud of her achievements no doubt, a lone female businesswoman in a pit of vipers. It occurs to me that there must be such a sense of pride in being the sole proprietor of one's own establishment. The thrill of ownership, of being your own boss, of riding the roller-coaster to survival and success and hopefully seeing a profit at the end of the day, month, year even. I guess we all take pride in certain facets of our lives. Me, I'm a stickler for courtesy towards those who cross my path. Oh I know, they're dead so why bother, but behind each mark is a person, a story to tell, a family who will mourn and a succession of lives that will never come to terms with the actions of a cold blooded bastard such as I. Actions and consequences as Ronnie always used to say, waving around his semi automatic with a nonchalance and cavalier stance that belied his consummate skill as the hit man of choice for decades before I was even a twinkle in my daddy's winkle.

 

There are some like me who see the mark as no more than a piece of meat to use and abuse, destroy and discard. But myself, I have the utmost respect for those that fall prey to my craft. One moment enjoying a sunrise or sunset, a skinny latte in some rancid little corporate coffee house, dreaming in the king sized bed nestling in their private mansion, and the next, capow! They never knew what hit them. And I always close their eyes and try to leave the corpse that is still warm to the touch and flowing the last remnants of blood through it's myriad of veins and arteries, with a semblance of respectability, for who know the trauma of the first person on the scene to find them once I am gone. A son or daughter, a lover or husband, mother or father, the trauma of the sight that greets them will live on for an eternity. Only right and proper that I leave the scene as neat and user friendly as I can.

 

I check my watch once more, my iPod earpiece almost shooting it's tiny load with excitement at the pounding beat of Van Halen's 'Right now', a tour de force, seminal track in their long and rocky career if ever there was one. Made in the days when Sammy Hagar fronted the band and gave them some credibility before that long haired jerk, David Lee Roth returned for a second stint at the helm. The guitar riff has my toes tapping. Nothing like a heavy rock track to get my blood and adrenalin pumping, my senses alive and jangling and my mind focussed on the job in hand. Old Ronnie was more a Barry Manilow man though I find such shit simply makes me feel drowsy or suicidal. Each to his own I guess, but Barry-fucking-Manilow for chrissakes! I knew a guy a while back who played the tracks he most hated in the world, just to get himself angry and worked up before the kill, another who liked silence and could slow his heart and breathing down to such an extent that he was barely alive and trance like as he plunged the knife into his mark's unsuspecting flesh or placed the barrel of his silencer against their temple. Me, it's rock tracks, plain and simple. I reach down and gather up my cigarette butts, placing them neatly into a small plastic sandwich bag that nestles in my inner jacket pocket next to the cold steel of my gun. Placing on some transparent latex gloves, rise to my feet and stretch my muscles.

 

Time to go to work as Jenny Jameson, owner of 'Diva Designs' arrives with an arm full of door keys, paper coffee cup and American styled soft cookies as she always does. Her routine is the same each and every day, each detail studied and verified during my extensive surveillance. Her scent will permeate my nostrils as she passes me by, completely unaware of my presence. Hints of lemon and deliciously high summer tones that intoxicate with devilment, I'm thinking that she alternates between up to the minute Jade Goody Shh Eau de parfum and the classic notes of Chanel number five. She'll fumble for the alarm keys, hands tied up with debris before dropping them on the floor and banging her head as she bends. She'll set the alarms off and rush in, scattering her belongings all bar her coffee which she'll keep in her left hand as she punches in the code, three seven, two,two,nine, and then turn around to sigh with relief and grab her coffee cup to take in the caffeine hit. Only today she turns to the stranger who stands before her. I follow her in with stealthy steps, pulling my pistol from my jacket pocket and spinning on the silencer barrel with a few precise twists of my right wrist. Five foot five, piercing blue eyes and bleached blonde hair straight out of the bottle with those god awful dark roots peeking through, she jumps and yelps with shock as our eyes meet.

