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The plastic squares are used to delineate a fixed area on the ocean floor, and then survey the animals inside.
Check out Malapascua's fantastic marine conservation NGO People and the Sea:
Our Lady & The English Martyrs, Cambridge
stepneyrobarts.blogspot.co.uk/2013/02/our-lady-english-ma...
Yesterday I revisited St Peter for internals and finished of Cambridge, visiting seven Victorian built churches only one of which, Our Lady & The English Martyrs, is worth writing up.
At first sight I wrote OLEM off as a Victorian Gothic monstrosity but as I wandered around the exterior I was struck by the quality of the building and the interior stunned me with lots of rather good glass and impressive architecture (oh and apart from three revisits, Babraham, Guilden Morden and Stow cum Quy, that finished the north west quadrant).
The Church of Our Lady and the English Martyrs, or OLEM, is situated in the heart of the city of Cambridge. An imposing example of the 19th Century Gothic Revival, it was built to the designs of Dunn & Hansom of Newcastle between 1885 and 1890, and founded solely by Mrs Yolande Marie Louise Lyne-Stephens, a former ballet dancer at the Paris Opera and Drury Lane, London, and widow of a wealthy banker. She promised to build the church on the feast of Our Lady of the Assumption, and Monsignor Christopher Scott - the first Rector - also wished to commemorate the Catholic Martyrs who died between 1535 and 1681, over thirty of whom had been in residence at the University.
Designed by architects Dunn and Hansom of Newcastle and built by the Cambridge firm of Rattee and Kett, OLEM is constructed in Casterton, Ancaster and Combe Down Stone. The church is a traditional cruciform structure in the early-decorated style with a large tower at the crossing, a polygonal apse and a west bell tower with a 65-metre spire, visible for miles around Cambridge. Quite often, it is quoted by visitors and local residents as a location point. The approximate internal dimensions of the church are: length 48 meters [156 ft] width across the aisles 16 meters [51 ft] width at the transepts 22 meters [71 ft], the height of the nave 15 meters [71ft].
Inside and over the west door stands the figure of Our Lady of the Assumption crowned with lilies and standing on the crescent moon with the vanquished serpent beneath. The west window shows the English Martyrs arranged in two principal groups, the clergy on the south side with St John Fisher in their midst and the laity on the north grouped round St Thomas More.
Beside the South aisle is an ancient statue of Our Lady with the Child Jesus. This statue is understood to be a gift in 1850 from Emmanuel College, which was built on the site of a Dominican Priory dating back to 1274. The Church of the Black Friars of Cambridge contained a statue of Our Blessed Lady to which much pilgrimage was had. Although unconfirmed this could be that statue.
The Chapel of the Holy Souls with the book of Remembrance is located at the west end of the south aisle. The sculpture above the altar depicts the solace and relief of the Holy Souls in Purgatory through the intercession of Our Lady and the angel who comforted Our Lord in Gethsemane. The Chapel is now appropriately used at the two great Christian celebrations: at Easter for the Empty Tomb indicating the Risen Lord, and at Christmas for the Crib.
The aisle windows were almost completely destroyed when the church was struck by a bomb on 1941, but were subsequently replaced in their original form. They epitomise the various sufferings of the English Martyrs, their being brought before the Council, racked, hung, drawn and quartered in the sight and sympathy of the faithful. The windows of the north aisle portray Carthusians, St Thomas Moore, B. Margaret Pole and others, while the south aisle is made a “Fisher Aisle”, devoted to scenes from the life of St John, Cardinal Bishop of Rochester, who in so many important ways is identified with Cambridge.
The best general impression of the interior is obtained from the gateway in the iron screen dividing the nave from the ante-chapel. The heads of the four great preachers of Our Lady’s Graces are carved in the four corners of the nave. The windows along the nave represent saints connected with the Church in Britain, arranged approximately in chronological order from east to west with a few additional figures in the eastern windows.
