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Peñíscola (en castillan) ou Peníscola (en valencien), officiellement Peníscola/Peñíscola1, est une commune au nord de la Communauté valencienne en Espagne. Elle appartient à la Province de Castellón et plus précisément au district de Vinaroz, dans la comarque du Baix Maestrat (nom valencien, Bajo Maeztrazgo en castillan). La langue dominante officielle est le valencien.
À la fin du Grand Schisme d'Occident, l'antipape Benoît XIII (Pedro de Luna, dit le cardinal d'Aragon) exclu d'Avignon d'où il régnait sur une partie de la chrétienté et qui n'était plus toléré que par l'Aragon s'y installa et y mourut après 19 années de résistance à Rome.
Peñíscola (Peníscola en valenciano, y oficialmente Peníscola/Peñíscola) es un municipio de la Comunidad Valenciana, España, situado en la costa norte de la provincia de Castellón, en la comarca del Bajo Maestrazgo. Cuenta con una población de 8.094 habitantes (INE 2011). Posee título de Ciudad desde 1707.
Desde enero de 2013, Peñíscola forma parte de la red Los pueblos más bonitos de España
Peníscola (Valencian: [peˈniskola]) or Peñíscola (Spanish: [peˈɲiskola]), anglicised as Peniscola, is a municipality in the province of Castellón, Valencian Community, Spain. The town is located on the Costa del Azahar, north of the Serra d'Irta along the Mediterranean coast. It is a popular tourist destination.
Peníscola (Valencian: [peˈniskola]) or Peñíscola (Spanish: [peˈɲiskola]), anglicised as Peniscola, is a municipality in the province of Castellón, Valencian Community, Spain. The town is located on the Costa del Azahar, north of the Serra d'Irta along the Mediterranean coast. It is a popular tourist destination.
Peñíscola (Peníscola en valenciano, y oficialmente Peníscola/Peñíscola)3 es un municipio de la Comunidad Valenciana, España, situado en la costa norte de la provincia de Castellón, en la comarca del Bajo Maestrazgo. Cuenta con una población de 8.094 habitantes (INE 2011). Posee título de Ciudad desde 1707.
Desde enero de 2013, Peñíscola forma parte de la red Los pueblos más bonitos de España
Peñíscola (en castillan) ou Peníscola (en valencien), officiellement Peníscola/Peñíscola1, est une commune au nord de la Communauté valencienne en Espagne. Elle appartient à la Province de Castellón et plus précisément au district de Vinaroz, dans la comarque du Baix Maestrat (nom valencien, Bajo Maeztrazgo en castillan). La langue dominante officielle est le valencien.
À la fin du Grand Schisme d'Occident, l'antipape Benoît XIII (Pedro de Luna, dit le cardinal d'Aragon) exclu d'Avignon d'où il régnait sur une partie de la chrétienté et qui n'était plus toléré que par l'Aragon s'y installa et y mourut après 19 années de résistance à Rome.
Peñíscola (en castillan) ou Peníscola (en valencien), officiellement Peníscola/Peñíscola1, est une commune au nord de la Communauté valencienne en Espagne. Elle appartient à la Province de Castellón et plus précisément au district de Vinaroz, dans la comarque du Baix Maestrat (nom valencien, Bajo Maeztrazgo en castillan). La langue dominante officielle est le valencien.
À la fin du Grand Schisme d'Occident, l'antipape Benoît XIII (Pedro de Luna, dit le cardinal d'Aragon) exclu d'Avignon d'où il régnait sur une partie de la chrétienté et qui n'était plus toléré que par l'Aragon s'y installa et y mourut après 19 années de résistance à Rome.
Peñíscola (Peníscola en valenciano, y oficialmente Peníscola/Peñíscola) es un municipio de la Comunidad Valenciana, España, situado en la costa norte de la provincia de Castellón, en la comarca del Bajo Maestrazgo. Cuenta con una población de 8.094 habitantes (INE 2011). Posee título de Ciudad desde 1707.
Desde enero de 2013, Peñíscola forma parte de la red Los pueblos más bonitos de España
Peníscola (Valencian: [peˈniskola]) or Peñíscola (Spanish: [peˈɲiskola]), anglicised as Peniscola, is a municipality in the province of Castellón, Valencian Community, Spain. The town is located on the Costa del Azahar, north of the Serra d'Irta along the Mediterranean coast. It is a popular tourist destination.
Peníscola (Valencian: [peˈniskola]) or Peñíscola (Spanish: [peˈɲiskola]), anglicised as Peniscola, is a municipality in the province of Castellón, Valencian Community, Spain. The town is located on the Costa del Azahar, north of the Serra d'Irta along the Mediterranean coast. It is a popular tourist destination.
Peñíscola (Peníscola en valenciano, y oficialmente Peníscola/Peñíscola)3 es un municipio de la Comunidad Valenciana, España, situado en la costa norte de la provincia de Castellón, en la comarca del Bajo Maestrazgo. Cuenta con una población de 8.094 habitantes (INE 2011). Posee título de Ciudad desde 1707.
Desde enero de 2013, Peñíscola forma parte de la red Los pueblos más bonitos de España
Peñíscola (en castillan) ou Peníscola (en valencien), officiellement Peníscola/Peñíscola1, est une commune au nord de la Communauté valencienne en Espagne. Elle appartient à la Province de Castellón et plus précisément au district de Vinaroz, dans la comarque du Baix Maestrat (nom valencien, Bajo Maeztrazgo en castillan). La langue dominante officielle est le valencien.
À la fin du Grand Schisme d'Occident, l'antipape Benoît XIII (Pedro de Luna, dit le cardinal d'Aragon) exclu d'Avignon d'où il régnait sur une partie de la chrétienté et qui n'était plus toléré que par l'Aragon s'y installa et y mourut après 19 années de résistance à Rome.
Point Precise uses photogrammetry and your iPhone’s device sensors to convert your scans into precise 3D point clouds.
Allows precise control of growing conditions for seeds and cuttings.
Variable temperature control - choose precise temperature between 12C and 28C.
Automatic re-set thermostat automatically returns to previous setting after and loss of power.
