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It pays to read your sources properly. Whilst awaiting the Jacobite stock move,I read from RTT that the Alcan tanks were going north from North Shields to Fort William. Thus I was surprised when it appeared travelling in the opposite direction. This was the only vaguely acceptable shot of the 3 I managed before it was past me. 6E45 0805 FW-North Shields. Trailing a good number of tanks.
My throat is scratchy again; and I still have a cough. It's time to see the doctor.
I arrived in Hong Kong yesterday evening, around 11pm. I stayed up until 2am. I feel ok today; I'll go shopping later, mark some papers, and run; and then I'll head to church and afterwards, some CSP peeps and I will consume some vegetarian foodstuffs.
I enjoyed Singapore. It was nice to explore their culture as, again, seeing how other Asian people live helps me to properly frame my own experience as a foreigner living amongst Hong Kong people. I have begun to discard my animus towards the Hong Kong culture, to be replaced with a sense of amusement, and pity at how we, the people in Hong Kong, live.
The following is information that was recorded in my journal during my journey:
Some observations made during my first night in Singapore:
- the airport, opened in 1991, has a very 1980's, Miami-Vice, vibe
- Singapore is wired; free, sometimes wireless Internet is available everywhere, even in McDonald's!
- Singapore has much in common with the well-developed parts of Panama City: the weather is hot and humid; there are grassy sidewalks, and palm and banyan trees everywhere; there are many residential and commercial low-rises that actually shut off their lights at night
- I saw a homeless guy laying out on a sidewalk
- the older Chinese lady, who works at the gas station convenient store that I visited, spoke very comprehensible English; something must be working in Singapore's education system!
5/5/06 - I just showered and I'm going to sleep soon. It's been a very long day; I'm tired; and I reinjured my right foot while walking to the hotel this evening. I woke up this morning and watched the NETS game before Garlanda and I went downstairs for a nice, filling, buffet breakfast. We ate well and were happy, even though it was raining outside. After breakfast, we walked to the SMRT station and bought our E-Z cards and then we went to Sentosa Island, via cable car. Sentosa island is a well-landscaped, well-planned island that serves as a beautiful, tourist-destination day-trap, and the southernmost point of continental Asia! We checked out the southern tip of the island, and then we headed back into the city as it began raining. Back in the city, we checked out Little India. This place was part Hong Kong, and part colonial Indochina. Much of Little India is housed in this huge building complex that resembles what the HK government has dreamt up to house HK's wet markets and chicken markets. The other half of Little India is a sprawl of European-colonial architecture. It was enjoyable to tour through the area as there was much color, and aroma. We ate lunch at the Banana-Leaf cafe where we ordered much, delicious Indian food that was swiftly eaten on a Banana Leaf. It was quite the culinary experience. After lunch, we went to Chinatown to visit the oldest, and most amazing Hindu temple in Singapore. The temple is full of strange, mind-blowing images of various deities. I enjoy visiting temples of eastern religions and this was no exception. I get a big buzz from viewing icons that are beyond my frame of reference. Chinatown is a pleasant area. The main street, Pagoda street, is a long street (alley, perhaps?) lined with bric-a-brac hawkers and trinket shops. Like Little India, there is some beautiful, colorful architecture. We then visited St. Andrew's church, which is the oldest church in Singapore. Next, we visited the Raffles Hotel, home of the Singapore Sling. Unfortunately, I wasn't able to view the lobby as there is a strict dress code for men - no shorts - while women are free to come and go, naked, if they want, as they please. To top off our tour of the city hall area, we saw the world's largest, and underwhelming fountain. For our nightcap, we made the long journey over to the Singapore zoo, where we went on their "night safari" and had the wonderful opportunity to view creatures of the night! Part of the tour was conducted on a tram and the other part was on foot. The highlight of the trip was walking in a mangrove environment with huge bats hanging overhead. These bats were big, and we had to duck, and run, to avoid disturbing them; and again, they were huge, and tired; and we were frightened as we were in such close contact to them and had to walk around and underneath them! After viewing the creatures of the night show, which was lit-up with idiotic flash photography, we made the long trek back to Chinatown, where we then began, what seemed to be, and even longer walking trek back to the hotel. We took a different route as we couldn't figure out how to return to the hotel from the Outram SMRT station. Garlanda, the navigational wizard, was able to successfully guide us to the hotel, from the Chinatown SMRT station.
Here are some more observations:
- Singapore people let passengers alight from trains first, before barging into the train; the trains are quieter as there is less noise-spam from the SMRT, and people don't use their mobile phones as frequently, and extensively as their HK counterpart; the seats are also wider, and there is more room in the car as it seems like few people use the train
- Singapore girls are absolutely gorgeous because they aren't afraid to show some skin; Hong Kong girls should take a page out of the Singapore book!
- students, like those in Korea, can wear sneakers
- everyone speaks English; something is definitely going right for their education system
- people are much more relaxed; their is rarely any running up and down escalators
6/5/06 - I slept for about 10 hours last night, and it was good. However, we missed breakfast so we went to Clarke Quay where we ate lunch at the Brewerkz. I had a satisfying "New York" pizza, along with a pint of their Cherry microbrew - it wasn't too sweet. I don't recommend drinking a cold beer, on an empty stomach, in the hot sun, after doing some strenuous walking: it's a recipe for drunkeness and dehydration! Well, a fruit fly drowned in my beer and that was the end of that. I also read the I-S magazine during lunch and it certainly seems to lack the content of the plumper, HK magazine. Garlanda and I split up afterwards, and it is obvious that we have been on increasingly divergent paths; however, it was good to know that we at least started our journey, and ended it, on the same page. I went back to Chinatown and bought a nice, $11SGD "light" shirt; oh, and then I got lost trying to find my way back to the hotel! Eventually, after wandering around and fretting for awhile, I walked to the Outram station, inquired about the "Outram Prison" exit, and then navigated my way back to the hotel from there.
I recommend Singapore and the Singapore Airlines-sponsored, Singapore Stopover tourist package. It's a convenient, inexpensive way to view a most wonderful city. In case you missed it, here are the pictures.
Its been a while since i've properly had a solo night photography "session"(by session i mean 10 shots before a bottle it and pack up!). So tonight straight after work i packed my camera bag, ditched the drone+controller and packed the speedlite, remote triggers and the gorillapod(for the speedlite).
I took along a "Saw" mask that i had from Haloween and headed to the local woods. i planned on going to another location but rain was forecast. Setting up for these kind of shots in the dark is tricky and i'm thankful for my headtorch(thanks mark!). And i'm even more thankful when i get home and i've not lost anything!
All fourteen days is the collection old paper here. But they only take it along if it properly bundled.
Edwig Scharff (Neu-Ulm 1887 - 1955 Hamburg
Paar, 1925
Couple, 1925
Kaltnadel/Drypoint
Aus/From: Fünfte Jahresgabe des Kreises graphischer Künstler und Sammler, Leipzig 1925
The Staatliche Kunsthalle Karlsruhe is buying back from Rinah Alexander Lior of Israel some 75 Expressionist prints, held in eight portfolios, as well as an art book. Ms. Lior is the niece and rightful heir of Dr. Hermann Haymann of Badenweiler, a Jewish doctor who originally owned the works of art.
In 1943 the Kunsthalle acquired a large collection of various books and portfolios of prints and drawings from the regional tax office in Müllheim. Five years earlier, in 1938, Haymann had been forced to pledge these works on paper as security against debts incurred through the Jewish Property Tax and the Reich Flight Tax, which were mandatorily imposed on Jewish citizens by the Nazis. Only by pledging the collection was Haymann thus able to leave Germany for the United States. After the war, this acquisition was properly reported to the US Office of Military Government as a purchase from “Jewish assets” and the artworks were returned to Hermann Haymann in 1951. However, as part of ongoing provenance research at the Kunsthalle Karlsruhe a further eight portfolios and an art book have been found, which were apparently forgotten at the time of the restitution. After determining and locating the rightful owner, they have now been re-acquired by the Kunsthalle.
From 16 April to 3 July 2016, an exhibition will be held in memory of Herrmann Haymann and the fate of Jewish citizens in Baden-Württemberg and will feature this historical accession of works on paper.
Erworben aus „jüdischem Vermögen“
Grafische Blätter der Sammlung Haymann
16. April - 17. Juli 2016
Die Kunsthalle hat im Jahr 1943 ein großes Konvolut an Büchern und Grafikmappen vom Finanzamt Müllheim erworben. Der jüdische Arzt und Kunstsammler Hermann Haymann aus Badenweiler musste die Papierarbeiten 1938 verpfänden, um mit dem Erlös die Judenvermögensabgabe und die bei seiner Ausreise aus Deutschland in die USA obligatorisch zu leistende Reichsfluchtsteuer zu begleichen. Nach dem Krieg wurde diese Erwerbung ordnungsgemäß bei der US -amerikanischen Militärregierung als Ankauf aus „jüdischem Vermögen“ gemeldet und die Kunstwerke 1951 an Hermann Haymann restituiert. Im Rahmen der Provenienzforschung wurden acht Grafikmappen mit 75 expressionistischen Druckgrafiken und ein Kunstbuch gefunden, die man damals offenbar vergessen hat.
Es ist gelungen, die rechtmäßige Erbin nach Hermann Haymann zu ermitteln. Frau Rina Lior Alexander aus Israel ist seine Nichte und letzte noch lebende Verwandte. Da sie auf eine Rücknahme der Kunstwerke verzichtet hat, wurden sie nun von der Kunsthalle zurückgekauft.
Diesem besonderen Sammlungszugang wird vom 16. April bis 3. Juli 2016 eine Ausstellung gewidmet, um die Erinnerung an Herrmann Haymann und das Schicksal der Juden in Baden -Württemberg zu wahren.
www.kunsthalle-karlsruhe.de/de/ausstellungen/erworben-aus...
The foundation of the collection consists of 205 mostly French and Dutch paintings from the 17th and 18th centuries which Margravine Karoline Luise acquired 1759-1776. From this collection originate significant works, such as The portrait of a young man by Frans van Mieris the Elder, The winter landscape with lime kiln of Nicolaes Pieterszoon Berchem, The Lacemaker by Gerard Dou, the Still Life with hunting equipment and dead partridge of Willem van Aelst, The Peace in the Chicken yard by Melchior de Hondecoeter as well as a self-portrait by Rembrandt van Rijn. In addition, four still lifes of Jean Siméon Chardin and two pastoral scenes by François Boucher, having been commissioned directly by the Marchioness from artists.
A first significant expansion the museum received in 1858 by the collection of canon Johann Baptist von Hirscher (1788-1865) with works of religious art of the 15th and 16th centuries. This group includes works such as two tablets of the Sterzinger altar and the wing fragment The sacramental blessing of Bartholomew Zeitblom. From 1899 to 1920, the native of Baden painter Hans Thoma held the position of Director of the Kunsthalle. He acquired old masterly paintings as the tauberbischofsheim altarpiece by Matthias Grünewald and drove the expansion of the collection with art of the 19th century forward. Only his successors expanded the holdings of the Art Gallery with works of Impressionism and the following generations of artists.
The permanent exhibition in the main building includes approximately 800 paintings and sculptures. Among the outstanding works of art of the Department German painters of the late Gothic and Renaissance are the Christ as Man of Sorrows by Albrecht Dürer, the Carrying of the Cross and the Crucifixion by Matthias Grünewald, Maria with the Child by Lucas Cranach the Elder, the portrait of Sebastian Brant by Hans Burgkmair the elder and The Nativity of Hans Baldung. Whose Margrave panel due to property disputes in 2006 made it in the headlines and also led to political conflicts. One of the biggest buying successes which a German museum in the postwar period was able to land concerns the successive acquisition of six of the seven known pieces of a Passion altar in 1450 - the notname of the artist after this work "Master of the Karlsruhe Passion" - a seventh piece is located in German public ownership (Wallraf-Richartz Museum, Cologne).
In the department of Dutch and Flemish paintings of the 16th century can be found, in addition to the aforementioned works, the portrait of the Marchesa Veronica Spinola Doria by Peter Paul Rubens, Moses strikes the rock and water flows for the thirsty people of Israel of Jacob Jordaens, the still life with kitchen tools and foods of Frans Snyders, the village festival of David Teniers the younger, the still life with lemon, oranges and filled clay pot by Willem Kalf, a Young couple having breakfast by Gabriel Metsu, in the bedroom of Pieter de Hooch, the great group of trees at the waterfront of Jacob Izaaksoon van Ruisdael, a river landscape with a milkmaid of Aelbert Jacobsz. Cuyp as well as a trompe-l'œil still life of Samuel van Hoogstraten.
Further examples of French paintings of the 17th and 18th centuries are, the adoration of the golden calf of Claude Lorrain, preparations for dance class of the Le Nain brothers, the portrait of Marshal Charles-Auguste de Matignon by Hyacinthe Rigaud, the portrait of a young nobleman in hunting costume of Nicolas de Largillière, The storm of Claude Joseph Vernet and The minuet of Nicolas Lancret. From the 19th century can be found with Rocky wooded valley at Civita Castellana by Gustave Courbet, The Lamentation of Eugène Delacroix, the children portrait Le petit Lange of Édouard Manet, the portrait of Madame Jeantaud by Edgar Degas, the landscape June morning near Pontoise by Camille Pissarro, homes in Le Pouldu Paul Gauguin and views to the sea at L'Estaque by Paul Cézanne further works of French artists at Kunsthalle.
One focus of the collection is the German painting and sculpture of the 19th century. From Joseph Anton Koch, the Kunsthalle possesses a Heroic landscape with rainbow, from Georg Friedrich Kersting the painting The painter Gerhard Kügelgen in his studio, from Caspar David Friedrich the landscape rocky reef on the sea beach and from Karl Blechen view to the Monastery of Santa Scolastica. Other important works of this department are the disruption of Adolph Menzel as well as the young self-portrait, the portrait Nanna Risi and The Banquet of Plato of Anselm Feuerbach.
For the presentation of the complex of oeuvres by Hans Thoma, a whole wing in 1909 at the Kunsthalle was installed. Main oeuvres of the arts are, for example, the genre picture The siblings as well as, created on behalf of the grand-ducal family, Thoma Chapel with its religious themes.
Of the German contemporaries of Hans Thoma, Max Liebermann on the beach of Noordwijk and Lovis Corinth with a portrait of his wife in the museum are represented. Furthermore the Kunsthalle owns works by Ferdinand Georg Waldmüller, Carl Spitzweg, Arnold Böcklin, Hans von Marées, Wilhelm Leibl, Fritz von Uhde, Wilhelm Trübner and Max Klinger.
In the building of the adjacent Orangerie works of the collection and new acquisitions from the years after 1952 can be seen. In two integrated graphics cabinets the Kupferstichkabinett (gallery of prints) gives insight into its inventory of contemporary art on paper. From the period after 1945, the works Arabs with footprints by Jean Dubuffet, Sponge Relief RE 48; Sol. 1960 by Yves Klein, Honoring the square: Yellow center of Josef Albers, the cityscape F by Gerhard Richter and the Fixe idea by Georg Baselitz in the Kunsthalle. The collection of classical modernism wandered into the main building. Examples of paintings from the period to 1945 are The Eiffel Tower by Robert Delaunay, the Improvisation 13 by Wassily Kandinsky, Deers in the Forest II by Franz Marc, People at the Blue lake of August Macke, the self-portrait The painter of Ernst Ludwig Kirchner, the Merzpicture 21b by Kurt Schwitters, the forest of Max Ernst, Tower gate II by Lyonel Feininger, the Seven Deadly Sins of Otto Dix and the removal of the Sphinxes by Max Beckmann. In addition, the museum regularly shows special exhibitions.
Sammlung
Den Grundstock der Sammlung bilden 205 meist französische und niederländische Gemälde des 17. und 18. Jahrhunderts, welche Markgräfin Karoline Luise zwischen 1759 und 1776 erwarb. Aus dieser Sammlung stammen bedeutende Arbeiten, wie das Bildnis eines jungen Mannes von Frans van Mieris der Ältere, die Winterlandschaft mit Kalkofen von Nicolaes Pieterszoon Berchem, Die Spitzenklöpplerin von Gerard Dou, das Stillleben mit Jagdgeräten und totem Rebhuhn von Willem van Aelst, Der Friede im Hühnerhof von Melchior de Hondecoeter sowie ein Selbstbildnis von Rembrandt van Rijn. Hinzu kommen vier Stillleben von Jean Siméon Chardin und zwei Schäferszenen von François Boucher, die die Markgräfin bei Künstlern direkt in Auftrag gegeben hatte.
Eine erste wesentliche Erweiterung erhielt das Museum 1858 durch die Sammlung des Domkapitulars Johann Baptist von Hirscher (1788–1865) mit Werken religiöser Kunst des 15. und 16. Jahrhunderts. Zu dieser Gruppe gehören Werke wie zwei Tafeln des Sterzinger Altars und das Flügelfragment Der sakramentale Segen von Bartholomäus Zeitblom. Von 1899 bis 1920 bekleidete der aus Baden stammende Maler Hans Thoma die Position des Direktors der Kunsthalle. Er erwarb altmeisterliche Gemälde wie den Tauberbischofsheimer Altar von Matthias Grünewald und trieb den Ausbau der Sammlung mit Kunst des 19. Jahrhunderts voran. Erst seine Nachfolger erweiterten die Bestände der Kunsthalle um Werke des Impressionismus und der folgenden Künstlergenerationen.
Die Dauerausstellung im Hauptgebäude umfasst rund 800 Gemälde und Skulpturen. Zu den herausragenden Kunstwerken der Abteilung deutsche Maler der Spätgotik und Renaissance gehören der Christus als Schmerzensmann von Albrecht Dürer, die Kreuztragung und Kreuzigung von Matthias Grünewald, Maria mit dem Kinde von Lucas Cranach der Ältere, das Bildnis Sebastian Brants von Hans Burgkmair der Ältere und die Die Geburt Christi von Hans Baldung. Dessen Markgrafentafel geriet durch Eigentumsstreitigkeiten 2006 in die Schlagzeilen und führte auch zu politischen Auseinandersetzungen. Einer der größten Ankaufserfolge, welche ein deutsches Museum in der Nachkriegszeit verbuchen konnte, betrifft den sukzessiven Erwerb von sechs der sieben bekannten Tafeln eines Passionsaltars um 1450 – der Notname des Malers nach diesem Werk „Meister der Karlsruher Passion“ – eine siebte Tafel befindet sich in deutschem öffentlichen Besitz (Wallraf-Richartz Museum, Köln).
In der Abteilung niederländischer und flämischer Malerei des 16. Jahrhunderts finden sich, neben den erwähnten Werken, das Bildnis der Marchesa Veronica Spinola Doria von Peter Paul Rubens, Moses schlägt Wasser aus dem Felsen von Jacob Jordaens, das Stillleben mit Küchengeräten und Lebensmitteln von Frans Snyders, das Dorffest von David Teniers dem Jüngeren, das Stillleben mit Zitrone, Orangen und gefülltem Römer von Willem Kalf, ein Junges Paar beim Frühstück von Gabriel Metsu, Im Schlafzimmer von Pieter de Hooch, die Große Baumgruppe am Wasser von Jacob Izaaksoon van Ruisdael, eine Flusslandschaft mit Melkerin von Aelbert Jacobsz. Cuyp sowie ein Augenbetrüger-Stillleben von Samuel van Hoogstraten.
Weitere Beispiele französischer Malerei des 17. bzw. 18. Jahrhunderts sind Die Anbetung des Goldeen Kalbes von Claude Lorrain, die Vorbereitung zur Tanzstunde der Brüder Le Nain, das Bildnis des Marschalls Charles-Auguste de Matignon von Hyacinthe Rigaud, das Bildnis eines jungen Edelmannes im Jagdkostüm von Nicolas de Largillière, Der Sturm von Claude Joseph Vernet und Das Menuett von Nicolas Lancret. Aus dem 19. Jahrhundert finden sich mit Felsiges Waldtal bei Cività Castellana von Gustave Courbet, Die Beweinung Christi von Eugène Delacroix, dem Kinderbildnis Le petit Lange von Édouard Manet, dem Bildnis der Madame Jeantaud von Edgar Degas, dem Landschaftsbild Junimorgen bei Pontoise von Camille Pissarro, Häuser in Le Pouldu von Paul Gauguin und Blick auf das Meer bei L’Estaque von Paul Cézanne weitere Arbeiten französischer Künstler in der Kunsthalle.
Einen Schwerpunkt der Sammlung bildet die deutsche Malerei und Skulptur des 19. Jahrhunderts. Von Joseph Anton Koch besitzt die Kunsthalle eine Heroische Landschaft mit Regenbogen, von Georg Friedrich Kersting das Gemälde Der Maler Gerhard Kügelgen in seinem Atelier, von Caspar David Friedrich das Landschaftsbild Felsenriff am Meeresstrand und von Karl Blechen den Blick auf das Kloster Santa Scolastica. Weitere bedeutende Werke dieser Abteilung sind Die Störung von Adolph Menzel sowie das Jugendliche Selbstbildnis, das Bildnis Nanna Risi und Das Gastmahl des Plato von Anselm Feuerbach.
Für die Präsentation des Werkkomplexes von Hans Thoma wurde 1909 in der Kunsthalle ein ganzer Gebäudetrakt errichtet. Hauptwerke des Künstlers sind etwa das Genrebild Die Geschwister sowie die, im Auftrag der großherzöglichen Familie geschaffene, Thoma-Kapelle mit ihren religiösen Themen.
Von den deutschen Zeitgenossen Hans Thomas sind Max Liebermann mit Am Strand von Noordwijk und Lovis Corinth mit einem Bildnis seiner Frau im Museum vertreten. Darüber hinaus besitzt die Kunsthalle Werke von Ferdinand Georg Waldmüller, Carl Spitzweg, Arnold Böcklin, Hans von Marées, Wilhelm Leibl, Fritz von Uhde, Wilhelm Trübner und Max Klinger.