 

A single life, two tabby cats, a goldfish and a liking for working late, Indian takeaways and girls nights out with old acquaintances, she is just seconds away from the end of her existence as she begins to question my identity and reason for being in the boutique. I close the door gently behind me, raise the gun towards her forehead and smile, squeezing the trigger with my right index finger with the gentle touch of a lovers hands to his lovers nipples. The hole appears just like in those American blockbusters and she hits the deck before her eyes have truly registered what has happened. The coffee cup hits the deck before I can catch it, the contents splashing over my shoes..... Damn it, does she have any idea how much those suckers cost me! All life is ebbing away from her brain as I kneel beside her and fire two more shots into her heart with perhaps a little more venom and aggression that would normally be the case. Hey, spilt coffee on freshly polished Giorgio Le Couter patents can do that to a man you know! I never said I was perfect, just meticulous.Her scent fills my nostrils for the final time and the irony of the deliciously provocative smelling corpse that lies beneath me is not lost on this brain of mine.

 

Her tiny body raises and falls under the impact as I place my gloved fingers over her eyes and close her eyelids. One shell casing is a through and through, my gloved hand gathering up the spent cartridge and placing it into my bag with the cigarette butts, noting that both other shells remain inside her. No surveillance cameras in the area to bother me, no troublesome passers by who have witnessed the early morning shooting, my job is done here, as I slip the door latch and make my exit as though nothing has ever happened. Jenny's boutique will have a busy day ahead of it, but not relating to sales, and me, I'm content that Ronnie would approve of this hit. My future looks bright, my reputation growing in certain dark corners of the globe. Life is good again after just another day at the office.

 

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Written April 10th 2011

 

Photograph taken on March 17th 2011 in Covent Garden, Central London, England at 10:17am

 

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Nikon D700 116mm 1/40s f/6.3 iso200 -0.3EV

 

Nikkor AF-S 28-300mm f/3.5-6.3G ED IF VRII. UV filter

 

This is type! Pirated type, to be more precise. Many of the typefaces shown in this catalog are noted as “Similar to…” Transfertech was a Chicago-based transfer lettering producer who was known for copping the designs of Headliners, ITC, Phototype, VGC, and the fonts of Phil Martin, whose 2004 interview produced this comment from Joseph Treacy, current Headliners owner:

 

“The ‘Transfertech’ copies of Headliners designs that Mark refers to were copies stolen by a company, who, according to what I was told by Headliners’ management, actually bribed a livery driver and similar workers like office cleaners, to go in on weekends and surreptitiously make ‘bruning’ (brownline or blueline) copies of proofs.

 

The thefts apparently started about 1965, and at least in Headliners’ case, finally did at one point go to court, I believe in the Chicago area, around 1970.

 

The first round of determining the suspects occurred by investigating the pirated copies themselves.

 

After the thefts were uncovered, Headliners actually produced a range of different filmstrips for each type family, with some letters changed, and adding some other identifying marks to filmstrips, for different markets.

 

It worked. Suspects were detained, and lie detector tests were actually administered to get to the culprits.

 

Not a pretty picture, since some of the suspects were Headliners franchise operators.

 

That the copies were made from brunings explains why the letter quality suffered from so much ‘generation loss’ (a look similar to camera overexposure). They never, at least in the case of Headliners, got to the actual originals.”

My ghostly widow is finally here. I never had any precise vision for this doll but as soon as she landed in hands of amazing Pauli and her talent, I started feeling who that doll is. In the meantime, I came into possesion of this amazing, black set and, well, it just had to happen. Surely this isn't her look for ever, but I like how she's in line with my feelings right now.

 

Something more personal below. If you're not into personal, community drama, please skip the section under this description. Thank you! :)

 

- - - - - -

 

For past few years I have stayed away from my local doll community due to some unpleasant misunderstandings and personal issues. This was also the reason for moving away from any activity within doll-related social media and being quite silent (including commenting your lovely photos - sorry for that!). But as they say 'time heals the wounds', and I felt like I have taken my break for long enough to try to get back to more socialized approach to dolls once more. Little did I know, apparently not all human beings are able (or willing) to forgive (I never require the 'forget' as this is what we call experience and learning about life). I have been literally slapped in the face by reality and people who are feeding themselves on hatred and negativity. They don't seek into the future, they live in the past, they are eaten alive by all the bad they want to remember and not make the space for new and good.

 

This really has brought my fresh hope and good attitude down to bad, sad and dirty reality of good, ol' doll community where drama is the main fuel and people seem to get up from their beds only to make someone else's life worse. And it saddens me that such a beautiful and magical hobby, which unites so many different personalities, is still filled with such negative, unfitting people. I was willing to get better, to move on, to accept my mistakes, to forgive and apologize where necessary. But if it's one-sided there's no point in trying. Shame, shame, shame.

