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Great Hall
Visit England’s last and greatest medieval hall. The Great Hall is also one of Britain's oldest theatres.
Henry VIII’s Great Hall
The room is spanned by a large and sumptuously decorated hammer-beam roof and its walls are hung with Henry VIII’s most splendid tapestries, The Story of Abraham.
William Shakespeare’s company—the “King’s Men’”—performed for King James I over Christmas and New Year in 1603-4.
In the 21st Century the Prime Minister at the time, Tony Blair, chaired an informal meeting of the Heads of State and Government of the European Union in the Great Hall on the October 27, 2005, following in a noble tradition of royal and political entertainment.
Historic Tourists to the Great Hall
“Going up into the left wing of the palace one comes to an enormous hall with an arched roof made from some Irish wood which, so they say, has the natural property of keeping free of cobwebs.”
—Baron Waldstein, tourist (1600)
“Hampton Court is as noble and uniform a pile, and as capacious as any Gothic architecture can have made it …The great hall is a most magnificent room…”
—John Evelyn, diarist (1662)
In the 16th century, Hampton Court was a palace, a hotel, a theater, and a vast entertainment complex. The Great Hall was, by itself, all of these things. It was used, every day, as the staff canteen for the lower ranks of Henry’s court. Up to 600 people ate here in two sittings, twice a day. On special occasions, however, the tapestries rolled out over the walls, candelabra were strung across the ceiling on wires, and the lights from hundreds of candles transformed the hall into a magical setting for a fantastical court masque.
The Great Hall is the largest room in the palace, 32 m (106 feet) long, 12 m (40 feet) wide, and over 18 m (60 feet) high. A vast team of masons, carpenters, bricklayers, and laborers began to build it for Henry VIII in the 1532, and it was finished in 1535, becoming the last medieval Great Hall built for any English monarch. The walls are still hung with the best tapestries in Henry VIII’s vast collection depicting the Story of Abraham—faded through the years but still beautiful. The tapestries under the gallery depict the Story of Hercules and the Triumph of Fate. Most characteristic about this large hall is the large wooden hammer-beam ceiling—the initials of Henry VIII and Anne Boleyn are still a part of the decoration. The ceiling was designed by the King’s Master Carpenter James Nedeham, was painted blue, red, and gold.
The Abraham tapestries which line the walls today were commissioned by Henry himself, and probably first hung here for the visit of a large French Embassy in 1546. This was just one of the magnificent state occasions when all the great rooms of Hampton Court were filled with the “swaggering theater” of court life. The Great Hall played host to dance and drama, with Henry himself earlier in his reign playing a starring role in specially written chivalric inventions, rescuing helpless maidens from dangerous castles.
When Henry VIII reigned, this was the most important room of the entire castle—seen through a courtier’s eyes. This is where the King would dine on a dais overlooking his court—in fact Henry was so impatient with this particular room that he made the masons work at night by candlelight as well as all through the day! Shakespeare performed a play of his in front of James I on New Year’s-day 1603—the same year that Elizabeth I died.
A History of the Great Hall
The center of life for most of the more-ranking members of the court was the Great Hall, where in Tudor times they dined in two shifts in the middle of the day.
The St. Valery family, who owned the Palace land from 1086, had built a chamber block and Great Hall. It remains exists beneath the existing Great Hall. In 1495, a list was made recording that the Great Hall of the house when it belonged to Lord Giles Daubeney contained two fixed tables, two long trestle tables, four benches, a cupboard, and a railing around the central hearth.
A visitor of high rank in Tudor times would expect to pass through the Great Hall into the more exclusive rooms beyond.
In 1532, Henry VIII rebuilt the Great Hall, the first in the sequence of rooms leading towards his private lodgings. It seems that Wolsey himself had begun rebuilding Lord Giles Daubeney’s hall; the oriel window, for example, is almost identical to that constructed by Wolsey’s masons at his Oxford College, Christ Church. It is not quite clear how far Wolsey’s work had advanced, but this oriel window now became part of a dramatically improved Great Hall.
Henry’s designers, Christopher Dickenson and James Nedeham, sat down to work in their tracing houses. The roof of the Great Hall is of hammerbeam construction. This design traditionally allowed carpenters to span halls of a greater width than the longest available timbers. However, timbers twelve meters (forty feet) in length, the width of the hall at Hampton Court, were readily available. The hammerbeam design, echoing the roof of Westminster Hall, was deliberately chosen to symbolize royalty, antiquity, and chivalry. A stone hearth lay in the center of the hall, and smoke was intended to escape through a shuttered louver above it in the medieval fashion. Yet the absence of any sort on the timbers of the louver itself throws doubt upon whether this archaic feature was ever used. The roof was decorated with carved and painted heads, and badges celebrating the King and Queen. The carved screen that remains today was erected across the “lower” or entrance end of the Hall, supporting a gallery for musicians above, while a dais was constructed at the other, “higher” end. Anne Boleyn’s badges and initials appear next to Henry VIII’s beneath the royal coats of arms decorating the Hall’s roof.
In the reign of Queen Elizabeth I, the Great Hall was used as a “masking house” or indoor theater at Christmas and New Year. The painted canvas backdrops included representations of “seven cities, one village, and one country house”.