Im Gebäude der benachbarten Orangerie sind Werke der Sammlung und Neuankäufe aus den Jahren nach 1952 zu sehen. In zwei integrierten Grafikkabinetten gibt das Kupferstichkabinett Einblick in seinen Bestand zeitgenössischer Kunst auf Papier. Aus der Zeit nach 1945 finden sich die Arbeiten Araber mit Fußspuren von Jean Dubuffet, Schwammrelief >RE 48:Sol.1960< von Yves Klein, Ehrung des Quadrates: Gelbes Zentrum von Josef Albers, das Stadtbild F von Gerhard Richter und die Fixe Idee von Georg Baselitz in der Kunsthalle. Die Sammlung der Klassischen Moderne wanderte in das Hauptgebäude. Beispiele für Gemälde aus der Zeit bis 1945 sind Der Eiffelturm von Robert Delaunay, die Improvisation 13 von Wassily Kandinsky, Rehe im Wald II von Franz Marc, Leute am blauen See von August Macke, das Selbstbildnis Der Maler von Ernst Ludwig Kirchner, das Merzbild 21b von Kurt Schwitters, Der Wald von Max Ernst, Torturm II von Lyonel Feininger, Die Sieben Todsünden von Otto Dix und der Abtransport der Sphinxe von Max Beckmann. Darüber hinaus zeigt das Museum regelmäßig Sonderausstellungen.
GRANADA HILLS - Los Angeles Firefighters credit a properly installed and maintained smoke alarm with saving several lives, after it alerted sleeping residents, allowing them to escape a blaze in one unit of a residential fourplex in the 17100 block of Chatsworth Street early May 2, 2016. Despite the efforts of LAFD responders, a pet cat perished in the blaze, which was electrical in nature. © Photo by Rick McClure
LAFD Incident: 050216-0047
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Gentlepersons:
This Picture In Particular:
Prior to this, the Mint 2 Flash did not seem to be communicating properly with my SX-70 Alpha 1. It seemed to be over exposing on full flash despite the distance set on the camera. I tried it several days with several different packs of Polaroid Originals film. The SX-70 Alpha 1 controlled flash exposure by stopping down the lens according to the distance. The flashbar of course was simply an old-fashioned flash bulb that fired at full brightness every time.
Modern electronic strobe flashes provide the correct light for exposure by either communicating distance with the camera or had built-in electric eyes that would shut the flash off as soon as it perceived the right amount of light had bounced back from the subject. Of course, you had to dial in the film speed so it could take that into consideration.
As you can see from the exposure, at least at 3.5 feet, the combination of Mint 2 and camera got it right. Additionally, the colors look pretty good and a lot more like the Polaroid™ film of yesteryear. Polaroid Originals film often gives some pretty wonky and strange colors.
For those of you who may think the face is familiar, you may have seen it on the back cover of a book. She is Debbie Burke. Her latest work is Eyes in the Sky. So if you see that face again where books are sold, yup, it's the same person. So maybe you also noticed we have the same last name, perhaps a younger relative?
The Pictures in General...
These recently uploaded pictures have no artistic value. They were just uploaded to be representative of color picture recording during about 95+ years that I was able to take pictures, mostly slides at first. Unlike in today’s digital world it took time, money and effort to make a color slide. We took fewer pictures back then, trying to stretch resources, but some sere still frivolous. The first picture I remember taking was in the mid-1920s when my mother's sailor boyfriend brought an overseas camera to San Pedro.
I’ve gotten old and I feel it. I NEVER thought I’d be posting today. With a recent a burst of energy (Burst of energy?? Everything is relevant.) I am trying to get in a few last posts showing photography and life in general in the last century. The ratio of today’s digital pictures that are kept for any length of time and/or printed is much less than the film photos taken in days past. History will be lost. Meanwhile you get to be bored by some old Kodachromes, Agfachromes, Anscochromes, Dynachromes, a few Dufaycolors some Polaroids and perhaps an old black & white or so.
The Camera: Polaroid SX70 Alpha I:
In 1972, Polaroid brought out a revolutionary instant film camera, the SX-70. After seeing one owned by a friend, I had to have one myself. Polaroid had already evolved from roll film cameras to pack film cameras. But this process, where you could watch the picture develop before your very eyes, and was sealed behind plastic that was both thumbprint and waterproof, was something else.
Polaroid had been selling instant cameras for 24 years. Their first was the model 95. It used black & white roll film which required quite a bit of threading and hinge plate flip-flopping to load, ending up being cut off with a cutter bar. Then you waited 60 seconds, pulled the film piece apart, and quickly coated the positive paper image with a stinky chemical off of a felt and plastic wand. But still, an instant picture was a marvel in the late 1940s. With the original three-element lens, pictures were tack sharp. After all, it was not enlarged but directly printed off the negative on a 1:1 ratio. The camera was about the size of a professional 3X4 camera, bellows and all, but, when folded up, looked like a large, what we later called medium-format folder camera, like a Kodak Tourist.
Then, in around 1963, Polaroid developed the pack film (and new cameras) along with their Model 100. The film was still two-part peel-apart but came in a handy pack which was placed in the back of a much smaller, but still bellows-operated, drop-front camera. After taking the picture, you pulled on a tab and out came both a negative and positive of a 3X4 picture. You still waited a minute and pulled the negative apart from the print and quickly coated the print. If you waited more or less than the minute the picture did not come out right. If you did not keep the developing film at the right temperature the picture did not come out right. Also in 1963 Polaroid first offered color film.
Now comes 1972, where the SX70 offered a true SLR experience, along with an extremely clever setup from a smooth, suitcoat pocket-sized, folded-up camera. It was auto exposure and had a little lever for exposure compensation. Later models were also auto focus, using a sonar-operated system that would actually focus the quite adequate four-element lens. The new film was totally different. It was sized 3 ½ x4 3/16” with an exposure area of about 3X3” within its white border. Furthermore, there was no peel-apart. Instead, there was a glazing window over the exposure which contained the finished printing paper and the used chemicals that had developed it. Development to maturity was now a little closer to two minutes. This way, you could also watch the film develop in front of your eyes because in normal light the film would not continue to expose itself. That’s different than the new Polaroid film that must be light-shielded for at least six minutes and takes about a half hour to fully mature.
The original SX70 had a four-element, 116 mm f:8 glass lens of good quality. There was a knurled knob to focus a split-image ring which one saw in the SLR viewing. There was no need to use parallax adjustment between the sighting window and the taking lens because you were looking through the actual lens. After purchasing my first one in 1972, I had an opportunity to try telephoto photography by holding up one side of a 7X50 binocular to the taking lens. I adjusted focus on both the monocular and camera until I had a pin-sharp image in the viewfinder. I had to use a little exposure compensation to make up for the light loss caused by the monocular, but it worked.
As an aside, when then-President Gerald Ford visited San Diego, his parade route passed near the Charter Oil Building in which I had an office on the 20th floor. That put me even with the roof of some of the other “early” skyscrapers nearby. Across the street, on the visible rooftop was a secret service sniper who noticed me taking his picture, so he pointed his rifle at me. What an idiot. The rifle had to be sighted to a much different distance in order to protect the President’s route a block away. Had he taken the shot, he would have probably missed me. Furthermore, it was his job to keep an eye on the President and threats in the Presidential area. There was no way, if my camera had been a gun, that I could have shot the President. I was on the wrong side of the building to even see him. But that’s how secret service agents get to feel like they have a larger wiener. One lives and learns. Ain’t life fun?
I still have that Polaroid of him pointing the gun at me. The picture has darkened a little over the almost 50 years but not that much. Since that was done on some of the first SX70 film, refinements and adjustments were made and pictures from a couple of years later are still virtually the same as they were nearly 45 years ago. That’s more than I can say for a lot of the professionally processed, from negative printed snapshots I have from the same era.
The Film: Polaroid Originals SX-70 fresh film
The Impossible Project almost did the impossible, duplicating Polaroid ™ SX-70 and 600 film. They’ve been through several iterations and have gotten pretty good, even if they don’t truly duplicate the original product. The colors just aren’t quite the same and the definition does not seem to be as sharp. However, I have supported their effort and continue to buy and enjoy their film. They have acquired the Polaroid name.
The SX-70 film used was 160 speed (the 1972 stuff was rated at 150 speed), dated as made in October, 2019. The shots were taken in January of 2020, just over two months after manufacture. Polaroid Originals (the new Polaroid company formerly named The Impossible Project) recommends the film be used within a year of manufacture. BTW, the old Polaroid™ corporation used to stamp an expiration date but not a manufacture date on the individual cartridge film boxes. Polaroid Originals also stamps a date but it is the date of manufacture. This can be confusing to traditional film photographers who expect the film date to be the “use by” date. Of course, most photographers today have only lived in the digital age and probably aren’t aware of things like film freshness and the effect of changing colors and film speed that would be altered by age. However, refrigeration around 40 degrees will extend its life. I would define its life as being the time period after manufacture during which film speed and color correctness stay reasonably close to the original specifications.
The colors can be a little wonky and the end results do not have the crispness or snap that the old stuff had. This new Polaroid film seems to react badly to fast electronic flash but more kindly to true flashbulb light.
Still, thank you Polaroid Originals for reviving such a great concept and the ability to use legacy cameras.
The Flash: Mint Flash Bar 2
Mint is a company that has geared up to take advantage of the Polaroid film resurgence due to the success of Polaroid Originals (formerly the Impossible Project). It rebuilds cameras, modifies cameras, and has made a few products of their own, including the Mint Flash Bar 2.
The flash is roughly the same size as an SX-70 vintage ten-bulb flash bar. The switch has three positions: off, low, and high. With my Sekonic 308b flash meter, I get a guide number at 100 ISO of 40 on low and 63 on high. There is also a button that one can push to activate the flash in either high or low position. There are two lights that come on after the flash is activated in either high or low. Blue shows that the flash is charging and green shows that it is full. Traditionally, an electronic flash ready light shows “ready” when the flash is about 80% powered. If you wait another few seconds after the ready light goes on, the flash will be more intense. Not so with the Mint 2. Once the light goes on, you have 63, period. I’m guessing it’s controlled by some internal electronics for consistency.
It is powered by two AAA batteries. They supply two good quality alkaline cells with the flash. Unfortunately, with unused batteries, the least time you can get to a ready light is over 20 seconds. If you continue taking flashes without a long time lapse in between, that 20 seconds goes up to about 50, but long periods of time between use will allow the batteries to “recoup” a little. I used two Eneloop AAA 750 mah, NiMH batteries. After a full charge, the ready light goes on in less than 15 seconds the first time and stays pretty much below 25 seconds. The long time to fill the flash capacitors, in my opinion, is due to using insufficient battery size.
Two of my Eneloop AAAs have a total of 1.875 watts. Other electronic flashes that put out a guide number of 63 or better use four AAs. My Eneloops are rated and test out at about 2100 mah. Four of those give a total of 10.5 watts or 5.6 times the power of the two AAAs. Using the watt-seconds of charging, this flash would probably charge at under three seconds with four AA batteries.
A flaw that I see with this flash is that it does not appear to signal the camera to adjust the camera’s f:stop to compensate for distance. The vintage flash bars I’m using with the same camera do in fact properly work that way. This can be overcome.
The Polaroid Originals SX-70 film is rated at 150 ASA. Using an ASA number of 100 and using the low setting of 40 guide number would give a subject difference of five feet when divided by the f:stop of 8. Film speed is not directly linear. Using a little Irish logic, I get a flash distance of about 6 to 6.5 feet, which is where I would place my subject when using it on low with the SX-70. Likewise, call the guide number of 63, 64, divide by 8 to get 8 feet for 100 ASA and then up it to about 10 feet using 150 ASA. An exposure should come out fairly close. You can fine tune with a little experiment with your particular camera, flash bar, and film pack. Film’s actual ASA/ISO rating changes as the film ages and somewhat from batch to batch.
The Scanner: Epson V500:
The scanner is an Epson V500. It was bought in about 2012 and was a current offering at that time. It is supposed to scan at 6400 PPI and probably has the sensors to equal that. However, the optics are pretty poor. Furthermore, the scan point is not at the glass, but usually somewhere above, different on each like item produced. Maximizing the focus scan point, I guess at about 2500+ not-so-clear PPI. I do not have my Edmunds Scientific USAF1951 microscope test slide to test it with. I do however have a number of scans on my hard drive here from some of the ten other scanners I have, so comparing the results my guess is probably somewhat accurate. Should I ever make it back to Montana, I will redo this paragraph with numbers off the actual test slide.
This flatbed also does film up to about 58mm wide. Using templates, you can do Minox, 16mm, 135, 828, 127, 120, and a pretty long strip of 58mm of anything bigger than that. With my 4180, I have scanned 8X10s a section at a time and stitched them together semi-successfully. You’d have to use the same process with this scanner.
I bought it refurbished and calibrated for about $100 shipped, just to do a single project and have long since got my money out of it.
As a flatbed, its resolution exceeds all but the best 1950s black and white contact prints that I own.
These prayers are prayed daily, each beginning with a Pater and an Ave. Then follows a concluding prayer. There are alleged promises from Our Lord attached to these prayers, but they are problematic, inconsistent with Catholic teaching, and their publication was once forbidden. It may be that the vision wasn't properly written down, properly translated, consistently handed-down, or otherwise kept intact, but in any case, beware of any "Magnificent Promises" you may hear of in association with the following perfectly pious prayers.
First Prayer
Say one Our Father and one Hail Mary
O Jesus Christ! Eternal Sweetness to those who love Thee, joy surpassing all joy and all desire, Salvation and Hope of all sinners, Who hast proved that Thou hast no greater desire than to be among men, even assuming human nature at the fullness of time for the love of men, recall all the sufferings Thou hast endured from the instant of Thy conception, and especially during Thy Passion, as it was decreed and ordained from eternity in the Divine plan.
Remember, O Lord, that during the Last Supper with Thy disciples having washed their feet, Thou gavest them Thy Most Precious Body and Blood, and while at the same time Thou didst sweetly console them, Thou didst fortell them Thy coming Passion.
Remember the sadness and bitterness which Thou didst experience in Thy Soul as Thou Thyself bore witness saying: "My Soul is sorrowful even unto death."
Remember all the fear, anguish and pain that Thou didst suffer in Thy delicate Body before the torment of the Crucifixion, when, after having prayed three times, bathed in a sweat of blood, Thou wast betrayed by Judas, Thy disciple, arrested by the people of a nation Thou hadst chosen and elevated, accused by false witnesses, unjustly judged by three judges during the flower of Thy youth and during the solemn Paschal season.
Remember that Thou wast despoiled of Thy garments and clothed in those of derision; that Thy Face and Eyes were veiled, that Thou wast buffeted, crowned with thorns, a reed placed in Thy Hands, that Thou wast crushed with blows and overwhelmed with affronts and outrages.
In memory of all these pains and sufferings which Thou didst endure before Thy Passion on the Cross, grant me before my death true contrition, a sincere and entire confession, worthy satisfaction and the remission all my sins. Amen.
Second Prayer
Say one Our Father and one Hail Mary
O Jesus! True liberty of angels, paradise of delights, remember the horror and sadness which Thou didst endure when Thy enemies, like furious lions, surrounded Thee, and by thousands of insults, spits, blows, lacerations and other unheard-of cruelties, tormented Thee at will. In consideration of these torments and insulting words, I beseech Thee, O my Savior, to deliver me from all my enemies, visible and invisible, and to bring me, under Thy protection, to the perfection of eternal salvation. Amen.
Third Prayer
Say one Our Father and one Hail Mary
O Jesus! Creator of Heaven and earth Whom nothing can encompass or limit, Thou Who dost enfold and hold all under Thy loving power, remember the very bitter pain Thou didst suffer when the Jews nailed Thy Sacred Hands and Feet to the Cross by blow after blow with big blunt nails, and not finding Thee in a pitiable enough state to satisfy their rage, they enlarged thy Wounds, and added pain to pain, and with indescribable cruelty stretched Thy Body on the Cross, pulling Thee from all sides, thus dislocating Thy limbs.
I beg of Thee, O Jesus, by the memory of this most Loving suffering of the Cross, to grant me the grace to fear Thee and to Love Thee. Amen.
Fourth Prayer
Say one Our Father and one Hail Mary
O Jesus! Heavenly Physician, raised aloft on the Cross to heal our wounds with Thine, remember the bruises which Thou didst suffer and the weakness of all Thy Members which were distended to such a degree that never was there pain like unto Thine. From the crown of Thy Head to the Soles of Thy Feet there was not one spot on Thy Body that was not in torment, and yet, forgetting all Thy sufferings, Thou didst not cease to pray to Thy Heavenly Father for Thy enemies, saying: "Father forgive them for they know not what they do."
Through this great Mercy, and in memory of this suffering, grant that the remembrance of Thy Most Bitter Passion may effect in us a perfect contrition and the remission of all our sins. Amen.
Fifth Prayer
Say one Our Father and one Hail Mary
O Jesus! Mirror of eternal splendor, remember the sadness which Thou experienced, when contemplating in the light of Thy Divinity the predestination of those who would be saved by the merits of Thy Sacred Passion, Thou didst see at the same time, the great multitude of reprobates who would be damned for their sins, and Thou didst complain bitterly of those hopeless, lost, and unfortunate sinners.
Through this abyss of compassion and pity, and especially through the goodness which Thou displayed to the good thief when Thou saidst to him: "This day, thou shalt be with Me in Paradise." I beg of Thee, O Sweet Jesus, that at the hour of my death, Thou wilt show me mercy. Amen.
Sixth Prayer
Say one Our Father and one Hail Mary
O Jesus! Beloved and most desirable King, remember the grief Thou didst suffer, when naked and like a common criminal, Thou wast fastened and raised on the Cross, when all Thy relatives and friends abandoned Thee, except Thy Beloved Mother, who remained close to Thee during Thy agony and whom Thou didst entrust to Thy faithful disciple when Thou saidst to Mary: "Woman, behold thy son!", and to St. John: "Son, behold thy Mother!".
I beg of Thee O my Savior, by the sword of sorrow which pierced the soul of Thy holy Mother, to have compassion on me in all my afflictions and tribulations, both corporal and spiritual, and to assist me in all my trials, and especially at the hour of my death. Amen.
Seventh Prayer
Say one Our Father and one Hail Mary
O Jesus! Inexhaustible Fountain of compassion, Who by a profound gesture of Love, said from the Cross: "I thirst," suffered from the thirst for the salvation of the human race. I beg of Thee, O my Savior, to inflame in our hearts the desire to tend toward perfection in all our acts, and to extinguish in us the concupiscence of the flesh and the ardor of worldly desires. Amen.
Eighth Prayer
Say one Our Father and one Hail Mary
O Jesus! Sweetness of hearts, delight of the spirit, by the bitterness of the gall and vinegar which Thou didst taste on the Cross for Love of us, grant us the grace to receive worthily Thy Precious Body and Blood during our life and at the hour of our death, that they may serve as a remedy and consolation for our souls. Amen.
Ninth Prayer
Say one Our Father and one Hail Mary
O Jesus! Royal virtue, joy of the mind, recall the pain Thou didst endure when plunged in an ocean of bitterness at the approach of death, insulted, outraged by the Jews, Thou didst cry out in a loud voice that Thou wast abandoned by Thy Father, saying: "My God, My God, why hast Thou forsaken Me?"
Through this anguish, I beg of Thee, O my Savior, not to abandon me in the terrors and pains of my death. Amen.
Tenth Prayer
Say one Our Father and one Hail Mary
O Jesus! Who art the beginning and the end of all things, life and virtue, remember that for our sakes Thou wast plunged in an abyss of suffering from the soles of Thy Feet to the crown of Thy Head. In consideration of the enormity of Thy Wounds, teach me to keep, through pure love, Thy Commandments, whose way is wide and easy for those who love Thee. Amen.
Eleventh Prayer
Say one Our Father and one Hail Mary
O Jesus! Deep abyss of mercy, I beg of Thee, in memory of Thy Wounds which penetrated to the very marrow of Thy Bones and to the depth of Thy being, to draw me, a miserable sinner, overwhelmed by my offenses, away from sin and to hide me from Thy Face justly irritated against me; hide me in Thy Wounds, until Thy anger and just indignation shall have passed away. Amen.
Twelfth Prayer
Say one Our Father and one Hail Mary
O Jesus! Mirror of truth, symbol of unity, link of charity, remember the multitude of wounds with which Thou wast covered from head to foot, torn and reddened by the spilling of Thy adorable Blood. O great and universal pain which Thou didst suffer in Thy virginal flesh for love of us! Sweetest Jesus! What is there that Thou couldst have done for us which Thou hast not done?
May the fruit of Thy sufferings be renewed in my soul by the faithful remembrance of Thy Passion, and may Thy love increase in my heart each day until I see Thee in eternity, Thou Who art the treasury of every real good and every joy, which I beg Thee to grant me, O sweetest Jesus, in Heaven. Amen.
Thirteenth Prayer
Say one Our Father and one Hail Mary
O Jesus! Strong lion, immortal and invincible King, remember the pain Thou didst endure when all Thy strength, both moral and physical, was entirely exhausted; Thou didst bow Thy Head, saying: "It is consummated."
Through this anguish and grief, I beg of Thee Lord Jesus, to have mercy on me at the hour of my death when my mind will be greatly troubled and my soul will be in anguish. Amen.
Fourteenth Prayer
Say one Our Father and one Hail Mary
O Jesus! Only Son of the Father, splendor and figure of His Substance, remember the simple and humble recommendation Thou didst make of Thy Soul to Thy Eternal Father, saying: "Father, into Thy Hands I commend My Spirit!" And with Thy Body all torn, and Thy Heart broken, and the bowels of Thy Mercy open to redeem us, Thou didst expire.
By this Precious Death, I beg of Thee O King of Saints, to comfort me and help me to resist the devil, the flesh and the world, so that being dead to the world, I may live for Thee alone. I beg of Thee at the hour of my death to receive me, a pilgrim and an exile returning to Thee. Amen.
Fifteenth Prayer
Say one Our Father and one Hail Mary
O Jesus! True and fruitful Vine! Remember the abundant outpouring of blood which Thou didst so generously shed from Thy Sacred Body as juice from grapes in a wine press.