I was immediately impressed by the remarkable diversity of the crowd that gathered in London's Parliament Square on 6 September 2025 to protest the proscription of Palestine Action. The protesters included the elderly and disabled activists, many of whom had never been arrested before.

 

The elegantly dressed woman's handmade sign displays the precise words that, under the Terrorism Act 2000, constituted a criminal offence carrying a potentially lengthy prison sentence. She is part of a cross-section of society who felt a moral imperative to act in response to the ongoing genocide in Gaza.

 

++++++++++++++++++++++++++

 

Protest and the Price of Dissent: Palestine Action and the Criminalisation of Conscience

 

Parliament Square on Saturday, 6 September 2025 was a scene of quiet, almost solemn defiance. The air, usually thick with the noise of London traffic and crowds of tourists, was instead filled with a palpable tension, a shared gravity that emanated from the quiet determination of hundreds of protesters, many of them over 60 years old, some sitting on steps or stools and others lying on the grass.

 

They held not professionally printed banners, but handwritten cardboard signs, their messages stark against the historic grandeur of their surroundings. This was not a march of chants and slogans, but a silent vigil of civil disobedience, a deliberate and calculated act of defiance against the state.

 

On that day, my task was to photograph the protest against the proscription of the direct-action group Palestine Action. While not always agreeing entirely with the group’s methods, I could not help but be struck by the profound dedication etched on the faces of the individual protesters.

 

As they sat in silence, contemplating both the horrific gravity of the situation in Gaza and the enormity of the personal risk they were taking — courting arrest under terror laws for holding a simple placard — their expressions took on a quality not dissimilar to what war photographers once called the “thousand-yard stare.” It was a look of weary but deep and determined resolve, a silent testament to their readiness to face life-changing prosecution in the name of a principle.

 

This scene poses a profound and unsettling question for modern Britain. How did the United Kingdom, a nation that prides itself on its democratic traditions and the right to protest, arrive at a point where hundreds of its citizens — clergy, doctors, veterans, and the elderly — could be arrested under counter-terrorism legislation for an act of silent, peaceful protest?

 

The events of that September afternoon were the culmination of a complex and contentious series of developments, but their significance extends far beyond a single organisation or demonstration. The proscription of Palestine Action has become a critical juncture in the nation’s relationship with dissent, a test of the elasticity of free expression, and a stark examination of its obligations under international law in the face of Israel deliberately engineering a catastrophic humanitarian crisis in Gaza.

 

To understand what is at stake, one must unravel the threads that led to that moment: the identity of the movement, the state’s legal machinery of proscription, the confrontation in Parliament Square, and the political context that compelled so many to risk their liberty.

 

Direct Action and the State’s Response

 

Palestine Action, established in 2020, has never hidden its approach. Unlike traditional lobbying groups, it rejected appeals to political elites in favour of disrupting the physical infrastructure of complicity: factories producing parts for Israeli weapons systems, offices of arms manufacturers, and — eventually — military installations themselves.

 

Its tactics, while non-violent, were disruptive and confrontational. Red paint sprayed across buildings to symbolise blood, occupations that halted production, chains and locks on factory gates. For supporters, these were acts of conscience against a system enabling atrocities in Gaza. For the state, they were criminal disruptions of commerce.

 

That clash escalated steadily. In Oldham, a persistent campaign against Elbit Systems, a key manufacturer in the Israeli arms supply chain, culminated in the company abandoning its Ferranti site. Later actions targeted suppliers for F-35 fighter jets and other arms manufacturers. These were no random acts of mindless vandalism but part of a deliberate strategy: to impose costs high enough that complicity in Israel’s war effort would become unsustainable.

 

The decisive rupture came in June 2025, when activists infiltrated RAF Brize Norton, Britain’s largest airbase, and sprayed red paint into the engines of refuelling aircraft linked to operations over Gaza. For the activists, it was a desperate attempt to interrupt a supply chain of surveillance and logistical support to a state commiting genocide. For the government, it crossed a line: military assets had been attacked.

 

Within days, the Home Secretary announced Palestine Action would be proscribed as a terrorist organisation.

 

Proscription and the Expansion of “Terrorism”

 

Here lies the heart of the controversy. The Terrorism Act 2000 defines terrorism with unusual breadth, encompassing not only threats to life but also “serious damage to property” carried out for political or ideological aims.