In the time of James I, a new dais was built in the Great Hall to accommodate the King and Queen and the ambassadors from foreign courts who would be invited to watch the spectacles of the season. One of these was Samuel Daniels’s masque The Vision of the Twelve Goddesses. His stage directions record how the Queen herself took “the part of Pallas, in a blue mantel, with a silver embroidery of all weapons and engines of war, with a helmet-dressing on her head”. She descended by a winding stair from a “paradisical mountain” constructed at the lower end of the hall to perform a dance before the King seated beneath his Cloth of Estate. All the ambassadors and courtiers joined in the dancing, and young Prince Henry was thrown between them “like a tennis ball”. The celebrations in the Great Hall for the New Year in 1604 included performances by the King’s Men, whose resident dramatist was William Shakespeare.
The Great Hall was repaired in 1614.
Some of the wooden stags’ heads mounted with antlers that remain in the Great Hall and Horn Room date from Stuart times. The Palace’s collection of horns, later described by John Evelyn as “vast beams of stags, elks, antelopes etc.” also came to include the fossilized horns of an Irish elk, excavated from a bog in County Clare and presented to Charles II in 1684.
When William III and Mary II started considering rebuilding the palace, one design featured Henry VIII’s Great Hall at the center of a grand Baroque entrance facing North. Double avenues marching south across Bushy Park would have culminated in a vast semicircular courtyard built around the Great Hall.
In 1718, under George I, the Great Hall was converted into a theater (fulfilling the intentions of William III, who had begun to fit it out for the purpose). This work was probably undertaken by gentleman architect Sir John Vanbrugh, who was himself a playwright and theater impresario. Curtains covered the large windows, boxes and seats were installed, and the assembled audience faced west towards the stage erected in front of the screens passage. The canvas scenery was painted by Sir James Thornhill. Sir Richard Steele’s company from Drury Lane performed seven plays before the assembled court, including Hamlet and Henry VIII by Shakespeare, both appropriate to the setting.
On the orders of King George III in 1800, architect James Wyatt removed the theater from the great Hall, revealing the Tudor interior that had not been seen for a century. In this work, Wyatt began the process of making the great Hall even more tutored than it had ever been, by opening a new doorway from the dais into the Great Watching Chamber in an exemplary copy of the arched doorway in the adjacent Horn Room. This replaced a historically inaccurate doorway added in the 18th century. In addition, new flagstones were laid on the floor, and the walls were plastered to look like ancient stonework.
A.C. Pugin’s Specimens of Gothic Architecture (1821-1823) contained the first detailed measured drawings of the Great Hall and its roof.
With a deep romanticism and affection for Gothic styles and picturesque irregularity—and with an equally deep distaste for Sir Christopher Wren and the Baroque—Edward Jesse, Itinerant Deputy Surveyor in the Office of Woods, Forests and Land Revenues, supervised a series of restorations and re-presentations. The most notable was that of the Great Hall itself. Left clear and relatively bare by Wyatt, it was transformed between 1840 and 1846 into a state that Jesse believed Cardinal Wolsey and Henry VIII would have recognized instantly. The great series of Abraham tapestries, one of the glories to have survived Henry VIII’s reign, was returned there from the King’s State Apartments. They hammer beam ceiling was repainted and the windows of both the Great Hall and the Great Watching Chamber were filled with stained glass to the designs of Thomas Willement. Heraldic badges and figures in the glass evoked the genealogy of Henry VIII’s wives, of the King and his family, and of his chancellor, Thomas Wolsey. Willement incorporated the dissent of each of Henry VIII’s wives in the windows on the north and south sides of the Hall, interspersed with the King’s badges. The stained-glass was but one element in the redecoration of the Tudor Hall. Artful arrangements of arms and armor were placed around the walls on specially constructed corbels, and deer antlers (all from the parks) were added for further effect. The impressive displays included St. George slaying the dragon, although there is no evidence that armor had ever been previously hung in the Hall. Some was newly made; the rest was lent by the Tower of London. This arrangement survived until 1925. When Jesse had finished, it was “probably the finest and most brilliantly embellished building in Europe”, in the words of the correspondent of the Gentlemen’s Magazine.
In the late 19th century, many events were held in the Great Hall, including fund-raising evenings of entertainment held by Princess Frederica of Hanover, a descendant of George II.
The Great Hall was the object of the most thorough program of works, after dry rot and beetle infestation were found in the roof in 1922. Decayed timbers were replaced, and a steel truss system was inserted into the hammerbeam roof structure. The painted decoration on the timber was stripped away, as were many of the corbels, armor, and other novelties that Jesse had introduced in 1844.
A Norman chapel stands on the steep hillside above Chadlington. On a cold day in March the wind drives snow across the churchyard and rattles resilient patches of snowdrops. How many snows has this simple building seen, how many travellers have sought shelter from a howling storm, having climbed the steep hill from the River Evenlode below. Standing among the yew trees, on the bone-rich ground, the view from the churchyard is ancient, little altered by the passing years. At the end of a narrow lane All Saints has a few cottages for company, it is hard to tell whether these humble buildings are survivors of a larger village or have always stood isolated among the fields. It is easier to imagine the numberless generations of locals summoned here by bells to celebrate the passing ceremonies of Christian calendar.
