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Església de planta rectangular d'una sola nau i coberta amb teulada de teula àrab a doble vessant, rematada a llevant per un absis semicircular precedit d'un arc presbiterial, cobert igualment amb teulada de teula àrab. La porta d'entrada al temple es troba a la façana sud, conservada també de l'edifici original romànic; és d'arc de mig punt, emfasitzada per una arquivolta en degradació i emmarcada per un guardapols motllurat. Aquest guardapols enllaça amb les impostes dels arcs i extradossa les dovelles de l'arquivolta. A la porta d'entrada a l'església, en el coixí esquerre de l'arquivolta exterior i sobre la línia d'imposta, ocupant tot el camp de la dovella, hi ha un grafit en forma de trident que per la seva composició recorda el de l'església de Sant Martí Sadevesa (fitxa 5). Es tracta d'un trident disposat verticalment, amb els tres braços amb la mateixa alçada; en la línia de confluència dels brancals i a cada costat del trident hi ha dues creus de braços iguals. La branca central té l'acabament en forma de creu.
A l'igual que el grafit de Sant Martí Sadevesa, el de Santa Maria de Lavit potser té relació amb el dogma de la Trinitat, a partir de l'època de les prèdiques de Sant Atanasi davant de temples d'observança ariana, durant l'Antiguitat Tardana, en una expressió de religiositat popular conservada fins a l'època romànica (J. Miró i Rosinach, 1981). També és factible considerar aquest grafit com una marca de picapedrer. Un estudi de J. A. Ferrer (1975) fet a partir d'algunes mostres conservades en terres gallegues identifica formes forcades a la seu d'Orense i a la catedral de Santiago de Compostel·la, entre d'altres. També se'n poden trobar alguns exemples a la catedral de Roda d'Isàvena o a la de Tarragona, tots ells semblants, encara que disposats de forma diferent (horitzontal, a dreta o esquerra, o vertical, amunt o avall). En tots els exemples esmentats, a diferència del de l'església de Lavit, mai no apareix el signe cruciforme; però aquest detall no pot fer oblidar la coincidència de les marques en les dues esglésies del terme de Torrelavit relativament pròximes. L'aparell d'aquesta façana és de carreus a penes escairats, disposats en filades uniformes i regulars. És molt més regular en la formació del portal, de carreus de pedra sorrenca, i palesa formes ja avançades de la tecnologia constructiva del romànic. L'interior del temple està reformat modernament, si bé conserva l'estructura arquitectònica que al segle XVIII va fer mossèn Antoni Alzina (1736-1776), consistent principalment en el sobrealçat de l'església, que permet observar el primitiu campanar romànic d'espadanya de dos ulls. L'ampliació de la part de l'absis, on s'ubica actualment l'altar major, dedicat a l'Assumpció de la Mare de Déu, es va fer després de la guerra Civil (1936-1939) . A l'enrajolat actual del terra hi ha una marca corresponent al perímetre del mur original de l'església romànica. Cal destacar també, al mur nord, la capella actualment dedicada a Sant Joan Baptista, que conserva, a la volta, la policromia original del segle XVIII, de l'època del sobrealçament del temple.
Observacions: El recinte actual on s'ubica aquest bé patrimonial forma part del BCIN R-I-51-5746. Aquest BCIN atorga protecció legal a les restes de l'antic castell de Lavit (veure camp "Història"). Les minses restes que queden l'aquesta construcció defensiva no permeten conèixer el perímetre exacte del que va ser el castell.
L'església de Santa Maria de Lavit va néixer estretament vinculada al castell de Lavit, del qual era la capella. El castell de Lavit apareix esmentat l'any 956 en la venda d'un alou feta per Aigone i la seva muller Anlo a Gilmon, dit Ènnyec. El castell fou en els seus orígens de la nissaga de Mir Geribert, el qual l'any 1041 hi presidí un judici en cort sobirana. En morir Mir Geribert el 1060, el castell passà a la seva descendència. Els Santmartí posseïren l'alta jurisdicció del terme fins almenys Guillem V de Santmartí, ja que en el seu testament de 1180 només s'esmenta els béns que té al castell de Lavit. Això sembla indicar que ja no tenia el domini directe del castell. Al mateix temps degué actuar dins el terme una nissaga de castlans. Guillem de la Granada en el seu testament del 1198, en el qual signà com a marmessor Ramon de Lavit, deixà el castell de Lavit a la seva neboda Saurina. Al començament del segle XIV el castell fou adquirit per Eimeric de Bellvei, i poc després, l'any 1365, fou comprat per Joan d'Olzinelles, fill d'un conseller reial. Tot seguit, l'any 1372 el rei va cobrar la jurisdicció del lloc i el castell esdevingué patrimoni reial. Aquesta situació es prolongà per poc temps. L'any 1380, Jaume Desfar, conseller reial, va comprar al rei la jurisdicció. Aquesta família la retingué fins al 1405, data en què va vendre el castell a l'orde de l'Hospital. Aquest orde va concedir un privilegi municipal al lloc de Lavit i va posseir drets sobre el castell fins almenys el 1809. Tanmateix, consta que al segle XVIII l'alta jurisdicció de Lavit era de la corona.