The Rood which is between the nave and the sanctuary is of the type known as “Majestas”; the figure of Our Lord, with glorified wounds, robed in alb, stole and pallium [as High Priest] and crowned [as King “reigning from the Tree”]. This was the earliest type of crucifix; the realistic figure, now almost universal, did not come into general use until the beginning of the thirteenth century. The cross, inspired by that at Nuremberg, is about 6 metres high, carved in oak; the figures of Christ and of Our Lady and of Saint John are of Kauri pine. They were carved locally by Mr. B. Maclean Leach and completed and blessed in 1914.
Beyond the present, modern altar is the High Altar with the relics of Saints Felix and Constantia, martyrs of the early Church. The tabernacle and ornaments of the altar are of exquisite French workmanship from Lyons. The baldacchino which covers the High Altar is similar to that over the tomb of Robert the Wise (1275-1343) at Santa Chiara, Naples. It is one of the earliest forms of adornment of a Christian altar. At the top is the figure of Our Lord in glory supported on each side by angels in act of adoration.
The design and the re-ordering of the sanctuary was done by Mr. Gerard Goalen of Harlow after the Second Vatican Council. On 7th April, 1973, Bishop Charles Grant consecrated the present central. The original High Altar has subsequently been used mainly for reservation of the Blessed Sacrament.
not sure if this is the reason... but this is a full size statue near the University in Halifax, Nova Scotia
The First Quebec Conference (codenamed "QUADRANT") was a highly secret military conference held during World War II between the British, Canadian and United States governments. The conference was held in Quebec City, August 17, 1943 – August 24, 1943. It took place at the Citadelle and at the Château Frontenac. The chief representatives were Winston Churchill and Franklin D. Roosevelt, hosted by Canada's prime minister, William Lyon Mackenzie King.[
The allies agreed to begin discussions for the planning of the invasion of France, codenamed Overlord in a secret report by the Combined Chiefs of Staff. There were also discussions to increase the bombing offensive against Germany and continue the buildup of American forces in Britain prior to an invasion of France. In the Mediterranean (a theatre on which Churchill was very keen) they resolved to concentrate more force to remove Italy from the alliance of Axis Powers and to occupy it along with Corsica.
There were discussions about improving the coordination of efforts by the Americans, British and Canadians to develop an atomic bomb.
It was decided that operations in the Balkans should be limited to supplying guerrillas whereas operations against Japan would be intensified in order to exhaust Japanese resources, cut their communications lines and secure forward bases from which the Japanese mainland could be attacked.
In addition to the strategic discussions, which were communicated to the Soviet Union and to Chiang Kai-Shek in China, the conference also issued a joint statement on Palestine, intended to calm tensions as the British occupation was becoming increasingly untenable. The conference also condemned German atrocities in Poland.
Churchill and Roosevelt also secretly signed the Quebec Agreement to share nuclear technology.
Following the conference, Churchill holidayed at a fishing camp and then, on August 31, 1943, delivered a radio address before travelling by special train to Washington, D.C. to resume talks with Roosevelt. Wikipedia
When taking this photo, I didn't even notice the real rainbow fragment in the sky (upper right quadrant). National Museum of Play (Strong Museum), Rochester.
The Quadrant on Warwick Road in Coventry.
Saw my first plaque here as I arrived in the City Centre. Made a minor detour to have a close look!
It is a Grade II listed building.
1.
5105 THE QUADRANT
WARWICK ROAD
------------
Nos 1 to 4 (consec)
SP 3378 NW 10/334
II GV
2.
Mid C19. Stucco, Welsh slated roof. 3 storeys, 2nd floor entablature with modillion
cornice. Sash windows. Recessed 1 window wing on left; 3 canted 2 storey bay
windows, 1 single storey canted bay on right. 1:3:2:3:2:3:3 windows at 1st floor
level with cast iron balcony railings. Rusticated quoins. Ground and 2nd floor
windows segmental headed, ground floor archivolts, 1st floor eared architraves.
No 4 has rusticated ground£floor, 1st floor segmental headed windows. Included
for group value.
Nos 1 to 10 (consec) form a group.
Listing NGR: SP3324278667
This text is a legacy record and has not been updated since the building was originally listed. Details of the building may have changed in the intervening time. You should not rely on this listing as an accurate description of the building.