Includes "A guide to successful propagation".
Energy efficient 50 watt heater.
From the museum label: The late summer bouquet blossoms in red, white and pink before a monochrome background. The artist stages his motif simply and modestly. Whereas the Impressionists among his friends tended towards the dissolution of the pictorial subject as the nineteenth century drew to a close, Fantin-Latour remained more indebted to tradition. He combined the precise, delicate aesthetic of the Old Masters he emulated with the Realists' interest in everyday life - an artistic concept he shared with his artist friend Otto Scholderer, a native of Frankfurt.
Point Precise uses photogrammetry and your iPhone’s device sensors to convert your scans into precise 3D point clouds.
Precise beauty can come out from your dressing trend with this yellow and white color lehenga crafted with soft Organza material and completed with digital print.
This lovable yellow and white lehenga comes with a white color choli made with Organza material and completed with digital print.
This white lehenga is semi-stitched and can be customized up to 42 inches, also have a cancan and canvas attached. The choli will be un-stitched material (1 meter).
Specially designed to wear at weddings, functions like haldi, engagements, ceremonies, and special occasions.
Price:- ₹1,849.00
www.ethnicplus.in/lehenga-choli/delightful-yellow-and-whi...
June 24, 2017 - "A sky burial is the act of leaving a corpse, cut into precise pieces by a Burial Master, exposed to the elements of nature. This Master would also be in charge of smashing and grinding the bones of the deceased body, and then leaving the prepared corpse out in their selected open site. This was their way of offering a final honorable service to their material body; sending it back to the earth, and serving as an offering of a meal to the vultures.
This form of burial often takes place at high elevation locations since the vultures are the desired creature to be fed. In addition, the physical location plays an important part in this selection of burial since there would be very little ground space that could be used as cemetery, and the ground would often be frozen, making it difficult to dig. This has therefore been the most common way of disposing dead bodies in Tibet"
Previous text from the following website: www.ancient-origins.net/history-ancient-traditions/sky-bu...
This sky-burial location is next to the Papungka Monastery on the outskirts of Lhasa, Tibet.
Peñíscola (en castillan) ou Peníscola (en valencien), officiellement Peníscola/Peñíscola1, est une commune au nord de la Communauté valencienne en Espagne. Elle appartient à la Province de Castellón et plus précisément au district de Vinaroz, dans la comarque du Baix Maestrat (nom valencien, Bajo Maeztrazgo en castillan). La langue dominante officielle est le valencien.
À la fin du Grand Schisme d'Occident, l'antipape Benoît XIII (Pedro de Luna, dit le cardinal d'Aragon) exclu d'Avignon d'où il régnait sur une partie de la chrétienté et qui n'était plus toléré que par l'Aragon s'y installa et y mourut après 19 années de résistance à Rome.
Peñíscola (Peníscola en valenciano, y oficialmente Peníscola/Peñíscola) es un municipio de la Comunidad Valenciana, España, situado en la costa norte de la provincia de Castellón, en la comarca del Bajo Maestrazgo. Cuenta con una población de 8.094 habitantes (INE 2011). Posee título de Ciudad desde 1707.
Desde enero de 2013, Peñíscola forma parte de la red Los pueblos más bonitos de España
Peníscola (Valencian: [peˈniskola]) or Peñíscola (Spanish: [peˈɲiskola]), anglicised as Peniscola, is a municipality in the province of Castellón, Valencian Community, Spain. The town is located on the Costa del Azahar, north of the Serra d'Irta along the Mediterranean coast. It is a popular tourist destination.
Peníscola (Valencian: [peˈniskola]) or Peñíscola (Spanish: [peˈɲiskola]), anglicised as Peniscola, is a municipality in the province of Castellón, Valencian Community, Spain. The town is located on the Costa del Azahar, north of the Serra d'Irta along the Mediterranean coast. It is a popular tourist destination.
Peñíscola (Peníscola en valenciano, y oficialmente Peníscola/Peñíscola)3 es un municipio de la Comunidad Valenciana, España, situado en la costa norte de la provincia de Castellón, en la comarca del Bajo Maestrazgo. Cuenta con una población de 8.094 habitantes (INE 2011). Posee título de Ciudad desde 1707.
Desde enero de 2013, Peñíscola forma parte de la red Los pueblos más bonitos de España
Peñíscola (en castillan) ou Peníscola (en valencien), officiellement Peníscola/Peñíscola1, est une commune au nord de la Communauté valencienne en Espagne. Elle appartient à la Province de Castellón et plus précisément au district de Vinaroz, dans la comarque du Baix Maestrat (nom valencien, Bajo Maeztrazgo en castillan). La langue dominante officielle est le valencien.
À la fin du Grand Schisme d'Occident, l'antipape Benoît XIII (Pedro de Luna, dit le cardinal d'Aragon) exclu d'Avignon d'où il régnait sur une partie de la chrétienté et qui n'était plus toléré que par l'Aragon s'y installa et y mourut après 19 années de résistance à Rome.
Purley on Thames is a village in West Berkshire whose history is unusually rich for a settlement of its size. Its story is closely tied to the River Thames, the fertile but flood-prone meadows beside it, the chalk hills rising to the south, the road between Reading and Pangbourne, and the successive manors and estates that shaped the village for many centuries. What is now a largely residential village was, until well into the twentieth century, predominantly an agricultural community organised around three medieval manors.
The earliest history of the area reaches back well before the village itself can be identified by name. Archaeological evidence from the wider Thames Valley indicates human activity in prehistoric times, although there is no evidence that a substantial prehistoric settlement occupied the precise site of modern Purley. The landscape would nevertheless have been attractive to early communities. The Thames provided water, fish and transport, while the gravel terraces and slightly raised ground offered places where people could live above the worst of the flooding. The low-lying land beside the river was valuable as meadow and pasture, while the higher ground to the south could be cultivated.
The Roman period brought more organised settlement and agriculture to the surrounding region. Roman activity is well attested elsewhere in the Reading and Pangbourne area, although the evidence for a substantial Roman settlement within Purley itself is limited. The disappearance of Roman administration in the fifth century did not mean that the countryside became empty. Communities continued to occupy and cultivate the land, and the landscape gradually developed into the pattern of small settlements, fields and estates that would later be reorganised under the Anglo-Saxon kingdoms.