És molt probable que la primitiva església del castell fos consagrada, doncs, per Guislabert, vescomte i bisbe de Barcelona, entre el 1035 i el 1062. Sigui com sigui, a mitjan segle XI el temple estava en construcció. L'any 1030 Ermengarda, mare del magnat de la frontera Mir Geribert, deixà un conjunt de béns que tenia a Lavit per tal que es pogués fer la dedicació de Santa Maria de Lavit. També el 1048 el levita Bonfill, marit de Bonadona, llegà dos mancusos a l'obra de Santa Maria. Es coneixen diversos clergues que regiren aquesta església: Guillem Bernat (1134), Berenguer (1148), o Berenguer de Badalona, que l'any 1170, juntament amb el prevere Ramon, establiren un mas prop de Santa Maria de Lavit. L'església del castell es degué abandonar al segle XIII i se'n construí una de nova, també romànica, damunt les antigues dependències del castell del segle XI. Això es pot deduir de les excavacions que s'han realitzat al subsòl de l'església, ja que hi ha aparegut diversos murs durant les obres de reforma del temple.
The rectangular frame-like object seemingly fastened above the pilothouse of the USS New York (BB-34) in 1938 wasn’t an oversized mattress spring or an early-model solar panel. It was the antenna for the XAF, the first radar set installed on board a major U.S. warship.
Successful tests of the new device—including three months of 20-hour-a-day operation for aircraft detection, navigation, and gunnery practice—convinced the Navy that radar would be a godsend. The awkward-looking, 17-foot-square antenna could reliably detect aircraft as far as 100 nautical miles out and spot surface ships 15 miles away. And it could track projectiles and falling shot while they were in flight.
Suddenly it was practicable to defend an aircraft carrier using fighters. Without radar, the carrier never would have had sufficient warning of an attack, and never would have been able to keep enough fighters aloft continuously to fend off or destroy attackers. Radar solved the problem by making surprise attacks far more difficult. It took several more years for the Navy to understand how to use radar for defense, but when it finally did—in 1943–44, by creating the combat information center—the new technology proved to be the key to victory for America’s fast-carrier task forces. Radar’s greatest triumph in World War II was the “Marianas Turkey Shoot” during the June 1944 Battle of the Philippine Sea, which destroyed Japan’s carrier airpower.
The United States and almost all the other major combatants had independently discovered the radar concept. The Naval Research Laboratory (NRL) began developing pulse radar in 1934 and started testing it in 1935. It was the NRL that hit upon the idea of turning the radar receiver off briefly during the transmission phase so operators could use a single antenna both to transmit and receive radar pulses. (The British, working at about the same time, required two separate antennas for their early radars.) By the end of 1936, the NRL’s invention was routinely detecting aircraft 60 miles away. And in December 1938, the NRL-developed XAF was installed on board the New York.
The Radio Corporation of America (RCA) produced a pilot version, labeled CXAM, using NRL’s design. The Navy installed six of these in July and August 1940 on board the carrier Yorktown (CV-5), the battleship California (BB-44), and the heavy cruisers Chester (CA-27), Chicago (CA-29), Northampton (CA-26), and Pensacola (CA-24). The antennas could all be tipped back to elevate the pulse-beam—presumably in hopes of measuring the elevation of a target—but the beam proved far too broad for that. A hastily assembled second model, the CXAM-1, eliminated the beam-elevation feature. Installation of the new model began late in 1941, on board the carriers Lexington (CV-2), Saratoga (CV-3), Ranger (CV-4), Enterprise (CV-6), and Wasp (CV-7); the new battleships North Carolina (BB-55) and Washington (CV-56); the older battleships Texas (BB-35), Pennsylvania (BB-38), and West Virginia (BB-48); the light cruiser Cincinnati (CL-6); and the large seaplane tenders Curtiss (AV-4) and Albemarle (AV-5). The follow-on full-production version—the large, flat SK-1—was visible on many U.S. warships during the remainder of the war.
The choice of ships on which the early CXAM models were installed says a lot about the various roles that the Navy hoped the new technology would play. The California was the Pacific Fleet flagship; the carriers operated away from the main battle line, in part to make it more difficult for an enemy to spot them; the cruisers were assigned to scout ahead of the fleet. All needed their own early warning of an air attack.
The CXAM-1 installation list began with the rest of the carriers, naturally, and it included both the California and the Texas, the flagship of the newly formed Atlantic Fleet. The two big seaplane tenders were considered near-equivalents of carriers because the Navy depended heavily on long-range seaplanes for reconnaissance and bombing. For both kinds of vessels, having search-radar capability not only helped detect enemy planes, it also enabled them to track and control their own aircraft.
