View allAll Photos Tagged relatable
Accession Number: spa.si.231
This leaflet relates to the Ayr 2000 by-election where Jim Mather stood as the SNP candidate for Holyrood.
Jim Mather is currently MSP for Argyll and Bute. For biographical information about Jim Mather www.scotland.gov.uk/About/14944/Scottish-Cabinet/jimmathe...
This picture forms part of the Scots Independent donation to the Scottish Political Archive. The Scots Independent is a monthly Nationalist newspaper. The paper was founded in 1926 and is the longest surviving political newspaper in Scotland in the twentieth century. For further information about the Scots Independent please visit their website at www.scotsindependent.org
The Scottish Political Archive is housed at the University of Stirling. The archive is home to the oral interviews, personal papers and associated material from prominent Scottish politicians. For further information about the work of the archive please visit our website www.scottishpoliticalarchive.org.uk
The Panel (or Bay) numbers quoted at the end of each entry relate to the panels dedicated to the Regiment served with. In some instances where a casualty is recorded as attached to another Regiment, his name may alternatively appear within their Regimental Panels (or Bays). Please refer to the on-site Memorial Register Introduction to determine the alternative Panel (or Bay) numbers if you do not find the name within the quoted Panel (or Bay). Wheelchair access to the memorial is possible via an alternative entrance at the rear of Faubourg-d'Amiens Cemetery. Location Information: The Arras Memorial is in the Faubourg-d'Amiens Cemetery, which is in the Boulevard du General de Gaulle in the western part of the town of Arras. The cemetery is near the Citadel, approximately 2 kms due west of the railway station.
The French handed over Arras to Commonwealth forces in the spring of 1916 and the system of tunnels upon which the town is built were used and developed in preparation for the major offensive planned for April 1917. The Commonwealth section of the FAUBOURG D'AMIENS CEMETERY was begun in March 1916, behind the French military cemetery established earlier. It continued to be used by field ambulances and fighting units until November 1918. The cemetery was enlarged after the Armistice when graves were brought in from the battlefields and from two smaller cemeteries in the vicinity. The cemetery contains 2,651 Commonwealth burials of the First World War. In addition, there are 30 war graves of other nationalities, most of them German. During the Second World War, Arras was occupied by United Kingdom forces headquarters until the town was evacuated on 23 May 1940. Arras then remained in German hands until retaken by Commonwealth and Free French forces on 1 September 1944. The cemetery contains seven Commonwealth burials of the Second World War. The graves in the French military cemetery were removed after the First World War to other burial grounds and the land they had occupied was used for the construction of the Arras Memorial and Arras Flying Services Memorial. The ARRAS MEMORIAL commemorates almost 35,000 servicemen from the United Kingdom, South Africa and New Zealand who died in the Arras sector between the spring of 1916 and 7 August 1918, the eve of the Advance to Victory, and have no known grave. The most conspicuous events of this period were the Arras offensive of April-May 1917, and the German attack in the spring of 1918. Canadian and Australian servicemen killed in these operations are commemorated by memorials at Vimy and Villers-Bretonneux. A separate memorial remembers those killed in the Battle of Cambrai in 1917. The ARRAS FLYING SERVICES MEMORIAL commemorates nearly 1,000 airmen of the Royal Naval Air Service, the Royal Flying Corps, and the Royal Air Force, either by attachment from other arms of the forces of the Commonwealth or by original enlistment, who were killed on the whole Western Front and who have no known grave. Both cemetery and memorial were designed by Sir Edwin Lutyens, with sculpture by Sir William Reid Dick. The memorial was unveiled by Lord Trenchard, Marshal of the Royal Air Force on the 31 July 1932 (originally it had been scheduled for 15 May, but due to the sudden death of French President Doumer, as a mark of respect, the ceremony was postponed until July).
A second photo album relating to the Valdes Scott Family. The first album can be viewed here www.flickr.com/photos/runninginsuffolk/albums/72157665423... This album also turned up at a car boot sale but a year later than the other in 2017. Seems to date from 1951 and the birth of Roselle in Chile.
GENERAL DESCRIPTION
PLEASE NOTE: -
“MUDA” is a singular word relating to one of the mercantile convoys sailing out of Venice each year.
“MUDE” is a plural word relating to several, or all, of the mercantile convoys sailing out of Venice each year.
27 leaves, leaf size 249mm x172mm (9 3/4ins. X 6 8/10ins.) with a text block of 172mm x 98mm (6 8/10ins. x 3 17/20ins.).
Single column, 29 lines in a superb, elegant, humanistic cursive minuscule script in black, probably all written by the same scribe. Many ascenders on the top line, and descenders on the bottom line, have been embellished.
This manuscript include two texts, the first being the Regulations of the Muda of Venice to Alexandria, and the second being the Journal of the Muda to Alexandria that set sail from Venice on 21st. May, 1504. The manuscript was probably written in that city in that year.
A FULL DESCRIPTION IS ATTACHED TO THE OVERVIEW.
Folio 5 recto (Original Folio 6 recto)
TRANSCRIPTION
(38)
lignum vel navigium armatu Vel disarmatum, vel merces ali -
quas de extra Culphum ad aliquas partes de intra Culphum alioquin
venetiis. Sub pena de L. pro .c . totius eius quod portaretur, vel mit -
teretur, aut discarricaretur contra hoc. Et si maiores pene inveni -
rentur apposite p alios ordines nostros, ille maiores pene exigatur
a contrafacientibus: et pro omni bono respectu est etiam ordinatum,
q de cetero nullis fidelis, vel districtualis Venetiarum possit levare
vel levari facere sup aliquibus navigiis armatis vel disarmatis ali -
quod havere Venetiarum subtile vel grossum quod foret conductum de
extra Culphum sub pena de. L .pro .Co . In quam penam etiam incur -
rant nostri Patroni navigiorum armatorum et disarmatorum super
quibus levaretur de Dicto havere : Et si levaretur de havere fo -
rensium cadant tam nostri patroni predicti, super quorum navigiis
levaretur, q nostri mercatores contrafacientes De . Co . Pro . Co . Valoris
eius in quo fuerit contrafactum. Et si maiores pene forent positae
sup hoc exigantur a contrafacientibus, Et predicta omnia inquiren -
da comissimus omnibus officialibus quibus comissa sunt qui banna
qui inquirant de contrafacientibus, et penas exigant habentes partem ut
de aliis sui officii. Et si fuerit Accusator habeat tertium, & sit
de credentia, officium, tertium, et Commune reliquum. Et perpea
Committimus tibi q predicta facias obsuari, & ingras de contra -
facientibus cum illa libertate, et conditione quibus est comissum
in Venetiis officialibus ante dictis, habendo partem sicut haberet
officiales. Et de dictis penis non potest ferie gratia sub pena du -
catorum mille pro quolibet ponentem vel contrafaciente partem in con -
trarium : & predicta revocari non possint nisi p sex Consiliari -
os, tria Capita de xLra. & tres partes consilii rogarum congregarum
ab octnaginta supra.
(39)NUllus ciuis noster vel habitator Venetiis vel alia persona
Folio 5 recto (Original Folio 6 recto)
POSSIBLE ENGLISH TRANSLATION
38. …............. stock or ship armed or unarmed or reward from any outside Culphum to any parts of the Culphum other than Venice under the penalty of 100 pounds instead of the whole of that which he was born with, or be sent to, or discharged against this. And if our ancestors found it appropriate through other means, they opposed a greater punishment being required, and with respect to all the other goods is ordered otherwise in the future it will not be believed that a distracted Venice can raise or levy on some boats or disarmed can have any Venetian fine or anything which would be hired from outside Culphum under penalty of 50 in which also incurs the penalty of our patron' boats upon which the amusement has taken place : And if the amusement of our patrons takes place in public then let them fall as aforesaid, upon whose boats there was amusements that have opposed the merchants 100 for 100 value of that in which it has been against the facts. And if the punishment that should be placed needs to be opposed and said everything looked affable to all officials who have imposed the banns are to enquire concerning who opposed and the pain brought with it as they possess a much apart as others in the same office. And it shall the plaintiff that may have a third, the entrusted officer a third and the commune the other third. And the aforesaid do entrust it, to suffer, and to enter into the battle with her, opposed to the liberty that had been made by officials in Venice, and as said before, the conditions as set out, as they would have been on the part of the officials. And concerning the said grace in the penalties nor can he make the pain of 1,000 ducats for any part of the holiday for any claims that can not be part of or opposed to the contrary, but that they cannot be recalled and to the aforesaid six councillors, three parts of the 40 and three parts to the council asked to store the 80 above.
39. None of our citizens or inhabitants of Venice or any other person …...........
Lichfield Guildhall - glass from the former great north transept window of Lichfield Cathedral by Betton & Evans of Shrewsbury 1813.
Figure of King Richard I (the 'Lionheart'), one of a sequence of nine figures relating to the foundation and history of the Cathedral.
Between 1813 & c1880 the 9-light north transept window at Lichfield was glazed with a fine sequence of late Georgian (partially) enamel painted historical figures of kings & bishops (one row of nine). No photographs have so far been found to show how this appeared, however the window can be glimpsed in it's original form in a late Georgian watercolour now preserved in Lichfield's St Mary's Heritage Centre.
Betton & Evans of Shrewsbury were prolific in the first half of the nineteenth century in the the western midlands and parts of Wales and were signifcicant in crossing the transition from enamel painting back to more traditional pot-metal leaded windows (this example combines both approaches) Most of their compositions were either derived from old master paintings (Rubens etc) or geometric/heraldic work. Where they created new figurative images the drawing was often primitive and naive.
An exception to those rules is this magnificent series from Lichfield where another designer was employed for the 9 standing figure of this window (plus a later 18 for the corresponding south window). Martin Harrison (our greatest authority on 19th century glass) has identified the designer as John James Halls, a pupil of Henry Fuseli at the Royal Academy.
The painting is bold and vigorous, showing a remarkable freedom of brushwork combined with superb individual characterisation of the figures, making these panels some of the finest late Georgian glass to have survived. .