Purley's origins are generally associated with the Anglo-Saxon period. The name is Old English in origin and has traditionally been interpreted in more than one way, including a clearing associated with pear trees and a clearing or woodland frequented by birds such as snipe or bittern. The exact derivation remains uncertain. The settlement seems to have developed on a relatively dry area within the Thames floodplain, effectively an island or low mound surrounded by wetter ground.
By the later Anglo-Saxon period, the basic settlement pattern that eventually produced the parish of Purley was probably already emerging. Three distinct areas became particularly important: Purley Magna, meaning Great Purley; Purley Parva, meaning Little Purley; and Purley La Hyde. These were not simply three names for different parts of one village. They represented distinct estates with their own landholdings, farms, tenants and manorial histories. Their eventual combination explains much of the dispersed character of historic Purley.
The earliest surviving documentary evidence for Purley comes from the Domesday Survey of 1086. The settlement appears under forms of the name such as Porlaa and Porlei. Domesday records two holdings associated with Purley, reflecting the division of land following the Norman Conquest. One was held by Roger, son of Seifrid, while another was held by Theodric the Goldsmith. Before the Conquest, the relevant lands had been held by English landholders including Brictward and Edward.
The Domesday figures give an impression of a small but productive agricultural community. The assessment included several hides of taxable land, land for ploughs, meadow and a population consisting of villagers and smallholders. The figures recorded in Domesday represent heads of household rather than the entire population, meaning that the actual number of inhabitants would have been considerably greater. Purley's economy was already based upon the agricultural exploitation of the surrounding fields and meadows.
The Norman Conquest transformed the ownership and administration of the land. Purley became connected with the Honour of Wallingford and with the feudal structures established by the new ruling class. The three principal manors gradually became more clearly defined. Purley Magna occupied the eastern and central part of the parish and eventually became associated with Purley Park. Purley Parva lay farther west and became associated with what is now Westbury Farm. La Hyde occupied land towards the western part of the parish, extending across what are now the boundaries of Purley and neighbouring Sulham and Pangbourne.
The medieval manor was much more than a country house. It was an economic and administrative unit containing arable land, meadow, pasture, woodland, tenants, cottages and the lord's own demesne. The manor controlled aspects of local justice and landholding and provided the framework through which most inhabitants lived their lives. The landscape of medieval Purley therefore cannot be understood simply as a village surrounded by countryside. It was a collection of interlocking agricultural estates.
The medieval history of Purley is particularly well documented through the succession of families who held the manors. The Huscarle family became associated with Purley Magna after the Norman period, while the Sifrewast family and other medieval families held important interests in the surrounding estates. La Hyde had its own complicated succession of owners, including the de la Hyde, Sifrewast and St Philibert families, followed by other medieval landowners.
The records reveal a world in which landholding could involve complicated arrangements of inheritance, marriage, feudal service, litigation and royal intervention. Purley was connected not merely with its immediate neighbours but with the wider feudal jurisdictions centred on places such as Wallingford and Windsor.
The medieval agricultural landscape was substantially different from that of today. Fields were divided into strips cultivated by individual tenants within a common system, while meadows and pasture were subject to communal arrangements. Some field names recorded in medieval and later documents preserve evidence of this landscape. Names incorporating words such as croft, meadow and field point towards long-established divisions and enclosures.
The Thames was central to Purley's economic life. The river was a source of fish and water, a means of transport and a major geographical boundary. The low-lying meadows were extremely fertile, although their usefulness was always balanced against the danger of flooding. Purley's relationship with the river has therefore always been both beneficial and hazardous.
There was also an important connection with Mapledurham across the Thames. Farmers from Purley needed to move grain and other produce, and a crossing was established across the river. A wooden bridge is recorded in the medieval history of the village, associated with the movement of corn towards Mapledurham Mill. Attempts to alter the drainage of the marshes could have consequences beyond Purley itself. At one point an attempt to drain and irrigate part of Purley Magna was opposed by the Lord of Mapledurham because the change in water flow threatened the operation of his mill.
Purley's church is one of the most important survivals from its medieval past. St Mary's stands on a site with evidence of very early Christian activity. A church existed here before the present building, and local archaeological investigations have uncovered burials whose characteristics have been interpreted as potentially Saxon. The churchyard has consequently provided important evidence for the early history of the settlement.
The original Saxon church is traditionally said to have been destroyed during the civil war between King Stephen and the Empress Matilda in the twelfth century. The conflict devastated parts of England, particularly around strongholds and territories contested by the rival factions. The precise circumstances of the destruction at Purley are not completely documented, so the traditional account should be treated with some caution. A stone church in the Norman tradition was subsequently established.
Parts of the medieval church survive within the later building. The Norman chancel arch and medieval architectural fragments are reminders that the present St Mary's is not simply a Victorian church but the latest stage in a much longer sequence of buildings. Archaeological work in the churchyard has uncovered medieval pottery and numerous human burials, including evidence of the repeated reuse of burial ground over several centuries.
During the fourteenth century Purley appears to have been a sufficiently established and prosperous community to undertake improvements to its church and infrastructure. The agricultural economy was capable of supporting substantial estates and a settled population, although life remained vulnerable to the wider crises of medieval England, including disease, poor harvests and political instability.
The Hundred Years' War and the changing political fortunes of medieval England had less obvious physical impact upon Purley than upon towns and castles, yet the village was integrated into the feudal and administrative systems that supported the English state. Landowners were required to provide military service or financial obligations, while the manorial courts regulated many aspects of everyday life.
The Carew family became particularly important in the history of Purley Magna during the later Middle Ages. Nicholas Carew obtained extensive rights in Purley and acquired interests in more than one of the local manors. Through inheritance and marriage, estates that had once been separate became increasingly interconnected.
The late fifteenth century brought another important change. Purley Magna eventually passed into the hands of the Iwardby family. The succession of estates through heiresses and marriage was typical of the period and helps explain why Purley's manorial history repeatedly connects it with prominent families whose principal estates lay elsewhere.