At this early stage, the only display a CXAM could provide was an A-scan, which showed signal amplitude at various ranges. A large blip indicated an echo, and the operator could pick out its range. The antenna could scan (at a standard speed of five revolutions per minute), and operators could plot range against bearing, but there was no chart-like graphic presentation as there is with today’s plan position indicator (PPI).
CXAM operated at a relatively long wavelength (1.5 meters, equivalent to 200 megahertz), and its 14-degree-wide beam offered a resolution of three degrees. It could distinguish two objects 400 yards apart, and its range was accurate within 300 yards. It could easily detect a fighter flying at 10,000 feet at 50 nautical miles.
As it turned out, that wasn’t good enough. By 1945, with jet-propelled aircraft in the offing, the Navy was looking for a way to track planes more precisely—and that meant using short-wavelength transmitters that could send out narrow radar beams. On came a string of short-wavelength successors to the CXAM—the SR, SPS-6, and SPS-12. It seemed as though the 1938-era system was on its way out.
But when these new models were tested, they produced surprising results. The new, more streamlined jet fighters reflected these short-wavelength pulses away. So while a jet carrying external bombs or fuel tanks was relatively easy to detect and track, one that wasn’t carrying such bulky appurtenances was more difficult to see.
The radar experts at NRL understood what was happening. The longer the radar wavelength, the less the signal is affected by details of target shape. As a result, the Navy developed new long-wavelength radars—the SPS-17, SPS-29, SPS-37, and SPS-43—whose antennas were reminiscent of the “big mattresses” of the 1930s and 1940s—with an extra-wide antenna version for carriers and guided-missile cruisers. These later were traded for the short-wavelength SPS-49, which is still in service. It made up for any deficiency in detecting streamlined jets by adopting much better signal processing.
The underlying physics has not changed: It is still true that the longer the wavelength, the less the radar is affected by the shape of its target. Shape also is the most important key to stealth. The less a radar system is affected by shape, the more likely it can detect stealthy aircraft. That may well be why Chinese warships often still sport really long wavelength radars, operating at frequencies far below those used by CXAM and its successors. Their beams are far too broad for good definition, but theoretically they can detect stealthy aircraft and missiles. There is a vast difference between a radar operator who is searching for targets that may not be present, and one who is seeking to refine position data on a target that the operator knows is there, within an area defined by a broader-beam set. With the increasing use of stealth technology, we may once again think of CXAM not merely as a historical artifact, but as a forerunner of today’s innovations.
Norman Friedman is the author of many books about warship design and weaponry, including Naval Weapons of World War One (2011); Naval Firepower: Battleship Guns and Gunnery in the Dreadnought Era (2008); and U.S. Destroyers: An Illustrated Design History, Revised Edition (2003), all published by the Naval Institute Press.
Those rectangular framed panels add visual interest around the porch. Rather ironically, covering up the panels with cement shingles protected them somewhat from the elements so they should be easier to repair and restore than almost any other wooden part of the house.
Collection: Cornell University Collection of Political Americana, Cornell University Library
Repository: Susan H. Douglas Political Americana Collection, #2214 Rare & Manuscript Collections, Cornell University Library, Cornell University
Title: Rectangular Torch Light with Four Wick Tubes
Date Made: ca. 1860-1904
Measurement: Torch Light Box: 3.375 x 5.5 x 3.375 in.; 8.5725 x 13.97 x 8.5725 cm
Classification: Metalwork
Persistent URI: http://hdl.handle.net/1813.001/607c
There are no known U.S. copyright restrictions on this image. The digital file is owned by the Cornell University Library which is making it freely available with the request that, when possible, the Library be credited as its source.
After wandering around a little bit in the snow (in my big, winter snow boots), I noticed interesting shapes on the floor of our genkan (house entrance) from the tread of the boots... I didn't realize the tread was rectangle-shaped...
After Menai, the next pair of bridges in North Wales worth visiting included the Conwy Suspension Bridge. It is now closed to traffic, so when I walked over it, at one point had it all to myself!
At the end of the bridge was the Toll House.
The modern Conwy Bridge is to the left and the Conwy Tubular Bridge is to the right (railway).
The Conwy Suspension Bridge is a Grade I-listed structure and is one of the first road suspension bridges in the world. Located in the medieval town of Conwy in Conwy county borough, North Wales, it is now only passable on foot. The bridge is now in the care of the National Trust. It originally carried the road from Chester to Bangor.
Built by Thomas Telford, the 99.5-metre-long (326 ft) suspension bridge spans the River Conwy next to Conwy Castle, a World Heritage Site. The bridge was built in 1822–26 at a cost of £51,000 and replaced the ferry at the same point. It is in the same style as one of Telford's other bridges, the Menai Suspension Bridge crossing the Menai Strait. The original wooden deck was replaced by an iron roadway in the late nineteenth century and it was strengthened by adding wire cables above the original iron chains in 1903. The following year a six-foot-wide (1.8 m) walkway was added for pedestrian traffic. The bridge was superseded by a new road bridge built alongside in 1958 and is now only used as a footbridge. It has been owned by the National Trust since 1965.