The glass was removed from the cathedral c1880 during Giles Gilbert Scott's restoration, when the late fifteenth century tracery was replaced with the current five lancets, in order to reinstate the original 13th century design of the north facade.. This dramatic alteration of the window's apertures rendered retention of the 1813 glazing virtually impossible, so it was replaced with the Clayton & Bell Tree of Jesse we see there today.
The dismantled window soon found a new home in the large north facing window of the main hall of Lichfield's Guildhall where it remains to this day. Of course it had to be extensively reconfigured to fit it's new setting, a five light window as opposed to nine; this entailed the nine figures being arranged as two rows of five (a new figure of Queen Victoria by a different workshop was added to fill the vacant space in the centre of the top row). Much of the architectural canopywork that formerly towered above each figure was lost in this process, though elements remain rather patchily worked into the three tracery lights above.
I hope eventually to attempt a digital reconstruction of the window in it's original setting using these images superimposed over the present south window of the cathedral (which is built to the same design as the former north window, prior to it's alteration by Scott)..
An impression of the original setting can be gained here www.flickr.com/photos/amthomson/2949125778/in/set-7215760...
Anyone please confirm which Banister Park this badge relates to?
.
Enamels: 2 (blue & white)
Finish: Nickel or chrome plated.
Material: Whitemetal (?).
Fixer: Pin.
Size: 1” across x 1 ¼” down (about 21mm)
Process: Die stamped.
Maker: No maker’s name or mark.
.
Thank you for reading.
Stuart.
立法會發展智慧城市事宜小組委員會參觀香港國際機場
立法会发展智慧城市事宜小组委员会参观香港国际机场
LegCo Subcommittee on Matters Relating to the Development of Smart City visits the Hong Kong International Airport (8.8.2022)
Michael Good relates his emotional experience at the end of one of his spacewalks during STS-132. Upon entering the payload bay of Space Shuttle Atlantis, the location brought back memories of his first shuttle flight, when he was one of six individuals servicing the Hubble Space Telescope.
The Silver Snoopy Award, also known as the astronaut’s personal award, recognizes NASA civil servants and contractors who have provided exemplary support of NASA’s Human Spaceflight Programs. To be selected, an individual must have made significant contributions to flight safety and mission success.
Those selected for the award receive the specially designed sterling Silver Snoopy lapel pin flown on a space shuttle mission, a letter of commendation, and a certificate presented by a member of the astronaut corps.
Credit: NASA/Goddard Space Flight Center/Pat Izzo
NASA Goddard Space Flight Center is home to the nation's largest organization of combined scientists, engineers and technologists that build spacecraft, instruments and new technology to study the Earth, the sun, our solar system, and the universe.
Follow us on Twitter
Join us on Facebook
The description and specifications relate to the Pitts Special as this is an identical aircraft to the S1 and S2S.
The Pitts Special is a light aerobatic biplane designed by Curtis Pitts. It has accumulated many competition wins since its first flight in 1944. The Pitts Special dominated world aerobatic competition in the 1960s and 1970s and, even today, remains a potent competition aircraft and is a favourite for many an aerobatic pilot.
General characteristics
•Crew: Two
•Length: 18 ft 9 in (5.71 m)
•Wingspan: 20 ft 0 in (6.10 m)
•Height: 6 ft 7⅓ in (2.02 m)
•Wing area: 125 ft² (11.6 m²)
•Empty weight: 1,150 lb (521 kg)
•Max takeoff weight: 1,625 lb (737 kg)
•Powerplant: 1× Textron Lycoming AEIO-540-D4A5 flat-six air cooled piston engine, 260 hp (194 kW)
Performance
•Never exceed speed: 182 knots (210 mph, 338 km/h)
•Cruise speed: 152 knots (175 mph, 282 km/h) (max cruise)
•Stall speed: 52 knots (60 mph, 97 km/h)
•Range: 277 NM (319 mi, 513 km)
•Service ceiling: 21,000 ft (6,400 m)
•Rate of climb: 2,700 ft/min (13.7 m/s)
•Wing loading: 13.0 lb/ft² (63.6 kg/m²)
•Power/mass: 0.16 hp/lb (0.26 kW/kg)
Text and specifications based on Wikipedia article under the Creative Commons License for non-profit use.
Dundalk overwhelm Bangor in All Ireland Final
by Roger Corbett
Bangor’s amazing run in the All Ireland Junior Cup came to an abrupt end when they were comprehensively beaten by Dundalk, eventually losing by 55-5.
Where do you start when trying to relate and absorb the events of Saturday’s final at Chambers Park? Firstly, congratulations to worthy winners Dundalk who nullified the Bangor attack, then went on to produce some stunning plays which racked up no less than 8 tries, each by a different player. For Bangor’s part, they were unable to respond to the intensity of Dundalk’s game, and lacked the cutting edge which their opponents used to great effect.
The day started full of promise, as the strong support from North Down made their way to Chambers Park in Portadown, knowing Bangor would be fielding their best team. Once again, the pundits had Bangor as the underdogs – just as they had done so in the previous three rounds! In confounding the experts earlier, Bangor produced some awesome performances against top quality opposition to get to the final. Dundalk had produced some convincing wins in the early rounds of the competition, but had struggled to get past CIYMS in the semi-final, just managing to squeeze ahead at the second time of asking. However, with a number of key players returning to the side in time for this game, they were now back at full strength and would be a formidable force to contend with.
Having won the toss, captain Jamie Clegg elected to play into the stiff wind in the first half. For the first 5 minutes, Bangor doggedly retained possession and tried to play their way into Dundalk’s half through a series of determined forward moves. However, little ground was made and, when possession was finally lost, the Dundalk back line produced a burst that simply cut through the Bangor defence resulting in an easy touch down under Bangor’s posts for a 7-0 lead.
Bangor stuck to their plan and slowly, but patiently, got their attack moving forward, eventually winning a penalty to the left of Dundalk’s posts, but Mark Widdowson’s kick into the wind drifted just wide of the mark.
The contrast in play between the two teams was becoming clear, with Bangor trying to keep the ball close while Dundalk were throwing it wide. The latter strategy was proving to be the more effective as, with 20 minutes gone, a quick back line move with players looping around resulted in an overlap on the right wing which gave a clear run in to again, score under the posts. A further 9 minutes later, they did it again and, although the Bangor defence had sensed the danger and moved across to cover it, their tackling let them down allowing Dundalk to get over in the right hand corner, taking their lead to 19-0.
By now, Bangor were trying to hang on until half time when they could regroup and come out with the wind at their backs. Dundalk, on the other hand were anxious to press home their advantage and give them a more comfortable lead. To Bangor’s credit, although camped on their own line for lengthy spells, they dug in and managed to hold on until the referee’s half time whistle.
As the teams reappeared from the dressing rooms, it was obvious Bangor were ringing the changes, particularly in the backs. With the wind advantage having lessened considerably, Bangor got the second half underway. It was now Dundalk’s turn to adopt the slow, steady approach, just as Bangor had done earlier. However, their more confident off-loading and support play was, once again, taking play deep into Bangor’s territory. Frustration at not being able to gain possession and take play out of their danger area eventually resulted in a yellow card for Clegg after a succession of penalties. Dundalk kicked the penalty to touch, won their lineout and drove for the line. Although initially held up by the Bangor defence, Dundalk’s repeated drives were eventually rewarded with another converted score, extending their lead to 26-0.
From the touchline, the Bangor faithful had felt that if their players had managed to score first in the second half, they may have been able to mount a fight-back and close the gap to their opponents. As it was, this Dundalk score simply bolstered their confidence and pushed Bangor deeper into trouble. With Bangor still a man down, Dundalk added to the score with a penalty and then another score in the corner. Everything was now working for the Leinster men, as even the difficult touchline conversion into the biting wind successfully split the posts, bringing the score to 36-0.
As the game entered the final quarter, and with Dundalk all but holding the cup, Bangor were now on the ropes. By contrast, the Dundalk players were in almost total control, and were not going to slow down now. In a 10 minute spell, they ran in a further 3 tries, making the scoreline 55-0. By now, any sense of dejection the Bangor supporters may have been feeling was now moved to feelings of sympathy for their players. However, pride was at stake and once again Bangor rallied as the game entered its final minutes. At last, the forwards got within striking distance of the Dundalk line and, although their repeated attacks were repelled, they finally managed to do what their opponents had done so effectively, and quickly passed the ball wide to Davy Charles. Even though they were 55 points ahead, the Dundalk defence made Charles work hard to drive through the tackles and score Bangor’s consolation try, bringing the final score to 55-5.
From Bangor’s point of view, the final score doesn’t tell the whole story of this competition. While the final may have resulted in a sad anti-climax for Bangor, the remarkable journey to get there will be remembered for some time. On the day, Dundalk were by far the better side, and Bangor would have to concede that their game was not up to the usual standard. However, there is no doubt the experience of competing at this level is something to relish and the goal now will be to secure a top four place in the league and try again next year.
Everybody at the club has nothing but the highest respect and praise for what has been achieved this year by not just the 1sts, but all the senior teams, and one poor result isn’t going to change that – the welcome at Upritchard Park for the returning players is testament to that. With that in mind, the players now need to put this disappointment behind them and provide the best possible response against a struggling Portadown side at home in the league next Saturday.
Bangor side: J Leary, A Jackson, P Whyte, F Black, G Irvine, R Latimer, J Clegg, C Stewart, R Armstrong, K Rosson, D Charles, M Aspley, M Weir, M Widdowson, C Morgan
Subs: S Irvine, O McIlmurray, D Kelly, M Rodgers, C Harper, D Fusco, M Thompson
Bangor scores: D Charles (1T)
Dundalk Storm To Title Dundalk 55 v Bangor 5 from KnockOn.ie
Dundalk Scorers: Christopher Scully, Owen McNally, Jonathan Williams, John Smyth, Ultan Murphy, Tiernan Gonnelly, James McConnon and Stephen Murphy 1 try each. Ultan Murphy 6 cons, 1 pen.
Bangor Scorers: David Charles 1 try.
In front of a big crowd at Chambers Park on Saturday afternoon Dundalk delivered a stunning and ruthless display to see off the challenge of Bangor and capture the All Ireland Junior Cup title for the very first time.