The Tudor period brought changes in religion, politics and landownership across England. Purley remained primarily agricultural, although its leading families became increasingly connected with the political and social world beyond Berkshire. The dissolution of the monasteries under Henry VIII altered patterns of landownership throughout the country, including estates held by religious institutions or subject to ecclesiastical interests.
The St John family subsequently became the dominant owners of Purley Magna. The family already possessed substantial estates elsewhere, particularly at Lydiard Tregoze in Wiltshire. Purley was attractive as a residence because of its position between London and the west of England and its proximity to the royal and political centres of Windsor and London.
A substantial Elizabethan manor house was built at Purley Magna during the sixteenth century. It stood close to the river and near the church, reflecting the traditional relationship between manor house, church and village. The house was later replaced and eventually gave way to the country house and parkland landscape that survives in altered form today.
The sixteenth and seventeenth centuries also saw the emergence of Purley Hall from the older manor of La Hyde. Francis Hyde built Hyde Hall, now known as Purley Hall, in 1609. The building remains one of Purley's most important historic houses and is a Grade II* listed building. Its surviving fabric includes substantial seventeenth- and eighteenth-century interiors, while the surrounding registered historic landscape preserves evidence of successive phases of garden design.
The seventeenth century was a particularly eventful period for Purley. The parish became caught up in the religious and political divisions that culminated in the English Civil War. The St John family were strongly associated with the Royalist cause. Sir John St John suffered a severe family loss during the conflict, with three of his sons dying while serving the King.
The physical consequences of the Civil War in Purley were less dramatic than in places that experienced sieges or battles, yet the conflict affected landowners, finances, loyalties and family fortunes. The village's position on the Thames opposite Royalist territory added a strategic dimension to its situation. Across the river, Mapledurham was strongly associated with Royalist interests, while much of the country south of the Thames was controlled by Parliament.
The parish church contains memorials that preserve the memory of the families who dominated Purley during this period. The tower carries the date 1626 and incorporates reused medieval material. Its monuments provide a remarkable record of the local elite and their connections with national political history.
One of the most famous people associated with St Mary's is Anne Hyde. She was the daughter of Sir George Ayliffe and the first wife of Edward Hyde, later the Earl of Clarendon. She died at Purley in 1632 after becoming seriously ill with smallpox while travelling from London towards Wiltshire. She was buried at Purley, and her monument remains in the church. Her family connections became extraordinarily important in British history because her daughter Anne married James, Duke of York, later King James II, while her daughter Mary became Queen Mary II. Purley's churchyard therefore contains the burial place of a woman directly connected with the succession of two British queens.
Purley Hall also acquired distinguished associations in the eighteenth century. The Hyde family eventually sold the estate to Francis Hawes, a director of the South Sea Company. The South Sea Bubble of 1720 had a direct impact upon Purley Hall because Hawes was among those whose fortunes were damaged by the collapse. His assets were seized and the estate was placed on the market before being reacquired by his brother Thomas.
The gardens of Purley Hall were transformed during this period. The celebrated landscape designer Charles Bridgeman prepared designs around 1720 and 1721. The surviving landscape retains elements of this eighteenth-century work, including the formal canal and terraces. Later changes were made by Humphry Repton, one of the most influential landscape designers of the late eighteenth and early nineteenth centuries.
The gardens and park at Purley Hall are particularly significant because they preserve evidence of changing attitudes towards the designed landscape. The formal gardens of the early eighteenth century gradually interacted with the more naturalistic landscape ideals of the later Georgian period. The result was a complex landscape in which formal canals, lawns, woodland, parkland and ornamental structures were combined.
The eighteenth century also brought one of Purley's most unusual residents. Warren Hastings, the first Governor-General of Bengal, lived at Purley Hall for a number of years. Hastings returned to Britain in considerable controversy and was impeached by Parliament in 1787. During this period he was associated with Purley Hall, where he maintained an extraordinary collection of animals brought from India and elsewhere. Contemporary representations of the estate show the exotic animals that contributed to the unusual appearance of the landscape.
Purley was still overwhelmingly rural during the eighteenth century. The village consisted of farms, cottages, manor houses, the church, inns and other small-scale buildings. Its population remained small. Agriculture dominated employment and land use, while the Thames and the road system provided important connections with neighbouring settlements.
The road through Purley was considerably older than the modern A329. The historic village street descended from the main route between Reading and Pangbourne towards the church and manor before continuing west towards Westbury. It crossed wet ground and a stream and followed a route shaped by the topography of the village. A turnpike route subsequently provided a more reliable long-distance road connection.
Around 1800, the landscape of Purley Magna changed dramatically. The old manor house close to the river was demolished and replaced by a new country house, Purley Park, designed by James Wyatt. The new mansion was placed higher on the hill, partly to avoid the flooding that had affected the earlier site and partly to create a more imposing landscape setting.
The construction of Purley Park transformed the eastern part of the parish. Land was enclosed and converted into parkland, while roads were diverted to accommodate the new estate. New Hill was constructed to provide a public route into the village after the older road through the estate was closed. The old relationship between manor house, church and village was therefore physically disrupted.
Purley Park became an important country estate. Its architecture and surviving interior are of considerable historic significance, and the house is listed at Grade II*. The estate's history also demonstrates the changing nature of aristocratic and landed society in the nineteenth century. The country house remained economically important, while the surrounding agricultural estate employed labourers and supported farms and cottages.
The enclosure of agricultural land during the eighteenth and nineteenth centuries altered Purley's traditional field system. The disappearance of common fields and the consolidation of landholding contributed to the loss of some ancient routes and the creation of new boundaries. Many of the small lanes and footpaths that survive today reflect these successive changes rather than a single planned village layout.
The nineteenth century began as a period of relative continuity, although the effects of the Industrial Revolution were gradually reaching rural Berkshire. Purley did not become an industrial settlement. Its significance lay instead in its proximity to Reading and in its position on an important transport corridor.