Source: English Heritage
Quality Solicitors Mander Hadley at No 1 The Quadrant.
Spotted along Morphett Street during my lunchtime walk. Since I have been looking at the fantastic architecture shots in some Flickr groups, I have been inspired to try more geometric shots.
Taken with iPhone 3GS.
Fraser River, New Westminster, BC Canada
Name:
1992:P.M. (The)
2011cQuadrant Commander
Year Built: 1992
Place:North VancouverArea:BC
Country:Canada
Designer:A.G. McIllwaineMeasurement (imp): 36.0' x 18' x 8.5'
Builder:Pacific Western Shipbuilders Co. Ltd.
Measurement (metric):10.49m x 5.49m x 0.49m
Hull: Steel
Gross Tonnage:9.47
Type 1:Tug
Registered Tonnage:6.44
Engine:2-440bhp diesel engines (1992)
Engine Manufacture: Detroit Diesel Corporation
Propulsion:Twin Screw
In 1992-1993 she was owned by Sabre Marine (1990) Ltd., Prince Rupert BC. In 1999 she was owned by 440191 B.C. Ltd., Prince Rupert BC. In 2001 she was owned by Sabre Marine (1990) Ltd., Prince Rupert BC. In 2011-2019 she was owned by Quadrant Investments Ltd., Coquitlam BC.
Image best viewed in large screen.
Thank-you for your visit, and any comments or faves are always very much appreciated! ~Sonja
Quadrant Flower Cube 6 units
A basic, grid based cube, although interestingly in this design, the units join at the edges of the squares of the paper, rather than at the vertices.
Designed by me.
Folded out of kami paper.
The view from a window sill at one of the Ifugao dwellings in Pat-yay village.
Pat-yay village
Mayoyao, Ifugao
Philippines
Unlike last year’s submissions, when I challenged myself to triple alliterations and puns, this year I simply tried to make a quadrant kaleidoscopes out of each picture from last year. It worked for all but 2 of last year’s photos, so I found 2 new subjects.
The birds of Norfolk & Lord Howe Islands and the Australasian South Polar quadrant :
London :H.F. & G. Witherby,1928.
Now complete with the rather stylish 'cuciform' chimneys. A very short video that will give some idea of the volume of the model.
This is an early GPS - Global Positioning System. It is a Davis Quadrant or Backstaff (astrolabe)
Davis Quadrant or Backstaff. England, brass, boxwood, c. 1700-1725
Advances in navigational instruments facilitated global exploration and trans-oceanic travel. The quadrant measured the distance of the sun or a star, which was used in turn to calculate latitude and the geographic position of a ship. The Davis Quadrant invented by Captain John Davis (c. 1550 - 1605), allowed the observer to avoid looking directly at the sun while measuring. It became the standard navigational instrument of British seaman for the next century and a half.
en.wikipedia.org/wiki/Backstaff
IMG_0921
To be fair, with respect to their analysis, Gartner typically gets it right. Just not this time.
The problem is that SCRM is a relatively new concept with little in terms of real world business application experience. Therefore, the Gartner research is not likely based on empirical knowledge, but on their opinion of the vendors’ solutions and business strategy that was presented to them.
For the few of us that are using SCRM tools as mission critical business solutions, their SCRM Magic Quadrant is more illusion than conclusion. For example, how does Jive manage to secure the top spot on the Quadrant when there isn’t a Vice President of Sales on the planet that will choose them to manage their customer relationship, opportunity, pipeline and forecasting information?
Highbury, Islington, North London.
They say home is where the heart is - mine is definitely in Highbury :)
Our Lady & The English Martyrs, Cambridge
stepneyrobarts.blogspot.co.uk/2013/02/our-lady-english-ma...
Yesterday I revisited St Peter for internals and finished of Cambridge, visiting seven Victorian built churches only one of which, Our Lady & The English Martyrs, is worth writing up.
At first sight I wrote OLEM off as a Victorian Gothic monstrosity but as I wandered around the exterior I was struck by the quality of the building and the interior stunned me with lots of rather good glass and impressive architecture (oh and apart from three revisits, Babraham, Guilden Morden and Stow cum Quy, that finished the north west quadrant).