Telford designed the bridge to match the adjacent Conwy Castle. The bridge deck is suspended by four tiers of two chains each (a fifth tier was added later) carried over castellated towers that have a central archway over the road with machicolation. The chains are anchored on the east side of the river by a freestone and concrete plinth while those on the western side are anchored to the eastern barbican of the castle and bedrock. Part of the castle had to be demolished during construction to anchor the suspension cables.
The bridge is Grade I Listed.
History
In 1821 £41,000 of public money was made available for a bridge across the River Conwy, part of the improvements to the route between Chester and Holyhead. The bridge was begun in 1822 and was completed in 1826 at a cost of £51,000. Its engineer was Thomas Telford, with William Provis acting as site engineer. Its design, one of the earliest surviving suspension bridges, closely resembles that of Telford's contemporary Menai Bridge, but its castellated towers were intended to harmonise with the castle, and in overall effect, the bridge resembles a giant drawbridge.
The original wood-block deck was replaced by an iron-plated roadway in the late C19. In 1903 the bridge was strengthened by adding wire cables above the original chains, and a footway 6-feet wide was added on the N side in 1904. The bridge, however, retains its original chains, probably from Upton in Shropshire, the forge of William Hazeldine, the chief supplier of ironwork to Thomas Telford. The bridge closed to traffic in 1958, when the adjacent Conway Bridge opened, and since 1965 it has been owned by The National Trust. A new galvanised balustrade was added in the last decade of the C20.
Exterior
A suspension bridge with castellated towers. Each is composed of a pair of round turrets, with blind loops, spanning a segmental arch, and false machicolations to an embattled parapet. The outer faces have rebuilt gas lamps above the arches.
The deck is suspended from 4 tiers of original chains, with a 5th upper tier added later. On the E side these are anchored to a freestone and concrete plinth. On the W side they are anchored to the base of the castle E barbican and bedrock. The deck is laid with tarmac and has a painted balustrade of diamond-lattice ironwork.
The turrets and abutments are of rock-faced stone below the deck. On the N (seaward) side is a corbelled walkway around the turrets at deck level, added in 1904. On the S (landward) side similar walkways have been altered by providing access to viewing platforms, which are integral with the main abutments. On the W (castle) side the abutments curve out to round terminal piers with stepped conical caps at parapet level. The parapet on each side has a round pier with conical cap next to the main tower. On the NW side the parapet continues a short distance, and has a gap infilled with wrought-iron diamond latticework similar to the main bridge. The E abutment is similar. On the SE side the wall is extended to abut to the later railway bridge. On the NE side a retaining wall and parapet continue beyond the terminal pier. This section incorporates 2 corbelled round piers with conical caps, spanned by diamond-lattice ironwork balustrade.
Abutting the N side of the bridge are low river walls integral with the Conway Bridge of 1958.
Reasons for Listing
Listed grade I as a major work of C19 civil engineering of national importance.
This view towards Conwy Castle.
You can see the Conwy Tubular Bridge next to the Suspension Bridge.
The Conwy Railway Bridge carries the North Wales coast railway line across the River Conwy between Llandudno Junction and the town of Conwy. The wrought iron tubular bridge, which is now Grade I listed, was built in the 19th century. It is the last surviving example of this type of design by Stephenson after the Britannia Bridge across the Menai Strait was destroyed in a fire in the 1970s.
The Conway Railway Bridge was designed by railway engineer Robert Stephenson in collaboration with William Fairbairn and Eaton Hodgkinson. The original plan had been for suspension bridge complementing Thomas Telford's Conwy Suspension Bridge of 1826. After Stephenson's appointment as chief engineer, the design was changed because a suspension bridge was considered unsuitable for trains. Stephenson and his collaborators invented the wrought-iron box-girder structure to bridge the River Conwy in a single span.
During May 1846, groundwork for the bridge commenced. The architect Francis Thompson dressed the pylons at either end as barbicans, with crenellated turrets, arrow slits and bartizans to complement the adjacent Conwy Castle. Unusually, the tubes were completed onshore before being attached to pontoons, floated along the river and jacked into position between the abutments. The bridge was officially opened in 1849. The bridge endorsed the construction of the larger Britannia Bridge. During 1899, the tubular sections were reinforced with cast iron columns to reduce the load on the span across the river. In September 1950, Conwy Tubular Bridge was recognised as being a Grade I listed building; it is also a scheduled monument (CN167).
Grade I Listed
History
On the Chester-Holyhead Railway, built 1846-49 by Robert Stephenson, in collaboration with William Fairbairn and E. Hodgkinson. The architect was Francis Thompson, the contractor William Evans. It was originally intended to be a suspension bridge. The bridge, like Stephenson's contemporary Britannia Bridge spanning the Menai Strait, pioneered wrought-iron box-girder construction. Intermediate piers were added in 1899.