Three first half tries had them firmly in control at 19-0 ahead having played with the elements at the Portadown venue during the first half and while the wind dropped somewhat after half time the Dundalk intensity most certainly didn’t as they cut loose scoring five more tries.
Dundalk returned to a heroes welcome at their Mill Road clubhouse on Saturday night after a display of pure brilliance throughout the afternoon.
Precision, pace and skill from the Louth men from start to finish left Bangor playing second fiddle for long periods.
Activity relating to the carrying of the more than 100 portable shrines (mikoshi) around the Asakusa neighbourhood to bless the businesses and residents with prosperity in the coming year.
Sanja Matsuri (Festival) at the Sensoji Temple, Asakusa,
Tokyo, Japan, 2016
Only the street shots - thestreetzine.blogspot.com/
The performance relates the shorter version of the epic Ramayana Saga with dancers playing as Rama, Shinta (Sita), Lakshmana, Rahwana (Ravana), Hanoman (Hanuman), Sugriwa (Sugriva), and other characters. The storyline starts when Prince Rama wanders into the woods with his wife Shinta and brother Lakshmana. There, the giant Rahwana kidnaps Shinta and holds her in his palace. Rama then seeks help and sends Lakhsmana to find his friend Sugriwa, the King of the Monkey Kingdom. Sugriwa sends his commander the white monkey, by the name of Hanoman, to check on Shinta in Rahwana’s Palace.
Taken @Bali, Indonesia
立法會鐵路事宜小組委員會前往港鐵何東樓車廠視察東鐵線新列車
立法会铁路事宜小组委员会前往港铁何东楼车厂视察东铁线新列车
LegCo Subcommittee on Matters Relating to Railways visits the new East Rail Line train at MTR Ho Tung Lau Depot (2016.05.23)
Author: Shaw, Thomas, 1694-1751
Title: Travels, or Observations Relating To Several Parts of Barbary and the Levant. Illustrated with Cuts. The Second Edition, with Great Improvements. By Thomas Shaw, D.D. F.R.S. Regius Professor of Greek, and Principal of St. Edmund Hall, in the University of Oxford.
Imprint: London : Millar and Sandby, 1757
Physical Description: 2 v. in 1 (xviii, 513 p.) : ill., maps (some folded) ; 27 cm.
Page: Title page
Call Number: DT188 .S52 1757 Rare Book
Note: J.H. Fleming Collection.
Rights Info: Public domain. No known copyright restrictions.
Please attribute this image to: Royal Ontario Museum Library & Archives.
Whenever possible, please provide a link to our Photostream.
For information about reproduction of this item for commercial use, please contact the Royal Ontario Museum's Rights and Reproductions department.
The performance relates the shorter version of the epic Ramayana Saga with dancers playing as Rama, Shinta (Sita), Lakshmana, Rahwana (Ravana), Hanoman (Hanuman), Sugriwa (Sugriva), and other characters. The storyline starts when Prince Rama wanders into the woods with his wife Shinta and brother Lakshmana. There, the giant Rahwana kidnaps Shinta and holds her in his palace. Rama then seeks help and sends Lakhsmana to find his friend Sugriwa, the King of the Monkey Kingdom. Sugriwa sends his commander the white monkey, by the name of Hanoman, to check on Shinta in Rahwana’s Palace.
A dramatic scene is portrayed when Hanoman is captured by Rahwana’s troops and put inside a circle of fire to burn him alive. Instead of burning to crisp, the white monkey warrior remains unharmed and breaks out only to burn Rahwana’s palace instead. Thus, began the battle between the two forces.
At first, Rahwana and his troops manage to overrun Rama. However, Sugriwa and Hanoman then come to Rama’s aid along with the rest of the monkey troops, defeat the evil king once and for all
Taken @Bali, Indonesia
Carrigeen Castle has featured in columns of the New York Times, Sunday Times, Kaleva (Finland), and Afton Bladet (Sweden) newspapers, besides several American and European publications relating to Ireland. In the mid-1990s, the Frommer Guide to Ireland took the opportunity of placing a picture of Carrigeen Castle on its front cover.
A defensible fortified structure was on this hilltop from at least the sixteenth century. The Pacata Hibernica depiction of the siege of Cahir Castle (1599) shows such a building. In 1690, during the Williamite campaign, earthen and stone outworks were erected around it, presenting an ideally defensible fortification for the Danish troops of William II who, during that winter, had quarters in Cahir and nearby Clonmel. Materials from this earlier structure were incorporated in the present building, while the associated outworks were adapted to serve as the castellated wall encircling the grounds.
In 1809, at the Summer Assize Presentments of the County Tipperary Grand Jury, funding was laid aside for the future provision of a bridewell in the town of Cahir. Bridewells (small town gaols) were generally small two-storey buildings, built of cut-limestone, and costing up to £800 to erect. They held prisoners temporarily, pending space in the county gaol, and were funded by the grand jury system (predecessors of the county councils), but supplementary central resources were also available, in certain circumstances. At Cahir, a committee led by local landlord, Richard Butler, baron of Caher – soon to become first earl of Glengall – was successful in attracting over twice the usual funding. Their chosen architect – Michael Bernard Mullins - submitted two plans, both variants of the same elaborate, castellated structure, costing some £2,000 to build, which would emphasize the fortress origins of the site and overawe the local population. This involved the creation of towers, turrets, battlements and a machicolation (defence mechanism over the main door, through which boiling oil was thrown on attackers of medieval castles) of hand cut limestone, an expensive and time consuming process.
Construction of the Cahir Bridewell commenced in 1813, and it was opened for the admission of prisoners in 1816. The original section is three stories in height, with a cut-limestone spiral staircase in the main tower. It originally comprised five cells, two dayrooms, two keeper's rooms and two exercise yards, the latter incorporating obtuse and acute angles suggestive of late medieval starfort design. The inner grounds – comprising ½ acre – are encircled by a castellated wall and gateway arch, beyond which lies 5½ acres known as The Bridewell Field.
The bridewell was enlarged in 1849-50 – at the height of the Great Famine – when the prison compliment was increased to eight cells (four for males, three for females and one for drunken / violent prisoners), two dayrooms, two storerooms, and two exercise yards. An inter-connecting keeper's residence was also erected – comprising a kitchen, dining room, sitting room, and two bedrooms.
LIFE IN THE BRIDEWELL:
Cahir Bridewell received mention in several noteworthy publications due to its unique appearance and situation. Perhaps the earliest coverage, however, was in May 1827 when the local Clonmel Gazette newspaper carried the headline ‘two men escaped from Cahir Bridewell’. The men managed to escape unnoticed but were recaptured the following day. Following on from this incident, the parapet of the exercise yards was raised!
In 1837 The Lewis Topographical Dictionary of Ireland stated ‘the bridewell is a handsome castellated building, containing five cells, one dayroom and two airing yards. However, the Inspector General of Prisons (Ireland) Reports of the 1830s and 1840s noted a great decline in the condition of the building, notice of which reached a more general readership in The Parliamentary Gazetteer of Ireland (1846), which stated ‘The Gaol is distinct and suitable in architecture. A short time ago, it was remarkable for its dilapidated state and bad management, but in 1841 it underwent repair.’ The keeper was ‘a painter, who occupied the house for his trade’, and was ‘totally unsuitable to his office’.
Following this damning report, the superintendence of all bridewells of the south riding of Tipperary was placed under the governor of HM Richmond Prison, Clonmel – which was appropriate, given that these temporary places of confinement acted as reserve accommodation for that gaol. Thereafter, a system of training keepers and turnkeys at Clonmel gaol was utilised to great effect.
Also, their salaries were increased from £5 in the 1810s (from which minor repairs were paid, leaving little incentive for upkeep) to £30 by the early 1840s, gradually increased to £50 by 1876.
Due to the lawlessness and poverty of the period, large numbers were confined at Cahir Bridewell over the years. In the year September 1825 to September 1826, 156 prisoners were confined here for an average of three days (awaiting transfer to Clonmel Gaol), at an average cost of 5d. per head. Numbers confined continued to increase, peaking during the famine years when, during one quarter of 1851, 533 prisoners were confined. The prisoners were fed a pound of bread and a pint of new milk for breakfast, and a pound of bread and a pint of skimmed milk for dinner. The local Anglican clergyman was the inspector. Each cell contained, per person, one iron bedstead, one bed ticken and three blankets.
Engraving of 1853
This earliest view – an engraving from 1853 – was commissioned when the property was featured as a notable building in the auction catalogue of Cahir Estates. The Encumbered Estates Court sold the majority of the estate, as it had been bankrupted through town improvements and a lack of tenant rents during the Great Famine (1846-51).
Cahir Bridewell was one of 52 gaols closed by the prison authorities in 1878, as part of an island wide rationalization. The estate then leased the keepers’ residence to local military officers until the purchase of the building from Lt. Col. Richard Butler-Charteris by David Butler (1890-1955), in 1919. He continued the estate tradition of leasing the keeper’s residence, for a time, before residing here in retirement. Following the marriage in 1969 of his son, John (Séan) with Margaret (Peig), the couple commenced renovating the remainder of the building, which opened in May 1976, as a guest accommodation.
The burning crucifix's relate to local Christian internecine strife. The seventeen crosses remember the seventeen Protestant (Christian) martyrs executed by the Catholic (Christian) Queen Mary (aka "Bloody Mary") a long time ago. There are no racist connotations.
Images taken during the legendary Lewes Bonfire Night Celebrations on 5th of November 2007.
A pilgrimage of hope to historic and poignant sites relating to the First World War, led by the two Archbishops of Armagh, has commenced with visits to the city of Kortrijk, in Belgium, and Guillemont Cemetery, in France.
The delegation visited Kortrijk, which was heavily bombed in 1917, yesterday afternoon and arrived at Guillemont this morning. The cemetery is the resting place for many soldiers from the 16th Irish Division who fought at the Battle of the Somme.
This was followed by a visit to the Ulster Tower – a memorial to the men of the 36th (Ulster) Division which suffered very heavy losses on 1st July 1916, the first day of the Battle of the Somme. The delegation then travelled to the nearby Thiepval Memorial and the Y Ravine Cemetery.
The group of pilgrims comprises 36 people of varying ages and backgrounds and representing the Protestant and Catholic traditions, including a core group of 16 young adults, who in visiting the war sites and memorials will be able to forge friendships and share their thoughts and hopes for the future while exploring their cultural identities.