From Thy Side, pierced with a lance by a soldier, blood and water issued forth until there was not left in Thy Body a single drop, and finally, like a bundle of myrrh lifted to the top of the Cross, Thy delicate Flesh was destroyed, the very substance of Thy Body withered, and the marrow of Thy Bones dried up.
Through this bitter Passion, and through the outpouring of Thy Precious Blood, I beg of Thee, O Sweet Jesus, to receive my soul when I am in my death agony. Amen.
Concluding Prayer
O Sweet Jesus! Pierce my heart so that my tears of penitence and love will be my bread day and night; may I be converted entirely to Thee, may my heart be Thy perpetual habitation, may my conversation be pleasing to Thee, and may the end of my life be so praiseworthy that I may merit Heaven and there with Thy saints, praise Thee forever. Amen.
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This glory of Christ is properly, and in the highest sense, divine. He shines in all the brightness of glory that is inherent in the Deity. Such is the exceeding brightness of this Sun of righteousness, that, in comparison of it, the light of the natural sun is as darkness; and hence, when he shall appear in his glory, the brightness of the sun shall disappear, as the brightness of the little stars do when the sun rises. So says the prophet Isaiah, ‘Then the moon shall be confounded, and the sun shall be ashamed, when the Lord of hosts shall reign in Mount Zion, and before his ancients gloriously.’ Isa. xxiv. 23.. But, although his light is thus bright, and his beams go forth with infinite strength; yet, as they proceed from the Lamb of God, and shine through his meek and lowly human nature, they are supremely soft and mild, and, instead of dazzling and overpowering our feeble sight, like a smooth ointment or a gentle eye-salve, are vivifying and healing. Thus on them, who fear God’s name, ‘the Sun of righteousness arises, with healing in his beams,’ Mal. iv. 2.. It is like the light of the morning, a morning without clouds, as the dew on the grass, under whose influence the souls of his people are as the tender grass springing out of the earth, by clear shining after rain. Thus are the beams of his beauty and brightness fitted for the support and reviving of the afflicted. He heals the broken in spirit, and bindeth up their wounds. When the spirits of his people are cut down by the scythe, he comes down upon them, in a sweet and heavenly influence, like rain on the mown grass, and like showers that water the earth. (Psal. lxxii. 6)
Jonathan Edwards
In the beginning was the Word, and the Word was with God, and the Word was God. He was in the beginning with God. All things were made through him, and without him was not any thing made that was made. In him was life, and the life was the light of men. John 1:1-4
Again Jesus spoke to them, saying, “I am the light of the world. Whoever follows me will not walk in darkness, but will have the light of life.” John 8:12
PLEASE ATTRIBUTE PROPERLY IF USED UNDER CREATIVE COMMONS
Simon Bolivar Youth Orchestra consists of the 200 most promising students in Venezuela's famous and ground breaking musical education for youth, El Sistema. The program was founded in 1975 by the visionary conductor and economist José Antonio Abreu. The network of youth otchestras gives oppurtunities and inspiration to more than 250,00 children from all over Venezuela - a country where 75% of the population lives under the poverty line.
The Konserthus in Oslo, one of the most emblematic theaters in the cultural life of Norway, opens its home page with the announcement of the concert that the Venezuelan orchestra will perform on June 11 in that city, cradle of the Nobel Prize. ”Margariteña” will be heard in this venue, composed by Inocente Carreño, who turned 90 years old in 2010; and ”Danzas del Ballet La Estancia” by Ginastera, and the Fourth Symphony by Tchaikovsky will also be performed.
This way, with music interpreted with Latin-American style, the Venezuelan orchestra top of the social and artistic project conceived by master José Antonio Abreu 35 years ago, will leave its print in Oslo, one of the most relevant cities in the humanistic field.
Conductor: Gustavo Dudamel
Programme:
INOCENTE CARREÑO - Margaiteña (Symphonic variations)
ALBERTO GINASTERA - Dances from the Ballet "Estancia", op. 8
1. Los trabajadores agricolas (The Land Workers)
2. Danza del trigo (Wheat Dance)
3. Los peones de hacienda (The Peons of the Hacienda)
4. Danza final (Malambo)
Trailing foliage with flowers, rising from gnarled stump.
Exeter Cathedral, properly known as the Cathedral Church of Saint Peter in Exeter, is an Anglican cathedral, and the seat of the Bishop of Exeter, in the city of Exeter, Devon, in South West England. The present building was complete by about 1400, and has several notable features, including an early set of misericords, an astronomical clock and the longest uninterrupted vaulted ceiling in England.
The founding of the cathedral at Exeter, dedicated to Saint Peter, dates from 1050, when the seat of the bishop of Devon and Cornwall was transferred from Crediton because of a fear of sea-raids. A Saxon minster already existing within the town (and dedicated to Saint Mary and Saint Peter) was used by Leofric as his seat, but services were often held out of doors, close to the site of the present cathedral building.
In 1107 William Warelwast was appointed to the see, and this was the catalyst for the building of a new cathedral in the Norman style. Its official foundation was in 1133, during Warelwast's time, but it took many more years to complete. Following the appointment of Walter Bronescombe as bishop in 1258, the building was already recognised as outmoded, and it was rebuilt in the Decorated Gothic style, following the example of Salisbury. However, much of the Norman building was kept, including the two massive square towers and part of the walls. It was constructed entirely of local stone, including Purbeck Marble. The new cathedral was complete by about 1400, apart from the addition of the chapter house and chantry chapels.
During the Second World War, Exeter was one of the targets of a German air offensive against British cities of cultural and historical importance, which became known as the "Baedeker Blitz". On 4 May 1942 an early-morning air raid took place over Exeter. The cathedral sustained a direct hit by a large high-explosive bomb on the chapel of St James, completely demolishing it. The muniment room above, three bays of the aisle and two flying buttresses were also destroyed in the blast. The medieval wooden screen opposite the chapel was smashed into many pieces by the blast, but it has been reconstructed and restored. Many of the cathedral's most important artefacts, such as the ancient glass (including the great east window), the misericords, the bishop's throne, the Exeter Book, the ancient charters (of King Athelstan and Edward the Confessor) and other precious documents from the library had been removed in anticipation of such an attack. The precious effigy of Walter Branscombe had been protected by sand bags. Subsequent repairs and the clearance of the area around the western end of the building uncovered portions of earlier structures, including remains of the Roman city and of the original Norman cathedral. Wikipedia
"Peterborough Cathedral, properly the Cathedral Church of St Peter, St Paul and St Andrew – also known as Saint Peter's Cathedral in the United Kingdom – is the seat of the Anglican Bishop of Peterborough, dedicated to Saint Peter, Saint Paul and Saint Andrew, whose statues look down from the three high gables of the famous West Front. Although it was founded in the Anglo-Saxon period, its architecture is mainly Norman, following a rebuilding in the 12th century. With Durham and Ely cathedrals, it is one of the most important 12th-century buildings in England to have remained largely intact, despite extensions and restoration.
Peterborough Cathedral is known for its imposing Early English Gothic West Front (façade) which, with its three enormous arches, is without architectural precedent and with no direct successor. The appearance is slightly asymmetrical, as one of the two towers that rise from behind the façade was never completed (the tower on the right as one faces the building), but this is only visible from a distance.
Peterborough is a cathedral city in Cambridgeshire, England, with a population of 202,110 in 2017. Historically part of Northamptonshire, it is 76 miles (122 km) north of London, on the River Nene which flows into the North Sea 30 miles (48 km) to the north-east. The railway station is an important stop on the East Coast Main Line between London and Edinburgh. The city is also 70 miles (110 km) east of Birmingham, 38 miles (61 km) east of Leicester, 81 miles (130 km) south of Kingston upon Hull and 65 miles (105 km) west of Norwich.
The local topography is flat, and in some places the land lies below sea level, for example in parts of the Fens to the east of Peterborough. Human settlement in the area began before the Bronze Age, as can be seen at the Flag Fen archaeological site to the east of the current city centre, also with evidence of Roman occupation. The Anglo-Saxon period saw the establishment of a monastery, Medeshamstede, which later became Peterborough Cathedral.
The population grew rapidly after the railways arrived in the 19th century, and Peterborough became an industrial centre, particularly known for its brick manufacture. After the Second World War, growth was limited until designation as a New Town in the 1960s. Housing and population are expanding and a £1 billion regeneration of the city centre and immediately surrounding area is under way. Industrial employment has fallen since then, a significant proportion of new jobs being in financial services and distribution." - info from Wikipedia.
Summer 2019 I did a solo cycling tour across Europe through 12 countries over the course of 3 months. I began my adventure in Edinburgh, Scotland and finished in Florence, Italy cycling 8,816 km. During my trip I took 47,000 photos.
Now on Instagram.
"Peterborough Cathedral, properly the Cathedral Church of St Peter, St Paul and St Andrew – also known as Saint Peter's Cathedral in the United Kingdom – is the seat of the Anglican Bishop of Peterborough, dedicated to Saint Peter, Saint Paul and Saint Andrew, whose statues look down from the three high gables of the famous West Front. Although it was founded in the Anglo-Saxon period, its architecture is mainly Norman, following a rebuilding in the 12th century. With Durham and Ely cathedrals, it is one of the most important 12th-century buildings in England to have remained largely intact, despite extensions and restoration.
Peterborough Cathedral is known for its imposing Early English Gothic West Front (façade) which, with its three enormous arches, is without architectural precedent and with no direct successor. The appearance is slightly asymmetrical, as one of the two towers that rise from behind the façade was never completed (the tower on the right as one faces the building), but this is only visible from a distance.
Peterborough is a cathedral city in Cambridgeshire, England, with a population of 202,110 in 2017. Historically part of Northamptonshire, it is 76 miles (122 km) north of London, on the River Nene which flows into the North Sea 30 miles (48 km) to the north-east. The railway station is an important stop on the East Coast Main Line between London and Edinburgh. The city is also 70 miles (110 km) east of Birmingham, 38 miles (61 km) east of Leicester, 81 miles (130 km) south of Kingston upon Hull and 65 miles (105 km) west of Norwich.
The local topography is flat, and in some places the land lies below sea level, for example in parts of the Fens to the east of Peterborough. Human settlement in the area began before the Bronze Age, as can be seen at the Flag Fen archaeological site to the east of the current city centre, also with evidence of Roman occupation. The Anglo-Saxon period saw the establishment of a monastery, Medeshamstede, which later became Peterborough Cathedral.
The population grew rapidly after the railways arrived in the 19th century, and Peterborough became an industrial centre, particularly known for its brick manufacture. After the Second World War, growth was limited until designation as a New Town in the 1960s. Housing and population are expanding and a £1 billion regeneration of the city centre and immediately surrounding area is under way. Industrial employment has fallen since then, a significant proportion of new jobs being in financial services and distribution." - info from Wikipedia.
Summer 2019 I did a solo cycling tour across Europe through 12 countries over the course of 3 months. I began my adventure in Edinburgh, Scotland and finished in Florence, Italy cycling 8,816 km. During my trip I took 47,000 photos.
Now on Instagram.
Hans Purrmann (Speyer 1880 - 1966 Basel)
Interieur Porto d'Ischia, 1921/22
Interior in Porto d'Ischia, 1921/22
Kaltnadel/Drypoint
Aus/From: Fünfte Jahresgabe des Kreises graphischer Künstler und Sammler, Leipzig 1925
The Staatliche Kunsthalle Karlsruhe is buying back from Rinah Alexander Lior of Israel some 75 Expressionist prints, held in eight portfolios, as well as an art book. Ms. Lior is the niece and rightful heir of Dr. Hermann Haymann of Badenweiler, a Jewish doctor who originally owned the works of art.
In 1943 the Kunsthalle acquired a large collection of various books and portfolios of prints and drawings from the regional tax office in Müllheim. Five years earlier, in 1938, Haymann had been forced to pledge these works on paper as security against debts incurred through the Jewish Property Tax and the Reich Flight Tax, which were mandatorily imposed on Jewish citizens by the Nazis. Only by pledging the collection was Haymann thus able to leave Germany for the United States. After the war, this acquisition was properly reported to the US Office of Military Government as a purchase from “Jewish assets” and the artworks were returned to Hermann Haymann in 1951. However, as part of ongoing provenance research at the Kunsthalle Karlsruhe a further eight portfolios and an art book have been found, which were apparently forgotten at the time of the restitution. After determining and locating the rightful owner, they have now been re-acquired by the Kunsthalle.
From 16 April to 3 July 2016, an exhibition will be held in memory of Herrmann Haymann and the fate of Jewish citizens in Baden-Württemberg and will feature this historical accession of works on paper.
Erworben aus „jüdischem Vermögen“
Grafische Blätter der Sammlung Haymann
16. April - 17. Juli 2016
Die Kunsthalle hat im Jahr 1943 ein großes Konvolut an Büchern und Grafikmappen vom Finanzamt Müllheim erworben. Der jüdische Arzt und Kunstsammler Hermann Haymann aus Badenweiler musste die Papierarbeiten 1938 verpfänden, um mit dem Erlös die Judenvermögensabgabe und die bei seiner Ausreise aus Deutschland in die USA obligatorisch zu leistende Reichsfluchtsteuer zu begleichen. Nach dem Krieg wurde diese Erwerbung ordnungsgemäß bei der US -amerikanischen Militärregierung als Ankauf aus „jüdischem Vermögen“ gemeldet und die Kunstwerke 1951 an Hermann Haymann restituiert. Im Rahmen der Provenienzforschung wurden acht Grafikmappen mit 75 expressionistischen Druckgrafiken und ein Kunstbuch gefunden, die man damals offenbar vergessen hat.
Es ist gelungen, die rechtmäßige Erbin nach Hermann Haymann zu ermitteln. Frau Rina Lior Alexander aus Israel ist seine Nichte und letzte noch lebende Verwandte. Da sie auf eine Rücknahme der Kunstwerke verzichtet hat, wurden sie nun von der Kunsthalle zurückgekauft.
Diesem besonderen Sammlungszugang wird vom 16. April bis 3. Juli 2016 eine Ausstellung gewidmet, um die Erinnerung an Herrmann Haymann und das Schicksal der Juden in Baden -Württemberg zu wahren.
www.kunsthalle-karlsruhe.de/de/ausstellungen/erworben-aus...
The foundation of the collection consists of 205 mostly French and Dutch paintings from the 17th and 18th centuries which Margravine Karoline Luise acquired 1759-1776. From this collection originate significant works, such as The portrait of a young man by Frans van Mieris the Elder, The winter landscape with lime kiln of Nicolaes Pieterszoon Berchem, The Lacemaker by Gerard Dou, the Still Life with hunting equipment and dead partridge of Willem van Aelst, The Peace in the Chicken yard by Melchior de Hondecoeter as well as a self-portrait by Rembrandt van Rijn. In addition, four still lifes of Jean Siméon Chardin and two pastoral scenes by François Boucher, having been commissioned directly by the Marchioness from artists.
A first significant expansion the museum received in 1858 by the collection of canon Johann Baptist von Hirscher (1788-1865) with works of religious art of the 15th and 16th centuries. This group includes works such as two tablets of the Sterzinger altar and the wing fragment The sacramental blessing of Bartholomew Zeitblom. From 1899 to 1920, the native of Baden painter Hans Thoma held the position of Director of the Kunsthalle. He acquired old masterly paintings as the tauberbischofsheim altarpiece by Matthias Grünewald and drove the expansion of the collection with art of the 19th century forward. Only his successors expanded the holdings of the Art Gallery with works of Impressionism and the following generations of artists.
The permanent exhibition in the main building includes approximately 800 paintings and sculptures. Among the outstanding works of art of the Department German painters of the late Gothic and Renaissance are the Christ as Man of Sorrows by Albrecht Dürer, the Carrying of the Cross and the Crucifixion by Matthias Grünewald, Maria with the Child by Lucas Cranach the Elder, the portrait of Sebastian Brant by Hans Burgkmair the elder and The Nativity of Hans Baldung. Whose Margrave panel due to property disputes in 2006 made it in the headlines and also led to political conflicts. One of the biggest buying successes which a German museum in the postwar period was able to land concerns the successive acquisition of six of the seven known pieces of a Passion altar in 1450 - the notname of the artist after this work "Master of the Karlsruhe Passion" - a seventh piece is located in German public ownership (Wallraf-Richartz Museum, Cologne).
In the department of Dutch and Flemish paintings of the 16th century can be found, in addition to the aforementioned works, the portrait of the Marchesa Veronica Spinola Doria by Peter Paul Rubens, Moses strikes the rock and water flows for the thirsty people of Israel of Jacob Jordaens, the still life with kitchen tools and foods of Frans Snyders, the village festival of David Teniers the younger, the still life with lemon, oranges and filled clay pot by Willem Kalf, a Young couple having breakfast by Gabriel Metsu, in the bedroom of Pieter de Hooch, the great group of trees at the waterfront of Jacob Izaaksoon van Ruisdael, a river landscape with a milkmaid of Aelbert Jacobsz. Cuyp as well as a trompe-l'œil still life of Samuel van Hoogstraten.
Further examples of French paintings of the 17th and 18th centuries are, the adoration of the golden calf of Claude Lorrain, preparations for dance class of the Le Nain brothers, the portrait of Marshal Charles-Auguste de Matignon by Hyacinthe Rigaud, the portrait of a young nobleman in hunting costume of Nicolas de Largillière, The storm of Claude Joseph Vernet and The minuet of Nicolas Lancret. From the 19th century can be found with Rocky wooded valley at Civita Castellana by Gustave Courbet, The Lamentation of Eugène Delacroix, the children portrait Le petit Lange of Édouard Manet, the portrait of Madame Jeantaud by Edgar Degas, the landscape June morning near Pontoise by Camille Pissarro, homes in Le Pouldu Paul Gauguin and views to the sea at L'Estaque by Paul Cézanne further works of French artists at Kunsthalle.
One focus of the collection is the German painting and sculpture of the 19th century. From Joseph Anton Koch, the Kunsthalle possesses a Heroic landscape with rainbow, from Georg Friedrich Kersting the painting The painter Gerhard Kügelgen in his studio, from Caspar David Friedrich the landscape rocky reef on the sea beach and from Karl Blechen view to the Monastery of Santa Scolastica. Other important works of this department are the disruption of Adolph Menzel as well as the young self-portrait, the portrait Nanna Risi and The Banquet of Plato of Anselm Feuerbach.
For the presentation of the complex of oeuvres by Hans Thoma, a whole wing in 1909 at the Kunsthalle was installed. Main oeuvres of the arts are, for example, the genre picture The siblings as well as, created on behalf of the grand-ducal family, Thoma Chapel with its religious themes.
Of the German contemporaries of Hans Thoma, Max Liebermann on the beach of Noordwijk and Lovis Corinth with a portrait of his wife in the museum are represented. Furthermore the Kunsthalle owns works by Ferdinand Georg Waldmüller, Carl Spitzweg, Arnold Böcklin, Hans von Marées, Wilhelm Leibl, Fritz von Uhde, Wilhelm Trübner and Max Klinger.
In the building of the adjacent Orangerie works of the collection and new acquisitions from the years after 1952 can be seen. In two integrated graphics cabinets the Kupferstichkabinett (gallery of prints) gives insight into its inventory of contemporary art on paper. From the period after 1945, the works Arabs with footprints by Jean Dubuffet, Sponge Relief RE 48; Sol. 1960 by Yves Klein, Honoring the square: Yellow center of Josef Albers, the cityscape F by Gerhard Richter and the Fixe idea by Georg Baselitz in the Kunsthalle. The collection of classical modernism wandered into the main building. Examples of paintings from the period to 1945 are The Eiffel Tower by Robert Delaunay, the Improvisation 13 by Wassily Kandinsky, Deers in the Forest II by Franz Marc, People at the Blue lake of August Macke, the self-portrait The painter of Ernst Ludwig Kirchner, the Merzpicture 21b by Kurt Schwitters, the forest of Max Ernst, Tower gate II by Lyonel Feininger, the Seven Deadly Sins of Otto Dix and the removal of the Sphinxes by Max Beckmann. In addition, the museum regularly shows special exhibitions.
Sammlung
Den Grundstock der Sammlung bilden 205 meist französische und niederländische Gemälde des 17. und 18. Jahrhunderts, welche Markgräfin Karoline Luise zwischen 1759 und 1776 erwarb. Aus dieser Sammlung stammen bedeutende Arbeiten, wie das Bildnis eines jungen Mannes von Frans van Mieris der Ältere, die Winterlandschaft mit Kalkofen von Nicolaes Pieterszoon Berchem, Die Spitzenklöpplerin von Gerard Dou, das Stillleben mit Jagdgeräten und totem Rebhuhn von Willem van Aelst, Der Friede im Hühnerhof von Melchior de Hondecoeter sowie ein Selbstbildnis von Rembrandt van Rijn. Hinzu kommen vier Stillleben von Jean Siméon Chardin und zwei Schäferszenen von François Boucher, die die Markgräfin bei Künstlern direkt in Auftrag gegeben hatte.
Eine erste wesentliche Erweiterung erhielt das Museum 1858 durch die Sammlung des Domkapitulars Johann Baptist von Hirscher (1788–1865) mit Werken religiöser Kunst des 15. und 16. Jahrhunderts. Zu dieser Gruppe gehören Werke wie zwei Tafeln des Sterzinger Altars und das Flügelfragment Der sakramentale Segen von Bartholomäus Zeitblom. Von 1899 bis 1920 bekleidete der aus Baden stammende Maler Hans Thoma die Position des Direktors der Kunsthalle. Er erwarb altmeisterliche Gemälde wie den Tauberbischofsheimer Altar von Matthias Grünewald und trieb den Ausbau der Sammlung mit Kunst des 19. Jahrhunderts voran. Erst seine Nachfolger erweiterten die Bestände der Kunsthalle um Werke des Impressionismus und der folgenden Künstlergenerationen.