 

In this capacious definition, breaking a factory window or disabling a machine can be legally assimilated to mass murder. By invoking this law, the government placed Palestine Action on the same legal footing as al-Qaeda or ISIS. Supporting it — even symbolically — became a serious offence.

 

Since July 2025, merely expressing support for the organization can carry a maximum prison sentence of 14 years. This is based on Section 12 of the Terrorism Act 2000. The specific offense is "recklessly expressing support for a proscribed organisation". However, according to Section 13 of the Act, a lower-level offence for actions like displaying hand held placards in support of a proscribed group carries a maximum sentence of six months imprisonment or a fine of five thousand pounds or both.

 

Civil liberties groups and human rights bodies have denounced the proscription move as disproportionate. Their concern was not primarily whether Palestine Action’s tactics might violate existing criminal law. One might reasonably argue that they did unless they might sometimes be justified in the name of preventing a greater crime.

 

But reframing those actions as “terrorism” represented a dangerous category error. As many pointed out, terrorism has historically referred to violence against civilians. Expanding it to cover property damage risks draining the term of meaning. Worse, it arms the state with a stigma so powerful that it can delegitimise entire political positions without debate.

 

The implications go further. Proscription does not simply criminalise acts. It criminalises expressions of allegiance, conscience and even speech. To say “I support Palestine Action” is no longer an opinion but technically a serious crime.

The state has moved from punishing deeds to punishing expressions of solidarity — a move with chilling consequences for democratic life.

 

Parliament Square: Civil Disobedience on Trial

 

It was this transformation that brought nearly 1,500 people into Parliament Square on 6 September. They knew what awaited them. Organisers announced in advance that protesters would hold signs reading: “I oppose genocide. I support Palestine Action.” In doing so, they openly declared their intent to break the law.

 

The crowd was strikingly diverse. Retired doctors, clergy, war veterans, even an 83-year-old Anglican priest. Disabled activists came in wheelchairs; descendants of Holocaust survivors stood beside young students. This was not a hardened cadre of militants but a cross-section of society, many of whom had never before faced arrest.

 

At precisely 1 pm, the protesters all sat or lay down silently, cardboard signs raised. There was no chanting, no aggression — only a quiet insistence that they would not accept the criminalisation of conscience.The police response was equally predictable. Hundreds of officers moved systematically through the crowd, arresting anyone displaying a sign.

 

By the end of the day, nearly 900 people were detained under counter-terrorism law. It was one of the largest mass arrests in modern British history. Official statements later alleged police were met with violence — officers punched, spat on, objects thrown. Yet independent observers, including Amnesty International, contradicted this. They reported a peaceful assembly disrupted by aggressive policing: batons drawn, protesters shoved, some bloodied.

 

www.amnesty.org/zh-hans/documents/eur45/0273/2025/en/

 

Video footage supported at least some of Amnesty's report.

 

www.youtube.com/watch?v=mZQGFrqCf5U&t=1283s

 

The two narratives were irreconcilable, but only one carried the weight and authority of the state.The entire event unfolded as political theatre. The government proscribed a group, thereby creating a new crime. Protesters, convinced the law was unjust, announced their intent to commit that crime peacefully.

 

The police, forewarned, staged a vast operation. Each side acted out its script. The spectacle allowed the state to present itself as defending order against extremism — while in reality silencing dissent.

 

The Humanitarian Context: Why Protesters Risked All

 

To see the Parliament Square protest as a parochial dispute over free speech is to miss its driving force. The demonstrators were not there merely to defend abstract principles. They were responding to what they, and a growing body of international experts, describe as a genocide in Gaza.

 

By September 2025, Gaza had descended into almost total collapse. Over 63,000 Palestinians had been killed, the majority of them women and children. More than 150,000 had been injured, many maimed for life. Entire neighbourhoods had been flattened. Famine was confirmed in August, with Israel continuing to impose and even tighten deliberate restrictions on food, water, and fuel, a strategy condemned by human rights groups as a major war crime. Hospitals lay in ruins. Ninety percent of the population had been displaced.

 

It is in this context that the term genocide has been applied. Legal scholars point not only to mass killings but also to the deliberate infliction of life-destroying conditions, accompanied by rhetoric from Israeli officials dehumanising Palestinians as “human animals.” In September 2025, the International Association of Genocide Scholars declared that Israel’s actions met the legal definition of genocide.