The arrival of the Great Western Railway in the late 1830s was one of the most consequential events in Purley's modern history. The railway connected London with the west of England and brought a powerful new form of transport through the parish. The railway cutting physically divided Purley and separated parts of the Purley Park estate from other areas of its land.
The railway also changed the relationship between Purley and neighbouring communities. Goods and people could travel much more rapidly, encouraging commuting, trade and the gradual integration of the village into the economic orbit of Reading and London. At the same time, the railway destroyed or altered some ancient paths and roads. Bridges and underpasses were constructed to maintain connections across the new line.
The nineteenth century also saw substantial changes to St Mary's Church. The medieval building had undergone various alterations, but by the Victorian period it required major work. In 1870 the church was substantially rebuilt and restored by the architect George Edmund Street in a medieval-inspired style. The older tower, dated 1626, was retained, while medieval architectural fragments were incorporated into the Victorian building.
The Victorian church therefore represents several centuries of Purley's history at once. Its medieval fabric, seventeenth-century tower and nineteenth-century rebuilding embody successive periods of religious and architectural change. Later additions have continued the process of adaptation, allowing the building to remain a functioning parish church rather than simply a historic monument.
Purley's population remained comparatively small through much of the nineteenth century. The parish was still predominantly agricultural, and many residents lived in cottages associated with farms or estates. The contrast with the rapidly expanding towns of the industrial age was striking. Reading was growing quickly, yet Purley retained the appearance and social structure of a rural village.
The twentieth century brought a much more dramatic transformation. At the beginning of the century Purley still consisted largely of farms, estates, cottages and large houses. The arrival of the motor car, improvements in public transport, the growth of Reading and the increasing ability of people to commute gradually weakened the isolation that had characterised the village.
The First World War had a profound effect upon Purley. The South Berkshire Hunt was established at Belleisle Farm, and Cecil Aldin became its Master during the war. Aldin, who was a well-known artist as well as a huntsman, was appointed to military duties connected with obtaining horses for the Army. Belleisle Farm became a remount depot, with large numbers of horses passing through Purley.
The war touched many local families directly. Men from the village served in the armed forces, and a number were killed. The church and later the village war memorial preserve their names. The conflict also disrupted agricultural labour and changed the social balance of the village.
Cecil Aldin's artistic connections brought another notable cultural dimension to Purley's history. Aldin was part of a wider circle of British artists and illustrators who were attracted to the countryside and to sporting subjects. His presence at Belleisle connected Purley with the artistic culture of Edwardian and early twentieth-century Britain.
The years between the two world wars saw the beginning of large-scale residential change. Parts of the old Purley Magna estate were sold or leased, beginning a process that would ultimately replace much of the former agricultural landscape with housing.
One of the most distinctive developments was the River Estate beside the Thames. During the 1930s land was divided into small plots and sold mainly for camping and holiday use. Londoners were attracted by the river, countryside and accessibility. The development initially consisted of weekend retreats rather than conventional suburban houses.
The Second World War transformed the River Estate. The bombing of London encouraged some families to leave the capital and settle permanently in Purley. Building materials were scarce, so people constructed homes from whatever was available. Railway carriages, buses, huts, timber structures and other unconventional materials were adapted as dwellings.
The result was an unusual riverside community whose origins were directly connected with wartime displacement and the housing shortage. Flooding was a constant problem, and the great flood of 1947 caused serious damage. Over subsequent decades the improvised houses were progressively replaced or enlarged, and the area evolved into the more conventional residential district that exists today.
The Second World War affected the whole village. Air-raid precautions were organised, residents participated in wartime services, and the proximity of Reading made the threat of bombing particularly real. The war accelerated changes that had already begun before 1939, bringing new residents into the village and weakening the old estate-based social structure.
The period after 1945 was the decisive turning point in Purley's history. The country faced an enormous housing shortage, while Reading and London were expanding. Purley became increasingly attractive as a place from which people could commute to work elsewhere.
The old estates were progressively broken up. Land that had once formed part of Purley Park or other large agricultural holdings was sold for housing, schools, recreation grounds and other uses. Roads and estates appeared across land that had previously been fields or parkland.
Purley Park itself underwent major changes. In 1948 the mansion was acquired for educational and residential purposes associated with people with Down syndrome. The estate subsequently became associated with the Purley Park Trust, which has continued to provide support and accommodation for adults with learning difficulties. The mansion has since been converted into residential accommodation, while parts of the historic estate have been redeveloped.
The former agricultural and estate buildings also acquired new uses. The large barn associated with the estate eventually became a community facility, illustrating the wider process through which historic farm buildings were adapted rather than simply abandoned.
The twentieth-century housing expansion changed the social character of Purley. The village ceased to be a small farming community in which most residents had a direct connection with agriculture. It became a commuter settlement with residents working in Reading, London and other centres. The railway, road network and proximity to the M4 made this transformation increasingly practical.
Schools, clubs, churches, community organisations and sporting groups became increasingly important to the identity of the expanding village. The growth of housing created a need for new recreational spaces, community facilities and local organisations.
The old distinction between Purley Magna, Purley Parva and La Hyde gradually became less obvious on the ground, although traces of the three medieval landscapes remain. Purley Village, Purley Rise, Purley Magna, the River Estate and the areas around Westbury Farm and Purley Hall each preserve different aspects of the older settlement pattern.
The relationship with the River Thames has remained fundamental. Flooding has repeatedly shaped decisions about settlement and development, from the positioning of the medieval manor to the construction of Purley Park on higher ground and the later regulation of riverside housing. The Thames also remains one of the principal recreational and environmental assets of the village.
The administrative history of Purley has changed alongside its physical development. The ancient parish boundaries did not correspond precisely with the modern boundaries of the village. Parts of the historic parish extended into areas now regarded as belonging to Pangbourne and Tilehurst. A long-running boundary review eventually resulted in changes being implemented in the 1990s, altering the civil parish while leaving the ecclesiastical parish with a somewhat different extent.
The late twentieth century brought further housing development and the consolidation of the village's modern character. Former self-built houses and temporary structures were replaced or upgraded. Estates were constructed on former farmland, while surviving open areas became increasingly important for recreation, wildlife and flood management.