Die Dauerausstellung im Hauptgebäude umfasst rund 800 Gemälde und Skulpturen. Zu den herausragenden Kunstwerken der Abteilung deutsche Maler der Spätgotik und Renaissance gehören der Christus als Schmerzensmann von Albrecht Dürer, die Kreuztragung und Kreuzigung von Matthias Grünewald, Maria mit dem Kinde von Lucas Cranach der Ältere, das Bildnis Sebastian Brants von Hans Burgkmair der Ältere und die Die Geburt Christi von Hans Baldung. Dessen Markgrafentafel geriet durch Eigentumsstreitigkeiten 2006 in die Schlagzeilen und führte auch zu politischen Auseinandersetzungen. Einer der größten Ankaufserfolge, welche ein deutsches Museum in der Nachkriegszeit verbuchen konnte, betrifft den sukzessiven Erwerb von sechs der sieben bekannten Tafeln eines Passionsaltars um 1450 – der Notname des Malers nach diesem Werk „Meister der Karlsruher Passion“ – eine siebte Tafel befindet sich in deutschem öffentlichen Besitz (Wallraf-Richartz Museum, Köln).
In der Abteilung niederländischer und flämischer Malerei des 16. Jahrhunderts finden sich, neben den erwähnten Werken, das Bildnis der Marchesa Veronica Spinola Doria von Peter Paul Rubens, Moses schlägt Wasser aus dem Felsen von Jacob Jordaens, das Stillleben mit Küchengeräten und Lebensmitteln von Frans Snyders, das Dorffest von David Teniers dem Jüngeren, das Stillleben mit Zitrone, Orangen und gefülltem Römer von Willem Kalf, ein Junges Paar beim Frühstück von Gabriel Metsu, Im Schlafzimmer von Pieter de Hooch, die Große Baumgruppe am Wasser von Jacob Izaaksoon van Ruisdael, eine Flusslandschaft mit Melkerin von Aelbert Jacobsz. Cuyp sowie ein Augenbetrüger-Stillleben von Samuel van Hoogstraten.
Weitere Beispiele französischer Malerei des 17. bzw. 18. Jahrhunderts sind Die Anbetung des Goldeen Kalbes von Claude Lorrain, die Vorbereitung zur Tanzstunde der Brüder Le Nain, das Bildnis des Marschalls Charles-Auguste de Matignon von Hyacinthe Rigaud, das Bildnis eines jungen Edelmannes im Jagdkostüm von Nicolas de Largillière, Der Sturm von Claude Joseph Vernet und Das Menuett von Nicolas Lancret. Aus dem 19. Jahrhundert finden sich mit Felsiges Waldtal bei Cività Castellana von Gustave Courbet, Die Beweinung Christi von Eugène Delacroix, dem Kinderbildnis Le petit Lange von Édouard Manet, dem Bildnis der Madame Jeantaud von Edgar Degas, dem Landschaftsbild Junimorgen bei Pontoise von Camille Pissarro, Häuser in Le Pouldu von Paul Gauguin und Blick auf das Meer bei L’Estaque von Paul Cézanne weitere Arbeiten französischer Künstler in der Kunsthalle.
Einen Schwerpunkt der Sammlung bildet die deutsche Malerei und Skulptur des 19. Jahrhunderts. Von Joseph Anton Koch besitzt die Kunsthalle eine Heroische Landschaft mit Regenbogen, von Georg Friedrich Kersting das Gemälde Der Maler Gerhard Kügelgen in seinem Atelier, von Caspar David Friedrich das Landschaftsbild Felsenriff am Meeresstrand und von Karl Blechen den Blick auf das Kloster Santa Scolastica. Weitere bedeutende Werke dieser Abteilung sind Die Störung von Adolph Menzel sowie das Jugendliche Selbstbildnis, das Bildnis Nanna Risi und Das Gastmahl des Plato von Anselm Feuerbach.
Für die Präsentation des Werkkomplexes von Hans Thoma wurde 1909 in der Kunsthalle ein ganzer Gebäudetrakt errichtet. Hauptwerke des Künstlers sind etwa das Genrebild Die Geschwister sowie die, im Auftrag der großherzöglichen Familie geschaffene, Thoma-Kapelle mit ihren religiösen Themen.
Von den deutschen Zeitgenossen Hans Thomas sind Max Liebermann mit Am Strand von Noordwijk und Lovis Corinth mit einem Bildnis seiner Frau im Museum vertreten. Darüber hinaus besitzt die Kunsthalle Werke von Ferdinand Georg Waldmüller, Carl Spitzweg, Arnold Böcklin, Hans von Marées, Wilhelm Leibl, Fritz von Uhde, Wilhelm Trübner und Max Klinger.
Im Gebäude der benachbarten Orangerie sind Werke der Sammlung und Neuankäufe aus den Jahren nach 1952 zu sehen. In zwei integrierten Grafikkabinetten gibt das Kupferstichkabinett Einblick in seinen Bestand zeitgenössischer Kunst auf Papier. Aus der Zeit nach 1945 finden sich die Arbeiten Araber mit Fußspuren von Jean Dubuffet, Schwammrelief >RE 48:Sol.1960< von Yves Klein, Ehrung des Quadrates: Gelbes Zentrum von Josef Albers, das Stadtbild F von Gerhard Richter und die Fixe Idee von Georg Baselitz in der Kunsthalle. Die Sammlung der Klassischen Moderne wanderte in das Hauptgebäude. Beispiele für Gemälde aus der Zeit bis 1945 sind Der Eiffelturm von Robert Delaunay, die Improvisation 13 von Wassily Kandinsky, Rehe im Wald II von Franz Marc, Leute am blauen See von August Macke, das Selbstbildnis Der Maler von Ernst Ludwig Kirchner, das Merzbild 21b von Kurt Schwitters, Der Wald von Max Ernst, Torturm II von Lyonel Feininger, Die Sieben Todsünden von Otto Dix und der Abtransport der Sphinxe von Max Beckmann. Darüber hinaus zeigt das Museum regelmäßig Sonderausstellungen.
Technically the palm would be laced shut just prior to battle. One needs to have a squire available at all times for that level of authenticity, though. Mittens make it difficult to buy one's ale after all.
Properly opted for any phrase #life_insurance_50_plus plans coverage policy in excess of complete daily life insurance policies.
comparebestdealinuk.tumblr.com/post/100312319422/life-ins...
This is the Icarian Sea properly speaking. International waters out there and huge cargo vessels and tankers crossing night and day on the sea route from the Dardanelles to Suez. Eleni is looking out to a big bulk carrier sailing by loaded over the top with container boxes. Click here, find Ikaria and see which ships are crossing now! As I was writing this I saw that a small cargo named ANTONIETTA was in view of the light of Papas on its way to Rodos.
Photo taken during our explorations in the western end of Ikaria - Kavo Papas, one of the «Seven Power Spots in Ikaria»!
Read the story in the OPS Ikarias blog (in Greek):
Message in the bottle. Empty bottle lying at the shore of Capones Island. Though no letter inside but this simply tells us to please bring our trash with us dispose properly to preserve the natural beauty of the place.
Long night shift spent on photoshop when the weather wasn't good enough to work.
These shots are from June 2007, and the annual Western Heights open day.
First given earthworks in 1779, the high ground west of Dover, England, now called Dover Western Heights, was properly fortified in 1804 when Lieutenant-Colonel William Twiss was instructed to modernise the existing defenses.
To assist with the movement of troops between Dover Castle and the town defences Twiss made his case for building the Grand Shaft in the cliff:
‘...the new barracks.....are little more than 300 yards horizontally from the beach.....and about 180 feet above high-water mark, but in order to communicate with them from the centre of town, on horseback the distance is nearly a mile and a half and to walk it about three-quarters of a mile, and all the roads unavoidably pass over ground more than 100 feet above the barracks, besides the footpaths are so steep and chalky that a number of accidents will unavoidably happen during the wet weather and more especially after floods. I am therefore induced to recommend the construction of a shaft, with a triple staircase....the chief objective of which is the convenience and safety of troops....and may eventually be useful in sending reinforcements to troops or in affording them a secure retreat.’
Twiss’ plan was approved and building went ahead. The shaft was to be 26 feet in diameter, 140 feet deep with a 180 feet gallery connecting the bottom of the shaft to Snargate Street, and all for under an estimated £4000.
The plan entailed building two bricklined shafts, one inside the other. In the outer would be built a triple staircase, the inner acting as a light well with ‘windows’ cut in its outer wall to illuminate the staircases. Apparently, by March 1805 only 40 feet of the connecting gallery was left to dig and it is probable that the project was completed by 1807.
The Drop Redoubt is one of the two forts on Western Heights, and is linked to the other, the Citadel, by a series of dry moats (the lines). It is, arguably, the most impressive and immediately noticeable feature on Dover’s Western Heights.
The artillery at the Redoubt faced mostly inland; it was intended to attack an invading force attempting to capture Dover from the rear.
The construction of the Redoubt was in two periods: the first being from 1804-1808 during the Napoleonic Wars, and the second from 1859-1864 following the recommendations of the 1859 Royal Commission.
First Period
The original form of the Drop Redoubt was a simple pentagon, formed by cutting trenches into the hillside and revetting (facing) them with brickwork. Thus, the Redoubt was a solid ‘island’ with barracks, magazine, and artillery, on top. Originally, it would have accommodated 200 troops but, by 1893, the numbers had been reduced to just 90.
A striking feature of the first period is the Soldiers’ Quarters – five bomb-proof casemates. These are parabolic in cross section and covered in a thick layer of earth to withstand the effect of mortar-bombs. The windows at the rear of each open into a trench, to protect them against blast.
[edit] Second Period
The rise of Napoleon III during the 1850s caused a further invasion scare, and a Royal Commission was set up in 1859 to investigate the defences of Britain. As a result, more work was deemed necessary at the Heights, and the Drop Redoubt had its defences improved. Caponiers were added to four of the corners of the existing fort (each with a stone staircase leading up to the top of the Redoubt), and gunrooms were built alongside two of them to allow fire along the North and South-East Lines. The original magazine was enlarged, and covered with a large earth bank as protection from mortar-fire.
The Officers’ Quarters, Guardroom, and cells also date from this period. They can be distinguished from the earlier work by the semi-circular shape of their arches.
During World War II, the Redoubt housed a squad of commandos that, in the event of invasion, would have been responsible for destroying Dover Harbour. Their presence was secret and the lines around the Redoubt were mined. Evidence of their stay are the sally ports in Caponiers 1 & 2, and the short tunnel leading from the encircling line to Drop Redoubt Road.
The entrance to Drop Redoubt was via a bridge. The inner third of this was pivoted so that the Redoubt could be isolated. The pivot and the recess into which the bridge swung can still be seen, although the bridge has long since gone. In the 1980s, a temporary scaffolding bridge was built by the Army to enable access for guided tours of the Redoubt, but this was removed in the middle 1990s to prevent unauthorised entry and vandalism.
Originally, the Redoubt was to be equipped with 12 smooth bore 24-pounder guns (although only eleven are shown in the diagram overleaf) and two carronades. However, it is unlikely that many were installed since the Napoleonic War was almost over by the time construction was completed. In 1851, only three 24-pounders were in place, with six 12-pounder saluting guns and an 8” mortar.
Following the Second Period, eleven Armstrong 64-pounder Rifled Breech Loaders were installed on traversing carriages. These proved unsatisfactory and a return was made to muzzle loaders.
Today, much of the site is open as a country park. The barracks have been demolished; and the Citadel has been a Young Offenders' Institution - and is now an Dover Immigration Removal Centre and so is off limits.
English Heritage own the Redoubt, along with the Grand Shaft spiral staircase owned by the Council, and is annually opened by the Western Heights Preservation Society.
You really can't appreciate this shot properly at this size - try it here instead.
This shot nearly didn't happen - I had this idea to try out using paths in Photoshop again but in my rush to get the shot I forgot that I needed a shot of the blank wall so I could erase my arms out of the shot and still have something in the background.
I nearly binned the idea but somehow, by a combination of copying, pasting and healing I fixed the background so I was able to carry on with it.
There's no deep meaning behind this photo, it's just me playing around with something new I've found to see what I can do. If you're looking for meaning then I suppose it could represent my quiet dread at turning 30 next week.
There's some textures in there, and a gradient layer blended over everything except the paths to simulate a light source . . . I got a bit carried away with this one, but I was so pleased I'd managed to save the photo (because it was in a serious mess for a while) that once I'd fixed it I wanted it to look as good as I could make it.
You know what I'm going to say - it's better bigger on black
Please open up to original size to properly see the difference. Almost any film/camera combination can look good with a 200x300 PPI view.
The manufacture’s specs for T-Max say it has half the grain and about twice the resolution of Fuji Provia F, RDP III. But, look at the difference in favor of Provia. They were processed and scanned by the same big name lab. Both films were fresh and shipped together (went through the same x-ray if any) and are the same speed. So.. bad batch of T-Max, wrong developer for T-Max or has Kodak lowered its standards this much?
Gentlepersons:
The Pictures in general...
These recently uploaded pictures have no artistic value. They were just uploaded to be representative of color picture recording during about 95+ years that I was able to take pictures, mostly slides at first. Unlike in today’s digital world it took time, money and effort to make a color slide. We took fewer pictures back then, trying to stretch resources, but some sere still frivolous. The first picture I remember taking was in the mid-1920s when my mother's sailor boyfriend brought an overseas camera to San Pedro.
I’m 97 (2016) and all tuckered out. I probably will not post much more. The ratio of today’s digital pictures that are kept for any length of time and/or printed is much less than the film photos taken in days past. History will be lost. Meanwhile you get to be bored by some old Kodachromes, Agfachromes, Anscochromes, Dynachromes, a few Dufaycolors and perhaps an old black & white or so.
This picture in specific…
The Camera: Kodak Retina Reflex S ca. 1959-1960.
This picture was taken with a rebuilt Kodak Retina Reflex S circa 1959-1960. It had the better six-element (3+3 elements in 4 groups) Schneider-Kreuznach Retina-Xenon C 50mm f/2 coated lens. This photo was taken in 2014. The lens could out resolve the film used.
I also use a 45mm Schneider-Kreuznach Retina-Xenar four-element Tessar design coated lens on this camera. The Reflex Instamatic was a variant designed to use 126 film cartridges instead of traditional 35mm roll film. The image was sized at 28mmx28mm rather than the 35mm’s 24mmx36mm. This framing difference also made the diagonal measurement different. To compensate for this difference they included a 45mm Schneider-Kreuznach Retina-Xenar four-element Tessar design lens with that camera. Note: They also marketed a 50mm Schneider-Kreuznach Retina-Xenar four-element Tessar for the 35mm models. They were interchangeable and gave like results, just a tad different in the size of a subject within the image. The 50mm Tessars and Xenars were on of the better upper middle priced lenses of the 1950s. This Xenon however, was the better lens.
Plus I have a 135mm, F:4 Retina Tele-Xenar five-element lens for these types of cameras. Its performance was above that of most of its competition.
The film: Fuji Provia 100F RDP III:
This was shot on Provia 100F in 35 size. It is the latest Fuji Provia iteration. It has a reputation for having good resolving power, just short of Velvia 50, and extremely fine grain. Having viewed results from several excellent lenses with a 60x microscope I would agree.
The film: Kodak Tmax 100
Kodak Tmax 100 is a true black and white film. The 100 speed is one of the sharper B&W films made. Part of the sharpness is due to resolution and part is the “edge effect.” The developer seems to make more of a difference in resolution than in other films. As to the tone and/or look of the result it is more a matter of taste, usage and printing skills and materials of the user.
The Scanner, a Noritsu fitted to a QSS-32_33 processor/printer:
This scanner is rated at 4600 PPI and in fact has that many sensors in the array. However, due to software or the lens (I suspect the lens) there is only about 3000 PPI worth of information in the scan. Some of the flatbed scanners have the same problem with lenses and are infamous for not resolving the potential of the sensor count. Most under $2000.00 flatbed scanners only give 40% to 60% of their rating. I would have thought Noritsu would do a better job. I’ve found that in order to scan over 4000 true PPI which the Nikons would approach (except for the out-of-production Minolta 5400 II), one has to get a true drum scan and with a talented operator to boot.
One of the most notable features of Winchelsea is the number of well-built vaulted stone cellars (properly called undercrofts). The number is matched or exceeded only in Southampton, Norwich and Chester (but Chester’s cellars are built on a slope and are not truly subterranean, and many are not vaulted). Some 33 of Winchelsea’s cellars are still accessible and the existence of another 18 medieval vaulted cellars are known. From the amount of wine imported into New Winchelsea in 1300/01, it has been estimated that Winchelsea could have had as many as 70 cellars.
The cellars vary in size from 25 to 125 square metres, although the majority are in the range 30-50 square metres. The average cellar would hold over 120 hogsheads (6,300 gallons) of wine. All are well built and some are quite elaborate, with decorative features such as chamfered ribs and corbelling, probably in Caen stone. Each cellar is entered by a wide flight of stairs from the street, and some also have a rear entrance. Some cellars have windows, opening into stone-lined light wells leading up to street level.
The design of Winchelsea’s cellars and the quality of their construction suggests commercial rather than domestic use. The principal commodity stored in the cellars is thought to be wine from Gascony. The current theory is that the cellars, at least those with windows providing natural light and with decorative features, were used as part retail wine shop and part wholesale wine sales area. Wine bought in bulk was probably kept in warehouses down on the harbourside. The link between the cellars and the wine trade appears to be confirmed by the concentration of known cellars in the northeast corner of the town, close to the port. Only a few unvaulted cellars have been found around the Monday Market, reinforcing the view that the market square was for trading with Winchelsea’s hinterland.
www.winchelsea.net/visiting/winchelsea_history_pt24.htm
In the first decades following its foundation, New Winchelsea flourished. The fishing and trading activities that made Old Winchelsea prosperous were successfully transferred to the new town. Its naval contribution to the Crown also continued to be head and shoulders above other English ports. For example, in the 1297 expedition to Gascony, Winchelsea provided a third of the force and many of the largest ships. One of its leading citizens and the first recorded mayor of Winchelsea, Gervase Alard junior, was appointed Admiral of the Western Fleet --- all the vessels in ship service from southern ports as far west as Cornwall --- in 1300 and is often described as England’s first admiral of the fleet (although, in fact, the title was first held by William Leybourn, previously ‘captain of the King’s sailors’ in 1295).
As in Old Winchelsea, a large measure of the prosperity of the new town was based on the import of wine from Gascony. In 1306/07 alone, 737,000 gallons of wine was shipped into Winchelsea. It also continued as the main port of embarkation for pilgrims to Santiago de Compostella (2,433 pilgrims in 1434 alone) and featured in what Cooper claimed was the earliest English sea song:
For when they [pilgrims] take the see
At Sandwyche, or at Wynchelsee,
At Brystow, or where that it bee,
Theyr herts begin to fayle.
However, New Winchelsea’s most prosperous years were destined to be relatively short-lived.
www.winchelsea.net/visiting/winchelsea_history_pt13.htm
The fortunes of Winchelsea started to decline in the latter half of the 14th century. By 1378, Winchelsea had been supplanted by Chichester as chief port of Sussex. By 1414, its southern and western suburbs had been abandoned.
Winchelsea’s decline has traditionally been attributed to attacks by the French and Castillians. Indeed, it is claimed that the first such raid took place in 1326 and destroyed a quarter of the town. Particularly brutal attack in 1360 by the French, and in 1380 by the French and Castilians (the latter became involved because of English support for one of the claimants of the Castillian throne and, after his death, the claim by John of Gaunt) wrought even more destruction. However, the town’s decline was probably down to a combination of factors. International conflict was certainly one factor. The Hundred Years War disrupted trade, diverted ships away from fishing and commerce into prolonged naval service and exposed Winchelsea’s fleet to the depredations of privateers.
However, the most serious problem for New Winchelsea was the silting up of the harbour due to the infilling of the upper reaches of the River Brede to create new farm land. This reduced the flow of the river and its scouring effect on the harbour. In addition, the eastward migration of shingle along the Channel --- the very force which had created and then destroyed Old Winchelsea --- had started to infill Rye Bay.
Economic forces were also at play in the decline of Winchelsea. The wine trade declined after 1337 and the start of the Hundred Years War. By the middle of the 14th century, the focus of English trade was shifting away from Flanders, Normandy and Gascony to Spain and the Mediterranean. There was also a decline in the North Sea herring fisheries, to which the Cinque Port towns had privileged access, and the opening of the competing deep sea Atlantic cod fisheries. These trends disadvantaged all the Cinque Port towns, which were unable to accommodate larger ocean-going vessels and were poorly situated compared to the western Channel ports and Bristol. The advent of the Black Death in 1348 (it hit Winchelsea in 1349) made the struggle to overcome these problems that much harder.
However, the decline of Winchelsea should not be exaggerated. There is evidence that Winchelsea recovered rapidly from French and Spanish attacks and was able to launch violent counter-attacks. By 1388, the commercial core of Winchelsea had been re-occupied. Civic expenditure increased. Among other things, the town went to the considerable expense of buying itself a civic clock. By 1404, the Pipewell Gate had been repaired. Substantial new houses continued to be built after 1350, although they were timber-framed rather than stone-built and tended to follow rural rather than urban designs. The most spectacular was a three-storeyed L-shaped timber-framed house built in 1500 on the corner of the High Street and Castle Street (now called Periteau House), which had two tiers of jetties overhanging the street.
Between 1419 and 1422, Winchelsea commissioned truly massive engineering works upstream on the River Brede to try to flush out its harbour. This involved cutting a major new channel to the sea which was 7.5km long enclosed by banks 150m apart. It allowed navigation as far as Brede.
Winchelsea’s continued sway as a naval power in the Channel is evidenced by its granting of the Winchelsea Certificate to the town of Poole in 1364, confirming the maritime jurisdiction of the mayor and burgesses of Poole over Poole Harbour. This was possibly some alliance between Winchelsea and Poole against neighbouring ports like Wareham, perhaps inspired by the value of Poole Harbour to Winchelsea ships. The event is still celebrated in Poole every year in the Beating of the Water Bounds of Poole Harbour.
In 1415, Winchelsea, Sandwich and London were named as ports for the assembly of foreign ships hired and seized by Henry V to transport his huge army to France.