The exterior of All Saints is austere, a simple two-cell Norman chapel extended to the south in the 15th century with a Georgian east window added during a major early restoration. The church consists of nave, chancel, an east belfry and 19th century south porch although outer and inner doors appear much earlier in date. Step inside and you are confronted by the Middle Ages in all it's symbolic complexity and the belief that the intervention of saints can influence our daily lives. A palimpsest, medieval saints overwritten with later biblical texts cover large areas of the nave walls, giving a faded impression of the elaborate decorative schemes that were common to all our pre-Reformation churches. A round-headed lancet survives in the north wall of the nave. The small 13th century chancel arch of two pointed chamfered orders is off-centre due to the nave being extended to the south. The south wall has two Perpendicular windows, a doorway and a piscina to the east, all of a similar date. A large squint to the south of the chancel arch connects nave and sanctuary. The west wall of the nave has a Tudor window and a blocked Georgian opening which may once have been one main doors of the church. An atmosphere of antiquity is emphasised by the 18th century pulpit, reading desk and box pews which tower over the east end of the nave. Opposite the door is a Norman tub font which has seen over 900 years of service. If you look through the Georgian east window of the chancel the tower of Spelsbury church can be seen in the distance, the chancel was rebuilt in the 18th century re-using a Decorated window in the south wall.
The real rarity of All Saints is the fortunate survival of several passages of medieval decoration preserved from destruction under a layer of whitewash. The earliest decoration surviving surrounds the 13th century round-headed north nave window, red lines mimic the pattern of stonework and small red floral motifs have been added to the window splay.
To the left of the blocked north door is a representation of St Frideswide, an 8th century princess who became a nun, choosing the church over a royal suitor, who was blinded when he attempted to force her into marriage. She became patron saint of Oxford and although her shrine was destroyed in the Reformation she is believed to be buried in Christ Church, Oxford.
To the right of the door is the figure of an archbishop, which might be St Edmund of Abingdon or a rare survival of an image of St Thomas a Becket, a particular target for iconoclasts due to his defiance of royal authority. The image shows the archbishop teaching a child to read.
To the west of the round-headed window is a fragmentary 14th century priest thought to be a depiction of St Leonard, patron saint of Eynsham Abbey, who owned the patronage of Shorthampton.
Over the chancel arch the remains of a Doom have been obscured by a Royal Coat of Arms. The Last Judgement, with the just ascending to heaven while sinners are thrown into the mouth of hell, is a common subject for the chancel arch, after the Reformation every church had to display the Royal Arms.
The squint was inserted in the 15th century to enable those in the widened southern portion of the nave to be able to witness the elevation of the host, during the celebration of the Mass. "The Legend of the Clay Birds" is depicted inside the squint, the Virgin Mary holds the Christ child and St John, although St.John might be holding a Goldfinch. The legend derives from the apocryphal Infancy Gospel of St Thomas which describes the Christ child making clay birds which he then brings to life.
To the right of this is "the Agony in the Garden" but there are two layers of paint which makes the imagery difficult to read.
The left reveal of the easterly south window of the nave has a small mid-15th century figure in an elaborate green dress. This is St Sitha, also known as Zita of Lucca, the patron saint of maids and domestic servants, often depicted holding a set of keys and said to help supplicants in finding items they have lost.
Between this window and the south door is a panel which shows St Loy or the "Legend of St Eligius", patron saint of blacksmiths and metalworkers, depicted shoeing a horse. A 7th century goldsmith famous for the building of churches.
Biblical texts replaced images of saints in the reign of Eward VI who ordered their destruction in 1548. The Creed appears on a large panel over the door and the west wall has a cartouche containing King Solomon's prayer. Also on the west wall is a disembodied wing probably the remains of "George and the Dragon" though possibly the Archangel Michael. There are also many small fragments of wall painting including foliate decoration round the chancel arch.
All in all a wonderful voyage through time. Shorthampton is a few miles from Chipping Norton about 40 minutes from Stratford-upon-Avon
Completed in 1884, Pratt Gymnasium, which replaced Barrett Gymnasium, was first used for the annual spring gymnastics exhibition. Commencement festivities were held there in June of 1884, including the senior promenade. At the dedication, Charles M. Pratt '79 paid homage to Edward “Old Doc” Hitchcock, pioneering head of Amherst’s Department of Hygiene and Physical Culture.
Large underground chamber, uncovered at Oakwood. It was covered by Steel sheets resting on badly corroded girders. These are now in the workers "tea fund" The complete chamber was then covered in layers of Tarmac, completely hidden from view. A long time since brick chambers were built and the cables ducted in clay pipe It is being "Re- lidded" then no doubt it will be exposed again to replace the corroded gas pipes.
Replacing three bridges in Henrico County and one in Hanover County over the Chickahominy River on Mechanicsville Turnpike.
Replacing three bridges in Henrico County and one in Hanover County over the Chickahominy River on Mechanicsville Turnpike. (Photo by Trevor Wrayton, VDOT)
Tram tracks have a very limited number of years they can live. Contrary to most railway tracks, the changing of them is not easily done, as they are embedded into the street.
So this week the part between Goldbrunnenplatz and Gutstrasse is being replaced. Which means that they have around 48 hours to rip the old ones out, level the place again, put in the new drainage and install the new rails and start fixing them to the ground.
So it is a masterpiece of planning to get all the work done at the right point in time.
The castle has been the seat of the Percy family since Norman times. By 1138 the original motte and bailey castle, with wooden buildings, was replaced with stone buildings and walls. In 1309 the keep and defences were made even stronger by Henry de Percy. The castle then stayed unchanged for 400 years. By the 18th century it had fallen into ruins. The keep however was then turned into a gothic style mansion by Robert Adam. In the 19th century the Duke of Northumberland carried out more restoration of the castle.