 

www.bbc.co.uk/news/articles/cde3eyzdr63o

 

Major NGOs, UN experts, and even Israeli human rights groups such as B’Tselem echoed that conclusion. For the protesters, then, the question was not abstract but immediate: faced with what they saw as a genocide, could they in good conscience remain silent while their own government criminalised resistance to it? Their answer was to risk arrest, their placards making the moral connection explicit: opposing genocide meant supporting those who sought to stop it.

 

The Price of Dissent

 

The mass arrests in Parliament Square were not an isolated incident of law enforcement. They were the product of a broader trajectory: escalating tactics by a direct-action movement, a humanitarian catastrophe abroad, and a government determined to suppress dissent at home through the bluntest of instruments.

 

The official line insists that Palestine Action’s campaign constituted terrorism and thus warranted proscription. On this view, the arrests were simple enforcement of the law. Yet this account obscures the deeper reality: a precedent in which the state redefined non-lethal protest as terrorism, shifting from punishing actions to criminalising expressions of solidarity.

 

The cost is profound. Once speech and conscience themselves become suspect, dissent is no longer tolerated but pathologised. The chilling effect is already evident: individuals weigh not just whether to join a protest, but whether uttering support might expose them to years in prison. Terror laws, originally justified as a shield against mass violence, are recast as tools of political management.

 

The protesters understood this. That “thousand-yard stare” captured in their faces was not only the weight of potential arrest, but the knowledge of Gaza’s devastation, the famine and rubble, the deaths mounting daily. It was also the recognition that their own government had chosen to silence them rather than address its complicity.

 

In a functioning democracy, the question is not why citizens risk arrest for holding a handwritten cardboard sign. It is why a state finds it necessary to treat that act as a terror offence. The answer reveals a narrowing of democratic space, where conscience itself is deemed subversive. And that narrowing, history teaches, carries consequences not just for those arrested, but for the society that allows it.

photomanm.com/capturing-the-elegance-of-jewelry/

  

Grateful for another chance to capture jewelry products, I want to express my appreciation for the client's trust.

 

Despite the smaller scale of this shoot, it posed unique challenges. Apart from handling a specific quantity, the products were intricately designed, featuring various cuts and a blend of materials. Consequently, precise control of the lighting was essential to bring out the best presentation of the products.

  

Explore more: photomanm.com/commercial-photography/

Let's discuss your project & contact us today: photomanm.com/contact-us/

 

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再次有機會拍攝珠寶產品，非常感謝客戶的信任。這次雖然是小型拍攝，但亦有一定程度的挑戰。

 

除了有一定數量外，產品亦比較細小，有不同的切割面，加上混合材料，所以要控制好燈光，才能將產品最好的呈現出來。

  

探索更多作品：https://photomanm.com/commercial-photography/

現在就聯繫我們，一起討論您的項目：https://photomanm.com/contact-us/

 

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再び宝飾品の撮影の機会をいただき、お客様の信頼に感謝しています。

 

今回の撮影は規模は小さいですが、一定の難しさもありました。数量が一定以上であることに加え、製品は比較的小型で、異なる切り口があり、混合された素材も含まれています。したがって、光のコントロールを適切に行うことが重要で、製品を最良の形で表現するために努めました。

  

プロジェクト詳細：https://photomanm.com/commercial-photography/

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Precise use of the caves under the limestone outcrop are not known, but two theories predominate. One being the mummification of the dead - there is a consistent temperature and air flow and the second, sacrifice. The rock here has been sculpted to create a very well defined and accessible lying out area.

Today's story and sketch "by me" we travel again to the Florida Keys, Night Key to be precise, were you see

Macrame Gofish piloting his intergalactic anion coupe, out front of his opulent Victorian mansion, which he

built himself many, many hundreds of years ago, after having a rather bad experience with a hurricane, while

looking over the area for a vacation home. Mac not ever having been in a storm of this kind, on his home moon

Lippo the Blue Moon. The rental (UFO) unearthly flying orbiter he had rented was not built to withstand a direct

hit from a flying Palmetto palm. And that was the Night, Mac become the first alien to be shipwrecked or (UFO) wrecked

in the Keys, But after the storm had passed, (in a couple days) Mac being a very optimistic Gofish, (later in life he

actually started the Optimists Club) but that is a story for another time.