As late as 1433, the Camber could still accommodate ships of up to 200 tons and remained the principal port of embarkation for pilgrims to Santiago de Compostella. Foreign merchants were still active in the town in the middle of the century. In 1491, Winchelsea accounted for 65% of the customs revenues collected from southeastern ports by officials based at Chichester. In an agreement of 1394, Winchelsea undertook to contribute 10 of the 20 vessels that Hastings was obliged to provide for ship service, while Hastings and Rye were each to contribute five.
In 1415, Henry V commissioned a royal enquiry into the defences of Winchelsea which proposed a new section of wall and ditch inside the original defensive circuit to make it easier for the town to be defended following the abandonment of the western and southern suburbs. Only 21 of the original 39 quarters were to be within the new defensive circuit.
The proposed wall was to run south down the westernmost vertical street as far as Sixth Street, and then east along Sixth Street to the eastern cliff, cutting across the precinct of the Grey Friars. There was to be a new gate at the western end of Third Street (High Street) and another one in the southern wall to defend the road up from the abandoned New Gate. How much of the new defensive circuit was built is unclear. Peace with France following the Battle of Agincourt halted work.
The final episode in the defence of Winchelsea was the building of Camber Castle, also known as Winchelsea Castle, although strictly-speaking it was intended to defend the harbour of Rye. The Castle was situated at the end of a spit of shingle extending northeast from Winchelsea (called Kevill or Cobble Point). Incorporating an earlier tower, built by Sir Edward Guldeford between 1512 and 1514, it was constructed between 1538 and 1543, one of the chain of coastal forts built by Henry VIII against the French. Over the next century, the relentless eastward migration of shingle filled in large parts of Rye Bay and stranded the Castle. It was decommissioned in 1637.
www.winchelsea.net/visiting/winchelsea_history_pt14.htm
The decline in Winchelsea’s fortunes appears to have accelerated at the start of the 16th century. By 1532, the town accounted for just 5% of the revenues collected from southeastern ports by customs officials based at Chichester. These had dwindled to almost nothing by 1550, by which time most of Winchelsea’s trade and fishing activity had migrated to Rye. In 1524, Winchelsea could provide only four small vessels and 15 men for ship service and in 1544, it managed just six boats. By 1561, there were no ships or boats based at Winchelsea. By 1587, there was one sailor left in Winchelsea, one William Bucston. However, the town contributed the considerable sum of £66 13s 4d towards the cost of the ship provided by Hastings, the Anne Bonaventure, to serve under Lord Seymour against the Spanish Armada in 1588. In 1601, Sir Walter Raleigh commented that “there be many havens which have been famous, and now are gone to decay as Winchelsey: Rye is of little receipt”.
Winchelsea’s decline and decay naturally affected its institutions. In 1541, the parishes of St Thomas and St Giles were amalgamated. In 1548, the Corporation sold off the bells of the ‘great cross’ and the ‘great chalice’.
The fabric of Winchelsea also deteriorated. No new houses were built between about 1525 and the mid-18th century. When Queen Elizabeth I visited in 1573 (entering the town up the northern cliff along a steep path called Spring Steps), only 60 houses were inhabited and many derelict buildings were being demolished to provide stone for new buildings in neighbouring villages. The show put on by the Mayor and Corporation prompted her to refer (sarcastically) to the town as “Little London” but, in 1586, she did confirm the right of the Corporation to properties seized by the Crown at the Dissolution and transferred the Crown’s rents, subsequently called the Queen’s Dues, which amounted to about £22. The Corporation still tries to collect these rents today.
The same year as the Queen’s visit, St Thomas’s Church was described as being in a ‘ruinous’ condition and it may have been shortly afterwards that the church was reduced to its current truncated size and the central tower demolished.
The famous diarist John Evelyn confirmed the dilapidated state of Winchelsea during a visit in 1652, when he walked over from Rye. He observed only “a few despicable hovels and cottages” amid piles of rubbish and was astonished to discover that the place still boasted a mayor. He was however fascinated by the ruins of the medieval town which, he said, included “vast caves and vaults, walls and towns, ruins and monasteries and a sumptuous church”.
The Cinque Port Confederation as a whole followed Winchelsea on its downward spiral, and tried desperately to maintain its dignity by seeking to forge a “closer union characterised by an almost officious observance of ceremony” and to develop “an elaborate system of government, for the purpose of maintaining the obsolete privileges of an otherwise purposeless association” (Murray).
Curiously, despite its impoverished state, Winchelsea in the 16th and 17th century had a disproportionate number of gentleman and esquires resident in the town. This was because of the tax exemptions and other ancient privileges that continued to be derived from the town’s status as a member of the Cinque Port Confederation. It would seem that, despite the lamentable state of the town as a whole, the houses of these residents were well-maintained and often improved.
Meditation is a practice that has been around for centuries and despite the fact that it is more popular than ever today to help with daily life, some people find it very hard to learn how to meditate properly. Known to control the emotional, physical and the mental self, learning how to meditate properly can help you relax your body at any place and at any time. Learning how to meditate properly has a number of benefits and will allow you to calm your body and get rid of useless thoughts. Learning how to meditate properly also has a number of health benefits such as controlling your blood pressure reducing anxiety and increasing concentration and awareness. By learning how to meditate properly, one can achieve inner peace and tranquility. In this article, we will teach you how to meditate properly.
The first and most important thing to bear in mind when learning how to meditate properly is your posture. Sit upright with a straight spine, away from the back of the chair. Place your feet flat on the floor and your arms and palms turned facing upwards, between your thighs and torso.
Scarborough Bluffs - Scarborough, Ontario, Canada
Danny Boy is a challenging but very beautiful tune to sing properly! - Mike
*****
"'Danny Boy' is a ballad written by Frederick Weatherly and usually set to the tune of the Londonderry Air; it is most closely associated with Irish communities.
'Danny Boy' was written by Frederick Weatherly in 1910. Although the lyrics were originally written for a different tune, Weatherly's sister modified them to fit 'Londonderry Air' in 1913 when Weatherly sent her copy. Ernestine Schumann-Heink made the first recording in 1915. Weatherly gave the song to the vocalist Elsie Griffin, who in turn made it one of the most popular songs in the new century. In 1928, Weatherly suggested that the second verse would provide a fitting requiem for the actress Ellen Terry.
'Danny Boy' was intended as a message from a woman to a man, and Weatherly provided the alternative 'Eily dear' for male singers in his 1918 authorised lyrics. However, the song is actually sung by men as much as, or possibly more than, women. The song has been interpreted by some listeners as a message from a parent to a son going off to war or leaving as part of the Irish diaspora. Some interpret it differently, such a dying father speaking to his leaving Danny. The phrase, 'the pipes, the pipes are calling', in this interpretation, could refer to the traditional funeral instrument.
The song is widely considered an Irish anthem, although ironically, Weatherly was an Englishman and was living in America at the time he composed it. Nonetheless, 'Danny Boy' is considered by many Irish Americans and Irish Canadians to be their unofficial signature song." en.wikipedia.org/wiki/Danny_Boy
Oh Danny boy, the pipes, the pipes are calling
From glen to glen, and down the mountain side
The summer's gone, and all the flowers are dying
'Tis you, 'tis you must go and I must bide.
But come ye back when summer's in the meadow
Or when the valley's hushed and white with snow
'Tis I'll be here in sunshine or in shadow
Oh Danny boy, oh Danny boy, I love you so.
And if you come, when all the flowers are dying
And I am dead, as dead I well may be
You'll come and find the place where I am lying
And kneel and say an "Ave" there for me.
And I shall hear, tho' soft you tread above me
And all my dreams will warm and sweeter be
If you'll not fail to tell me that you love me
I'll simply sleep in peace until you come to me.
*****
"Mario Lanza was an Italian American tenor and Hollywood movie star who enjoyed success in the late 1940s and 1950s.
His lirico spinto tenor voice was considered by his admirers to rival that of Enrico Caruso, whom Lanza portrayed in the 1951 film The Great Caruso. Compared with Caruso, however, his operatic career was negligible. Lanza sang a wide variety of music throughout his career, ranging from operatic arias to the popular songs of the day. While his highly emotional style was not universally praised by critics, he was immensely popular and his many recordings are still prized today. He died of a pulmonary embolism at the age of 38.
Born Alfred Arnold Cocozza in Philadelphia, Pennsylvania, he was exposed to opera and singing at a young age by his Abruzzese-Molisan Italian immigrant parents, and by the age of 16 his vocal talent had become apparent. Starting out in local operatic productions in Philadelphia for the YMCA Opera Company while still in his teens, he later came to the attention of conductor Serge Koussevitzky, who in 1942 provided young Cocozza with a full student scholarship to the Berkshire Music Center at Tanglewood in Massachusetts. Koussevitzky would later tell him that, 'Yours is a voice such as is heard once in a hundred years.'
His operatic debut, as Fenton in an English translation of Otto Nicolai's Die lustigen Weiber von Windsor, was at the Berkshire Music Festival in Tanglewood on August 7, 1942, after studying with conductors Boris Goldovsky and Leonard Bernstein. It was here that Cocozza adopted the stage name Mario Lanza, which was the masculine version of his mother’s maiden name, Maria Lanza. His performances at Tanglewood won him critical acclaim, with Noel Straus of The New York Times hailing the 21-year-old tenor as having 'few equals among tenors of the day in terms of quality, warmth, and power.' Herbert Graf subsequently wrote in the Opera News of October 5, 1942 that, 'A real find of the season was Mario Lanza He would have no difficulty one day being asked to join the Metropolitan Opera.' Lanza performed the role of Fenton twice at Tanglewood, in addition to appearing there in a one-off presentation of Act III of Puccini's La Bohème with the noted Mexican soprano Irma González, baritone James Pease, and mezzo-soprano Laura Castellano. Music critic Jay C. Rosenfeld wrote in The New York Times of August 9, 1942 that, 'Miss González as Mimì and Mario Lanza as Rodolfo were conspicuous by the beauty of their voices and the vividness of their characterizations.' In an interview shortly before her death in 2008, Ms. González recalled that Lanza was 'very correct, likeable, [and] with a powerful and beautiful voice.'" en.wikipedia.org/wiki/Mario_Lanza
*****
"Born Edna Mae Durbin at Grace Hospital in Winnipeg, Manitoba, Canada, she adopted the professional name Deanna at the commencement of her career. Her parents, James and Ada Durbin, were immigrants from Lancashire, England, and she had an older sister named Edith. Beginning her career as a teenager in Hollywood films, Durbin achieved her greatest popularity during the 1930s and 1940s. She won an Academy Juvenile Award in 1938, and appeared in several musical films, however her efforts to progress into more mature, dramatic roles was not well received by audiences, and she retired in the late 1940s." en.wikipedia.org/wiki/Deanna_Durbin
"Peterborough Cathedral, properly the Cathedral Church of St Peter, St Paul and St Andrew – also known as Saint Peter's Cathedral in the United Kingdom – is the seat of the Anglican Bishop of Peterborough, dedicated to Saint Peter, Saint Paul and Saint Andrew, whose statues look down from the three high gables of the famous West Front. Although it was founded in the Anglo-Saxon period, its architecture is mainly Norman, following a rebuilding in the 12th century. With Durham and Ely cathedrals, it is one of the most important 12th-century buildings in England to have remained largely intact, despite extensions and restoration.
Peterborough Cathedral is known for its imposing Early English Gothic West Front (façade) which, with its three enormous arches, is without architectural precedent and with no direct successor. The appearance is slightly asymmetrical, as one of the two towers that rise from behind the façade was never completed (the tower on the right as one faces the building), but this is only visible from a distance.
Peterborough is a cathedral city in Cambridgeshire, England, with a population of 202,110 in 2017. Historically part of Northamptonshire, it is 76 miles (122 km) north of London, on the River Nene which flows into the North Sea 30 miles (48 km) to the north-east. The railway station is an important stop on the East Coast Main Line between London and Edinburgh. The city is also 70 miles (110 km) east of Birmingham, 38 miles (61 km) east of Leicester, 81 miles (130 km) south of Kingston upon Hull and 65 miles (105 km) west of Norwich.
The local topography is flat, and in some places the land lies below sea level, for example in parts of the Fens to the east of Peterborough. Human settlement in the area began before the Bronze Age, as can be seen at the Flag Fen archaeological site to the east of the current city centre, also with evidence of Roman occupation. The Anglo-Saxon period saw the establishment of a monastery, Medeshamstede, which later became Peterborough Cathedral.
The population grew rapidly after the railways arrived in the 19th century, and Peterborough became an industrial centre, particularly known for its brick manufacture. After the Second World War, growth was limited until designation as a New Town in the 1960s. Housing and population are expanding and a £1 billion regeneration of the city centre and immediately surrounding area is under way. Industrial employment has fallen since then, a significant proportion of new jobs being in financial services and distribution." - info from Wikipedia.
Summer 2019 I did a solo cycling tour across Europe through 12 countries over the course of 3 months. I began my adventure in Edinburgh, Scotland and finished in Florence, Italy cycling 8,816 km. During my trip I took 47,000 photos.
Now on Instagram.
Maj. Gen. David R. Hogg, Commander, U.S. Army Africa, demonstrates to two Malawi Defense Force soldiers how to properly tie a knot during a combat lifesaver training course for MDF and U.S. Army Soldiers during MEDREACH 11, May 7, 2011.
U.S. Army photo by Sgt. Daniel Stinson, 139th MPAD, Illinois Army National Guard
Soldiers from the 399th Combat Support Hospital instructed Malawi Defence Force (MDF) medical staff and Soldiers from the 404th Maneuver Enhancement Battalion, May 5, at the Kamuzu Barracks, on a variety of procedures to help them better respond to combat-related injuries. The four-day course is designed to be an information-sharing exercise between the MDF and U.S. Soldiers participating in MEDREACH 11, a joint humanitarian medical exercise taking place in Malawi.
“Their Soldiers are very intelligent,” said 1st Lt. Jason J. Proulx, a Combat Life Saver instructor with the 399th Combat Support Hospital in Mass. “They are asking very appropriate questions and answering appropriately. I have no doubt that there will be a 100 percent pass rate.”
Proulx, a Londonderry, N.H. native, says the confidence he has in the medical abilities of the Malawian Soldiers comes from the competence many of them have displayed throughout the Combat Life Saver course. Several Malawian Soldiers in Proulx’s class have attended and completed the same U.S. Army medical schools required of military combat medics.
While the Malawi Forces have not had to respond to combat injuries in recent years, MDF soldiers like Staff Sgt. Crantor A. Mwase, a regimental health orderly, believes there is still a great need for trauma training and that U.S. Soldiers have valuable medical instruction to share with their servicemembers.
“This Combat Life Saver has come at the right time,” said Mwase. “It is giving us more knowledge than we had in the past. I think it will make the Malawi Defence Force stronger and more capable.”
Mwase said the training is especially important due to the possibility of future military contingencies, including ongoing MDF mobilization to support the United Nations peacekeeping mission in Ivory Coast. He said the training is timely for the MDF and equips them with the knowledge to save lives.
“The Malawian Defence Force is more or less specialized in tropical medicine so trauma, in general, is not their specialty and that is what we are here to help with,” said Spc. Ian P. Powers, combat medic with the 399th Combat Support Hospital in Mass. “This would not only benefit them on the battlefield, but also with local motor vehicle accidents and any other kinds of trauma that they would find in their own country.”
The Combat Life Saver training included classroom instruction, followed by hands-on practical exercises to validate of what the participants had learned. Soldiers from both forces learned things like the application of a tourniquet, assessing a wounded Soldier, and finished with practicing needle-chest decompression using a special training aid – a goat cadaver, which later became the main course at the class barbecue.
Focused on building relationships, participants and instructors share information and experiences to ensure MDF Soldiers have the capability to teach the information to others. Once the medical staff of the MDF is able to become proficient on Combat Life Saver skills, they will then be able to start training their non-medical Soldiers. The 399th Combat Support Hospital is donating books and instruction guides to make this initiative a reality.
“Our goal is to teach the Malawi Defence Force the essentials of the Combat Life Saver’s course so they can, in turn, teach. That’s the biggest mission here,” said Proulx. “It’s important because the more people that you have that can provide any form of medical treatment the more lives you can save.”
“I hope that this helps a little,” said Spc. Angela T. Langley, a combat medic with the 399th Combat Support Hospital. “I know that they were talking about some of them being deployed to the Ivory Coast and I hope that they benefit from this and they take away from it. I hope we enhance their medical capabilities.”
Both forces benefit from the training, as MDF Soldiers will later don the instructor role by teaching U.S. servicemembers about tropical diseases, like malaria, and how to prevent them.
The culminating event of the Combat Life Saver course includes testing to affirm all troops Combat Life Saver-certified. Given the number of personnel involved and the overall success rate of the practical exercises, participants believe the entire training audience can walk away having achieved their goals.
“I am very excited that the U.S. Armed Forces are here,” said Mwase. “You have been helping us for a long time and we ask your country, the USA, to continue helping us.”
MEDREACH, a key program in the United States’ efforts to partner with the Government of Malawi, is the latest in a series of exercises involving U.S. military forces and African partner militaries with the aim of establishing and developing military interoperability, regional relationships, synchronization of effort and capacity-building.
The goal of MEDREACH 11 is to enhance U.S. and Malawi Defence Forces capabilities to work together and to increase the combined readiness of their medical forces to respond to humanitarian emergencies.
To learn more about U.S. Army Africa visit our official website at www.usaraf.army.mil
Official Twitter Feed: www.twitter.com/usarmyafrica
Official Vimeo video channel: www.vimeo.com/usarmyafrica
Join the U.S. Army Africa conversation on Facebook: www.facebook.com/ArmyAfrica
Chelmsford Cathedral, Essex
churchesinessex.blogspot.co.uk/2013/02/chelmsford-essex-p...
Chelmsford Cathedral, or more properly St Mary the Virgin, St Peter and St Cedd, was closed for business when I arrived due to the 60th anniversary service to commemorate the Great Flood of 1953 and the presence of Princess Anne so I went for a walk around town to kill time until the service finished.
I don't know Chelmsford well but I have to say that, to me, it made Harlow look like a lovely place to live.
When I finally got into the Cathedral the horrors of without were soon forgotten, overwhelmed by the loveliness of this intimate building (it's smaller than several parish churches I've visited but then until 1914 it was a parish church and quite a large one at that) and it's embracement of modern art - a wonderful mix of old and new makes St Mary rather special.
From: www.chelmsfordwarmemorial.co.uk/WW2/WW2_THOMPSON,__John_O...
John Ockelford Thompson was born in Springfield on 8th October 1872, the only son of the newspaper proprietor Thomas Thompson and Sarah Elizabeth Thompson (nee Ockelford). His father had been born in Rochdale, Lancashire around 1846; his mother in Grantham, Lincolnshire in 1849. The couple had been in Chelmsford since at least 1871, having married in Lincolnshire in 1868. John gained a sister Mary Brierley Thompson, born in 1878.
In 1881 the census recorded John, aged eight, living with his parents, sister and a servant at 7 Chelmer Terrace in Springfield. His father was editor of the Essex County Chronicle.
After an education at King Edward VI Grammar School in Chelmsford from 1883 to 1888 John followed his father's career as a journalist.
The census of 1891 listed 18 year-old John living with his parents and sister at Granville Terrace, Mildmay Road in Chelmsford. He was described as a reporter, his father as a newspaper owner and editor.
In 1895 John married Emma Tanner, ten years his senior, and the couple were to have five sons, all Springfield-born: Cyril James Ockelford Thompson and his twin Reginald John Tanner Thompson (born 28th July 1896, christened at Holy Trinity Church in Springfield on 2nd August 1892), Thomas Cloverley Thompson (born on 25th May 1899 and christened at Holy Trinity Church in Springfield on 25th July 1899), William Brierley Thompson (born on 6th February 1901) and Robert Thompson (born on 19th August 1904).
The 1901 census listed John, aged 28, living with his wife and four sons and two servants at 3 Meadowside in Springfield. He was described as a newspaper proprietor. Following his father’s death in 1908 until his own, John was editor and part proprietor of the Essex Chronicle. In April 1911 the census recorded John, his wife, five sons and two servants at The Eaves in Springfield Road, Springfield.
John's son, Cyril James Ockelford Thompson, died of wounds on Christmas Day 1917, in what is now Israel, while serving as Lieutenant in the 18th Battalion of the London Regiment (London Irish Rifles). He was aged 21.
John's sister died in 1920.
John became one of the most respected men in Essex. He was first elected to Chelmsford Council in November 1907 as one of the members for the new Springfield Ward. In same month he was raised to Alderman and served on the Council for the remainder of his life. In 1911 he organised Chelmsford’s coronation celebrations. In November 1916 he was elected Mayor for the first time. Subsequently he held the office in 1920-21, 1921-22, 1928-29, 1929-30, 1936-37, and 1939-40. On the occasion of his 68th birthday, the week before his death, he had accepted the Council’s invitation to serve again in the forthcoming municipal year (1940-41).
Much of his best work for the Council was as Chairman of the Council’s Education Committee, a position he held from December 1921. He was also Chairman of the Public Health Committee and been a County Councillor for the Chelmsford South Division for six years.
During the First World War he served with the Essex Volunteer Regiment initially as a private and later as an officer. He then went onto special coastal service with the Dorsetshire Regiment. After the war he was largely responsible for Chelmsford’s War Memorial Fund, and during his mayoralty in 1920-21 and 1921-22 he took a great interest in the unemployed, for whom he started and carried on a fund.
He had held numerous other public appointments including; an Essex J.P. since February 1916, Chairman of the Chelmsford Bench of Justices, a Deputy Lieutenant of Essex, Chairman of the Chelmsford Brotherhood, President of the Essex & Suffolk Brotherhood Federation, Chairman of the Chelmsford District War Pensions Committee, Chairman of the Ministry of Labour Employment Committee, a member of the Essex Standing Joint Committee, a member of the Essex Federal Council of the League of Nations Union, Chairman of the Essex Discharged Prisoners’ Aid Society, a member of the Essex Territorial Army Association, a member of His Majesty’s Prison Board of Visitors, Chairman of the West Essex Building Society, Honorary Secretary to the Essex Association of the Treatment of Consumption, a Commissioner of Income Tax, Chairman of the Chelmsford Mutual Fund Association, and an appointed member Essex Agricultural Wages Committee. He was also a Freemason (Easterford Lodge), and a founder-member of the Old Chelmsfordian Lodge.