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ALNWICK CASTLE, THE CASTLE, STABLE COURT AND COVERED RIDING SCHOOL INCLUDING WEST WALL OF RIDING SCHOOL
Heritage Category: Listed Building
Grade: I
List Entry Number: 1371308
National Grid Reference: NU 18685 13574
Details
This list entry was subject to a Minor Amendment on 05/10/2011
NU 1813 NE 2/1 NU 1813 SE 1/1 20.2.52. 5330
Alnwick Castle The Castle, Stable Court and Covered Riding School including West Wall of Riding School
GV I
Alnwick Castle has work of every period on the line of the original motte and bailey plan. By 1138 a strong stone built border castle with a shell keep in place of the motte, formed the nucleus of the present castle with 2 baileys enclosing about 7 acres. The curtain walls and their square towers rest on early foundations and the inner gatehouse has round-headed arches with heavy chevron decoration. The Castle was greatly fortified after its purchase by Henry de Percy 1309 - the Barbican and Gatehouse, the semi-circular towers of the shell keep, the octagonal towers of the inner gateway and the strong towers of the curtain wall date from the early to mid C14. Ruinous by the C18, the 1st Duke had it rehabilitated and extended by James Prince and Robert Adam, the latter being mainly concerned with the interior decoration, very little of which remains except for fireplaces in the Housekeeper's and the Steward's Rooms and for inside the present Estates Office range. Capability Brown landscaped the grounds, filling in the former moat (formed by Bow Burn). The 4th Duke employed Anthony Salvin 1854-65 at the cost of £1/4 million to remove Adam's fanciful Gothic decoration, to restore a serious Gothic air to the exterior and to redesign the state rooms in an imposing grand Italian manner. The Castle is approached from Bailliff gate through the crenellated Barbican and Gatehouse (early C14): lion rampant (replica) over archway, projecting square side towers with corbelled upper parts, fortified passage over dry moat to vaulted gateway flanked by polygonal towers. Stone figures on crenellations here, on Aveners Tower, on Record Tower and on Inner Gateway were carved circa 1750-70 by Johnson of Stamfordham and probably reflect an earlier similar arrangement. In the Outer Bailey to the, north are the West Garrett (partly Norman), the Abbott's Tower (circa 1350) with a rib vaulted basement, and the Falconer's Tower (1856). To the south are the Aveners Tower [C18], the Clock Tower leading into the Stable Yard, the C18 office block, the Auditor's Tower (early Clk) and the Middle Gateway (circa 1309-15) leading to the Middle Bailey. The most prominent feature of the Castle on the west side is the very large Prudhoe Tower by Salvin and the polygonal apse of the chapel near to it. In the Middle Bailey, to the south are the Warders Tower (1856) with the lion gateway leading by a bridge to the grand stairs into the walled garden, the East Garrett and the Record Tower (C14, rebuilt 1885). In the curtain wall to the north are 2 blocked windows probably from an early C17 building now destroyed and the 'Bloody Gap', a piece of later walling possibly replacing a lost truer; next a small C14 watch tower (Hotspur's Seat); next the Constable's Tower, early C14 and unaltered with a gabled staircase turret; close by is the Postern Tower, early C14, also unaltered.'To the north-west of the Postern Tower is a large terrace made in the C18, rebuilt 1864-65, with some old cannon on it. The Keep is entered from the Octagon Towers (circa 1350) which have 13 heraldic shields below the parapet, besides the agotrop3ic figures, and a vaulted passage expanded from the Norman gateway (fragments of chevron on former outer arch are visible inside). The present arrangement of the inner ward is largely Salvin's work with a covered entrance with a projecting storey and lamp-bracket at the rear of the Prudhoe Tower and a corbelled corridor at 1st floor level on the east. Mediaeval draw well on the east wall, next to the original doorway to the keep, now a recess The keep, like the curtain walls, is largely mediaeval except for some C18 work on the interior on the west and for the Prudhoe Tower and the Chapel. The interior contrasts with the rugged mediaeval exterior with its sumptuous Renaissance decoration, largely by Italians - Montiroli, Nucci, Strazza, Mantavani and inspired from Italian sources. The chapel with its family gallery at the east end has 4 short rib vaulted bays and a shallow 3-light apse; side walls have mosaics, covered now with tapestry. The grand staircase With its groin vaulted ceiling leads to the Guard Chamber from which an ante-room leads west into the Library (in the Prudhoe Tower) and east into the Music Room (fireplace with Dacian captives by Nucci). Further on are the Red Drawing Room (caryatid fireplace by Nucci) and the Dining Room (ceiling design copied from St Lorenzo f.l.m. in Rome and fireplace with bacchante by Strazza and faun by Nucci). South of the Middle Gateway are Salvin's impressive Kitchen quarters where the oven was designed to burn a ton of coal per day. West of the Stable Courtyard, with C19 Guest Hall at the south end, is the C19 covered riding school, with stable to north of it, and with its west wall forming the east side of Narrowgate. The corner with Bailliffgate has an obtuse angled tower of 2 storeys, with a depressed ogee headed doorway from the street, and merlons.
Listing NGR: NU1863413479
historicengland.org.uk/listing/the-list/list-entry/137130...
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ALNWICK CASTLE
Heritage Category: Park and Garden
Grade: I
List Entry Number: 1001041
National Grid Reference: NU1739315366, NU2254414560
Details
Extensive landscape parks and pleasure grounds developed from a series of medieval deer parks, around Alnwick Castle, the seat of the Percy family since the C14.
Between 1750 and 1786, a picturesque landscape park was developed for Hugh, first Duke of Northumberland, involving work by James Paine, Robert Adam, and the supervision of work by Lancelot Brown (1716-83) and his foremen Cornelius Griffin, Robson, and Biesley in the 1760-80s, working alongside James and Thomas Call, the Duke's gardeners. During the C19 each successive Duke contributed and elaborated on the expansive, planned estate landscape, within which the landscape park was extended. This was accompanied by extensive C19 garden works, including a walled, formal flower garden designed in the early C19 by John Hay (1758-1836), and remodelled mid C19 by William Andrews Nesfield (1793-1881).