Exterior
A tubular railway bridge between ashlar rectangular castellated towers (originally intended for carrying the chains of a suspension bridge), with blind arrow loops, and an embattled parapet on corbelled machicolations. Lower round turrets to the outer corners have a Lombard frieze to the parapet, and smaller corbelled round turrets to the inner corners have a Lombard frieze to conical caps. The outer sides have a pair of round-headed arches with continuous chamfer. On the inner sides are vents with latticework iron grilles above the girders.
The deck is double-track, each track having its own tubular girder construction, and incorporating a travelling crane. Set back from each end are 2 round concrete-filled cast-iron piers added in 1899.
The approach on the E side has a rock-faced coped wall to a polygonal terminal pier. Beyond, the NE side has a later plainer wall.
Reasons for Listing
Listed grade I as a major work of C19 civil engineering of national importance.
Scheduled Ancient Monument CN167
Instant sweet potato noodles and smoked salmon from home, spinach and tomatoes from the Springdale grocery store.
Rectangular protective peaks for inlet or exhaust.
CVA - Inlet models
CVD - Exhaust models
Viseras rectangulares de protección, de aspiración o descarga.
CVA - modelos de aspiración
CVD - modelos de descarga
36 block rectangular granny square afghan. Blocks were assembled with a Join as You Go method. Border is 3 rounds of double crochet in 3 different greens.
Block pattern is from Handcrafting with Love (http://www.handcraftingwithlove.net)
The rectangular slice is from Susan Mendelson , the wedge is adapted from Mark Bittman .
Mendelson's cheesecake was lighter and sweeter. Bittman's was quite dense, had a more pronounced cheese flavour, and (as seen) a thicker crust. It was also more fiddly to make, developed horrifying fissures at the top, and ended up looking like the San Andreas Fault of cheesecakes. But it tasted fine, as did Mendelson's, each in its own way.
Susan Mendelson's Famous Lemon Cheesecake:
Crust:
1 1/3 cups (325 mL) Graham wafer crumbs
1/3 cup (75 mL) butter
quarter cup brown sugar
Mix the above together and press into the bottom of a 9-inch springform pan. (My square 9-inch Pyrex-type pan was fine.) Bake in the oven at 350° F (180° C) for 5 minutes.
Filling:
1 lb (500 gm) cream cheese [I used Western.]
3 medium eggs
half cup (125 mL) sour cream
2/3 cup (150 mL) sugar
2 tablesp (25 mL) lemon juice
Bake in the oven at 350° F (180° C) for 30-35 minutes
Topping:
1 cup (250 mL) sour cream
4 tablesp (50 mL) sugar
2 tablesp (25 mL) lemon juice
Mix together and spread over the cheesecake. Return to the oven for 5 minutes.
Chill thoroughly in the fridge (several hours, preferably) before serving.
-------------------
Mark Bittman's Lemon Cheesecake with Sour Cream Topping:
Graham Cracker Crust: (Double this crust recipe for the Lemon Cheesecake)
6 tablesp (3 oz) unsalted butter
6 oz graham cracker crumbs
3 tablespoons sugar
Melt the butter. Combine sugar with the graham cracker crumbs in a bowl or food processor. Slowly add the butter till well blended. Press the crumbs into the bottom of a 9-inch springform pan. To prebake: heat the oven to 350°F. Bake the crust for 8-10 minutes, until it just begins to brown. Cool on a rack before filling.
Filling:
4 eggs, separated
24 oz cream cheese [I used a mixture of ricotta, Philadelphia, and Western cream cheese ]
grated zest and juice of one lemon
1 cup sugar
1 tablesp all-purpose flour
Topping (optional):
2 cups sour cream
1 tablesp sugar
1 teasp vanilla extract
-----------------
Make a double recipe of the Graham Cracker crust, as above. Find an oven-proof pan large enough serve as a water-bath for the springform pan. Preheat the oven to 325°F. Boil water in the kettle for the water bath.
Separate the eggs. Beat the egg whites till they hold soft peaks. Put them aside.
Beat the egg yolks till they're light. Add cheese, lemon zest, lemon juice, sugar. Beat till smooth. Stir in the flour. Gently fold the egg whites into the egg yolk mixture. Pour the batter over the prepared and cooled crust.
Put the springform pan into the larger pan for the water bath, and add hot water to the water bath so that it comes to within an inch of the top of the springform pan. After I've gauged the amount of water needed, I remove the springform pan, and carefully carry both pans separately to the oven. (Safer than carrying a fuller pan with sloshing hot water.) Then I return the springform pan to its water bath, in the oven.
Bake until the cheesecake is just set, and very lightly browned, approx 1 hour.
Turn the oven up to 450° F if making the topping. [I'd try 350°F next time.] Combine the topping ingredients, and spoon the mixture over the cheesecake. Return it to the oven for 10 minutes, without the water bath.
Then turn off the oven, leaving the cheesecake in there for a further 30 minutes. [Not sure how necessary this particular step is; may shorten - or even omit? - it next time.]
Chill thoroughly in the fridge before serving.
---------------
Next time, I might try a combination of the Bittman crust (but with brown sugar), Mendelson filling with the same 3 cheeses as I used for Bittman, and Mendelson baking times/method for the filling. Not sure which topping to go with.