Despite the scale of development, Purley has retained substantial elements of its rural setting. Agriculture continues in parts of the parish, while the Thames meadows, countryside to the west and south, mature trees and surviving estate landscapes prevent the settlement from becoming completely urbanised.
The village's historic buildings form an important part of this continuity. St Mary's Church preserves evidence from the medieval, Tudor, Stuart and Victorian periods. Purley Hall preserves a major early seventeenth-century house and an important eighteenth-century landscape. Purley Park preserves the principal country-house landscape created around 1800. Purley Lodge contains surviving elements of earlier buildings, including evidence of seventeenth-century timber framing and an unusual medieval architectural fragment associated with a former chapel.
The survival of these buildings is particularly significant because so much of the historic village was lost during enclosure, estate redevelopment and twentieth-century house building. The modern village consequently contains a mixture of very old structures and comparatively recent housing, with the medieval and early modern landscape surviving mainly in fragments.
Purley's history is also unusually well documented by local historians. Project Purley, founded in the early 1980s, has collected photographs, documents, archaeological information, oral histories, maps and family records relating to the village. This research has helped preserve knowledge of buildings and landscapes that have disappeared as well as those that survive.
Population growth illustrates the scale of the transformation. In the seventeenth century Purley had only a small population, recorded at about eighty people in 1676. By the beginning of the nineteenth century there were approximately 153 inhabitants. The population remained comparatively modest for much of the nineteenth century. By 1946 it had reached about 867, after which expansion accelerated dramatically. By the early twenty-first century the population had exceeded 4,000.
The transformation from a small agricultural parish to a modern commuter village was therefore concentrated largely within the lifetime of a few generations. Someone living in Purley in 1900 would have recognised the village as a collection of farms, cottages, estates and fields. Someone living there in the later twentieth century would have seen a substantially different community dominated by residential development.
Purley nevertheless retains a strong sense of historical continuity. The river follows the same course. St Mary's still occupies its ancient site. The old manorial landscapes can still be traced through surviving houses, lanes, fields and boundaries. The grounds associated with Purley Hall and Purley Park preserve important fragments of the landscapes created by their former owners. Old field names, footpaths and road alignments continue to reveal the structure of the medieval and early modern settlement beneath the modern village.
The history of Purley on Thames is therefore not simply a story of suburban expansion. It is the story of a settlement whose origins lie in the Anglo-Saxon landscape of the Thames Valley, whose medieval identity was formed by three manors, whose church and estates connected it with national political and religious history, whose Georgian landscape attracted figures such as Warren Hastings, whose Victorian transformation was accelerated by the railway, and whose twentieth-century development converted it from an agricultural village into a modern commuter community.
Its most distinctive characteristic is the persistence of several different historical landscapes within one relatively small area. The riverside meadows recall the agricultural economy of the medieval manors. The church preserves evidence of more than eight centuries of Christian worship. Purley Hall embodies the world of the seventeenth- and eighteenth-century landed elite. Purley Park represents the transformation of the country estate around 1800. The railway cutting records the arrival of the industrial age. The River Estate recalls the social upheaval and housing shortages of the Second World War. The modern housing estates represent the final transformation of Purley into the large residential village of the present day.
Purley on Thames has consequently evolved without entirely losing the physical traces of its earlier identities. The modern settlement is layered over a much older landscape, and much of the character of the village comes from the coexistence of these layers: Saxon settlement beneath the medieval parish, medieval fields beneath Georgian estates, country-house landscapes beside twentieth-century housing, and the enduring Thames connecting all of them.
Point Precise uses photogrammetry and your iPhone’s device sensors to convert your scans into precise 3D point clouds.
PRECISE PROJECTION: Celina Tragesser, Science Olympiad member and senior, measures angles on a projectile launcher for an event called Air Trajectory at a Science Olympiad work session on Feb. 24. Tragesser and several other members will compete in the Regionals competition at Butler University on Saturday. SARAH LIU / PHOTO
Fitz Henry Lane - American, 1804 - 1865
Lumber Schooners at Evening on Penobscot Bay, 1863
West Building, Main Floor — Gallery 67
Near the center of the painting, a masted wooden ship floats against a vibrant sunset that fades from lilac purple to carnation pink along the horizon line, which comes about a quarter of the way up this horizontal landscape. The boat is angled away from us and to our left with one sail tied up near the top of one of the two tall masts. Four people stand on the lumber-filled deck and tie up other sails. A second boat floats in the distance, its rigging and masts silhouetted against the vivid pink sky. The water is deep blue along the bottom edge of the canvas and lightens where it meets the hills along the horizon. Slivers of wispy slate-gray clouds sweep across the sky.
Despite its meticulous draftsmanship and precise detail, Lane's work is far more than a simple inventory of harbor activity. The diminutive figures and carefully rendered vessels remain secondary to the vast expanse of sky, where shimmering light creates a tranquil, idyllic mood. Lane's rarefied landscapes epitomize man's harmonious union with the natural world.
Some scholars have used the term "luminism" to describe the artist's subtle use of light and atmospheric effects to convey nature's intangible spirit. Ralph Waldo Emerson, the foremost exponent of American Transcendentalism, believed that poets and painters should serve as conduits through which the experience of nature might be transmitted directly to their audience. With a similarly self-effacing artistic temperament, Lane minimized his autographic presence, using translucent glazes rather than heavily impastoed surfaces to underscore the scene's pervasive stillness. His elegiac paintings differ profoundly from the more explosive exuberance expressed by Cole and Church, though he shared these artists' reverence for nature and their belief in its inherent divinity.
More information on this painting can be found in the Gallery publication American Paintings of the Nineteenth Century, Part I, pages 412-415, which is available as a free PDF at www.nga.gov/content/dam/ngaweb/research/publications/pdfs...