Mac being the optimist, took stock of what he had going good for himself, and what was not, he first looked over his

transport, it was bent and non operational, he did have a good supply of moon pies, that would last a while,

but would need to find what was available to help him survive until Search and Rescue on Lippo responded to his (SOS),

Space Orbiter is Scrap signal. (which took many, many years for help to respond), Mac found he was the only life form

on the Island, except bugs, lots of bugs, and millions of good bugs, the bees that were making honey from the Sisal

plants. The Sisal plants numbered in the thousands, Mac began making Honey Moon Pies, and goods from the fiber to trade

with the many sailors, and pirates who began to stop by to trade for his beautiful Sisal Mats, Hammocks, Belts,

Dartboards, beautiful plant hangers, and of course the plant being a type of Agave, made a wonderful drink he named Tequila,

after his X wife, the beverage had a kick. Sailors loved the Tequila so much he built the Victorian mansion as a B&B

for his customers, who could not make it back to there ships after trading and sipping. As Mac traded for things

like empty bottles, Which (Mac as the first recyclers on Earth) he would refill with of course Tequila, and tins

for the tasty honey Moon Pies, and materials to repair his bent Coupe, which he did, but stayed and only returned

once to Lippo, to honeymoon with his bride "Norma" who had been a scullery maid on a pirate ship (the Black Swan),

Norma jumped ship and fell in love with Mac, and he with her. And they lived a very happy life on Night Key.

Taa ta the Rod Blog

Remember you do not need to know where you are, to know who You Are.

The incredibly precise stone work of the Inca

Early morning

Eight o'clock precise

I see the lonely August sun arise

 

Say you know

You will

Move me like you do

 

Out on the fields...

I'm waiting the whole night through

Early morning, early morning, yeah

 

Ran the whole way

Down to the tracks

Through the doorway

Then a last look back

 

Early morning

Eight o'clock precise

 

A-ha

 

Foto tomada desde mi cuarto casi a las 7 am , con vista al volcán Malintzi

#FlickrFriday - #Precision

 

7DWF :Jueves: Blanco y negro / Thursdays: Black and White (Sepia or monochrome)

“Of all the means of expression, photography is the only one that fixes a precise moment in time.” – Henri Cartier-Bresson -

The precise objective was to make the coasters the coast. To make the impossible seem possible. If I could just drive up PCH, I'd be very happy, too. . .

 

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Please!! NO Awards or Large Graphics...Buddy Icons are OK. Thank You!

Or to be precise the mess that's left of it. A few years ago a new entrance was added on the 34th street side. Some idiot in management thought it would be a good idea to decorate it with giant ceramic tile reliefs of parts of the destroyed Penn Station.

 

Part of Andrew Leicester's 'Ghost Series' that manages to show how craven and stupid business men can be and rub some salt in the wounds of those of us who knew the old station at the same time.

At that precise time, I was happy. That was my first photo session of fireworks. I was ideally positioned upstream of the Mirabeau Bridge. In front of me, the Grenelle bridge, and Statue of Liberty*.

I was surrounded by friendly people.

I can testify that nobody knew that blood had flown at Nice. The first report came on my smartphone about ten minutes after the fireworks.

I felt devastated.

These four pictures are dedicated to Nice victims.

 

A cette heure précise, j'étais heureux. C'était ma première session photo d'un feux d'artifice. J'étais idéalement positionné en amont du pont Mirabeau. En face de moi, le pont de Grenelle, et la statue de la liberté.

J'étais entouré de gens sympathiques.

Je peux témoigner qu'autour de moi, personne ne savait que le sang avait coulé à Nice. La première notification (le Figaro) est tombée sur mon smartphone environ 5 minutes après la fin du feux d'artifice.

J'ai été dévasté.

Ces quatre photos sont dédiées aux victimes de Nice.

 

* en.wikipedia.org/wiki/Replicas_of_the_Statue_of_Liberty#P...

 

Sony Alpha A7

RF Jupiter-9 2/85mm for Zorki camera (KMZ 1954) M/L39 adapter

Shown here

8758 to be precise, but it is commonly referred to as just 'fifty eight' due to it sharing shed space with 8763, or 'sixty three'.

This was possibly the last time it moved or at least moved without having some form of abuse thrown at it.

A number of issues, notably a the gearbox brain being bollocksed and it having the tendency to spit transmission fluid out being two of its party tricks. A conversion to semi auto is on the cards and as soon as we find someone thin enough to crawl underneath and start removing bits that need to come off a start can be made on making it right again.

Sounds good in theory!