NOTE This entry is a summary. Because of the complexity of this site, the standard Register entry format would convey neither an adequate description nor a satisfactory account of the development of the landscape. The user is advised to consult the references given below for more detailed accounts. Many Listed Buildings exist within the site, not all of which have been here referred to. Descriptions of these are to be found in the List of Buildings of Special Architectural or Historic Interest produced by the Department of Culture, Media and Sport.
HISTORIC DEVELOPMENT
In the C13, Hulne Park, West Park, and Cawledge were imparked within the Forest of Alnwick. Hulne Park lay to the north-west of Alnwick Castle and Cawledge to the south and south-east. By the late Middle Ages, Hulne Park extended to 4000 acres (c 1620ha) enclosed by some 13 miles (c 21km) of wall. It was stocked with some 1000 fallow deer and a tower at Hulne Priory served as a hunting lodge. The parks formed the basis of Alnwick Park, landscaped by Sir Hugh Smithson (1714-86) who in 1750 became Earl of Northumberland, inheriting his father-in-law's northern estates. Prior to this, from 1748 he and his wife, Elizabeth Seymour (1716-76), had lived at Stanwick, Yorkshire (qv) and at Syon Park, London (qv), where they had already established a reputation for gardening, attested by Philip Miller's dedication, in 1751, of his Gardener's Dictionary to the Earl.
Together they embarked on an ambitious scheme to restore the Castle, develop the grounds and estate, and restore the Percy family traditions and identity at Alnwick. Those employed at Alnwick were also involved elsewhere on the Northumberland estates: James Paine, architect at Syon House, Daniel Garrett, architect at Northumberland House, the Strand (1750-3), Robert Adam, architect at Syon (1762-9), Lancelot Brown, landscape architect at Syon Park (1754-72).
In 1751, Thomas Call (1717-82), who had been the Earl's gardener at Stanwick, prepared a scheme for the parklands and pleasure grounds, including a plan for Brizlee Hill (the south part of Hulne Park). Call and his relation James, working at Alnwick by 1756, were responsible for the development of Hulne Park over twenty years. The date and extent of Lancelot Brown's involvement at Alnwick is uncertain, although his foremen Griffin, Robson, and Biesley worked at Alnwick with teams of men between 1771and 1781 and records shown that they also worked alongside Call and his men (in 1773 for example, Call had a team of sixty men and Biesley one of seventy-eight).
Hulne Park was developed as a picturesque pleasure ground with extensive rides, follies, and the enhancement of natural features. A characteristic of the Duke's scheme was his recognition of antiquarian sites within the landscape, which were embellished. Thus in 1755, Hulne Priory was purchased to become the focal point of Hulne Park. A garden was made within the cloister walls and, from c 1763, the priory became the gamekeeper's residence, with a menagerie of gold and silver pheasants. Statues of friars cut by the mason Matthew Mills were set in the landscape. In 1774, a medieval commemorative cross to Malcolm Canmore (listed grade II), situated at the northern entrance to the North Demesne, was restored.
Following the Duchess' death in 1776, the Duke decorated all her favourite locations with buildings, some being ideas she had noted in her memoranda. Work also included other notes and ideas the Duchess had had, including the ruin at Ratcheugh Crag and some ninety-eight drives and incidents.
Plans for the parklands at the North Demesne, Denwick, and Ratcheugh Crags were developed in the late 1760s, although in the case of the North Demesne some parkland planting had been undertaken by 1760, and the major work undertaken in the early 1770s is that attributed to Brown, mainly on stylistic grounds.
During the C19, under the second Duke (1742-1817) the parks were extended, this including the purchase of Alnwick Abbey and part of its estate. The complex of drives was also extended and this was accompanied by extensive plantations, including the large Bunker Hill plantation central to the north area of Hulne Park, named to commemorate the Duke's action in 1775 in the War of American Independence. Most significantly, between 1806 and 1811, building centred on construction of a perimeter wall, defining the boundary of Hulne Park, and lodges and gateways at entrances to the parks. The carriage drives were extended, necessitating the construction of bridges over the River Aln. These schemes were implemented by estate workers, local masons, and David Stephenson, the Duke's architect.
As the Castle had no formal flower gardens, John Hay was commissioned between 1808 and 1812 to design pleasure gardens to the south-east of the Castle, linking it with a new walled garden at Barneyside, furnished with a range of hothouses, glasshouses, and pine pits. These were extended in the 1860s when Anthony Salvin, employed in the restoration of the Castle, built a gateway between the inner bailey and the pleasure gardens. Nesfield designed a scheme for the walled gardens to be developed as an ornamental flower and fruit garden, with a large central pool, conservatory, and a series of broad terraces and parterres. The Alnwick scheme can be compared to Nesfield's in the precincts of Arundel Castle, West Sussex (qv), in 1845.
Alnwick Castle, parks and estate remain (2000) in private ownership, the latest significant developments being the replanting and restoration of the North Demesne (1990s) and plans to completely remodel the walled garden.
SUMMARY DESCRIPTION
Alnwick Castle parks cover a tract of countryside encircling Alnwick town on its west, north, north-east, and south sides. The land is a mixture of contrasting landscape types, with high heather moorland and the rough crags of the Northumbrian Sandstone Hills sweeping down to the improved pasture lands along the wooded Aln valley. The parks exploit the boundaries of these distinctive landforms where the rugged moorland gives way to the pastoral, rolling landscape of the Aln, on its route to the sea. In the west parklands the river is confined between hills, and in places has incised deep, narrow valleys while in the east the landscape is more open.