Archbishop Richard Clarke (Church of Ireland) and Archbishop Eamon Martin (Catholic Church) previously led a cross–community delegation of young people from across the island of Ireland to the battle sites of the Somme two years ago; the current pilgrimage marks the upcoming centenary of the end of the First World War.
Co-sponsored by Bitch Media and Museum of Contemporary Craft, this event is a two-fold investigation into conversations relating to women in the field of design, both as creators and as consumers.
First, a panel will discuss the role of women in the design industry and how a female perspective helps to define design today. Portland-based designers Julie Beeler, Kate Bingaman-Burt, Sara Huston, and architect Carrie Strickland will give voice to their experience in a male-dominated field and articulate how the gender landscape has changed since the start of their own careers. Plus, a reading on Architect Barbie: How do pink and blue toys influence gender stereotypes for future designers?
Second, a women in design pecha kucha organized in collaboration with LAWD, (the League of Awesome Women Designers), will feature work being done across the field in rapid-fire sequence.
The entire program will be moderated by Namita Gupta Wiggers.
Additional information on our panelists:
Julie Beeler: www.secondstory.com
Kate Bingaman-Burt: katebingamanburt.com
Sara Huston: www.sara-huston.com
Carrie Strickland: www.worksarchitecture.net/who.html
October 10, 2013. Photos by Micah Fischer '13.
Location: Jewellery Quarter Station
Sponsor: Jewellery Quarter BID
Artist: Rob Conway
This maternal bear is inspired by the Ancient Egypt Gallery at Birmingham Museum and Art Gallery. The gallery's Egyptian artefacts include human and animal mummies brought to the city by explorers during the height of Victorian Egyptomania! The bandages also relate to Birmingham Children's Hospital, whilst the name 'Mummy Bear' refers to the character from 'Goldilocks and the Three Bears'.
Repeating The Big Hoot’s multi-award-winning formula, Birmingham Children’s Hospital Charity and Wild in Art have teamed up once again to present The Big Sleuth!
To most people, the word ‘sleuth’ means a private detective, but it’s also the collective noun for a group of bears! Bizarre but true. Birmingham has brought both definitions together this summer by bringing the sun bear, the world’s smallest species of bear (now threatened with extinction), to the region for the second free, public-art trail!
The trail, which culminates on Sunday 17th September, is hoping to attract thousands of families, tourists and residents to the region. Hoping they discover places they’ve never visited before, as well as appreciate the beautiful pieces of art!
Each striking sculpture on the trail tells a different story, whether it is raising awareness of the children’s hospital, the plight of the sun bear, celebrating a community, the city’s industrial heritage or a famous film character or artist.
At the end of the trail, the large bears together with the special celebrity bear cubs will be auctioned off in October to raise vital funds for Birmingham Children’s Hospital Charity. The Big Sleuth’s predecessor, The Big Hoot, raised over £500,000 for the charity at auction, and The Big Sleuth aims to do the same.
The Big Sleuth bear has been created specifically for Birmingham.
Created by Guy McKinley and developed by Wild in Art, our bear sculpture has been designed to act as a canvas for artists, schools and communities to showcase the creativity and uniqueness of Birmingham. The world’s smallest species of bear, the Sun Bear is also known as the Honey Bear as it likes to eat vast quantities of it - using its trademark incredibly long tongue to scoop it all up. The Sun Bear originates from South Asia and will bring out the explorer and traveller in all of us to ensure we all get more active to walk, jog, run or cycle the trail.
Dundalk overwhelm Bangor in All Ireland Final
by Roger Corbett
Bangor’s amazing run in the All Ireland Junior Cup came to an abrupt end when they were comprehensively beaten by Dundalk, eventually losing by 55-5.
Where do you start when trying to relate and absorb the events of Saturday’s final at Chambers Park? Firstly, congratulations to worthy winners Dundalk who nullified the Bangor attack, then went on to produce some stunning plays which racked up no less than 8 tries, each by a different player. For Bangor’s part, they were unable to respond to the intensity of Dundalk’s game, and lacked the cutting edge which their opponents used to great effect.
The day started full of promise, as the strong support from North Down made their way to Chambers Park in Portadown, knowing Bangor would be fielding their best team. Once again, the pundits had Bangor as the underdogs – just as they had done so in the previous three rounds! In confounding the experts earlier, Bangor produced some awesome performances against top quality opposition to get to the final. Dundalk had produced some convincing wins in the early rounds of the competition, but had struggled to get past CIYMS in the semi-final, just managing to squeeze ahead at the second time of asking. However, with a number of key players returning to the side in time for this game, they were now back at full strength and would be a formidable force to contend with.
Having won the toss, captain Jamie Clegg elected to play into the stiff wind in the first half. For the first 5 minutes, Bangor doggedly retained possession and tried to play their way into Dundalk’s half through a series of determined forward moves. However, little ground was made and, when possession was finally lost, the Dundalk back line produced a burst that simply cut through the Bangor defence resulting in an easy touch down under Bangor’s posts for a 7-0 lead.
Bangor stuck to their plan and slowly, but patiently, got their attack moving forward, eventually winning a penalty to the left of Dundalk’s posts, but Mark Widdowson’s kick into the wind drifted just wide of the mark.
The contrast in play between the two teams was becoming clear, with Bangor trying to keep the ball close while Dundalk were throwing it wide. The latter strategy was proving to be the more effective as, with 20 minutes gone, a quick back line move with players looping around resulted in an overlap on the right wing which gave a clear run in to again, score under the posts. A further 9 minutes later, they did it again and, although the Bangor defence had sensed the danger and moved across to cover it, their tackling let them down allowing Dundalk to get over in the right hand corner, taking their lead to 19-0.
By now, Bangor were trying to hang on until half time when they could regroup and come out with the wind at their backs. Dundalk, on the other hand were anxious to press home their advantage and give them a more comfortable lead. To Bangor’s credit, although camped on their own line for lengthy spells, they dug in and managed to hold on until the referee’s half time whistle.
As the teams reappeared from the dressing rooms, it was obvious Bangor were ringing the changes, particularly in the backs. With the wind advantage having lessened considerably, Bangor got the second half underway. It was now Dundalk’s turn to adopt the slow, steady approach, just as Bangor had done earlier. However, their more confident off-loading and support play was, once again, taking play deep into Bangor’s territory. Frustration at not being able to gain possession and take play out of their danger area eventually resulted in a yellow card for Clegg after a succession of penalties. Dundalk kicked the penalty to touch, won their lineout and drove for the line. Although initially held up by the Bangor defence, Dundalk’s repeated drives were eventually rewarded with another converted score, extending their lead to 26-0.
From the touchline, the Bangor faithful had felt that if their players had managed to score first in the second half, they may have been able to mount a fight-back and close the gap to their opponents. As it was, this Dundalk score simply bolstered their confidence and pushed Bangor deeper into trouble. With Bangor still a man down, Dundalk added to the score with a penalty and then another score in the corner. Everything was now working for the Leinster men, as even the difficult touchline conversion into the biting wind successfully split the posts, bringing the score to 36-0.
As the game entered the final quarter, and with Dundalk all but holding the cup, Bangor were now on the ropes. By contrast, the Dundalk players were in almost total control, and were not going to slow down now. In a 10 minute spell, they ran in a further 3 tries, making the scoreline 55-0. By now, any sense of dejection the Bangor supporters may have been feeling was now moved to feelings of sympathy for their players. However, pride was at stake and once again Bangor rallied as the game entered its final minutes. At last, the forwards got within striking distance of the Dundalk line and, although their repeated attacks were repelled, they finally managed to do what their opponents had done so effectively, and quickly passed the ball wide to Davy Charles. Even though they were 55 points ahead, the Dundalk defence made Charles work hard to drive through the tackles and score Bangor’s consolation try, bringing the final score to 55-5.
From Bangor’s point of view, the final score doesn’t tell the whole story of this competition. While the final may have resulted in a sad anti-climax for Bangor, the remarkable journey to get there will be remembered for some time. On the day, Dundalk were by far the better side, and Bangor would have to concede that their game was not up to the usual standard. However, there is no doubt the experience of competing at this level is something to relish and the goal now will be to secure a top four place in the league and try again next year.
Everybody at the club has nothing but the highest respect and praise for what has been achieved this year by not just the 1sts, but all the senior teams, and one poor result isn’t going to change that – the welcome at Upritchard Park for the returning players is testament to that. With that in mind, the players now need to put this disappointment behind them and provide the best possible response against a struggling Portadown side at home in the league next Saturday.
Bangor side: J Leary, A Jackson, P Whyte, F Black, G Irvine, R Latimer, J Clegg, C Stewart, R Armstrong, K Rosson, D Charles, M Aspley, M Weir, M Widdowson, C Morgan
Subs: S Irvine, O McIlmurray, D Kelly, M Rodgers, C Harper, D Fusco, M Thompson
Bangor scores: D Charles (1T)
Dundalk Storm To Title Dundalk 55 v Bangor 5 from KnockOn.ie
Dundalk Scorers: Christopher Scully, Owen McNally, Jonathan Williams, John Smyth, Ultan Murphy, Tiernan Gonnelly, James McConnon and Stephen Murphy 1 try each. Ultan Murphy 6 cons, 1 pen.
Bangor Scorers: David Charles 1 try.
In front of a big crowd at Chambers Park on Saturday afternoon Dundalk delivered a stunning and ruthless display to see off the challenge of Bangor and capture the All Ireland Junior Cup title for the very first time.
Three first half tries had them firmly in control at 19-0 ahead having played with the elements at the Portadown venue during the first half and while the wind dropped somewhat after half time the Dundalk intensity most certainly didn’t as they cut loose scoring five more tries.
Dundalk returned to a heroes welcome at their Mill Road clubhouse on Saturday night after a display of pure brilliance throughout the afternoon.
Precision, pace and skill from the Louth men from start to finish left Bangor playing second fiddle for long periods.
This photo relates to my blog post
www.heatheronhertravels.com/how-to-eat-well-in-sardinia/
This photo is licenced under Creative commons for use including commercial on condition that you link back to or credit http://www.heatheronhertravels.com/.