Fitz Henry Lane was born Nathaniel Rogers Lane in the fishing port of Gloucester, Massachusetts on December 18, 1804; in 1831 he legally changed his first and middle names, becoming Fitz Henry Lane. Paralyzed as a young child, probably by infantile polio, Lane was obliged to use crutches. He learned the rudiments of drawing and sketching while in his teens and in 1832 worked briefly with a lithographic firm in Gloucester. Later that year he moved to Boston for formal training and an apprenticeship with William S. Pendleton, owner of the city's most important lithographic firm. Lane remained with Pendleton until 1837, producing illustrations for sheet music and scenic views.
While in Boston Lane became acquainted with the work of the English-born artist Robert Salmon (1775-c.1845), who was the most accomplished marine painter in the area. Salmon's paintings, with their meticulously detailed ships and crisply rendered effects of light and atmosphere had a decisive influence on Lane's early style. By 1840 he had produced his first oils; two years later he was listed in a Boston almanac as a "Marine Painter." His Scene at Sea (present location unknown) was exhibited at the Boston Atheneum in 1841 and, after 1845, his works were regularly shown there. During the mid-1840s Lane continued to produce both oils and lithographs, concentrating on landscapes, harbor views, and ship portraits. In 1848 he sold a painting to the American Art-Union in New York, which would subsequently purchase several more of his works. That summer he visited Maine with his life-long friend, the Gloucester merchant Joseph Stevens, Jr., whose family had a home in Castine. Lane would make many more visits to Maine during the rest of his life, and the distinctive scenery of the state became an increasingly important part of his artistic vocabulary.
In 1848 Lane moved permanently back to Gloucester, and with his sister and brother-in-law designed and constructed an impressive granite home overlooking the harbor. Although he traveled in the 1850s to such locations as Baltimore, New York, and, possibly, Puerto Rico, the scenery of Gloucester and Cape Ann would remain, with that of coastal Maine, at the very center of his artistic production. Although Lane's inconsistency in dating his works makes determining a strict stylistic evolution difficult, he seems to have reached a new maturity in the early 1850s. In an important series of images of Boston harbor, presumably from the mid-1850s, Lane perfected a style characterized by carefully balanced, calmly ordered compositions and radiant effects of light and atmosphere. Some modern historians have seen these paintings as part of a "luminist" style said to have been employed by many other American artists of the 1850s and 1860s. Whatever the case, Lane's art seems to have been primarily personal in nature, and there is little evidence he took notice of other painters' works or was much involved in larger artistic circles.
During the 1860s Lane produced what are perhaps his most poignant paintings, again focussing primarily on familiar scenes around Gloucester and in Maine. He left little in the way of written or otherwise recorded statements about his art, but these later works are markedly different from works of just a few years earlier. Highly reductive in format, refined in execution, and intense in effect, these works suggest some new expressive intent on Lane's part, the nature of which has been the subject of much modern speculation.
In 1864 and 1865 Lane was in poor health and, following a bad fall in August 1865, apparently suffered a heart attack or stroke; he died in Gloucester on the 13th of that month. Although one Boston paper characterized his passing as "a national loss," Lane's reputation during his lifetime was primarily local; following his death he and his works were largely forgotten outside Gloucester. With the revival of interest in nineteenth-century American painting during the 1940s, and, particularly with the large number of fine works by Lane presented to the Museum of Fine Arts, Boston by Maxim Karolik in 1948, he was gradually reinstated as a key figure. (At some point in the early twentieth century the artist's middle name began to appear erroneously as "Hugh," and he subsequently became well known as Fitz Hugh Lane. Archival research conducted in 2004-2005 irrefutably proved that his name was, in fact, Fitz Henry Lane; see "appendix" in John Wilmerding, Fitz Henry Lane, Glouchester, Massachusetts, 2005).
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The National Gallery of Art in Washington, DC is a world-class art museum that displays one of the largest collections of masterpieces in the world including paintings, drawings, prints, photographs, sculpture, and decorative arts from the 13th century to the present. The National Gallery of Art collection includes an extensive survey of works of American, British, Italian, Flemish, Spanish, Dutch, French and German art. With its prime location on the National Mall, surrounded by the Smithsonian Institution, visitors often think that the museum is a part of the Smithsonian. It is a separate entity and is supported by a combination of private and public funds. Admission is free. The museum offers a wide range of educational programs, lectures, guided tours, films, and concerts.
The original neoclassical building, the West Building includes European (13th-early 20th century) and American (18th-early 20th century) paintings, sculptures, decorative arts, and temporary exhibitions. The National Gallery of Art was opened to the public in 1941 with funds provided by the Andrew W. Mellon Foundation. The original collection of masterpieces was provided by Mellon, who was the U. S. Secretary of the Treasury and ambassador to Britain in the 1930s. Mellon collected European masterpieces and many of the Gallery’s original works were once owned by Catherine II of Russia and purchased in the early 1930s by Mellon from the Hermitage Museum in Leningrad.
The core collection includes major works of art donated by Paul Mellon, Ailsa Mellon Bruce, Lessing J. Rosenwald, Samuel Henry Kress, Rush Harrison Kress, Peter Arrell Browne Widener, Joseph E. Widener, and Chester Dale. The Gallery's collection of paintings, drawings, prints, photographs, sculpture, medals, and decorative arts traces the development of Western art from the Middle Ages to the present, including the only painting by Leonardo da Vinci in the Americas and the largest mobile created by Alexander Calder.
The NGA's collection galleries and Sculpture Garden display European and American paintings, sculpture, works on paper, photographs, and decorative arts. Paintings in the permanent collection date from the Middle Ages to the present. The Italian Renaissance collection includes two panels from Duccio's Maesta, the tondo of the Adoration of the Magi by Fra Angelico and Filippo Lippi, a Botticelli work on the same subject, Giorgione's Allendale Nativity, Giovanni Bellini's The Feast of the Gods, Ginevra de' Benci (the only painting by Leonardo da Vinci in the Americas) and groups of works by Titian and Raphael.