"Iridium" - 18 Interlocking Rectangular Prisms #4
Designed and folded by me out of copy paper.
Prism Theory: This design is an alternating triple double split with constant minimum width and linearly ascending lengths. Every rectangular prism composition with split layers will have at least 2^(n-1) alternate weaving patterns (with the same types of prisms unchanged) such that n is the number of layers. This happens because you can swap the two lengths of the non-split axes for any layer. Some may have more since some designs share the same types of prisms.
Rectangular teapot by English Staffordshire 'Enoch Wood & Sons', c.1818 - 1846. Pearlware blue & white transfer printed white earthenware teapot with lid. Scenes include two men fishing next to a tower in ruin, floral border at top. Lid has stipple background suggesting it may not be original with the piece. Numerous repaired cracks.
Impressed eagle mark, "E.Wood & Sons Burslem" on bottom. 6 3/4" high, 11 1/4" long and 5 1/2 wide.
Donated by Mrs. L.J. Raymond and her brother, 9/19/1968
ACC# 68.1.45 a&b
See other porcelain items in the MHS collection at flic.kr/s/aHskyoEXzH. (Photo credit - Bob Gundersen www.flickr.com/photos/bobphoto51/albums)
This French crystal rectangular paperweight has the initials of the recipient . The drawing is by one of my favorites of The Golden Age of Illustration, Jessie Willcox Smith. The recipient is my pain specialist who is devoted to the color pink, and this was one of the pinkest illustrations I could find! She will receive it next Christmas after the varnishes, glues, and paints have set cmpletely.
I embellished the paperweight with an iron-on heart applique which I glued to cardboard so the glue would not seep through.
All work is the original design and creation of Tortuga 2010.
Warne Chandos Expert Rectangular 157pc Beatrix Potter Squirrel Nutkin Scene, original box lost.
I couldn't resist buying this modest Expert-cut jigsaw around July 2023. Although it had no box I'm sure it was from Warne Chandos.
The blank has been divided horizontally and dissected using the continuous method. It has line-cutting around one of the squirrel's heads and a few trefoil endings and a tendril in the lower half, although the cut is not especially decorative.
Gracias Toñi . No me cansaré de darte las gracias. Mira que no quería empezar con cosas nuevas, pero viendo tus maravillas he caído!!!
NICKY HILTON out and about with her rectangular silver Flavia Confetti clutch by Edie Parker.
The clutch is popular with celebs at the moment and has been seen being carried by Anna Della Russo. Personalised with her name NICKY in large black letters, this bag is fast becoming one of our favourites.
Delortae Agency love it, don't you?
*courtesy of Delortae Agency luxury authentic handbag SPA, visit us on Facebook; www.facebook.com/DelortaeAgency
On the external E face of Ballynahinch tower house, situated above the broken out doorway. The Sheela-na-gig is carved in raised relief on a rectangular slab. Described as having a big round head with eyes wide open; strong billowy lines across forehead; large jug ears. Lean rib, and no breasts seem to be indicated. Arms akimbo with hands joined above pudenda, shown as a deep round hole. Squatting position, knees bend, heels touching and toes turned out. This Sheela-na-gig is 'said to be a carricature of the cook, in revenge for her incivility to the tradesmen employed in building the castle'.
Ballynahinch Castle is on the Northern bank the River Suir. The tower house is at the W end of a rectangular bawn which has a building in the NE angle and on the S wall. It was in the possession of John Bourke fitz William Oge in 1558 but in possession of Edward Butler, brother of the Earl of Ormond, by 1587. According to the Civil Survey the Countess of Ormond was the proprietor in 1640 and 'On the sd. lands stands a castle Demolished with a Bawne on one side thereof together with a thatcht house a few cabbins all Inhabitted. The tower house is constructed of limestone rubble, roughly coursed, with remains of external harling and an external base-batter. It originally had three storeys and in the 16th century a fourth storey and a mural chamber at parapet level were added. The entrance to the tower house, at the N end of E wall, is protected by a machicolation at parapet level. The doorway is completely broken out and has been since at least 1906 when described by Crawford, who mentions a groove at the apex of the former pointed doorway, presumably a yett hole. About 2m above the former doorway is a Sheela-na-gig. The entrance lobby is protected by a large murder-hole overhead and there is a narrow guardroom to the N running E-W in the thickness of the N wall. The ground floor was accessed through a doorway, now broken out, directly in front of the main doorway. It was divided, possibly in the late 17th/18th century, by a stone wall running E-W which rises up to the stone vault above the first floor, though the upper courses of this cross-wall are gone. The internal floor level appears to have been deepened by, possibly when the cross-wall was being built. The ground-floor chamber was lit by three windows, one in the centre of the N wall, another in the S wall, slightly E of centre and a third in the W wall, blocked externally. There are also three wall cupboards. The first floor was carried on stone corbels on the E and W wall and was entered from a