See my profile for more detail.
Meet Buchanan Moncure www.buchananmoncure.net/ He's an up and coming author here in Charlotte, and his recent book of short stories titled This Was Supposed to be Simple is being sold in several bookstores around the city. Buchanan has a really great sense of humor and is very dedicated to his art. I enjoy working with other local artists/musicians/authors because I can relate to them with a sense of creativity that I don't always find with other models. Keep an eye out for Buchanan, he's going places!
In a world sworn by the mannerisms of a status quo, the only way to break out would seem to lie in the hands of select individuals who strive to make a difference- a difference that we can all relate to. With an exciting new theme this year around on “Creating Collaboration”; TEDx Colombo takes you out from the norm and into a world of creative inspiration. With a speaker line-up that includes renowned individuals who have innovated in their respective fields- ranging from, economics and governance, fashion design, photography, advertising, development and the corporate sector.
Various Artists
Monday 4 - Wednesday 13 November, 10:00am - 4:00pm
Wellgate Shopping Centre
Level 1, Space 2
Dundee, DD1 2DB
This exhibition, curated by Weave at Abertay, brings together emerging and established digital artists/activists whose work comments, reflects and challenges ideas relating to socio-political issues and events. It is a survey of media objects of protest against hostile acts and environments over the past 35 years.
How are digital artists using their practice to facilitate conversations around complex socio-political issues? How do we protest differently in a digital age?
It is a turbulent time across the globe – from the challenges of Brexit to the protests in Hong Kong, from the growing Climate Emergency movement to the rise in Nationalism — the international socio-political landscape is increasingly subject to crisis and change.
These events and activities, while tied to specific cultural and socio-political contexts, often transcend borders and speak to collective concerns for alternative forms of democracy and citizen-informed solutions to complex issues.
Digital devices and platforms have encouraged the public to engage more with social and political issues, expanding opportunities for citizens to directly participate in civil society action. Blogs, petition platforms, crowdfunding sites, e-voting and other online forums and tools offer new means for individuals to contribute to shaping political debate and driving ‘real-world’ change.
It is against this diverse backdrop of politics, and the participatory nature of digital technologies, that many artists are producing work today.
The exhibition reflects on gun culture through Joseph Delappe’s Elegy: GTA USA Gun Homicides and Addie Wagenknecht’s series The Liberator Vases of 3D printed vases made using the first open source downloadable handgun. Irene Tokini Fubara-Manuel’s videogame ‘Dreams of Disguise: Errantry’ we explore issues of agency at border control and in Tina Keane’s video installation we recognise women’s historical struggle against nuclear weapons at Greenham Common . Igor Vamos’ (Yes Men) Barbie Liberation Organization playfully challenges gender-norms and Echo Youth by Matthew Plummer-Fernandez frames physical protest for a digital era.
The title of the exhibition is inspired by Roxy Music’s song, ‘Re-make/Re-model’ and makes reference to musician and theorist Brian Eno’s perspectives on technology, society and the future.
Weave by Abertay, based at Abertay University, creates a vibrant programme of cultural events across the city of Dundee, sharing local and global creativity.Weave gives a platform to national and international artists and designers to share their practice. Weave supports the talent and innovation of Abertay students and staff by working closely with the School of Design and Informatics. They collaboratively explore creative projects relating to Digital Culture, building on Abertay’s international reputation for excellence in computer games education. Through a series of talks, workshops, exhibitions and performances Weave collaborates with cultural partners across the city to make new connections, share knowledge and create cultural happenings across Dundee.
With gratitude and thanks to
Abertay University’s School of Design and Informatics
Adam Lockhart
Andrew McLean
Andy Slater
bitforms gallery
Creative Scotland
DJCAD, University of Dundee
Gerald High
Joseph DeLappe
Martin Zeilinger
Sarah Cook
Steve Page
Wellgate Centre
And our brilliant volunteer team.
Photography Kathryn Rattray
It has taken me about three years to get any information relating to this memorial fountain in Bray.
The fountain and obelisk at the Royal Hotel in Bray was erected, by public subscription, in memory of Dr Christopher Thompson, who died in 1876. I read somewhere that he was the only Medical Doctor in Ireland to have a monument such as this in their honour but I have photographed four others. [1] The Raheny Cross in memory of Marie Elizabeth Hayes, doctor and missionary [2] Thomas Thompson Memorial Fountain - Belfast [3] Memorial to Dr. William Ashford - located in Sandymount [4] Memorial To Dr. Issac William Usher of Dundrum. Note: I believe that Marie Hayes was the first woman in Ireland to qualify as a Doctor.
Dr. Thompson was born in Dublin in 1815 and joined the British Army, as a Doctor, and was assigned to the Light Infantry in Cobh [known as Queenstown at the time]. At some stage he was promoted and moved to the UK and later took up a position at Portsmouth general Hospital. In 1859 he returned to Ireland where had a house at Duncairn Terrace in Bray.
He was involved in fighting an outbreak of cholera in Bray in 1879 but he died towards the end of the year. He is buried in St. Paul’s graveyard across the road from the memorial.
I believe that his wife about nine years later and that she is buried in Mount Jerome cemetery which is in Harold’s Cross in Dublin. I will check this the next time I visit the cemetery but it strikes me as a bit odd that she was not buried with her husband.
Maker:
Born: USA
Active: USA
Medium: catalog
Size:
Location:
Object No. 2020.369b
Shelf: E-43
Publication: List of the Photographs and Photographic Negatives Relating to the War for the Union, now in the War Department Library, Subject Catalogue No. 5, Washington, D. C. Government Printing Office, 1897
Other Collections:
Provenance:
Notes: Once part of the War Department Library and cataloged and published as "List of the Photographs and Photographic Negatives Relating to the War for the Union" (War Department Subject Catalogue No. 5, 1897, the records include photographs from the Matthew B. Brady collection, purchased for $27,840 by the War Department in 1874 and 1875, photographs from the Quartermaster's Department of the Corps of Engineers, and photographs private citizens donated to the War Department. The pictures are now in the Still Picture Branch of the National Archives and Records Administration (NARA).
To view our archive organized by Collections, visit: OUR COLLECTIONS
For information about reproducing this image, visit: THE HISTORY OF PHOTOGRAPHY ARCHIVE
Various papers relating to Mr.Thomas Wheeler my late Grandfather.Sadly he died when I was just eleven years of age.I do however recall it was he that took me on my very first fishing trip using the first fishing rod and reel that he bought me.The images here are from WWII papers when he was an active serviceman and I only recently found these in an old album of my late father`s.These are the first twenty images in nigh on eighty images of both his army papers and my Great Grandparents (to come later) images.Some images are somewhat the same but have different focus points and apertures,mainly to suit prospective customers on Alamy.com stock images.I sincerely hope you enjoy the images and hope you see,as I did,what I think is one of many of the Identity Card issued during WWII.As you can see my Grandfather first signed up in September 1940 and seved right up until the end of the war 1945.He was then signed up for the reserves.Do Not Use Without Express Permisison From Peter Wheeler.
The description and specifications relate to the Pitts Special as this is an identical aircraft to the S1 and S2S.
The Pitts Special is a light aerobatic biplane designed by Curtis Pitts. It has accumulated many competition wins since its first flight in 1944. The Pitts Special dominated world aerobatic competition in the 1960s and 1970s and, even today, remains a potent competition aircraft and is a favourite for many an aerobatic pilot.
General characteristics
•Crew: Two
•Length: 18 ft 9 in (5.71 m)
•Wingspan: 20 ft 0 in (6.10 m)
•Height: 6 ft 7⅓ in (2.02 m)
•Wing area: 125 ft² (11.6 m²)
•Empty weight: 1,150 lb (521 kg)
•Max takeoff weight: 1,625 lb (737 kg)
•Powerplant: 1× Textron Lycoming AEIO-540-D4A5 flat-six air cooled piston engine, 260 hp (194 kW)
Performance
•Never exceed speed: 182 knots (210 mph, 338 km/h)
•Cruise speed: 152 knots (175 mph, 282 km/h) (max cruise)
•Stall speed: 52 knots (60 mph, 97 km/h)
•Range: 277 NM (319 mi, 513 km)
•Service ceiling: 21,000 ft (6,400 m)
•Rate of climb: 2,700 ft/min (13.7 m/s)
•Wing loading: 13.0 lb/ft² (63.6 kg/m²)
•Power/mass: 0.16 hp/lb (0.26 kW/kg)
Text and specifications based on Wikipedia article under the Creative Commons License for non-profit use.
Various papers relating to Mr.Thomas Wheeler my late Grandfather.Sadly he died when I was just eleven years of age.I do however recall it was he that took me on my very first fishing trip using the first fishing rod and reel that he bought me.The images here are from WWII papers when he was an active serviceman and I only recently found these in an old album of my late father`s.These are the first twenty images in nigh on eighty images of both his army papers and my Great Grandparents (to come later) images.Some images are somewhat the same but have different focus points and apertures,mainly to suit prospective customers on Alamy.com stock images.I sincerely hope you enjoy the images and hope you see,as I did,what I think is one of many of the Identity Card issued during WWII.As you can see my Grandfather first signed up in September 1940 and seved right up until the end of the war 1945.He was then signed up for the reserves.Do Not Use Without Express Permisison From Peter Wheeler.
Detail of miniature from scroll relating the Mahabharata. Shows Krishna, armed with a bow and arrow, riding a chariot, aiming at another chariot which is following it.
One of two major Sanskrit epics of Ancient India, the Mahabharata tells the tale of a dynastic struggle between two sets of cousins for control of the Bharata kingdom in central India. One of the longest poems ever written, eclipsed only by the Gesar Epic of Tibet, it is said to have been composed between 900 and 400BCE by the sage Vyasa, although, in reality, it is likely to have been created by a number of individuals. To Hindus, it is important in terms of both dharma (moral law) and history (itihasa), as its themes are often didactic.
This scroll dates to 1795CE and was donated to the university in 1821 by Colonel Walker of Bowland. It is 13.5cm wide and 72m long and has 78 miniatures of varying sizes. All of the illustrations are in the late Mughul or Kangra style, with gold backgrounds and floral patterning in red, white and gold, as well as green leaves and blue diamond-shaped designs.