The registered area of 1300ha is bounded on its north-east side by the Hulne Park wall, west of the Bewick to Alnwick Road (B6346). The west side of the area here registered follows field boundaries to the west of Shipley Burn, starting at Shipley Bridge, and then turns south-west at a point c 1km south of the bridge. It then runs for south-west for c 2.3km, to the west of Hulne Park, before crossing the River Aln and running parallel to Moorlaw Dean for c 1.2km, on the west side of the burn. The southern area is defined by Hulne Park wall running around the south point of Brizlee Wood then in a line due east, south of Cloudy Crags drive, to cross the Stocking Burn and reach Forest Lodge. The boundary then defines the north-western extent of Alnwick town and, crossing the Canongate Bridge, the southernmost extent of the Dairy Grounds.
To the east of the Castle the registered area takes in the entire North Demesne bounded on its north by Long Plantation, a perimeter belt which lies on the south side of Smiley Lane and then extends eastwards to meet the junction of the B1340 and A1 trunk road. The A1 has effectively cut through the North Demesne from north to south and, although physically divorcing the two areas, they are still visually conjoined. Defined on its north side within the hamlet of Denwick by tree belts, the park extends eastwards for 1km before cutting across southwards to meet the River Aln at Lough House. This latter stretch is bounded by a perimeter belt. The south boundary of the North Demesne follows the river in part, before meeting the Alnwick to Denwick road (B1340). To the south, the Castle gardens are delimited from the town by property boundaries along Bondgate. An outlying area of designed landscape at Ratcheugh is also included.
A complex series of drives is laid throughout the parks, particularly in Hulne Park. A series of thirty standing stones stand at the beginning of the drives or where they converge. These are inscribed with the names of the drives and act as signposts.
Alnwick Castle (1134 onwards, c 1750-68 by James Paine and Robert Adam, 1854-6 by Anthony Salvin, listed grade I) lies on the high ground on the south side of the Aln valley, commanding views to the north, east, and west. To the south is Alnwick town but the landscape is designed so that the town is not in view of the Castle. The principal views from the Castle lie over the North Demesne.
The North Demesne originally included Denwick Park (they have now been divided by the A1 road), and together these 265ha form the core parkland designed by Brown. Perimeter tree belts define the park, and clumps and scatters of specimen trees ornament the ground plan. The Aln has been dammed to give the appearance of an extensive, natural serpentine lake, with bridges as focal points: the Lion Bridge (John Adam 1773, listed grade I) and Denwick Bridge (1766, probably also by Adam, listed grade I). A programme of replanting and restoration of the North Demesne is under way (late 1990s).
The medieval deer park of Hulne extended to the north of the Shipley Road (outside the area here registered). Hulne Park is now 1020ha and is in agricultural and forestry use. The principal entrance from Alnwick town is Forest Lodge, the only extant part of Alnwick Abbey. Hulne Park is completely enclosed by an early C19 perimeter wall, c 3m high with shaped stone coping and buttresses every 20m. Nearly 5km of wall lies alongside roads, 5km across fields, and 5km defines perimeter woodland and moorland from the enclosed park.
The park design consists of a series of oval-shaped enclosures, defined by tree belts vital for shelter. The highest point is in the west area of the park, from where there are long-distance views east to the sea. The River Aln winds its way through the park via a series of contrasting steep valleys and flatter lands. The valleys are emphasised by planting on the upper slopes, while the lower areas are encircled with designed plantations to emphasise the river's meanders and ox-bow lakes.
Picturesque incidents survive at Nine Year Aud Hole, where the statue of a hermit (late C18, listed grade II) stands at the entrance to a natural cave along Cave Drive, and at Long Stone, a monolith standing high on the west side of Brizlee Hill, with panoramic views over Hulne Park to the north-west. The picturesque highlight is Hulne Priory (original medieval buildings, C18 alterations and enhancements, all listed grade I), which includes a summerhouse designed by Robert Adam (1778-80, listed grade I) and statues of praying friars erected in the Chapter House (late C18). The Priory's picturesque qualities are well appreciated from Brizlee Tower (Robert Adam, listed grade I), built in 1781 to commemorate the creation of the Alnwick parks by the first Duke and Duchess, a Latin inscription stating:
Circumspice! Ego omnia ista sum dimensus; Mei sunt ordines, Mea descriptio Multae etiam istarum arborum Mea manu sunt satae. [Look about you. I have measured all these things; they are my orders; it is my planning; many of these trees have been planted by my own hand.]
Brizlee is sited on a high point which can be seen in views north-west from the Castle, mirroring views north-east to the 'Observatory' on Ratcheugh Crag, a sham ruined castle sited as an eyecatcher on high ground and built by John Bell of Durham in 1784 (plans to further elaborate it were designed by Robert Adam).
Another principal feature of Hulne Park is a series of regular, walled enclosures (the walls set in ditches with banks cast up inside the compounds) which line Farm Drive, the central road through the park, north-westwards from Moor Lodge. This functioned as the third Duke's menagerie, and is still pasture.
The 15ha Dairy Ground links Hulne Park and the North Demesne. It principally consists of the Aln valley north-west of the Castle, stretching between Canongate Bridge and Lion Bridge, laid out as pleasure gardens. Barbara's Bank and the Dark Walk are plantations laid out with walks on the steep slopes with a Curling Pond to the north of the Aln.