The Church of Our Lady and the English Martyrs, or OLEM, is situated in the heart of the city of Cambridge. An imposing example of the 19th Century Gothic Revival, it was built to the designs of Dunn & Hansom of Newcastle between 1885 and 1890, and founded solely by Mrs Yolande Marie Louise Lyne-Stephens, a former ballet dancer at the Paris Opera and Drury Lane, London, and widow of a wealthy banker. She promised to build the church on the feast of Our Lady of the Assumption, and Monsignor Christopher Scott - the first Rector - also wished to commemorate the Catholic Martyrs who died between 1535 and 1681, over thirty of whom had been in residence at the University.
Designed by architects Dunn and Hansom of Newcastle and built by the Cambridge firm of Rattee and Kett, OLEM is constructed in Casterton, Ancaster and Combe Down Stone. The church is a traditional cruciform structure in the early-decorated style with a large tower at the crossing, a polygonal apse and a west bell tower with a 65-metre spire, visible for miles around Cambridge. Quite often, it is quoted by visitors and local residents as a location point. The approximate internal dimensions of the church are: length 48 meters [156 ft] width across the aisles 16 meters [51 ft] width at the transepts 22 meters [71 ft], the height of the nave 15 meters [71ft].
Inside and over the west door stands the figure of Our Lady of the Assumption crowned with lilies and standing on the crescent moon with the vanquished serpent beneath. The west window shows the English Martyrs arranged in two principal groups, the clergy on the south side with St John Fisher in their midst and the laity on the north grouped round St Thomas More.
Beside the South aisle is an ancient statue of Our Lady with the Child Jesus. This statue is understood to be a gift in 1850 from Emmanuel College, which was built on the site of a Dominican Priory dating back to 1274. The Church of the Black Friars of Cambridge contained a statue of Our Blessed Lady to which much pilgrimage was had. Although unconfirmed this could be that statue.
The Chapel of the Holy Souls with the book of Remembrance is located at the west end of the south aisle. The sculpture above the altar depicts the solace and relief of the Holy Souls in Purgatory through the intercession of Our Lady and the angel who comforted Our Lord in Gethsemane. The Chapel is now appropriately used at the two great Christian celebrations: at Easter for the Empty Tomb indicating the Risen Lord, and at Christmas for the Crib.
The aisle windows were almost completely destroyed when the church was struck by a bomb on 1941, but were subsequently replaced in their original form. They epitomise the various sufferings of the English Martyrs, their being brought before the Council, racked, hung, drawn and quartered in the sight and sympathy of the faithful. The windows of the north aisle portray Carthusians, St Thomas Moore, B. Margaret Pole and others, while the south aisle is made a “Fisher Aisle”, devoted to scenes from the life of St John, Cardinal Bishop of Rochester, who in so many important ways is identified with Cambridge.
The best general impression of the interior is obtained from the gateway in the iron screen dividing the nave from the ante-chapel. The heads of the four great preachers of Our Lady’s Graces are carved in the four corners of the nave. The windows along the nave represent saints connected with the Church in Britain, arranged approximately in chronological order from east to west with a few additional figures in the eastern windows.
The Rood which is between the nave and the sanctuary is of the type known as “Majestas”; the figure of Our Lord, with glorified wounds, robed in alb, stole and pallium [as High Priest] and crowned [as King “reigning from the Tree”]. This was the earliest type of crucifix; the realistic figure, now almost universal, did not come into general use until the beginning of the thirteenth century. The cross, inspired by that at Nuremberg, is about 6 metres high, carved in oak; the figures of Christ and of Our Lady and of Saint John are of Kauri pine. They were carved locally by Mr. B. Maclean Leach and completed and blessed in 1914.
Beyond the present, modern altar is the High Altar with the relics of Saints Felix and Constantia, martyrs of the early Church. The tabernacle and ornaments of the altar are of exquisite French workmanship from Lyons. The baldacchino which covers the High Altar is similar to that over the tomb of Robert the Wise (1275-1343) at Santa Chiara, Naples. It is one of the earliest forms of adornment of a Christian altar. At the top is the figure of Our Lord in glory supported on each side by angels in act of adoration.