doorway off the mural stairs which rises from the entrance lobby within the E wall. It was lit by an unusual cinquefoil single-light window in the N wall and a flat-headed two-light window in the S wall. The stairs is lit by a number of simple flat or round-headed loops and is defended at each angle by a murder-hole. Between the first and second floor there is a vaulted mural chamber in the E wall, lit by a window at the E end of the N wall, and in the E wall there is also a small angle fireplace, in a recess in the S portion of the chamber, with a flue which exits through the wall 3m above the floor level. The second floor, above the barrel vault, is entered from the mural stair in the S wall. It is lit by five windows, two in both the E and W walls and one in the N wall. There is also a window in the S wall opposite the entrance to the main chamber and a window in the N wall, near the NW angle, which lights the stairs up to a mural chamber. There is an inserted fireplace in the W wall where there was formally a two-light ogee-headed window which was blocked up in the late 16th century. There are three wall cupboards. There may have been a gallery at the S end of the main chamber, accessed via an internal wooden stair, which would have provided access to the lintelled mural chamber in the S wall which is lit by three windows in the S wall and has two wall cupboards, one at either end of the mural chamber. In the main chamber a doorway, roughly centrally placed in the S wall, gives access to a garderobe chamber which is lit by a single-light window towards the W end of the S wall. The garderobe chute exits at the base of the W end of the S wall. Another mural chamber is accessed from a doorway W of the window embrasure in the N wall. This gives access to a stair which decends steeply to a vaulted chamber, lit by three loops, which runs N-S along the W wall. Towards the back of this mural chamber there is a partition wall with a low doorway giving access to a small unlit chamber. In the late 16th century a third floor, with a fireplace above that at second floor level, was inserted. This floor has no windows or doorway so must have been accessed from the chamber below via a wooden stair. A doorway at the W end of the N wall provides access to a stair up to a mural chamber at parapet level and gives access to the battlements. This mural chamber is also a late 16th-century addition. It is lit by three windows in the N wall and one at the N end of the E wall and is roofed with stone capping.There are good coping stones projecting from the S face of the mural chamber showing the line of the A-frame roof. There are also rafter holes in the wall above the third-floor fireplace to support a timber roof. The parapet is in good condition with stone-capped crow-stepped crenelations and drain holes and water spouts in situ.
Centenary Square is a public square in Birmingham, named in 1989 in celebration of Birmingham's centenary as a city.
It is the last of many schemes for this area. As far back as 1918 there were plans for civic buildings to be built on this site facing an open square. A 1926 plan laid down a idea for a rectangular open area, aligned east-west along Broad Street, with buildings on three sides of it, and the open area facing the road. This plan was abandoned as being to expensive. Another plan was adopted in 1944, this one included Baskerville House in the squares north east corner, but these to were abandoned in 1948. Another plan was from 1958, but it never started.
A fourth plan was adopted in 1991 and this is the square we see today.
Directly ahead is the International Convention Centre and Symphony Hall. They were opened in 1991.
The Symphony Hall is home to the Birmingham Symphony Orchestra who moved here from the Town Hall. The ICC was an attempt to make Birmingham and international business city.
The Repertory Theatre (aka the REP) opened in 1990 to replace the old theatre on Station Street (now known as The Old REP)
Chrysoberyl 2.39ct., 6.88 x 8.27 x 5.39mm. Custom Rectangular Cushion. Recut on comission for a special client. It's even more amazing in person -- those tiny reflective inclusions at the bottom disappear into green-yellow sparkle. It's the kind of stone someone across the room sees & says "Wow! What's that?"
SOLD
Measurement: 34" X 24"
Material: Cotton
Colors: Odd and ends of pastel
colors with a blue and white border.
Shipping and handling is FREE.
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How I make my rag rugs...
All of my cotton rag rugs begin with full
bolts of hand chosen fabric from my fabric store.
The fabric is then cut into strips.
Then I sew these strips into long lengths
on the sewing machine using a zig zag stitch.
Then...these strips are hand
crocheted into the rug you see above.
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History of the rag rug...
RAG RUGS POPULAR FROM ABOUT 1890 TO 1910
INFLUENCED BY THE "ARTS AND CRAFTS" MOVEMENT.
THEN DURING THE DEPRESSION OF
THE 1930'S RAG RUG MAKING GAINED INTEREST.
ONCE AGAIN RAG RUGS ARE MAKING A COME BACK.
WITH ALL THE BEAUTIFUL FABRICS AVAILABLE THESE RUGS ADD A DELIGHTFUL TOUCH AS AN ACCENT TO ANY ROOM WITHIN YOUR HOME.
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CARE INSTRUCTIONS: FOR SMALLER RUGS:
MACHINE WASH GENTLE CYCLE /
COLD WATER REMOVE FROM MACHINE.
ROLL IN TOWEL TO REMOVE EXCESS WATER.
LAY FLAT / RESHAPE AND DRY ON FLAT AREA.