Sources:
www.brown.edu/Departments/Sanskrit_in_Classics_at_Brown/M... (accessed 16/06/14).
www.britannica.com/EBchecked/topic/357806/Mahabharata (accessed 16/06/14).
The full LUNA record for this item is here: images.is.ed.ac.uk/luna/servlet/detail/UoEsha~4~4~61054~1...
© The University of Edinburgh Library
The description and specifications relate to the Pitts Special as this is an identical aircraft to the S1 and S2S.
The Pitts Special is a light aerobatic biplane designed by Curtis Pitts. It has accumulated many competition wins since its first flight in 1944. The Pitts Special dominated world aerobatic competition in the 1960s and 1970s and, even today, remains a potent competition aircraft and is a favourite for many an aerobatic pilot.
General characteristics
•Crew: Two
•Length: 18 ft 9 in (5.71 m)
•Wingspan: 20 ft 0 in (6.10 m)
•Height: 6 ft 7⅓ in (2.02 m)
•Wing area: 125 ft² (11.6 m²)
•Empty weight: 1,150 lb (521 kg)
•Max takeoff weight: 1,625 lb (737 kg)
•Powerplant: 1× Textron Lycoming AEIO-540-D4A5 flat-six air cooled piston engine, 260 hp (194 kW)
Performance
•Never exceed speed: 182 knots (210 mph, 338 km/h)
•Cruise speed: 152 knots (175 mph, 282 km/h) (max cruise)
•Stall speed: 52 knots (60 mph, 97 km/h)
•Range: 277 NM (319 mi, 513 km)
•Service ceiling: 21,000 ft (6,400 m)
•Rate of climb: 2,700 ft/min (13.7 m/s)
•Wing loading: 13.0 lb/ft² (63.6 kg/m²)
•Power/mass: 0.16 hp/lb (0.26 kW/kg)
Text and specifications based on Wikipedia article under the Creative Commons License for non-profit use.
Nonsense: Physicality, Perspective and the Consciousness of Relating: Joe Grimm and Erica Moore, curated by Cecilia Vargas
www.lulu.com/product/paperback/(non)sense/10290669
FREE Download: www.lulu.com/product/file-download/(non)sense/10290670
The phrase 'Unity vs. Diversity' used to sound like a lofty ideal, a big and grand idea that it didn't quite touch me personally; I couldn't relate to it individually. But I just realized that for me, personally and practically, it's nothing but the age-old battle of Ego vs. Soul; Mind vs. Divine.
No matter how inclusive I want to be, there is no way an ego and the soul are compatible. The ego is constantly fighting and struggling to keep itself separate, special, different, superior, and if that doesn't work, makes itself feel inferior, or a victim. It's constantly striving to get attention in whatever way it can. The soul, on the other hand, doesn't stoop to fighting - it just waits. It waits for the ego to someday realize and give up and put its unnecessary burdens down.
This is the same battle as Rama vs. Ravana, Buddha vs. Mara, Jesus vs. Satan; except in this day and age, this battle is going on within each person, every minute of every day. Just like Ravana, Mara or Satan, the Ego doesn't give up, it keeps thinking of devious ways to maintain the upper hand. But it is infinitely consoling that in the end, Rama, Buddha and Jesus won, and so will the Soul. The ego will give in - not all at once - may be little by little, but it will give in. This is a pre-destined outcome.
Once the self gets a taste of its higher Self, the Soul (the Atma), the peace and bliss that accompanies the Soul, it will try to touch, feel and reach the Soul more and more. And the magical touch of the Soul heals the splintered pieces of the self that the ego created. It unifies all the broken, wounded pieces of the self into the divine Soul, the universal Soul, Brahman.
Ego divides; Soul unifies.
This is what Unity vs. Diversity means to me now. The diversity in the universe is only an illusion that the mind created. When the mind and the ego give in and stop striving to be diverse and separate, everything is unified into one entity - the one and only absolute reality - God.
Sai Ram and love
sai_sravanthi_ 999@yahoo. com
This ad relates to a comment by Racing Toast on an older advert I have on here for the Prentice company (see below). I'm not sure if the Prentice family were still involved with the company by this time, Racing Toast suggests the Nicholls family had taken over and the name of Guy above does tie up with Guy Nicholls who now runs Fork-Rent and other associated sales/hire companies.
Scanned from a King's Lynn Speedway programme from 3 September 1978.
Vitality relates to our sensation of power or aliveness. It correlates highly with satisfaction with life, happiness, and health. It indicates optimum human functioning. Discover the factors that help in higher degrees and how to boost your vitality. Have you ever before considered what vitality implies to you? Lots of people are familiar with the concept of "vitality", but extremely few recognize exactly how it is. This short article reveals you a method of examining your vitality and invites you to make a commitment to obtain your personal ideal.Visit our site www.z-factor.com/ for more information on Vitality
Understanding how materials behave, degrade and relate to each other is a fundamental part of the research that takes place at TWI, and factors into much of the work we conduct for our Members.
Whether it’s identifying what caused a component to fail, developing hydrophobic coatings for anti-graffiti applications, or identifying the optimum material for a niche application, our materials scientists have the depth of knowledge to develop solutions to all manner of materials-related problems, without compromising on safety or quality.
TWI Members benefit from our unrivalled breadth of understanding and versatility of capability: with laboratories able to examine the microscopic, and specialised testing rigs able to investigate the massive, we can take on projects of any size.
For more information please visit www.twi-global.com/capabilities/materials-and-corrosion-m...
If you wish to use this image each use should be accompanied by the credit line and notice, "Courtesy of TWI Ltd".
Legend relates that in January 1297 François Grimaldi, disguised as a monk, sought shelter at the castle. On obtaining entry he murdered the guard, whereupon his men miraculously appeared and captured the castle. Thus the fortress became the stronghold of the Grimaldi. This event is commemorated by a statue of François Grimaldi in the precincts of the palace and in the arms of the House of Grimaldi where François is depicted wielding a sword while in the garb of a monk.
Some of the latest clothing relate to the interests I love. Anyway, this is from the Young and the Restless.
127 comments under the Facebook posting, to a province-wide group, of a photo that a photographer took of three people, one of them myself - angry, rude, critical, judgemental comments, by people who don't even know me or my ethics, including when they relate to photography! Last night, I found the posting again and took a long time going through all 127 comments. Made me feel sick to the stomach. This can't be right, though I know this kind of thing does happen on Facebook. I want the photo removed or for the photographer to at the very least completely blur me out of the shot. Though his comment, when he first posted his photo, was about people staying safe when taking photos, he has allowed the posting to develop into an endless bashing.
I wasn't going to post this again, but I have changed my mind after reading all those comments. I sent the man a link to one of my owl photos that has this long description with it, asking him to read, when he has time, what I have written. The link was sent only two or three days ago, so he may not have seen it yet.
""I think the very first Long-eared Owl that I ever saw was seen on 13 October 2006. SInce then, I have been very fortunate to have seen several other individuals - including the day before yesterday. These owls are very secretive and many birders go years between sightings. It is so important not to give the location of this species. Be careful that there is nothing in your photos that gives away the location.
Various people had been posting photos of a Long-eared Owl recently, but I had no idea where they were seeing it. Someone had posted a photo and labelled it "Calgary" (totally untrue!), so I had thought it must have been seen in one of our local city parks. Two days ago, I decided to go for a short drive and get a bit of sunshine and fresh air. Our deep freeze has lasted for more than four weeks, and I have been home for most of that time. It was a milder day, so I decided to make the most of it, especially with more snow forecast for today.
Imagine my surprise when a stranger told me just where it was, and my absolute horror when I came upon a huge crowd of photographers with their lenses raised! So how did they all know about this owl?? Apparently, Facebook has such a bad reputation for people trolling everyone's photostream there, finding out locations for all sorts of things (old barns included!). Then, of course, some people phone others, to ask or to tell. Others follow ebird religiously, dashing out to see every more 'special' bird that is reported and location given. I don't post many photos on Facebook and I certainly don't post the same photo to three groups. It gets so very boring to see the same photos everywhere. These people flood their own Facebook pages and the groups! The only reason I can see is to get as many Likes as possible. Anyway, most people were down in the ditch at the fenceline, so no doubt they were able to get stunning close shots, especially those with enormous lenses. My photos were taken from the road, which was twice as far away, with a point-and-shoot. I'm not out to try and get better photos than anyone else : ) As always, there is so much competition among photographers. I was also not out there all day, like various people always are, and often day after day after day.
So, after saying those things, perhaps you can imagine how extremely upset (devastated, actually) I am to have been told (when I arrived at the owl) by a couple of friends (both of whom are superb photographers) that my photograph had been taken, along with two other people in it, standing at the edge of a road earlier in February. These friends thought it was hilarious and I sure was teased a lot. As they said, my "goody two-shoes" image was gone. They both know I have very high ethics, including when it comes to photography. This photo was posted on Facebook on a provincial birding page, pointing out how dangerous it is for people to stand by the road. This thread turned into a string of comments about people harassing the owls, etc., etc., etc. Actually, the other two people in the photo are both seen taking photos (when I was told they already had taken thousands). There's me, camera not raised, looking disgusted that an owl had been flushed so that they could take flight images. The reason I was out of my vehicle was that these two people were out of theirs and racing down the road at top speed to get yet more shots. When I was sitting in my car, these photographers blocked my view of the owl, so out I got and caught up with them. To prove that I was not planning on getting out of my car this trip, I was wearing just my thin summer jacket (over fleece) in a windchill in the minus 20C's. Two minutes later, I was back in my car!
Sorry to rant, but it just upsets me so much that this photo was taken and posted on Facebook. Have barely slept the last two nights! The very last thing I would ever want is to be connected with bad ethics!! Of course, I must be such a bad person to actually stand by the road - ha, you should see all the dozens of people who do exactly the same (without being photgraphed)!
That day, I took maybe 30 photos of the Long-eared Owl, and maybe a couple of dozen of a Short-eared Owl, almost every single one of the latter needing to be deleted, because they were all totally blurry, thanks to taking the photos from inside my car. You can be sure that most of the others went home with yet another memory card containing thousands of photos.