The walled garden of 3ha lies to the south-east of the Castle, reached by the remains of C19 pleasure gardens laid out on the slopes above Barneyside. After the Second World War use of the glasshouses ceased, and until recently (late 1990s) the Estate Forestry Department used it. The earthwork terraces and remnants of specimen planting of Nesfield's scheme survive.
REFERENCES
Note: There is a wealth of material about this site. The key references are cited below.
The Garden, 5 (1874), pp 100-1, 188; 20 (1881), pp 155-6 Gardeners' Chronicle, ii (1880), pp 523-4, 587; ii (1902), pp 273-4 J Horticulture and Cottage Gardener 15, (1887), pp 296-8 P Finch, History of Burley on the Hill (1901), p 330 Country Life, 65 (22 June 1929), pp 890-8; 66 (6 July 1929), pp 16-22; 174 (4 August 1983), p 275 D Stroud, Capability Brown (1975), pp 103-4 Garden History 9, (1981), pp 174-7 Capability Brown and the Northern Landscape, (Tyne & Wear County Council Museums 1983), pp 19, 22-3, 27, 42 Restoration Management Plan, Alnwick Castle, (Land Use Consultants 1996) C Shrimpton, Alnwick Castle, guidebook, (1999)
Description written: August 2000 Resgister Inspector: KC Edited: June 2003
historicengland.org.uk/listing/the-list/list-entry/100104...
See also:-
145061 & 145078, replacing the usual pair of '152s', lead a lengthy (and 2 hours late) coil train past Köln West as GM 60305 Oberhausen West to Andernach
This is a photograph from the 3rd Annual Meath Spring Half Marathon and 10KM Road Races hosted by Bohermeen AC on the 2nd March 2014 at 12:00 at Bohermeen, Ardbraccan, Navan, Co. Meath, Ireland. This year's event included a 10KM race which replaced the 5KM event held on the previous years. This event has grown quickly in popularity over the past few years with this year's entry of 700 beating the previous race numbers of 680. This half marathon event is perfectly placed in the Irish running calendar as it provides runners of all levels and abilities an opportunity to test the half marathon distance in preparation for a Spring Marathon or as the first serious running goal of the New Year. Bohermeen AC is steeped in Irish athletics history since 1927 and it is this experience and exceptional community spirit and volunteering which has made this event today so successful. The very heavy rain that fell on the 10KM race and the begining of the Half Marathon did nothing to dampen the spirits of the participants. In fact, despite a head wind at certain parts of the course, this was a perfect day for road racing.
Our full set of photographs from today's event are available on Flickr at the following link http://www.flickr.com/photos/peterm7/sets/72157641717197563/. This set of photographs is mostly of the Half Marathon race but there are some from the 10KM event.
Don't forget to scroll down to see more information about the race and these photographs!
Event Management was provided by Irish Company PRECISION TIMING who provided electronic timing for both events. The results from today's events can be found on Precision Timing's website at this URL [www.precisiontiming.net/result/racetimer?v=%252Fen%252Fra...]
The Satellite Navigation Coordinates to Bohermeen are [53.650882,-6.77989] and is accessible using the M3, N2 and N52
The routing for the 2014 event has changed slightly from previous year. In 2014 the race starts about 100m away from the Bohermeen Club Race HQ [See Google StreetView in the direction of the imagery goo.gl/maps/rtj1X] and the race proceeds down the road towards Navan. Just before the 1st mile the race takes a right turn [see Google Streetview goo.gl/maps/iGrR0] which brings runners on the route of the famous Patrick Bell 5KM Road Race route held at Bohermeen every summer. Then the route turns slightly eastwards and this brings the race along a beautiful stretch of rural countryside road. This connects runners with the main loop [see Google StreetView goo.gl/maps/gLI1l] where the race follows the N51 towards Navan. The race must now complete this loop (which passes through the start area and past the finish) and then a full loop again before finishing in the Athletics track. The only hills to speak of in this course are on the the stretch where the race route crosses the M3 motorway (see Google Streetview - as of March 2014 their imagery is a little out of date for the M3 goo.gl/maps/tcdJX). The only major climb on the course must be tackled twice as the road rises up over the M3 Motorway. This comes at about the 5M and 11.5 Mile mark in the race.
Some useful links to other web-resources related to this race
Bohermeen AC Facebook Page: www.facebook.com/bohermeen.ac?fref=ts
2014 Spring Half Marathon Route: www.runningmap.com/?id=641747
2014 Spring Half Marathon 10KM Race Option Route: www.runningmap.com/?id=641752
Google Streetview of the Race Start: goo.gl/maps/rtj1X
Google Streetview of the Race Finish and Race Headquarters: goo.gl/maps/qVttR
Internet Homepage for the Spring Half Marathon [www.meathspringhalfmarathon.com/]
Results from 2013 from Precision Timing: www.precisiontiming.net/result/racetimer?v=%252Fen%252Fra...
Results from 2012 from Precision Timing: www.precisiontiming.net/result/racetimer?v=%252Fen%252Fra...
The Boards.ie Athletics Forum Thread For 2013 Race [www.boards.ie/vbulletin/showthread.php?t=2056785036&p...]
The Boards.ie Athletics Forum Thread For 2014 Race [www.boards.ie/vbulletin/showthread.php?t=2057078579]
Photographs from previous events
Our Flickr Photograph set from the 2nd Spring Marathon 2013: www.flickr.com/photos/peterm7/sets/72157632906920970/
Our Flickr set from the 1st Spring Marathon (2012) www.flickr.com/photos/peterm7/sets/72157629146137284/with...