During the early months of the Second World Ward John was a prominent figure behind Chelmsford's Flight of Fighters Fund (a fundraising effort to buy Spitfire aircraft) and the local Air Raid Damage Funds Association.
He was entitled to the C.B.E. in 1938 for his valued public services, having been received the O.B.E. for similar services in the First World War.
His recreations, in the little spare time he did have involved the open air and outdoor sports; he was, a past President of the Essex County Cycling & Athletic Association and Chairman of the Chelmsford Cycling Club. He was a life-long cyclist, and rode up to the time of his death a bicycle which he had used on tours through Switzerland and over the Alps. Between the wars he founded the Princes Marie Louise Bowling Club in the grounds of his Brierley Place home. The club was opened by the Princess when she attended and spoke at a rally of the League of Nations Union at Brierley Place. He was also a keen tennis player up until his sixties, a keen gardener and in his younger days had took part in amateur dramatic
John was killed on Sunday 13th October 1940 when Chelmsford suffered its most serious bombing incident of the war to date when a lone Luftwaffe aircraft dropped two bombs over the town. At 7.30 p.m. one of these, a high explosive, scored a direct hit on his home, Brierley Place (number 52), New London Road, the home to the mayor and his family. The bomb is believed to have passed through the building and exploded in its basement, ‘collapsing it like a pack of cards’.
Debris was strewn across New London Road and caused its closure between Queen Street and Southborough Road. The mayor, his family and servants were at home and were thought to have been sheltering in the basement when the bomb struck.
The rescue services were soon at work on the scene and by 10.40 p.m. New London Road had been cleared. However, it was not until 1.01 a.m. that the first casualty figures were received at the Police H.Q. - “Ten people involved (actually nine), two children recovered dead, three householders rescued but one injured, mayor and mayoress still unaccounted for”. The dead children were the Mayor’s grandchildren, 8 year-old Audrey Mary Thompson and her 14 month-old sister Diana Louisa Thompson. Their mother, Muriel who suffered serious injuries, was one of those rescued, along with a nurse and another daughter-in-law of the Mayor. By 5.31 a.m. a further two bodies were recovered, and by 11.50 a.m. another, the fifth fatality, was found. Rescue workers continued their search into Tuesday and in mid afternoon the remains of sixth body, a servant, were found. The four adults killed were subsequently identified as the Mayor, 68 year-old John Ockelford Thompson C.B.E. D.L. J.P., his 78 year-old wife Emma, their 41 year-old son Lt-Col. Thomas Cloverley Thompson and Alice Maud Emery, also 41, who was a servant for the mayor.
The funeral service of John and his family was held at Chelmsford Cathedral on 16th October 1940. Their five coffins were placed in the building overnight prior to the service. Their deaths had come as a great shock to the town and the Cathedral was filled to overflowing for the service which was conducted by the Bishop of Chelmsford and the Provost, the Very Rev. William Morrow. The congregation was swelled by a considerable number dignitaries from all over Essex and beyond. After the service the coffins were driven to the Borough Cemetery for burial, passing the remains of Brierley Place on the way. Large crowds lined the route. John was buried in grave number 6183. His wife, son and grand daughters were buried close by. John is commemorated by the King Edward VI Grammar School's war memorial.
John left an estate valued at £9,993 1s. 7d. to his son Reginald.
Coffee and Pie
Where was I??? Oh yes, I was about to come down the car to go into a nice restaurant in Merida, all in doubt, fear and excitement. But I was there, it was my opportunity to do a more normal activity, and so I went out the car.
The walk to the restaurant, trying to pull myself together, It is nice to have the doors open for me. and there the first face to face to other people. The entry man at the restaurant, and a waiter standing there.
I saw them looking toward us (yes they have to see the new clients) I know they said something , but couldn't properly distinguish what. All I saw was the hand of one of them pointing towards the tables.
As we walked toward the designated table, we passed 2 tables with people, first one they didn't look, they were happy eating, next one indeed the man sit there took a look at us three.
Which side of the table to sit down?? should I sit on the one facing the door, where everyone entering would see my face, but I would be abel to see people enter?????, or should I chose the one giving my back, where only the very few who walked to the very last table would see me, but also I would not see much????. I decided to be able to see people ocme inside the place :D
My friend sit next to me, and the host left us there. I wanted to turn my face to see if he had any reaction once he left away, but that would have been so obvious, so I didn't.
Then came a boy, to leave the menu, for what I could notice, he barely looked at us. I looked through it, and find they served lemon pie, yumiii, me likes it. AS I was looking my friend asked me what I wanted. I think she probably wanted to tell the waiter the order for both of us.
I could have let that be the case, easier to pass if I didn't talk, but then I would be a mute girl. SO I asked my friend, "can I order myself???".
A waitress arrived then (a really cute girl) My friend ordered, and then it was time for me to talk. The girl looked towards me, and I, trying to lower my voice, started saying, "A lemon pie and a cofee", hoping my voice was not too hard (to sound so boyish), hoping my voice was not too low (that she couldn't hear me, and I had to talk again).
But she was able to hear me, as she repeated what we ordered. Then she left, with no reaction I could notice. Was I really passing??? Or was I so nervous that I couldn't notice???. Later she returned to leave what we ordered, being all nice.
My friend and I were talking, a really nice chat, and also a bit of an important one, about one part of Jessica and telling someone about.
Then a family (couple and a little boy) and the waitress were walking toward us, I was nervous, would they have a reaction to me?? but they just walk by next to us (the woman indeed look toward us) and sit in the table next to us (the one to my back).
That put me into a thought, either they didn't notice, or they didn't care, or they were too lazy to walk to a table far away from me.
The waitress returned later, with another girl, to let us know that her shift was over, that the new girl was now our waitress.
Then came time to go away, ask for the bill, my friend left me alone for a little moment, and then to go to the cashier to pay, and back outside. By then it was already night time.
So how that part of the adventure went, except from the beginning when I was too nervous, I enjoyed the rest of it.
Didn't notice any reaction of the few people that saw me, or talk to me.
And I had a really nice time talking to my friend. I really liked doing this.
Was it possible that I indeed passed as a girl??? or I waas just unaware of any reaction and so I didn't notice??? Or the people just didn't care,???
My friend later told me that she indeed looked to see if the waitress had any reaction once she left the table, and said she didn't saw any.
Kisses
Jessica
Is there more to this adventure, or did it end there????
Pay y cafe
Donde estaba??? Oh si, les decia que estaba a punto de bajar del coche para dirigirme al agradable restaurante en Merida, llena de dudas, miedo, y emocion. Era mi oportunidad de hacer una actiidad normal, asi que sin mas, baje del auto.
Y caminar hacia el restaurante, tratando de mantenerme en orden. Es agradable cuando me abren la puerta, jejeje. Y entonces ahi el primer encuentro cara a cara con otras personas. El cuate que te recibe en el restaurante y un mesero ahi parados.
Y ahi los vi, mirandonos (si ya se que tienen que ver a todos los clientes nuevos, pero aun asi, da cosa que se te queden viendo), se que dijeron algo, pero con el nervio no upde distinguir que, solo vi que con la mano hacian un gesto apuntando hacia las mesas.
Mientras caminabamos a la mesa que nos asignaron, pasamos por 2 mesas con gente, en la primera no note que nos observaran, estaban felices comiendo. En la otra, si vi que el señor volteo a vernos a los tres.
Decisiones. Que lado de la mesa elegir para sentarme??? debiera sentarme de cara a la puerta, donde todo el que entrase podria ver mi rostro, con la ventaja de igual yo ver a todo cuanto entrase???. O quiza mejor sentarme de espaldas, de forma que solo los pocos que caminaran a la mesa mas alla pudiesen verme, claro sin yo poder ver mucho realmente??? DEcidi que era mas divertido ver a la gente que pudiera llegar a entrar :D
Mi amigui se sento a mi lado, y el anfitrion no dejo. Realmente queria voltear mi cara para ver si al irse tenia alguna reaccion, pero como que hubiera sido demasiado obvio, asi que no lo hice.
Luego vino un muchacho a dejar los menus (se escribe asi???), Y por lo que pude notar, casi ni nos observo. Me puse a ver el menu, y encontre que tenian pay de limon, yumiii, me gusta el pay de limon. Mientras veia, mi amigui me pregunto que queria. Creo que pensaba en ser quien pidiera la orden por las dos.
Pude haber dejado que fuera asi, mas facil pasar y no delatarme si no hablaa, pero entonces seria como la niña muda, asi que le pregunte a mi amigui Fernanda, "puedo yo pedir lo mio???"
Una mesera llego despues (una chica muy linda por cierto). Mi amigui ordeno, y luego fue mi moento para hablar. La chica volteo a verme y yo, tratando de hablar con mi voz suave y bajita, empece a decir "yo quiero el pay de limon y un cafe", esperando que mi voz no fuera demasiado fuerte (que sonara totalmente de niño), esperando que tampoco fuera demasiado suave (no me escuchara y tuviera que repetir todo).
Pero si pudo escuchar lo que dije, pues la chica repitio mi orden. Y tras anotar y revisar lo ordenado, se fue, sin reaccion aparente. ¿¿Realmente estaba pasando como niña??? o era que de lo nerviosa ni me daba cuenta de las reacciones???. La chica regreso mas de rato para traer nuestros alimentos, toda amable.
Mi amigui y yo, no la pasamos hablando, una charla muy padre, y en cachitos un tanto importante, sobre Jessica y eso de que como que quiero contarle a alguien de ella.
Entonces una familia (pareja y un chiquillo) y la mesera caminaban hacia nosotros. que nervio, tendrian alguna reaccion hacia mi???, pero solo pasaron a nuestro lado (la señora si volteo a vernos) y se sentaron en la mesa al lado de nosotros, a nuestras espaldas.
Eso me pone a pensar, es que no me notaron, o no les importo si lo notaron, o no vieron, o les dio flojera caminar a otra mesa lejos de mi???
La mesera regreso despues con otra chica, para avisarnos que su turno terminaba, y que la nueva chica iba a ser nuestra nueva mesera, Nuevamente sin reaccion evidente.
Llego el momento de partir, pedir la cuenta, mi amigui me dejo por unos momentos solita, luego a la caja a pagar y de nuevo al exterior, a un sitio sin tanta gente. Para esa hora ya se habia vuelto de noche.
Asi que como creo que me fue en esta parte de la aventura, pues exceptuando al inicio que si estaba que me moria de los nervios, pues el resto, la disfrute mucho.
No note reaccion alguna de la gente que me vio o que me escucho hablar.
Tuve una muy agradable conversacion con mi amigui. REalmente me encanto haberlo hecho.
Es posible acaso que si haya pasado como niña??? o simplemente no pude percatarme de las reacciones y no note que ocurria?? O a la gente simplemente no le importo??
My amigui mas tarde me dijo que si volteo a ver a la mesera una vez para buscar alguna reaccion posterior, y que no noto tampoco reaccion alguna.
Kisses
Jessica
Hay mas partes de esta aventura, o termino ahi????
Finnieston, Glasgow.
Properly known as the Stobcross Crane or the Clyde Navigation Trustees Crane #7, its proximity to Finnieston Quay and the fact that it was intended to replace the previous Finnieston Crane, has led to its being popularly known as the Finnieston Crane.
It is one of four such cranes on the River Clyde (being the last giant cantilever crane to be built on the river), a fifth one having been demolished in 2007 and it is one of only eleven giant cantilever cranes remaining worldwide.
It was commissioned in June 1928 by the Clyde Navigation Trust, operators of the port and dock facilities in Glasgow and was completed in 1931 commencing operations in 1932.
The tower was built by Cowans, Sheldon & Company of Carlisle and the cantilever by the Cleveland Bridge & Engineering Company, under the supervision of Daniel Fife, mechanical engineer to the Clyde Navigation Trust.
Connected to a spur of the Stobcross Railway, the crane's primary purpose was the lifting of heavy machinery, such as tanks and steam locomotives, onto ships for export. As many as 30,000 locomotives were hauled through the streets of Glasgow by Clydesdale horses, traction engines and diesel tractors, from the works at Springburn to the crane for export to the British Empire.
See the series properly here : website
Ilford Delta 400 @ 800 developed in x-tol.
Print on Ilford MGIV FB Mat in 8x10.
This is the beginning of a series on Rochester Homeless population. I will be following those who now have a flat thanks to the housing first project and see the different places they have lived on the streets.
Last week when I handed him the print he had unfortunately broken his leg.
St Mary is in a large village/suburb of Sittingbourne, just off the A2, which is usually very busy.
However, away from the main road/High Street, as the road drops towards the marshes and cost, St Mary sits behind an Oast House conversion down a private road which makes it clear you are not welcome. And yet the church car park is down there.
St Mary is large, but locked on my first visit.
The next weekend, as part of Heritage Weekend, there was a local history event being held here, as well as trips up the tower.
So I went back.
Only the church double-booked with a christening, and when I arrived over a hundred people milling around outside waiting to go in, inside musclebound dads and orange mums tried to control their children as the service drew to an end.
I decided even if the service ended, the church would be too crowded to properly photograph, so I left to visit the next church on the list.
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A hugely interesting and curiously little known church, although to those familiar with its location it is `the church in the orchards`. Starting life in the Norman period - a delightful capital survives in the south aisle - it was much extended in the thirteenth to fifteenth centuries. The latter is represented by the west tower which shows the familiar local peculiarity of banded flint and ragstone (see also Higham and Cliffe). Inside the enormous church one is struck by the amazing amount of medieval wall painting that survives including a huge doom on the east wall of the north aisle and a rather special Christ in Majesty in a niche in the south aisle. The octagonal font has a spectacular wooden cover dating in the main from the seventeenth century. In the north aisle chapel is a brass which (unusually) commemorates two seemingly unrelated men of the fifteenth century, whilst in the centre of the chancel is an Elizabethan brass showing an affectionate mother - a very rare find. The south chapel contains what purports to be the shrine of St Robert of Newington, the village's own saint. There is no doubt that it is medieval but how it survived the Reformation if it was regarded as a shrine, and just who St Robert was will continue to be a mystery.
www.kentchurches.info/church.asp?p=Newington+next+Sitting...
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NEWINGTON.
THE next parish southward from Halstow is Newington, written in Domesday, Newetone, which certainly took its name from its having been raised on the scite of some more antient town, perhaps built in the time of the Romans, of whom there are many vestigia in and about this place. It has the addition of next Sittingborne, to distinguish it from a parish of the same name next Hyth.
THE PARISH of Newington lies for the most part on a flat plain, extending from east to west near two miles, at the edges of which, excepting towards the north, it is surrounded by a range of high hills, most of which are covered with woods, which reach as far eastward within the boundaries of it as the high road leading from Key-street to Detling. The parish is far from being unpleasant, but the unhealthiness of it, occasioned by its being exposed to the noxious vapours arising from the large tract of marshes covered of it, as far as Standgate creek and the Medway, which are blown hither uninterrupted, through the vale, and the unwholesomeness of the water drawn from the wells for culinary uses, throughout it, make it a far from eligible situation to dwell in, and keep it thin of inhabitants, especially of the better sort; in the centre of the above plain, though on a small rise is the village, called Newington-street, containing about fifty houses, most of them antient and ill built, it is encircled by orchards of apples and cherries. In the street almost opposite to the lane leading southward to Stockbury is the old manor house of Lucies, now inhabited by a shopkeeper, and in another part of it is another oldtimbered building, much of it now in a decayed state, belonging to the estate here of Sir Beversham Filmer; bart. formerly of the Troughton's, and before that the residence of the Holbrook's.
Here was, as appears by a presentment made of the customs, &c. of the queen's manor and hundred of Milton, in 1575, a market, held weekly on a Tuesday, but the disuse of it has been beyond memory. At a small distance northward is the vicarage, and a quarter of a mile further on the parsonage and church, and close to the church-yard the manor-house of Tracies. At no great distance north-west from hence there is a spring, which produces a fresh stream, and runs from thence northward, having a small breadth of swampy poor meadow or marshes on each side, till it empties itself into the creek at Halstow, as has already been mentioned in the description of that parish.
The high road from London to Canterbury and Dover, runs across this parish, and through Newington-street, at a small distance southward from which, in the road to Stockbury, is the manor house of Cranbrooke, and about half a mile further, the ground still rising to it, the hamlet of Chesley-street, corruptly so for Checheley-street, as appears by the will of Robert Bereforth, anno 13 Edward IV. who lies buried in this church, and stiles himself of Checheley-street, devising by it his principal tenement called Frognal, and his other called Patreches, in this parish, to his three daughters and coheirs. On a green close to this hamlet there is a handsome sashed house, built not many years ago by Robert Spearman, esq. lessee of the possessions of Merton college, in this parish, in which he resides.
The parish contains about thirteen hundred acres of land, exclusive of about two hundred acres of wood, great part of it, especially in the environs of the street, was formerly planted with orchards of apples, cherries, and other kind of fruit, but these falling to decay, and the high price of hops yielding a more advantageous return, many of them were displanted, and hops raised in their stead, the scite of an old orchard, being particularly adapted for the purpose, which, with the kindliness of the soil for that plant, produced large crops of it, insomuch that there has been one particular instance here of an acre having grown after the rate of thirtyfour hundred weight of hops on it, but these grounds wearing out, and hops not bearing so good a price, tother with other disadvantages to the growers of them, orchards are again beginning to be replanted in Newington, to which these grounds afford a good nursery, till the trees by their increased size are less liable to hurt, though the hop grounds in it are still very considerable.
The soil of this parish on the plain, and towards Chesley, is very rich and fertile, consisting in general of a kindly loam, near and on the hills it is mostly a stiff clay, and to the northward of the street it becomes a sand, where on the hills it becomes poor land, and much covered with broom and furze. This tract of land called from thence Broomdown, belong most of it, as does much other land in this parish, to All Souls college, as part of their manor of Horsham, in Upchurch; in the parts near Chesley-street, at some depth, they come to the chalk, which by means of draw wells is obtained for the manure of their lands. On the continued chain of hills, from the north-east to the south-east boundaries of this parish, there are large tracts of woodland, in which are great plenty of chesnut stubs, no doubt the indigenous growth of them, these join to others of the like sort, reaching for several miles southward, those in this parish and its neighbourhood, being from the great plenty of the above wood in them, commonly known by the name of Chesnut woods, a large tract of them, within the bounds of this and the adjoining parishes, reaching as far as the turnpike road leading from Key-street to Detling, belong to the earl of Aylesford. The rents in general are high, great part of the lands being let from fifteen to twenty shillings per acre and upwards.
THE ROMAN ROAD, having crossed the river Medway at Chatham, is still visible on the top of Chathamhill, the hedge on the north side of the great road from thence to Rainham standing on it, from which place hither it seems to run on the southern side of the road, till within a very small distance of Newington-street, where it falls in with the great road, and does not appear again till it has passed Key-street, a mile and a half beyond it.
The name of Newington, as has already been mentioned, implies its having been built on, or in the lieu of, some more antient town or village; the names of places in and about it, plainly of Roman original, shew that nation to have had frequent dealings hereabouts. Keycol-hill at the 38th mile stone seems to be the same as Caii Collis, or Caius, Julius Cæsar's hill; Keystreet beyond it, Caii Stratum, or Caius's street; and Standard-hill, about half a mile southward of Newington-street, seems to have taken its name from some military standard having been placed on it in those times.
On Keycol-hill above-mentioned, at a small distance northward from the great road, is a field, in which quantities of Roman urns and vessels have continually been turned up by the plough, and otherwise, and the whole of it scattered over with the broken remains of them, from whence it has acquired the name of Crockfield. The soil of it is mostly sandy, excepting towards the north west part of it, where it consists of a wet and stiff clay.
The situation of this field is on an eminence, higher than the surrounding grounds, commanding a most extensive view on every side of it; a little to the southwest of it, in the adjoining field, there is a large mount of earth thrown up, having a very broad and deep foss on the south and west sides of it, from whence there seems to be a breast-work of earth thrown up, which extends in a line westward about forty rods, and thence in like manner again northward, making the south and western boundaries of the two fields next below Crockfield, above-mentioned.
The greatest part of the northern sides of these fields, and the eastern side of Crockfield, are adjoining to the woods, in which there are many remains of trenches and breast-works thrown up; but the coppice is so very thick, that there is no possibility of tracing their extent or form, so as to give any description of them. These vessels have been found lying in all manner of positions, as well sideways as inverted, and frequently without any ashes or bones in them, quite empty; and this has induced many to think this place to have been only a Roman pottery, and not a buryingplace, especially as some of them lay in that part which is a stiff, wet soil, and others in the dry and sandy part of it.
Notwithstanding which, several of our learned antiquarians, among which are Somner, Burton, archbishop Stillingfleet, Battely, and Dr. Thorpe, are inclined to six the Roman station, called in the second iter of Antonine, Durolevum, at or near this place. Indeed most of the copies of Antonine make the distance from the last station Durobrovis, Rochester, to Durolevum xiii or xvi miles, which would place it nearer to Greenstreet, or Judde-hill, a little on the western side of Ospringe; but the Peutingerian tables make it only vii, in which Mr. Somner seems to acquiesce, and it answers tolerably well to this place. If this distance of miles is correct, no doubt but Newington has every circumstance in its favor, to six this station here, if the number of xvi should be preferred, full as much may be said in favor of Judde-hill, or thereabouts; every other place has but mere conjecture, unsupported either by a knowledge of the country, or by any remains of Roman antiquity ever discovered in or near it.
The urns and vessels found here were first taken notice of in print by the learned Meric Casaubon, prebendary of Canterbury, whom Burton stiles incomparable for his virtues and learning, who, in his notes on his translation of the emperor Marcus Antoninus's Meditations, gives an account of the remains found in Newington, which contains many curious particulars relating to the custom of burial, though of too copious a nature to be wholly inserted in this work.