Del ineludible defecto de perder esperanza
De la energía dormida en realidades vacías
Y de creer en el infinito espacio interior
De buscar con el tacto y los ojos vendados
Rememorar los aromas que con los años he olvidado
Para habitar el hedor de mi sonrisa ultrajada
Violada, aturdida, maleada, escupida y cocida
con hilos de oro quizás, NO me importa
Mañana es temprano para empezar la estampida
De brazos, de manos, de piernas y huesos
forrados en carne y piel desgarrada
de hombres de viejos mujeres y niños
de puros e impuros borrachos primero
botellas discretas mañanas desiertas
Sonrisa ultrajada, violada aturdida
Caminamos despacio y a paso inseguro
Tanteando el terreno mi calle hoy apesta
Tomaron mi esquina mi cuadra y mi plaza
Creyeron que no era lo que más importaba
quisieron hacerme feliz me dijeron
Como nunca lo fueron más siempre quisieron
mañana es temprano para empezar la estampida
Hoy me miro de lejos porque me doy miedo
Me acerco de a poco cuidando mi cuello, mi pecho, mi sien, mi sexo y mi bolsillo
Procuro desarmarme si es que armas tuviera
Malditos temores malditos desmanes y malditas cajitas rectangulares
Malditas sonrisas de satisfacciones robadas al tiempo que no pertenezco
Malditas apuestas y falsas expectativas del futuro incierto nunca me contaron
Éramos mejores, mejores que quien, mejores que qué?
mejores que nada mejores tristezas y desesperanzas
del grito ahogado de la libertad compartida y del grito callado por las tradiciones
De aquellos que velan por tu porvenir
por venir a este mundo de libertades etéreas
por venir a esta esquina de promesas rotas
por creer que mañana comeremos poder
y volver a creer que me hace crecer
O me hacen reír porque no me importa
mañana es temprano para empezar la estampida
de bárbaros, ladrones corruptos y burócratas
de amores prohibidos, de pobres y ricos
Aún puedo reír porque no me importa, la desesperanza en verdad no me importa
Porque mañana es temprano, hoy no me preocupo
Ya no nos importa la vida ya es justa, no hay nada que hacer me sentaré a esperar
Que pasen los días los años las horas que se pase el mundo frente a mis ojos
Mañana seré otro mañana es el día maldita la noche llena de sueño y llena de sueños
Malditos los días de realidades ajenas que no te dé pena somos parte de esto
Inmundo, dolor, felicidad, mentiras, verdades, los buenos, los malos, flojos, esclavos, ilusos, cerdos, lluvia, sol, la música, la verdad?, la verdad?, la verdad?
La verdad no existe dijeron los maestros.
La verdad se escapa tal vez por mis dedos, mantengan sus ojos menos cerrados
de realidades ajenas nunca me contaron, de historias robadas a heroicos y falsos
Nosotros sabemos que los mártires mueren y que los genios son eternos suicidas
Mejor que me expulsen mejor que me echen mañana es temprano mañana no es tarde
Para empezar la estampida con ojos vendados y labios cocidos
ni eso me importa no los necesito, donde voy…nadie está
nada se ve y nada se habla….somos malditos y rectangulares
pero no tanto como para estos lugares.
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La letra no es mía, es de los rectangulares.
Y que tanto, hay tantas cosas que no son mías.
Hay otras que si po.
Originally, merlons tended to be rectangular in shape. Over time many different forms appeared, often influenced by regional architecture and culturally-specific design. Malaga’s distinctly-topped merlons serve as a poignant reminder of the Muslim peoples who raised this mighty castle. Due to their aesthetically-pleasing nature, crenellations continue to be constructed as decorative features even though they are militarily obsolete.
Battle Castle is an action documentary series starring Dan Snow that is now airing on History Television and is scheduled to premiere on Discovery Knowledge in the UK in Spring 2012 and on various BBC-affiliated channels in the near future.
For the latest air dates, Like us on Facebook (www.battlecastle.com/facebook) or follow us on Twitter (www.twitter.com/battlecastle)
This show brings to life mighty medieval fortifications and the epic sieges they resist: clashes that defy the limits of military technology, turn empires to dust, and transform mortals into legends.
Website: www.battlecastle.tv/
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Castles conjure thoughts of romantic tales, but make no mistake, they are built for war.
Dover: Prince Louis' key to England. Malaga: the Granadans final stronghold. And Crac des Chevaliers: Crown Jewel of Crusader castles. Through dynamic location footage and immersive visual effects, Battle Castle reveals a bloody history of this epic medieval arms race.
As siege weapons and technology become more ruthless, the men who design and built these castles reply ... or perish. Follow host Dan Snow as he explores the military engineering behind these medieval megastructures and the legendary battles that became testaments to their might.
Each episode will climax in the ultimate test of the castle's military engineering -- a siege that will change the course of history. Which castles will be conquered and which will prevail? You'll have to watch to find out.
But the journey doesn't end there --in fact, it's just beginning. Battle Castle extends into a multi-platform quest, taking us deep into the secret world of medieval warfare and strategy. Become the ultimate 'Castle Master'. Stay tuned for more on the Battle Castle experience.