The design and the re-ordering of the sanctuary was done by Mr. Gerard Goalen of Harlow after the Second Vatican Council. On 7th April, 1973, Bishop Charles Grant consecrated the present central. The original High Altar has subsequently been used mainly for reservation of the Blessed Sacrament.
Finally found my way into the house I have been trying to get into. Not sure how much more I can access, but there is a "treasure trove of abandonment" in this small room. I'm not sure which is more limited, the light or the space. Luckily I was able to use the Wi-Fi on the camera, drop the camera in a corner, and shoot from there. I will definitely be going back.
Far from completion, these are simply test shots for a commissioned piece based on the Crescent at Buxton in Derbyshire. In fact the model will portray just a quadrant of a whole circle rather than the semicircle of the inspiration. I've just got the facade put together so far - there will be a squared off building at each end, and of course, as yet there is no roof.
Unlike last year’s submissions, when I challenged myself to triple alliterations and puns, this year I simply tried to make a quadrant kaleidoscopes out of each picture from last year. It worked for all but 2 of last year’s photos, so I found 2 new subjects.
Mainly or exclusively used for the TF two-speed fixed hub, in production from 1933-1942. Maybe used for the TC (1936-42) also, although I have seen a 2-speed trigger for this hub.
The American Littoral Society provided lessons, to 42 students from St. Rose High School, on the characteristics and importance of Wreck Pond and the Wreck Pond Brook Watershed, N.J. The day’s activities included seining, quadrat sampling, and a nature walk focused on documenting biodiversity according to Zack Royle, a Habitat Restoration Technician with the American Littoral Society.
Photo credit: Al Modjeski, American Littoral Society
More project details on Hurricane Sandy website:
www.fws.gov/hurricane/sandy/projects/NJDamRemoval.html
Like us on Facebook: facebook.com/usfwsnortheast
Follow us on Twitter: twitter.com/usfwsnortheast
A pair of very tall brick Observation Towers dating from World War Two stand on Grimston Warren. Both of the quadrant towers are built from four brickwork columns, connected approximately half way up with steel tie rods, the columns are also connected at the top with a concrete ring beam.
Usually there is a concrete superstructure on top, used by the observers, in this case the tower probably held a wooden superstructure attached by bolts to the concrete ring beam sitting on top of the columns. Some of the wooden remains and fixings can be seen. Both of the towers show some concrete foundations at the base indicating where a staircase was mounted for access.
Nearby are some cropmarks of a large circle with a large central ''bullseye'' at reference TF 6780 2214, this is believed to represent the remains of a World War Two bomb target.
INFORMATION BOARD -
This tower and its twin, which can be seen in the distance to the north, were constructed by the army and date from the Second World War.
They were used for artillery training by the Royal Observation Corps. Guns fired shells at a target and observers measured the shell trajectories and determined the accuracy of each shot. The two view points were necessary to pi point the exact position each shell fell.
This tower was entirely hidden within a dense conifer plantation from the 1960’s. It was only the felling of trees in 2009 as part of Norfolk Wildlife Trust's heathland restoration project that has once again revealed the tower. For the first time in decades the original sight-line between the two observation towers has been opened up.
BEWARE ORDNANCE ‼️
There are also the remains of other military features dating from around the time Second World War, including slit trenches, and gun emplacements. Occasionally the remains of shells and other ordnance are found here. Should you find any metal objects which you think may be ordnance please do not handle them but safely mark the location and report your findings to Norfolk Wildlife Trust on 01603 625540.
Information from the Norfolk Wildlife Trust.
A corridor supported by arched colonnades lines the central square of Stanford University, highlighted by the Stanford Memorial Church.
This image was shot from an Olympus OM-10 SLR film camera using a G. ZUIKO Auto-W 1:3.5 f=28mm lens, scanned by an HP Scanjet G4050 and digitally rendered with Photoshop.