Among other observations he says, that not only the great numbers of these urns, for he does not remember an instance of so many having been found, in so small a compass of ground, was remarkable, but the manner of their lying in the ground; for those who had been present at the digging of them up observed, that where one great urn had been found, several lesser vessels had been likewise, some of them within the great one, and others round about it, each covered either with a proper cover of the like earth as the pots themselves were, or else more coarsely, but very closely, stopped up with other earth. Hence he infers that the custom seems to have been, to appoint one great urn to contain the bones and ashes of all one houshold or kindred, as often therefore as any of them died, so often they had recourse to the common urn, which was as often uncovered for the purpose.
Besides the great and common urn, it is likely that every particular person that died, had some lesser one particularly dedicated to his own memory, and it is not improbable, that there might be still another use of them, and that not an unnecessary one, which was, that by them the common greater urns might be the better known and distinguished one from another, being so much alike in shape and size, in so small a compass of ground, and so near each other; and it seems more likely, as of the many hundreds of the lesser fort which have been taken up, scarce any have been found of one and the same making. What this place has been many would certainly be glad to know; thus much may at least be concluded, that from the multitude of urns, it was once a common burial-place for the Romans, and that from the situation of it, which is upon an ascent, and for some space beyond it hilly, not far from the sea, and near the highway, it may be affirmed with great probability, that this place was once the seat of a Roman station. (fn. 1) Thus far Mr. Casaubon.
¶The great numbers of urns, and the fragments of them, found at this place from time to time, have been dispersed among the curious throughout the county, many of whom have, through curiosity and a fondness for antiquarian knowledge, dug here for that purpose. The last earl of Winchelsea searched here several times for them with success, and had a numerous collection of them; among others, one of the larger ones, which was dug up here, and held twenty-four pints, came into the hand of Dr. Battely, who says, it was dug up among many urns here, being a vessel not to hold the bones, but to be filled with wine, being pitched on the inside, which was usually done for that purpose. It had four handles, by which it might be plunged into the earth, and raised up again whenever there was oc casion, which was of no use to a sepulchral urn, which there was a religious dread of removing; it being their custom to extinguish the funeral pile with wine, to wash the bones, to sprinkle the sepulchres in their funereal sacrifices, and to pour it out as an offering to the funereal gods.
Another of these urns, which held near a bushel, came into the possession of John Godfry, esq. of Norton-court, and another into the hands of Mr. Filmer Southouse; the figures of each of which may be seen in an engraved plate in the folio edition of this history, vol. ii. p. 562.
EWINGTON is within the ECCLESIASTICAL JURISDICTION of the diocese of Canterbury, and deanry of Sittingborne.
The church, which is dedicated to St. Mary, is a handsome building, consisting of three isles and two chancels, with a square beacon tower at the west end. On the north side of the high chancel is the lower part of a square tower, which reaches at present no higher than the roof of the church, where it has a flat covering. There was some good painted glass formerly in the windows of this church, and among others, the arms of Leyborne, Azure, six lions rampant, three, two, and one, argent; of Northwood; of Lucy, as well with the croslets as without; of Burwash; Diggs impaling Monins; Norton impaling Northwood; Beresford; Diggs; Horne; of the cinque ports; of the see of Canterbury; of archbishops Becket and Warham; of Holbrooke, and of Brooke.
The south chancel of this church belongs to the parish, who keep it in repair. In it were, till within these few years, among many others now defaced, memorials of Brian Diggs and his wife, anno 1490; of Thomas Holbrook, gent, anno 1587; of Francis Holbrook, gent. of this parish, in 1581, and a tomb for Sir John Norton. A stone, with the figure of a woman, and an inscription in brass for Mary Brook, alias Cobham, widow of Edward Brook, alias Cobham, esq. obt. 1600.
Against the north wall of this chancel is a monument for Joseph Hasted, gent. of Chatham, obt. 1732, possessed of a good estate in this parish. His remains, with those of his wife Catherine, daughter of Richard Yardley, gent. lie deposited in one coffin, in a vault under this chancel, in which are likewise the remains of their only son and heir Edward Hasted, esq. of Hawley, near Dartford, obt. 1740; of Anne, his only daughter, widow of captain James Archer, and of George Hasted, gent. obt. 1787, adolescens optimæ spei, the third son of the editor of this history.
The church of Newington was given in the 25th year of Henry II. anno 1178, to the abbey of Westwood, alias Lesnes, in Erith, then founded by Richard de Lucy, which gift was confirmed, among other possessions of that monastery, by king John, in his 7th year.
¶Notwithstanding which the abbot and convent of St. Augustine's, Canterbury, to whom part of the manor of Newington had come in the above-mentioned reign, as has been already related, claimed this church from time to time, as having been given to their monastery by Richard de Lucy above-mentioned. After much dispute, during which Thorne, their chronicler, says, the abbey of St. Augustine kept possession of it, it was at last, by the interposition of their common friends, agreed between them, that the abbot of St. Augustine's should release to the abbot of Lesnes all right to the advowson of this church, for which the latter agreed to make a recompence in other matters, as mentioned in the agreement. (fn. 10) The abbot and convent of Lesnes, having thus gained the firm possession of this church, obtained a confirmation of it from the several succeeding kings, and it remained part of the revenues of their monastery till the final dissolution of it, in the 17th year of Henry VIII. when, being one of those smaller monasteries which cardinal Wolsey obtained of the king that year, for the endowment of his colleges, it was surrendered into the cardinal's hands, to whom the king granted his licence next year, to appropriate and annex this church of Newington, among others, of the cardinal's patronage, to the dean and canons of the college founded by him in the university of Oxford, &c. But this church remained with them only four years, when the cardinal being cast in præmunire, all the estates of the college, which had not as yet been firmly settled on it, were forfeited to the crown.
How long this appropriated church, with the advowson of the vicarage, remained in the crown, I have not found; but at the latter end of queen Elizabeth's reign, it was become part of the possessions of the royal college of Eton, in Buckinghamshire, where it continues at this time.
The parsonage is leased out from time to time on a beneficial lease. The advowson of the vicarage, the provost and fellows keep in their own hands.
The glebe land belonging to the parsonage contains twenty-two acres, and upwards. The family of Short were for many years tenants of it.
The vicarage is valued in the king's books at 14l. per annum, and the yearly tenths at 1l. 8s. It is now of the clear yearly certified value of seventy-two pounds.
In 1578 the dwelling-houses in this parish were seventy-seven. Communicants two hundred and thirty-six. In 1640 it was valued at seventy pounds. Communicants two hundred and five.
The glebe land belonging to the vicarage, consists of only one acre, besides the homestall. The annual value of the vicarage is very precarious, owing to the income of it arising much from fruit and hops, the latter of which have of late years much increased the value of it.
Mars: it only comes close enough to image properly every couple of years and the last time it was this close I was very new to imaging and I was using a hacked webcam rather than my ZWO ASI120 MC imaging camera. So this is the first time I've been able to capture the planet with anything like a reasonable amount of detail. It's been a long wait but I'm pleased with the result and hope to image it some more in the very brief time we have before it gets too far away again. Mars is in opposition on 22 May 2016 (when Earth is between it and the Sun) and reaches perigee (when it is closest to Earth) on 30 May 2016. After that date it will rapidly become fainter and appear very much smaller once again...but for the moment it is lovely and bright and noticeably red as it dominates the night sky.
This image was made from 1000 frames of video.
Captured with FireCapture
Processed in PIPP, Registax, and Photoshop
Equipment:
Celestron NexStar 127 SLT
Alt-Az Mount
ZWO ASI120 MC imaging camera
x3 Barlow lens
I have been to St Mary of Charity before. But that was many years ago.
Back then, I took three shots inside. I took 300 today.
St Mary is a huge church with a Victorian tower with the most amazing spire, which makes it visible from just about all over the town.
Faversham is best know as being home to Shepherd Neame brewery, it claims to the England's oldest surviving brewer.
The town sits on the edge of the Swale, with a large expanse of marshes and creeks between the town and open water.
We parked on wide Abbey Street, and while Jools went shopping, I walked along side the old brewery buildings to the church, with the tower and spire straight ahead along a street of terraced houses.
The church was open, though I got shouted at for not closing the glass door properly. This was from the group of people partaking in the weekly coffee morning.
The looked at me as I went round the large church, snapping details and marvelling at the single painted pillar.
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An extraordinary building comprising a medieval chancel and transepts, eighteenth-century nave and nineteenth-century tower and spire. Despite heavy-handed restorations of the nineteenth century - by Sir George Gilbert Scott and Ewan Christian in 1873 - which have resulted in loss of character, there is much to see. The fourteenth-century transepts are aisled - a most unusual feature in an ordinary parish church. The medieval authorities probably decided to invest in a lavish building to counteract the pulling power of the famous abbey which stood to the east. One of the pillars of the north transept has a series of contemporary small paintings of biblical scenes. You are advised to take a pair of binoculars to see them to advantage. The stalls in the chancel have misericords with a good selection of carved armrests, and there is also a crypt and an unforgettable east window of 1911.
www.kentchurches.info/church.asp?p=Faversham+1
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THE PARISH AND TOWN OF FAVERSHAM.
CALLED, according to Lambarde, in Saxon, Fafresham, and Fafresfeld, in the record of Domesday, Favershant, and in some few others, Fefresham.
THE PARISH lies adjoining to the high London road southward at the 47th mile-stone, and extends to the creek on the opposite side of the town, the houses on the south side of which reach to within two hundred yards of the road, whence there is a good view into it.
The parish includes the north side of the London road from the above mile-stone westward, almost as far as the summit of Judde-hill, and the liberties of the town extend as far of this space westward as the rivulet in Ospringe street. Thus this parish intervenes, and entirely separates that part of Ospringe parish, at the northern boundary of it, in which are the storekeeper's house of the royal mills, and part of the offices and gardens belonging to it, and some of the mills themselves, and in the town likewise, Ospringe parish again intervening, there is a small part of West-street which is within that parish. At the east end of Ospringe-street, though within Faversham parish, and the liberties of the town, close to the high London road, there is a handsome new-built house, erected not many years since by Mr.Bonnick Lypyeatt, who resided in it till his death in 1789. He left two daughters his coheirs, one of whom married Mr.C.Brooke, of London, and the other Captain Gosselin, of the Life-guards. It is now occupied by John Mayor, esq.
¶The rest, or northern part of the parish lies very low, and adjoins the marshes, of which there is a very large tract. The country here is a fine extended level, the fields of a considerable size, and mostly unincumbered with trees or hedgerows, the lands being perhaps as fertile and as highly cultivated as any within this county, being part of that fruitful value extending almost from Sittingborne to Boughton Blean, so often taken notice of before. The grounds adjoining the upper parts of the town are mostly hop plantations, of a rich and kindly growth, but several of them have lately given place to those of fruit. About twenty years ago the cultivation of madder was introduced here, and many induced by the prospect of great gains, made plantations of it at a very considerable expence, and a mill was erected for the purpose of grinding the roots, but from various disappointments, and unforeseen disadvantages, the undertakers of it were deterred from prosecuting the growth of it, and I believe they have for some time entirely discontinued it.
At the south-east extremity of this parish, as well as in other particular parts of this county, there are several chalk-pits, the most noted of these being called Hegdale pit, of a great depth, which though narrow at the top, yet more inward are very capacious, having, as it were, distinct rooms, supported by pillars of chalk. Several opinions have been formed concerning the intent and use of them, some that they were formed by the digging of chalk, for the building of the abbey, as well as afterwards from time to time, for the manuring of the neighbouring lands; others that the English Saxons might dig them, for the same uses that the Germans did, from whom they were descended, who made use of them, according to Tacitus, as a refuge in winter, as a repository for their corn, and as a place of security, for themselves, their families, and their property, from the searches of their enemies. (fn. 1)
Near the west end of the bridge, opposite the storekeeper's house of the royal powder-mills, there is a strong chalybeate spring, which on trial has been proved to be nearly equal to those of Tunbridge Wells. (fn. 2)
In the year 1774, a most remarkable fish, called mola salviani, orthe sun-fish, was caught on Faversham Flats, which weighed about nineteen pounds and a half, and was about two feet diameter. It is a fish very rarely seen in our narrow seas. (fn. 3)
THE TOWN ITSELF, and so much of the parish as is within the bounds of the corporation, is subject to the liberties of it, and of the cinque ports, and is exempt from the jurisdiction of the hundred of Faversham; but the rest of the parish, together with the rectory, is within the liberties of that hundred, which has been always esteemed as appurtenant to the manor of Faversham.
Although from the several discoveries which have been made of Roman antiquities in this neighbourhood, it is plain, that it could not be unknown to that nation, during their stay in this island, yet there is no mention made of this place by any writer during that period; and it seems, even in the time of the Saxons, to have been a place of but little consequence, notwithstanding it was then a part of the royal demesnes, as appears by a charter of Cenulph, king of Mercia, anno 812, wherein it is stiled the king's little town of Fefresham; and in one of Athelwolf, king of the West Saxons and of Kent, anno 839, where it is said to be made, only, in villa de Faverisham. However, it was of note sufficient, perhaps as being the king's estate, even in the time of king Alfred, at the first division of this county into those smaller districts, to give name to the hundred in which it is situated. Lambarde, Camden, and Leland say, that king Athelstan held a parliament, or meeting of his wife menat Faversham, about the year 903, (no doubt for 930) in which several laws were enacted. (fn. 8)
FAVERSHAM continued part of the antient demesnes of the crown of this realm at the time of the taking of the general survey of Domesday, in which it is entered, under the general title of Terra Regis, that is, the king's antient demesne, as follows:
In the lath of Wivarlet, in Favreshant hundred, king William holds Favreshant. It was taxed at seven sulings. The arable land is seventeen carucates. In demesne there are two. There are thirty villeins, with forty borderers, having twenty-four carucates. There are five servants, and one mill of twenty shillings, and two acres of meadow. Wood for the pannage of one hundred hogs, and of the pasture of the wood thirty-one shillings and two pence. A market of four pounds, and two salt-pits of three shillings and two-pence, and in the city of Canterbury, there are three houses of twenty-pence belonging to this manor. In the whole value, in the time of king Edward the Confessor, it was worth sixty pounds all but five shillings, and afterwards sixty pounds, and now it is worth four times twenty pounds.
¶The manor of Faversham, with the hundred appurtenant to it, remained part of the possessions of the crown till about the beginning of king Stephen's reign, when it was granted to William de Ipre, a foreigner, whom, for his faithful services against the empress Maud, the king, in his 7th year, created Earl of Kent; but within a few years afterwards, resolving to found an abbey here, he, with his queen Matilda, about the year 1147, exchanged the manor of Lillechirch, and other premises, for this manor and hundred, where they, at the latter end of that year, or the beginning of the year after, founded an abbey at a small distance from the town of Faversham, on the north-east side of it, for the space where Court, or Ab bey-street now stands was then unbuilt, and this was therefore, in the reign of Edward III. distinguished by the name of the New Town, as the rest of it, built before, was by that of the Old Town, and they appointed Clarembald, the prior of Bermondsey, to be abbot of this new foundation, which was dedicated to St. Saviour, and for their support, the king granted to him and the monks of it, twelve of whom had been removed with Clarembald for this purpose from Bermondsey, which priory was of the order of Clugni, the manor of Faversham, with its appurtenances, and other premises, in perpetual alms, with many liberties, as may be further seen in the charter itself. (fn. 9)
HE TOWN OF FAVERSHAM is within the limits of the cinque ports, being esteemed as a limb or member of the town of Dover, one of those ports. Of what antiquity these ports and antient towns are, when enfranchised, or at what times their members were annexed to them, has not been as yet, with any certainty, discovered; and, therefore, they are held to enjoy all their earliest liberties and privileges, as time out of mind, and by prescription.
It is, however certain, that at the time of king Edward the Consessor, the five ports were enfranchised with divers liberties, privileges, and customs, peculiar to themselves; for the better conducting of which they had the establishment of one grand court, called the court of Shipway, from its being almost always held at a place of that name near Hyth; in which the general business relating to the whole community was transacted before the warden, as principal and chief over them. Nevertheless, though they acted here jointly, like a county palatine as to the government, for the desence of the liberty of the whole, yet every particular corporation in each town acted severally and distinctly, according to its own privileges, charters, and customs within their own particular limits, without any controul or interference from this court, or the rest of the community. (fn. 20)
The five ports, as being from their situation most exposed to the depredations of enemies, were first incorporated for their own mutual defence, and were afterwards endowed with great privileges, for the public desence of the nation, and the king's service. The force they were enjoined to raise and keep in residence for this purpose was fifty-seven ships, properly furnished and accoutred for a certain number of days, to be ready at the king's summons, at their own charge, and if the state of affairs required their assistance any longer, they were paid by the crown. But because the expence was in after times found to be too burthensome for these five ports, several other towns were added as members to them, that they might bear a part of the charge, for which they were recompenced with a participation of their privileges and immunities. All which were confirmed to them by Magna Charta, by the name of the barons of the five ports, and again by one general charter by king Edward I. which, by inspeximus, has received confirmation, and sometimes additions, from most of the succeeding kings and queens of this realm.
¶FAVERSHAM, stiled both a town and a port at different times in antient records, isa corporation by prescription. In the oldest charter now remaining, which is that of the 36th year of king Henry III. wherein the members of it are stiled, according to the usual language of those times, barons, that is freemen, there is contained a confirmation of all their former antient rights and privileges. In the 42d year of the above reign, which is as far as can be traced by evidence, the jurisdiction of this town was then in a mayor or alderman, and twelve jurats. In a charter of Edward I. the barons of it are acknowledged to have done good services to him and his predecessors, kings of England; and in the 21st year of that reign, there is an entry of the mayor and jurats assembling in their hallmote, or portmote-court, as it is elsewhere called, together with the lord abbot's steward, and there sealing a fine with the town's seal, of a messuage and garden in Faversham, according to the use and custom of the court, by which it is evident, that this court was of some antiquity at that time. (fn. 21)
Faversham is within the ECCLESIASTICAL JURISDICTION of the diocese of Canterbury, and deanry of Ospringe.
The church, which stands close to the east side of the town, was dedicated to the assumption of our lady of Faversham. It is built in the form of a cross, of flints, with quoins of ashler stone. It had, until 1755, when it was taken down, a large square castellated tower in the middle of it, and there remains now another low tower at the north side of the west front, upon which is erected a frame of timber, covered with shingles. So long ago as king Henry the VIIth.'s reign, there seems to have been no steeple to this church, for in 1464, Edward Thomasson, of this town, gave sixty pounds towards the edifying of a new one to it; (fn. 31) and of later time, James Lawson, esq. a wealthy inhabitant of this town, who died in 1794, gave by his will 1000l. for the same purpose, with this sum, together with 500l. given by the corporation, and the remainder payable by a rate, a steeple, seventy-three feet high above the tower, with pinnacles at each corner of it, on the plan of St. Dunstan's in the East, has been erected, and is now nearly compleated, at the expence of 2500l.
Behind the tower, within the outer walls, is a strong timbered room, formerly called the tresory, in which, before the reformation, were carefully deposited the goods and ornaments of the church; over it was the chamber for the sextons. On the south side of the west front is a room, formerly open to the church, in which was taught reading and writing; under it is a neat chapel, with stone arches, supported by three pillars in the middle. Over the south porch there is another stone room, the window of which is grated with strong iron bars.
Mr. Henry Hatch, whose extensive charity to this town has already been mentioned, by will in 1533, gave a sum of money, at the discretion of the mayor, and his brethren, in making a new jewel-house for this church.
In 1440 there were placed in it five new bells, and in 1459 a sixth was added; these remained till 1749, when they were cast into a new peal of eight.
The church seems to have been built in the latter end of the reign of Edward I. or the beginning of the reign of Edward II. by a silver penny of one of those kings being found under the basis of one of the piers, which supported the middle tower. In the east window of the great chancel, were some time since remaining two shields of arms, viz. Gules, two lions passant-guardant, or a label of five points, azure; and Argent, a lion rampant, sable, within a bordure of the second, bezante.
In the year 1754, the body of the church, as well as the roof of it, on a survey, being deemed in a dangerous state, a faculty was obtained to pull it down, which was accordingly done, under the plan and directions of Mr. George Dance, of London, architect, at the expence of 2300l. besides which, 400l. was afterwards expended in an organ, and 100l. more in other ornaments, and ninety pounds in improving the great chancel, which through age was become very unsightly; so that the whole of it is now made equal to, if not the most elegant and spacious, of any parish church in this county, and is extensive and spacious enough to afford convenient room for all the parishioners of it.
¶When this church was new built, and the body and isles new paved, the grave-stones, many of which were antient, with brasses on them, were removed from the places where they lay, to other open and consipicuous parts of it. Among the monuments were those for Henry Hatche, merchant adventurer, 1533; Thomas Mendfield, 1614, John Fagg, esq. 1508, and one for Thomas Southouse, esq. 1558, who wrote the Monas tion Favershamiense. Both monuments and epitaphs are by far too numerous to insert in this place, they may be found at large in Weever's Funeral Monuments, in Lewis's Appendix to his History of Faversham Abbey, and in Harris's History of Kent. Besides which there is in the Appendix to Jacob's History of Faversham, a chronological list of such persons as have been known to have been buried in it.
This church measures from east to west, including the chancel, one hundred and sixty feet, the width of the body sixty five feet; the length of the isles from north to south one hundred and twenty-four feet, and their width forty-six feet.
Before the reformation, besides the high altar in the great chancel, there were two chapels, one dedicated to the Holy Trinity, and the other to St. Thomas, and there were several altars in the isles and chancels.
The Archibald Fountain, properly called the J. F. Archibald Memorial Fountain, widely regarded as the finest public fountain in Australia, is located in Hyde Park, in central Sydney, New South Wales.
It is named after J. F. Archibald, owner and editor of The Bulletin magazine, who bequeathed funds to have it built. Archibald specified that it must be designed by a French artist, both because of his great love of French culture and to commemorate the association of Australia and France in World War I. He wished Sydney to aspire to Parisian civic design and ornamentation. The artist chosen was François-Léon Sicard.