The collections include paintings by many European masters, including a version of Saint Martin and the Beggar, by El Greco, and works by Matthias Grünewald, Cranach the Elder, Rogier van der Weyden, Albrecht Dürer, Frans Hals, Rembrandt, Johannes Vermeer, Francisco Goya, Jean Auguste Dominique Ingres, and Eugène Delacroix, among others. The collection of sculpture and decorative arts includes such works as the Chalice of Abbot Suger of St-Denis and a collection of work by Auguste Rodin and Edgar Degas. Other highlights of the permanent collection include the second of the two original sets of Thomas Cole's series of paintings titled The Voyage of Life, (the first set is at the Munson-Williams-Proctor Arts Institute in Utica, New York) and the original version of Watson and the Shark by John Singleton Copley (two other versions are in the Museum of Fine Arts, Boston and the Detroit Institute of Arts).
en.wikipedia.org/wiki/National_Gallery_of_Art
Andrew W. Mellon, who pledged both the resources to construct the National Gallery of Art as well as his high-quality art collection, is rightly known as the founder of the gallery. But his bequest numbered less than two hundred paintings and sculptures—not nearly enough to fill the gallery’s massive rooms. This, however, was a feature, not a failure of Mellon’s vision; he anticipated that the gallery eventually would be filled not only by his own collection, but also by additional donations from other private collectors. By design, then, it was both Andrew Mellon and those who followed his lead—among them, eight men and women known as the Founding Benefactors—to whom the gallery owes its premier reputation as a national art museum. At the gallery’s opening in 1941, President Roosevelt stated, “the dedication of this Gallery to a living past, and to a greater and more richly living future, is the measure of the earnestness of our intention that the freedom of the human spirit shall go on.”
www.doaks.org/resources/cultural-philanthropy/national-ga...
..
________________________________
The National Gallery of Art in Washington, DC is a world-class art museum that displays one of the largest collections of masterpieces in the world including paintings, drawings, prints, photographs, sculpture, and decorative arts from the 13th century to the present. The National Gallery of Art collection includes an extensive survey of works of American, British, Italian, Flemish, Spanish, Dutch, French and German art. With its prime location on the National Mall, surrounded by the Smithsonian Institution, visitors often think that the museum is a part of the Smithsonian. It is a separate entity and is supported by a combination of private and public funds. Admission is free. The museum offers a wide range of educational programs, lectures, guided tours, films, and concerts.
The original neoclassical building, the West Building includes European (13th-early 20th century) and American (18th-early 20th century) paintings, sculptures, decorative arts, and temporary exhibitions. The National Gallery of Art was opened to the public in 1941 with funds provided by the Andrew W. Mellon Foundation. The original collection of masterpieces was provided by Mellon, who was the U. S. Secretary of the Treasury and ambassador to Britain in the 1930s. Mellon collected European masterpieces and many of the Gallery’s original works were once owned by Catherine II of Russia and purchased in the early 1930s by Mellon from the Hermitage Museum in Leningrad.
The core collection includes major works of art donated by Paul Mellon, Ailsa Mellon Bruce, Lessing J. Rosenwald, Samuel Henry Kress, Rush Harrison Kress, Peter Arrell Browne Widener, Joseph E. Widener, and Chester Dale. The Gallery's collection of paintings, drawings, prints, photographs, sculpture, medals, and decorative arts traces the development of Western art from the Middle Ages to the present, including the only painting by Leonardo da Vinci in the Americas and the largest mobile created by Alexander Calder.
The NGA's collection galleries and Sculpture Garden display European and American paintings, sculpture, works on paper, photographs, and decorative arts. Paintings in the permanent collection date from the Middle Ages to the present. The Italian Renaissance collection includes two panels from Duccio's Maesta, the tondo of the Adoration of the Magi by Fra Angelico and Filippo Lippi, a Botticelli work on the same subject, Giorgione's Allendale Nativity, Giovanni Bellini's The Feast of the Gods, Ginevra de' Benci (the only painting by Leonardo da Vinci in the Americas) and groups of works by Titian and Raphael.
The collections include paintings by many European masters, including a version of Saint Martin and the Beggar, by El Greco, and works by Matthias Grünewald, Cranach the Elder, Rogier van der Weyden, Albrecht Dürer, Frans Hals, Rembrandt, Johannes Vermeer, Francisco Goya, Jean Auguste Dominique Ingres, and Eugène Delacroix, among others. The collection of sculpture and decorative arts includes such works as the Chalice of Abbot Suger of St-Denis and a collection of work by Auguste Rodin and Edgar Degas. Other highlights of the permanent collection include the second of the two original sets of Thomas Cole's series of paintings titled The Voyage of Life, (the first set is at the Munson-Williams-Proctor Arts Institute in Utica, New York) and the original version of Watson and the Shark by John Singleton Copley (two other versions are in the Museum of Fine Arts, Boston and the Detroit Institute of Arts).
en.wikipedia.org/wiki/National_Gallery_of_Art
Andrew W. Mellon, who pledged both the resources to construct the National Gallery of Art as well as his high-quality art collection, is rightly known as the founder of the gallery. But his bequest numbered less than two hundred paintings and sculptures—not nearly enough to fill the gallery’s massive rooms. This, however, was a feature, not a failure of Mellon’s vision; he anticipated that the gallery eventually would be filled not only by his own collection, but also by additional donations from other private collectors. By design, then, it was both Andrew Mellon and those who followed his lead—among them, eight men and women known as the Founding Benefactors—to whom the gallery owes its premier reputation as a national art museum. At the gallery’s opening in 1941, President Roosevelt stated, “the dedication of this Gallery to a living past, and to a greater and more richly living future, is the measure of the earnestness of our intention that the freedom of the human spirit shall go on.”
www.doaks.org/resources/cultural-philanthropy/national-ga...
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A very precise ritual for the lighting of the Flame is followed at every Games. It is lit from the sun's rays at the Temple of Hera in Olympia, in a traditional ceremony among the ruins of the home of the ancient Games.
After a short relay around Greece, the Flame is handed over to the new Host City at another ceremony in the Panathenaiko stadium in Athens.
The Flame is then delivered to the Host Country, where it is transferred from one Torchbearer to another, spreading the message of peace, unity and friendship. It ends its journey as the last Torchbearer lights the cauldron at the Olympic Games Opening Ceremony in the Olympic Stadium, marking the official start of the Games.
The Flame is extinguished on the final day of the Games, at the Closing Ceremony.