I am hoping that now I won't be stressing out over it quite as much, every second of the day! Ain't life fun? To the man who took my photo (as far as I know, I have never met him), how about taking a few photos of the crowds of people, especially those who were as close as they could get to the LEO. Or those who stress out the owls day after day after day, often from morning till evening! You might just get lots of likes and comments on photos of those repeat "offenders". How about giving it a try?
PS: I rarely allow people (i.e. friends) to photograph me. Not sure what right this man thinks he has, to take my photo and especially to then post it on a very popular Facebook group page. I want it removed from Facebook, or at the very least, to have myself totally blurred out of the image. When this sort of thing happens, it can totally destroy a person's joy of photography!
Actually, on a more serious note, something that I'm sure most people don't think of. You really need to be careful about taking a photo of someone and then posting it (without signing a consent form). For various security reasons, doing this could actually put someone in danger. For example, a woman (or vice versa) might not want their photo being advertised in this way, not wanting an abusive spouse/partner to know where they go sometimes or what they do. Just something to keep in mind."
Some stories relate that this flag was originally introduced by Mohamed Ali Pasha as his personal/viceregal standard although I have not been able to verify that. The three crescents and three stars symbolize the victories of the Egyptian armies in three continents and the exapnsion of his dream empire in Africa, Asia and Europe. However, it is more certain that this flag was used during the reign of his grandson, Ismail Pasha. It was most probably introduced by Mohamed Ali pasha around 1826 and then reintroduced by Khedive Ismail in 1867, when Egypt was elevated from an Eyalet to a Khedivate. This banner became the National Flag of Egypt during the reign of Sultan Hussein Kamel and was used as such during the short lived Sultanate of Egypt. It was used as a national flag from early 1915 to 1922 when Egypt was declared a Kingdom (15 March, 1922)
This badge may relate to the novelty song I’ve never seen a straight banana, sung by Whispering Jack Smith (Jacob Schmidt). This song was first published in 1927 by Irving Berlin Music Publishing Inc of New York.
Song-sheet badges were a long series of promotional badges that accompanied its song-sheet when purchased. Most song-sheet badges were issued during the 1920’s and 1930’s, the majority manufactured by Millers of Birmingham. The badge’s design always tied-in with the theme of the song’s lyrics
www.youtube.com/watch?v=k6n00XcVHJE (I’ve never seen a straight banana song).
.
Enamels: 2 (yellow & brown).
Finish: Gilt.
Material: Brass.
Fixer: Pin.
Size: 35mm long (1 /3/8” approx).
Process: Die stamped.
Imprint: W. MILLER, 118 BRANSTON ST, BIRMINGHAM (1928)
.
Photo reproduced with kind permission of the seller (amersham417).
Sold on eBay 13th February 2014.
Item number 251442390750.
Start price £8.99 and sold for £44.00 p&p (7 bids from 4 bidders).
Dundalk overwhelm Bangor in All Ireland Final
by Roger Corbett
Bangor’s amazing run in the All Ireland Junior Cup came to an abrupt end when they were comprehensively beaten by Dundalk, eventually losing by 55-5.
Where do you start when trying to relate and absorb the events of Saturday’s final at Chambers Park? Firstly, congratulations to worthy winners Dundalk who nullified the Bangor attack, then went on to produce some stunning plays which racked up no less than 8 tries, each by a different player. For Bangor’s part, they were unable to respond to the intensity of Dundalk’s game, and lacked the cutting edge which their opponents used to great effect.
The day started full of promise, as the strong support from North Down made their way to Chambers Park in Portadown, knowing Bangor would be fielding their best team. Once again, the pundits had Bangor as the underdogs – just as they had done so in the previous three rounds! In confounding the experts earlier, Bangor produced some awesome performances against top quality opposition to get to the final. Dundalk had produced some convincing wins in the early rounds of the competition, but had struggled to get past CIYMS in the semi-final, just managing to squeeze ahead at the second time of asking. However, with a number of key players returning to the side in time for this game, they were now back at full strength and would be a formidable force to contend with.
Having won the toss, captain Jamie Clegg elected to play into the stiff wind in the first half. For the first 5 minutes, Bangor doggedly retained possession and tried to play their way into Dundalk’s half through a series of determined forward moves. However, little ground was made and, when possession was finally lost, the Dundalk back line produced a burst that simply cut through the Bangor defence resulting in an easy touch down under Bangor’s posts for a 7-0 lead.
Bangor stuck to their plan and slowly, but patiently, got their attack moving forward, eventually winning a penalty to the left of Dundalk’s posts, but Mark Widdowson’s kick into the wind drifted just wide of the mark.
The contrast in play between the two teams was becoming clear, with Bangor trying to keep the ball close while Dundalk were throwing it wide. The latter strategy was proving to be the more effective as, with 20 minutes gone, a quick back line move with players looping around resulted in an overlap on the right wing which gave a clear run in to again, score under the posts. A further 9 minutes later, they did it again and, although the Bangor defence had sensed the danger and moved across to cover it, their tackling let them down allowing Dundalk to get over in the right hand corner, taking their lead to 19-0.
By now, Bangor were trying to hang on until half time when they could regroup and come out with the wind at their backs. Dundalk, on the other hand were anxious to press home their advantage and give them a more comfortable lead. To Bangor’s credit, although camped on their own line for lengthy spells, they dug in and managed to hold on until the referee’s half time whistle.
As the teams reappeared from the dressing rooms, it was obvious Bangor were ringing the changes, particularly in the backs. With the wind advantage having lessened considerably, Bangor got the second half underway. It was now Dundalk’s turn to adopt the slow, steady approach, just as Bangor had done earlier. However, their more confident off-loading and support play was, once again, taking play deep into Bangor’s territory. Frustration at not being able to gain possession and take play out of their danger area eventually resulted in a yellow card for Clegg after a succession of penalties. Dundalk kicked the penalty to touch, won their lineout and drove for the line. Although initially held up by the Bangor defence, Dundalk’s repeated drives were eventually rewarded with another converted score, extending their lead to 26-0.
From the touchline, the Bangor faithful had felt that if their players had managed to score first in the second half, they may have been able to mount a fight-back and close the gap to their opponents. As it was, this Dundalk score simply bolstered their confidence and pushed Bangor deeper into trouble. With Bangor still a man down, Dundalk added to the score with a penalty and then another score in the corner. Everything was now working for the Leinster men, as even the difficult touchline conversion into the biting wind successfully split the posts, bringing the score to 36-0.
As the game entered the final quarter, and with Dundalk all but holding the cup, Bangor were now on the ropes. By contrast, the Dundalk players were in almost total control, and were not going to slow down now. In a 10 minute spell, they ran in a further 3 tries, making the scoreline 55-0. By now, any sense of dejection the Bangor supporters may have been feeling was now moved to feelings of sympathy for their players. However, pride was at stake and once again Bangor rallied as the game entered its final minutes. At last, the forwards got within striking distance of the Dundalk line and, although their repeated attacks were repelled, they finally managed to do what their opponents had done so effectively, and quickly passed the ball wide to Davy Charles. Even though they were 55 points ahead, the Dundalk defence made Charles work hard to drive through the tackles and score Bangor’s consolation try, bringing the final score to 55-5.
From Bangor’s point of view, the final score doesn’t tell the whole story of this competition. While the final may have resulted in a sad anti-climax for Bangor, the remarkable journey to get there will be remembered for some time. On the day, Dundalk were by far the better side, and Bangor would have to concede that their game was not up to the usual standard. However, there is no doubt the experience of competing at this level is something to relish and the goal now will be to secure a top four place in the league and try again next year.
Everybody at the club has nothing but the highest respect and praise for what has been achieved this year by not just the 1sts, but all the senior teams, and one poor result isn’t going to change that – the welcome at Upritchard Park for the returning players is testament to that. With that in mind, the players now need to put this disappointment behind them and provide the best possible response against a struggling Portadown side at home in the league next Saturday.
Bangor side: J Leary, A Jackson, P Whyte, F Black, G Irvine, R Latimer, J Clegg, C Stewart, R Armstrong, K Rosson, D Charles, M Aspley, M Weir, M Widdowson, C Morgan
Subs: S Irvine, O McIlmurray, D Kelly, M Rodgers, C Harper, D Fusco, M Thompson
Bangor scores: D Charles (1T)
Dundalk Storm To Title Dundalk 55 v Bangor 5 from KnockOn.ie
Dundalk Scorers: Christopher Scully, Owen McNally, Jonathan Williams, John Smyth, Ultan Murphy, Tiernan Gonnelly, James McConnon and Stephen Murphy 1 try each. Ultan Murphy 6 cons, 1 pen.
Bangor Scorers: David Charles 1 try.
In front of a big crowd at Chambers Park on Saturday afternoon Dundalk delivered a stunning and ruthless display to see off the challenge of Bangor and capture the All Ireland Junior Cup title for the very first time.
Three first half tries had them firmly in control at 19-0 ahead having played with the elements at the Portadown venue during the first half and while the wind dropped somewhat after half time the Dundalk intensity most certainly didn’t as they cut loose scoring five more tries.
Dundalk returned to a heroes welcome at their Mill Road clubhouse on Saturday night after a display of pure brilliance throughout the afternoon.
Precision, pace and skill from the Louth men from start to finish left Bangor playing second fiddle for long periods.
Dundalk overwhelm Bangor in All Ireland Final
by Roger Corbett
Bangor’s amazing run in the All Ireland Junior Cup came to an abrupt end when they were comprehensively beaten by Dundalk, eventually losing by 55-5.
Where do you start when trying to relate and absorb the events of Saturday’s final at Chambers Park? Firstly, congratulations to worthy winners Dundalk who nullified the Bangor attack, then went on to produce some stunning plays which racked up no less than 8 tries, each by a different player. For Bangor’s part, they were unable to respond to the intensity of Dundalk’s game, and lacked the cutting edge which their opponents used to great effect.