Sicard was one of the foremost sculptors of his day, a classically educated artist, whose inspiration was derived, at least in part, from his study of classical Greek and Roman art and literature. In submitting his proposal for the design of the sculptural groups, Sicard wrote: "Apollo represents the Arts (Beauty and Light). Apollo holds out his right arm as a sign of protection, and spreads his benefits over all Nature, whilst he holds the Lyre in his left hand. Apollo is the warmth which vivifies, giving life to all Nature. At the touch of his rays, men awake, trees and fields become green, the animals go out into the fields, and men go to work at dawn.
"The ancient Pliny adored the sun, symbol of Life. It is on this account that I wished this figure to be the chief one in the memorial.
"At Apollo's feet the star of day is indicated by a semicircle, of which the rays spread out in jets of light (the rising sun). The horses' heads represent the horses of Apollo's chariot. Out of their nostrils the water will fall into the first basin, to fall from there into the second, and run away into the large basin.
"The large basin is divided into three groups. One represents Diana, goddess of purity, of peaceful nights, symbol of charity; the ideal which watches over mortals - all that stands for poetry and harmony. The second group symbolises the good things of the earth - it is the young god of the fields and pastures, of the pleasure of the countryside. The third group represents sacrifice for the public good. Theseus, vanquisher of the Minotaur. The spirit triumphs over bestiality. Theseus delivers his country from the ransom which it had to pay to this monster. It is the sacrifice of himself for the good of humanity. Between these groups tortoises throw jets of water. The fountain is electrically illuminated and floodlighted at night.
"It depicts Apollo, representing beauty and the arts, on a central column holding out his right arm as a sign of protection over all nature. On the three plinths radiating from the central column there are figures representing Diana, the goddess of purity; a group representing the good things of the earth; Theseus slaying a Minotaur, representing the sacrifice for the good of humanity."
The fountain was unveiled on 14 March 1932
Hyde Park, the oldest public parkland in Australia, is a 16.2-hectare (40 acres) park in the central business district of Sydney, New South Wales.
Hyde Park is on the eastern side of the Sydney city centre. It is the southernmost of a chain of parkland that extends north to the shore of Sydney Harbour via The Domain and Sydney's Royal Botanic Gardens. Hyde Park is approximately rectangular in shape, being squared at the southern end and rounded at the northern end.
The centrepiece of Hyde Park is the Archibald Fountain. The fountain was designed by François-Léon Sicard and donated by J.F. Archibald in 1932 in honour of Australia's contribution to World War I in France. Also at the northern end are the Nagoya Gardens featuring a giant outdoor chess set and the entrance to the underground St James railway station.
Wikipedia
Soldiers' National Cemetery
Gettysburg, Pennsylvania
To properly bury the Union soldiers who died at Gettysburg, a "Soldiers Cemetery" was established on the battleground near the center of the Union line. Pennsylvania Governor Andrew Curtin supported the proposal with state funds to purchase the cemetery grounds and pay for the re-interment of Union dead from inadequate gravesites that covered the battlefield.
It was here during the dedication ceremony on November 19, 1863, that President Abraham Lincoln spoke of "these honored dead..." and renewed the Union cause to reunite the war-torn nation with his most famous speech, the "Gettysburg Address".
“Four score and seven years ago our fathers brought forth on this continent a new nation, conceived in liberty, and dedicated to the proposition that all men are created equal.
Now we are engaged in a great civil war, testing whether that nation, or any nation so conceived and so dedicated, can long endure. We are met on a great battlefield of that war. We have come to dedicate a portion of that field, as a final resting place for those who here gave their lives that that nation might live. It is altogether fitting and proper that we should do this.
But, in a larger sense, we can not dedicate, we can not consecrate, we can not hallow this ground. The brave men, living and dead, who struggled here, have consecrated it, far above our poor power to add or detract. The world will little note, nor long remember what we say here, but it can never forget what they did here. It is for us the living, rather, to be dedicated here to the unfinished work which they who fought here have thus far so nobly advanced. It is rather for us to be here dedicated to the great task remaining before us—that from these honored dead we take increased devotion to that cause for which they gave the last full measure of devotion—that we here highly resolve that these dead shall not have died in vain—that this nation, under God, shall have a new birth of freedom—and that government of the people, by the people, for the people, shall not perish from the earth.” ~ Abraham Lincoln
"Peterborough Cathedral, properly the Cathedral Church of St Peter, St Paul and St Andrew – also known as Saint Peter's Cathedral in the United Kingdom – is the seat of the Anglican Bishop of Peterborough, dedicated to Saint Peter, Saint Paul and Saint Andrew, whose statues look down from the three high gables of the famous West Front. Although it was founded in the Anglo-Saxon period, its architecture is mainly Norman, following a rebuilding in the 12th century. With Durham and Ely cathedrals, it is one of the most important 12th-century buildings in England to have remained largely intact, despite extensions and restoration.
Peterborough Cathedral is known for its imposing Early English Gothic West Front (façade) which, with its three enormous arches, is without architectural precedent and with no direct successor. The appearance is slightly asymmetrical, as one of the two towers that rise from behind the façade was never completed (the tower on the right as one faces the building), but this is only visible from a distance.
Peterborough is a cathedral city in Cambridgeshire, England, with a population of 202,110 in 2017. Historically part of Northamptonshire, it is 76 miles (122 km) north of London, on the River Nene which flows into the North Sea 30 miles (48 km) to the north-east. The railway station is an important stop on the East Coast Main Line between London and Edinburgh. The city is also 70 miles (110 km) east of Birmingham, 38 miles (61 km) east of Leicester, 81 miles (130 km) south of Kingston upon Hull and 65 miles (105 km) west of Norwich.
The local topography is flat, and in some places the land lies below sea level, for example in parts of the Fens to the east of Peterborough. Human settlement in the area began before the Bronze Age, as can be seen at the Flag Fen archaeological site to the east of the current city centre, also with evidence of Roman occupation. The Anglo-Saxon period saw the establishment of a monastery, Medeshamstede, which later became Peterborough Cathedral.
The population grew rapidly after the railways arrived in the 19th century, and Peterborough became an industrial centre, particularly known for its brick manufacture. After the Second World War, growth was limited until designation as a New Town in the 1960s. Housing and population are expanding and a £1 billion regeneration of the city centre and immediately surrounding area is under way. Industrial employment has fallen since then, a significant proportion of new jobs being in financial services and distribution." - info from Wikipedia.
Summer 2019 I did a solo cycling tour across Europe through 12 countries over the course of 3 months. I began my adventure in Edinburgh, Scotland and finished in Florence, Italy cycling 8,816 km. During my trip I took 47,000 photos.
Now on Instagram.
CREATING, USING & PROMOTING GOOGLE+ PAGES PROPERLY
(The Ultimate Tutorial - updated) by Gabriel Vasile
Ok, so I've seen a lot of articles about Google+ pages, but none seemed to be complete and I wanted a fast way of understanding, using and promoting Google+ pages. So I made a slideshow to help you out faster then ever with this new Google+ pages. At the bottom of the post you'll find some interesting articles that inspired me.
This is a very long post, so I recommend after you finish the parapraph to look at the slideshow first. After that you can look at 6 GOOGLE PLUS BUSINESS PAGE VIDEOS YOU NEED TO SEE plus.google.com/u/0/106393478695568433143/posts/M2y8H81RnnF and then you can get some deeper understanding by reading the post if you want to or if you're looking for the links in the photos. Now you can just watch the slideshow. If you like it please share it, (then continue reading) and give me some feedback on the original post: plus.google.com/106393478695568433143/posts/HrEJHUA6ECt
TABLE OF CONTENTS
1. Things you need to know about Google+ Pages
2. How To Create a Google+ Page
3. Customizing a Google+ Page
4. Sharing as a Google+ Page
5. Promoting your Google+ Page
6. Targeting your audience with your Google+ Page
7. Using hangouts for your Google+ Page
8. Optimizing your Google+ page for SEO
9. Measuring statistics for your Google+ Page
10. Cool examples of Google+ pages.
I. THINGS YOU NEED TO KNOW ABOUT GOOGLE+ PAGES
Pages can be made for a variety of different entities whereas profiles can only be made for people.
Businesses can have multiple pages, so your product manager, for example, could run a Google+ Page just for his or her product line, while someone else runs the corporate brand. You could also do pages for particular events, though right now, there’s no event-specific type of support
For smaller companies and brands, there is no verification process that certifies your Google+ Page as yours currently. However, when you verify your email that you added in the contact info, it will show you a small verification badge in the contact info section proving that you are the owner of that email.
Pages can’t add people to circles until the page is added first or mentioned.
Google+ Pages automatically unfollow the users that unfollowed the page.
The default privacy setting for elements on your page profile is public.
Pages have the +1 button.
Pages can’t +1 other pages, nor can they +1 stuff on the Web.
Pages can’t play games.
Pages don’t have the option to share to ‘Extended circles’.
Pages don’t receive notifications via email, text, or in the Google bar.
Pages can’t hangout on a mobile device.
Local pages have special fields that help people find the business’ physical location.
II. HOW TO CREATE A GOOGLE+ PAGE
1. Choose an Accessible Gmail Account (optional)
Set up a new gmail account to make it accessible to multiple members of your marketing team (because multiple admins and ownership transfer are not supported yet, however the Google+ team said they're working on it)
2. Click Create a page or go to plus.google.com/pages/create
3. Pick a categoryur business fits into. The categories are as follows:
Local Business or Place
Suitable for: hotels, restaurants, places, stores, services. Requires the primary phone number of the local business, so it can be located on Google Places.
Local businesses get special listings, and it all starts after you choose the “Local” option by entering a phone number.
Product or Brand
Suitable for: apparel, cars, electronics, financial services
Company, Institution or Organization
Suitable for: companies, institutions, organizations, non-profits
Arts, Entertainments or Sports
Suitable for: films, TV, music, books, sports, shows
Other
Suitable if your business doesn't fit into another category
4. Add Info
Next step is entering your business name and website. After this, you have to select an additional category that suits your business. These sub-categories are dependent on the main category you choose.
For example, for "product or brand" you can choose from the likes of food and drink, arts and entertainment, fashion and beauty, home and garden, etc.
You then need to select who can view your Google+ profile. The default is any Google user, or you can restrict this to 18 and older or 21 and older.
5. Tagline and Photo
You have 10 words to summarize your business in the tagline. After you've done this, you can add an image.
6. Get the Word Out
In the next step Google offers you the ability to tell your personal Google+ circles about your new business page. However, you will not do this right now.
Customize your page even further and start sharing a few updates before you begin telling the world about it. Promoting a blank page isn't a great way to convince people that your Page is valuable enough to add to their Circles. So invest some time into optimizing your page and sharing a few links to valuable content before you start promoting it to the masses.
III. CUSTOMIZING A GOOGLE+ PAGE
To go from your personal profile to one of your page, click on the small down arrow under your name.
Edit your page profile by adding an ‘introduction’, contact info and website. To do this simply click on the blue ‘edit profile’ button.
Your bio allows you to put in your entire service offering. Make it count. It even has a full rich text editor so you can bold, underline and italicize your text, input hyperlinks, bulleting and numbers.
Add Scrapbook Photos. To add images to create a ‘photostrip’ effect, click on the blue ‘edit profile’ button and then click ‘Add some photos here’. See how to make the photostrip effect here: www.siliconbeachtraining.co.uk/blog/how-to-customise-your...
If you want to show geo location information in newly uploaded albums and photos, be sure to check the box under the ‘Photo’s’ tab when editing your page.
Set up a short URL or redirect of some kind that’s memorable. For example for my +Creative Web Design page, I will create www.creativewebdesign.ro/+. That will be easier for everybody to share.
IV. SHARING AS A GOOGLE+ PAGE
Make sure you pre-populate your page with content before announcing it to your fans on other networks. That way, they’re more likely to add you to their Google+ Circles when they get to your page.
You can do many of the same things that a personal account can do, including: share photos, share videos, share links, conduct hangouts.
There are currently 2 calls to action for your potential followers, have them ‘circle’ you (or add your brand page to their circles) and +1 your page.
It doesn’t appear that there’s any support for automatically posting to a page. That’s likely to come as part of a future Google+ API release. Google gave no further update on when this is coming.
Unlike Facebook, Google+ Pages is a little more forgiving if you make a typo in a post or suddenly decide you don’t want people to leave comments or share with others – you can edit the post or change that setting AFTER you’ve posted.
Regularly share fresh content, react and respond to your fans, be engaging, and optimize for lead generation. Then measure, adapt your strategy, and optimize your presence based on your own individual results and goals.
You can disable comments on posts you share via your Brand page. When you disable comments on a post, other people will no longer be able to leave comments (but they can still +1 and reshare it). You can also delete a post or disable resharing if that's what you want.
What NOT to do. Don’t spam. Don’t leave comments in other people’s posts asking them to follow your page. Don’t share to often. You will get your page deleted. And probably your personal account as well. I warned you.
V. PROMOTING YOUR GOOGLE+ PAGE
Link up your Google+ Pages on your website using the Badge Maker so that you get the benefit of the rel=publisher tag and make yourself eligible for Google Direct Connect. To get the custom code, click on the ‘Get started’ link on your brand page profile and then go to the ‘Connect your website’ section.
Cross promote on all your other networks. Post a link to your new Google+ page on your other social media, email newsletters, and on your site, inviting followers there to add your page to their circles on Google+.
Post interesting, relevant content; ask questions that get people to comment and engage; and don’t be shy about asking followers to share your posts with their friends.
Post a variety of content. Make use of Google+’s rich display of photos and videos. Google+ displays media in follower’s streams more prominently and pleasingly than Facebook, so it’s a big “plus” here to call attention to your posts.
Engage with followers. Encourage and participate in conversations about your posts.
Ask your employee base to promote your Google+ Page to their networks. This is doubly easy if your employees are using Google+ for Apps, since you can just send an all-system email. If they’re already on Google+, they should circle the company page first.
Display the +1 button everywhere.
Use your mailing list
Make sure that you promote your page off of Google+ with links, drive users to add you to circles and post regularly on your Google+ page and you may have a better chance of accessing Google+ Direct Connect.
VI. TARGETING YOUR AUDIENCE WITH YOUR GOOGLE+ PAGE
Google Plus makes it pretty easy to sort followers into groups (they call them Circles) and send targeted, relevant messages to these smaller audiences. Brands can create robust content calendars with posts intended just for certain cities, ages, gender and languages.
You get to separate your VIPs, Customers, Following, and Team Members into circles. Meaning you can market to just your VIP customers, just your Team members (think “collaboration” or team updates), your Customers, and then anyone you are Following (think prospect customers).
These are just the default circles, but you can target your audience the way you want it. Just ask your followers where they’re from, what they like and so on. The opportunities are limitless. And free of charge.
VII. USING HANGOUTS FOR YOUR GOOGLE+ PAGE
As previously suspected, they’ve recently integrated Google Docs for brand pages (Hangouts with extras)
As a brand page you have the ability to create Hangouts which can be huge to create that community and collaborate with your partners. It’s also a great way, especially for celebrities, to make that connection to their fans.
The “Hangouts with extras” feature has integrated Google Docs, allows you to name your Hangout, share notes and sketchpad, and allows screen sharing for total collaboration.
VIII. OPTIMIZING YOUR GOOGLE+ PAGE FOR SEO
1. Page name, tagline, introduction, keywords
If you are branding your business, put that as your page name. Then add your tagline and about info using keywords you normally use. Your page name will be the title (see the name in the browser tab).Your page name + tagline will be the META description of the page which are important ranking factors
That means you should use keyword rich descriptions. That doesn’t mean you should use keyword stuffing, just name the page so it matches your site/business and write the tagline and introduction as you would write a description for your site – use keywords but write for people telling them what your page is about.
Fill out the “About” section completely. Be sure to mention your keywords in this section when you can. Like other SEO initiatives, be sure to focus on creating useful, engaging content first, then gently inserting keywords when appropriate as a secondary priority.
Be sure to add a link to your website (and other online assets) in your Recommended Links section. Because you can customize the anchor text, you can make these links extra SEO-friendly by including a keyword in the anchor text when appropriate.
Fill out as many of the fields as you can, and be sure to include various types of media (text, photos, video, etc.) so that search engines see a rich experience when they crawl your page.
2. Tag images
You can tag images you add to your page, so for example, if you have a photo with some famous person in your industry, you can tag that person in your page’s photo.
3. Cross promoting. Link to all of the social networks your brand has a presence. You can customize the name of the link as well.
Include a link to your Google+ Page from your corporate website and other assets such as your LinkedIn profile, your blog, and any other websites you have. Building links to your Google+ Page will help it rank on the first page for your brand name and possibly other keywords as well.
Additionally, your website itself should have +1 buttons. Make sure it is easy for people to “+1″ content and share it with their Circles on Google+.
4. Consider creating multiple pages. You can create a page for each individual stores/franchises or line of products, as appropriate.
5. Once your Page is ready to share, start building an audience. Search engines will recognize your popularity as a sign of authority. That authority will translate in to better rankings as well.
6. When sharing photos. Upload photos, and include descriptions for each photo. Where feasible, add a link to a page on your website with more information on the product or item featured in the photo.
7. When sharing videos. You can do the same for videos: upload videos and include transcripts or summaries of the video content for SEO purposes. Link back to your website for more information where you can.
8. When sharing content. Unlike Twitter or Facebook, Google+ gives you the possibility to write very long messages if you want to. Publish content that your fans will find useful and engaging. When a long-form message is appropriate, try to optimize this content like you might optimize a blog post. Individual posts do get their own URL. So if a post goes viral, it is entirely possible that the post itself ranks well in the search engines.
IX. MEASURING STATISTICS FOR YOUR GOOGLE+ PAGE
1. Using Ripples
Ripples show you:
* Number of public and total reshares
* Names of each follower that reshared your post
* Number of direct public reshares from each follower
* Names with links, comments and relative time of most recent followers with reshares
* A timeline to show the progression of the shares
Things to look for:
* Time of day that most reshares occur
* Time of day that your biggest resharers repost. For example, if we were to look at several ripples and see that +Someone to post or repost around the same time each day, we could almost figure out the best times to get him to reshare stuff he likes (assuming he's following you).
* How influential is your topic?
- to which followers?
- at what time of day?
- to how many people?
* Do resharers comments make a difference? Take a look at the right side and see if they added their own comments to the reshare or did the post stand on its own.
* Were most of your reshares a result of a direct share from you or from reshares from other people?
2. Using third-party websites
CircleCount.com allows you to list your Google+ Business Page in the CircleCount directory. They will show you a nice chart, track the number of new followers you get every day and show you the average numbers for your latest postings (comments, +1es, reshares per posting).
They will also show your CircleRank, a nice follower growth simulation on your profile and the most followed Google+ Pages at www.circlecount.com/pages/
Adding yourself to the SocialStatistics.com directory allows you to track your own Google+ profile or page, giving you follower’s statistics and chart. You can see the most followed Google+ Pages at socialstatistics.com/top/pages
10. COOL EXAMPLES OF GOOGLE PLUS PAGES
+adidas Originals
+Google Chrome
+Pepsi
+Mashable
+Android
+TOYOTA
+Fox News
+HootSuite
+Angry Birds
ARTICLES THAT INSPIRED ME:
How to Set Up a Google+ Brand Page
mashable.com/2011/11/08/how-to-google-plus-brand-page/
How to Get Started With Google+ Pages for Business
www.christopherspenn.com/2011/11/how-to-get-started-with-...
How to Create a Google+ Business Page in 5 Simple Steps
blog.hubspot.com/blog/tabid/6307/bid/28624/How-to-Create-...
Google+ Pages, 11 Tips To Get You Started
socialfresh.com/google-pages-11-tips-to-get-you-started/
HOW TO MAKE YOUR GOOGLE+ BRAND PAGE MORE VISIBLE
greatfinds.icrossing.com/how-to-make-your-google-brand-pa...
Complete Guide to Optimizing Your Google+ Brand Page
www.virante.com/blog/2011/11/09/complete-guide-to-optimiz...
Digging Into Ripples by +Dan Soto
plus.google.com/u/0/114122960748905067938/posts/CWpuKNuDQ1g
13 Cool Examples of Google+ Brand Pages
www.dreamgrow.com/13-cool-examples-of-google-brand-pages/
Link to original post:https://plus.google.com/106393478695568433143/posts/HrEJHUA6ECt
Other useful posts: #gvgpUseful
Soldiers' National Cemetery
Gettysburg, Pennsylvania
To properly bury the Union soldiers who died at Gettysburg, a "Soldiers Cemetery" was established on the battleground near the center of the Union line. Pennsylvania Governor Andrew Curtin supported the proposal with state funds to purchase the cemetery grounds and pay for the re-interment of Union dead from inadequate gravesites that covered the battlefield.
It was here during the dedication ceremony on November 19, 1863, that President Abraham Lincoln spoke of "these honored dead..." and renewed the Union cause to reunite the war-torn nation with his most famous speech, the "Gettysburg Address".
“Four score and seven years ago our fathers brought forth on this continent a new nation, conceived in liberty, and dedicated to the proposition that all men are created equal.
Now we are engaged in a great civil war, testing whether that nation, or any nation so conceived and so dedicated, can long endure. We are met on a great battlefield of that war. We have come to dedicate a portion of that field, as a final resting place for those who here gave their lives that that nation might live. It is altogether fitting and proper that we should do this.
But, in a larger sense, we can not dedicate, we can not consecrate, we can not hallow this ground. The brave men, living and dead, who struggled here, have consecrated it, far above our poor power to add or detract. The world will little note, nor long remember what we say here, but it can never forget what they did here. It is for us the living, rather, to be dedicated here to the unfinished work which they who fought here have thus far so nobly advanced. It is rather for us to be here dedicated to the great task remaining before us—that from these honored dead we take increased devotion to that cause for which they gave the last full measure of devotion—that we here highly resolve that these dead shall not have died in vain—that this nation, under God, shall have a new birth of freedom—and that government of the people, by the people, for the people, shall not perish from the earth.” ~ Abraham Lincoln