The day started full of promise, as the strong support from North Down made their way to Chambers Park in Portadown, knowing Bangor would be fielding their best team. Once again, the pundits had Bangor as the underdogs – just as they had done so in the previous three rounds! In confounding the experts earlier, Bangor produced some awesome performances against top quality opposition to get to the final. Dundalk had produced some convincing wins in the early rounds of the competition, but had struggled to get past CIYMS in the semi-final, just managing to squeeze ahead at the second time of asking. However, with a number of key players returning to the side in time for this game, they were now back at full strength and would be a formidable force to contend with.
Having won the toss, captain Jamie Clegg elected to play into the stiff wind in the first half. For the first 5 minutes, Bangor doggedly retained possession and tried to play their way into Dundalk’s half through a series of determined forward moves. However, little ground was made and, when possession was finally lost, the Dundalk back line produced a burst that simply cut through the Bangor defence resulting in an easy touch down under Bangor’s posts for a 7-0 lead.
Bangor stuck to their plan and slowly, but patiently, got their attack moving forward, eventually winning a penalty to the left of Dundalk’s posts, but Mark Widdowson’s kick into the wind drifted just wide of the mark.
The contrast in play between the two teams was becoming clear, with Bangor trying to keep the ball close while Dundalk were throwing it wide. The latter strategy was proving to be the more effective as, with 20 minutes gone, a quick back line move with players looping around resulted in an overlap on the right wing which gave a clear run in to again, score under the posts. A further 9 minutes later, they did it again and, although the Bangor defence had sensed the danger and moved across to cover it, their tackling let them down allowing Dundalk to get over in the right hand corner, taking their lead to 19-0.
By now, Bangor were trying to hang on until half time when they could regroup and come out with the wind at their backs. Dundalk, on the other hand were anxious to press home their advantage and give them a more comfortable lead. To Bangor’s credit, although camped on their own line for lengthy spells, they dug in and managed to hold on until the referee’s half time whistle.
As the teams reappeared from the dressing rooms, it was obvious Bangor were ringing the changes, particularly in the backs. With the wind advantage having lessened considerably, Bangor got the second half underway. It was now Dundalk’s turn to adopt the slow, steady approach, just as Bangor had done earlier. However, their more confident off-loading and support play was, once again, taking play deep into Bangor’s territory. Frustration at not being able to gain possession and take play out of their danger area eventually resulted in a yellow card for Clegg after a succession of penalties. Dundalk kicked the penalty to touch, won their lineout and drove for the line. Although initially held up by the Bangor defence, Dundalk’s repeated drives were eventually rewarded with another converted score, extending their lead to 26-0.
From the touchline, the Bangor faithful had felt that if their players had managed to score first in the second half, they may have been able to mount a fight-back and close the gap to their opponents. As it was, this Dundalk score simply bolstered their confidence and pushed Bangor deeper into trouble. With Bangor still a man down, Dundalk added to the score with a penalty and then another score in the corner. Everything was now working for the Leinster men, as even the difficult touchline conversion into the biting wind successfully split the posts, bringing the score to 36-0.
As the game entered the final quarter, and with Dundalk all but holding the cup, Bangor were now on the ropes. By contrast, the Dundalk players were in almost total control, and were not going to slow down now. In a 10 minute spell, they ran in a further 3 tries, making the scoreline 55-0. By now, any sense of dejection the Bangor supporters may have been feeling was now moved to feelings of sympathy for their players. However, pride was at stake and once again Bangor rallied as the game entered its final minutes. At last, the forwards got within striking distance of the Dundalk line and, although their repeated attacks were repelled, they finally managed to do what their opponents had done so effectively, and quickly passed the ball wide to Davy Charles. Even though they were 55 points ahead, the Dundalk defence made Charles work hard to drive through the tackles and score Bangor’s consolation try, bringing the final score to 55-5.
From Bangor’s point of view, the final score doesn’t tell the whole story of this competition. While the final may have resulted in a sad anti-climax for Bangor, the remarkable journey to get there will be remembered for some time. On the day, Dundalk were by far the better side, and Bangor would have to concede that their game was not up to the usual standard. However, there is no doubt the experience of competing at this level is something to relish and the goal now will be to secure a top four place in the league and try again next year.
Everybody at the club has nothing but the highest respect and praise for what has been achieved this year by not just the 1sts, but all the senior teams, and one poor result isn’t going to change that – the welcome at Upritchard Park for the returning players is testament to that. With that in mind, the players now need to put this disappointment behind them and provide the best possible response against a struggling Portadown side at home in the league next Saturday.
Bangor side: J Leary, A Jackson, P Whyte, F Black, G Irvine, R Latimer, J Clegg, C Stewart, R Armstrong, K Rosson, D Charles, M Aspley, M Weir, M Widdowson, C Morgan
Subs: S Irvine, O McIlmurray, D Kelly, M Rodgers, C Harper, D Fusco, M Thompson
Bangor scores: D Charles (1T)
Dundalk Storm To Title Dundalk 55 v Bangor 5 from KnockOn.ie
Dundalk Scorers: Christopher Scully, Owen McNally, Jonathan Williams, John Smyth, Ultan Murphy, Tiernan Gonnelly, James McConnon and Stephen Murphy 1 try each. Ultan Murphy 6 cons, 1 pen.
Bangor Scorers: David Charles 1 try.
In front of a big crowd at Chambers Park on Saturday afternoon Dundalk delivered a stunning and ruthless display to see off the challenge of Bangor and capture the All Ireland Junior Cup title for the very first time.
Three first half tries had them firmly in control at 19-0 ahead having played with the elements at the Portadown venue during the first half and while the wind dropped somewhat after half time the Dundalk intensity most certainly didn’t as they cut loose scoring five more tries.
Dundalk returned to a heroes welcome at their Mill Road clubhouse on Saturday night after a display of pure brilliance throughout the afternoon.
Precision, pace and skill from the Louth men from start to finish left Bangor playing second fiddle for long periods.
Kyrgyz aretfacts relating to the Yurt which was based at the Earth Centre, Conisbrough, Doncaster Museum of Sustainability 1999-2004
Yurts
For over a thousand years tents like the yurt and ger have been homes for the nomads of Central Asia.
The yurt was used as a classroom yurt and housed a fascinating exhibition on the sustainable and nomadic lifestyle of the Kyrgyz people.
The felt yurt was made for Earth Centre by a Yurt Master in Kyrgyzstan. The roof is steeply sloped to protect against the rain and snow in the high mountain regions where the nomads lived. The felt covers are laid on a trellis frame usually made of willow. The yurt is light and easy to put up, to pull down and to carry from place to place. It would have taken two camels to transport a yurt this size. Inside, the damp wool smell of the felt is quite distinctive.
The Kyrgyz nomads depended on their animals; sheep, especially, provided their main diet of milk and meat, the hides and wool for their clothing and felt, bones to make into utensils and toys and dung for fuel. Nothing was wasted in the nomadic lifestyle.
Victorian glass in the lower south transept window, starkly spread in a jagged formation across the middle of three otherwise clear-glazed lights. They are of course collected pieces from windows shattered by the wartime bombing of the city and as such are a vivid testimony to the Blitz. Most of this glass (possibly by A.Gibbs) originates from other windows in the church as the traceries above retain their prewar glass, evidently by Burlison & Grylls, and only one of the heads amongst the fragments appears to relate to this. Probably also from this window, but currently in storage, are three panels of decorative patchworks, apparently also by Burlison & Grylls but incorporating a substantial amount of medieval glass, likely to be the only remains of the church's ancient glazing. The parish hopes to have these panels put back on display at some point in the future.
St John's sits at the entrance to Spon Street, that rare enclave of medieval architecture in Coventry's mostly post-war city centre. Being on the fringe of city's heart it generally gets less attention from visitors, thus one feels that in any other setting it would be far more celebrated, George Gilbert Scott, who restored the church in 1877, considered it 'one of the most beautiful churches in England'. The church luckily escaped major damage in the November 1940 Blitz that destroyed so much else in the city, beyond the loss of much (but not all) of it's Victorian stained glass.
The church was founded in 1342 by Queen Isabella, mother of Edward III, but most of what we see today is 15th century work, though evidently of different phases. The church sits on a relatively small site, but what it lacks in length and width it gains in height, and with it's tapering and unusually narrow clerestorey windows and central tower it gives the impression of a cathedral in miniature. The tower has oddly corbelled-out turrets at it's corners, an over-exaggeration of the original design by Scott; his main intervention on the exterior otherwise was the renewal of much of the stonework, since warm red sandstone is one of the least resistant to weathering.
The interior is surprisingly light for a sandstone church, the result of the large Perpendicular windows and extensive clerestorey that creates a 'glass cage' effect in the higher parts of the church. It is also rather narrow, which accentuates the proportions and sense of height further, a good example of architectural limitations and constraints turned to an advantage. There are some good medieval carvings surviving higher up, but otherwise aside from the fine Perpendicular architecture itself the impression is largely of early 20th century High Church Anglican worship, as most of the furnishings appear to date from this time, though they are nonetheless attractive and sympathetic to the building.
The lack of any relics of the Middle Ages in wood or glass or monuments of later periods is explained by the history of the church, since it actually ceased to be used for worship in the 1590s and for several centuries suffered various indignities of secular use, such as a prison for Scottish rebels captured after the Battle of Preston during the Civil War in 1648 (these rebels, loyal to the King, were shunned in the Parliamentarian held city, thus the phrase being 'Sent to Coventry' was born!). Other uses included as a stables, a market and a winding and dying house for cloth, before being eventually restored to church use in the 19th century. We should at least be glad that being put to other uses at least preserved the structure through it's centuries of hibernation.
The church posesses an interesting mixture of stained glass, from Victorian and Edwardian pieces that survived the bombing, to the more prominent and colourful windows installed in the 1950s. However it is interesting to note how the postwar glass here predates the nearby Cathedral's windows by only a few years, but is still highly figurative and traditional in approach, thus still a far cry from the revolutionary new works that Coventry became famous for less than a decade later.
St John's is open on saturday mornings but otherwise kept locked owing to concerns over security. Sadly it has suffered attacks from stone-throwing idiots on several occasions in recent years (I have repaired minor damage to several of the windows here) but the parishoners remain welcoming and friendly in spite of a difficult environment. It is a lovely church and well worth a visit.
For more detail and images see it's entry on the Warwickshire Churches website below:-
warwickshirechurches.weebly.com/coventry---st-john-the-ba...