Photographs from the 2013 event from our friend Paul Reilly [pjrphotography.zenfolio.com/p670974697]
We use Creative Commons Licensing for these photographs
We use the Creative Commons Attribution-ShareAlike License for all our photographs here in this photograph set. What does this mean in reality?
The explaination is very simple.
Attribution- anyone using our photographs gives us an appropriate credit for it. This ensures that people aren't taking our photographs and passing them off as their own.
ShareAlike – anyone can use these photographs, and make changes if they like, or incorporate them into a bigger project, but they must make those changes available back to the community under the same terms.
Creative Commons aims to encourage creative sharing. See some examples of Creative Commons photographs on Flickr: www.flickr.com/creativecommons/
Can I use these photographs directly from Flickr on my social media account(s)?
Yes - of course you can! Flickr provides several ways to share this and other photographs in this Flickr set. You can share to: email, Facebook, Pinterest, Twitter, Tumblr, LiveJournal, and Wordpress and Blogger blog sites. Your mobile, tablet, or desktop device will also offer you several different options for sharing this photo page on your social media outlets.
We take these photographs as a hobby and as a contribution to the running community in Ireland. Our only "cost" is our request that if you are using these images: (1) on social media sites such as Facebook, Tumblr, Pinterest, Twitter,LinkedIn, Google+, etc or (2) other websites, blogs, web multimedia, commercial/promotional material that you must provide a link back to our Flickr page to attribute us.
This also extends the use of these images for Facebook profile pictures. In these cases please make a separate wall or blog post with a link to our Flickr page. If you do not know how this should be done for Facebook or other social media please email us and we will be happy to help suggest how to link to us.
How can I get full resolution, print-quality, copies of these photographs?
If you just need these photographs for online usage then they can be used directly once you respect their Creative Commons license and provide a link back to our Flickr set if you use them. For offline usage and printing all of the photographs posted here on this Flickr set are available free, at no cost, at full image resolution.
Please email petermooney78 AT gmail DOT com with the links to the photographs you would like to obtain a full resolution copy of. We also ask race organisers, media, etc to ask for permission before use of our images for flyers, posters, etc. We reserve the right to refuse a request.
In summary please remember when requesting photographs from us - If you are using the photographs online all we ask is for you to provide a link back to our Flickr set or Flickr pages. You will find the link above clearly outlined in the description text which accompanies this photograph. Taking these photographs and preparing them for online posting does take a significant effort and time. We are not posting photographs to Flickr for commercial reasons. If you really like what we do please spread the link around your social media, send us an email, leave a comment beside the photographs, send us a Flickr email, etc. If you are using the photographs in newspapers or magazines we ask that you mention where the original photograph came from.
I would like to contribute something for your photograph(s)?
Many people offer payment for our photographs. As stated above we do not charge for these photographs. We take these photographs as our contribution to the running community in Ireland. If you feel that the photograph(s) you request are good enough that you would consider paying for their purchase from other photographic providers or in other circumstances we would suggest that you can provide a donation to any of the great charities in Ireland who do work for Cancer Care or Cancer Research in Ireland.
I ran in the race - but my photograph doesn't appear here in your Flickr set! What gives?
As mentioned above we take these photographs as a hobby and as a voluntary contribution to the running community in Ireland. Very often we have actually ran in the same race and then switched to photographer mode after we finished the race. Consequently, we feel that we have no obligations to capture a photograph of every participant in the race. However, we do try our very best to capture as many participants as possible. But this is sometimes not possible for a variety of reasons:
►You were hidden behind another participant as you passed our camera
►Weather or lighting conditions meant that we had some photographs with blurry content which we did not upload to our Flickr set
►There were too many people - some races attract thousands of participants and as amateur photographs we cannot hope to capture photographs of everyone
►We simply missed you - sorry about that - we did our best!
You can email us petermooney78 AT gmail DOT com to enquire if we have a photograph of you which didn't make the final Flickr selection for the race. But we cannot promise that there will be photograph there. As alternatives we advise you to contact the race organisers to enquire if there were (1) other photographs taking photographs at the race event or if (2) there were professional commercial sports photographers taking photographs which might have some photographs of you available for purchase. You might find some links for further information above.
Don't like your photograph here?
That's OK! We understand!
If, for any reason, you are not happy or comfortable with your picture appearing here in this photoset on Flickr then please email us at petermooney78 AT gmail DOT com and we will remove it as soon as possible. We give careful consideration to each photograph before uploading.
I want to tell people about these great photographs!
Great! Thank you! The best link to spread the word around is probably http://www.flickr.com/peterm7/sets
El Teatro Colón (Columbus Theatre), located at Cerrito 628, is acoustically considered to be amongst the best opera houses and concert venues in the world. The present theatre, replacing a 1857 theatre by the same name, opened on May 25, 1908 with Giuseppe Verdi's Aïda. The auditorium is horseshoe-shaped, has 2,487 seats with standing room for an additional 1,000 people and a stage which is 20 meters wide, 15 meters high and 20 meters deep.
Designed in the Italian style by architect Francesco Tamburini, and his pupil, Vittorio Meano, construction was started in 1889 and survived the death of Tamburini in 1891, the murder of Meano in 1904 and the death of financer Angelo Ferrari. Construction was completed under the direction of Belgian architect Julio Dormal who made some changes in the structure and left his mark in the French style of the decoration. The bas-reliefs and busts on the facade are the work of sculptor Luigi Trinchero. From 2006 through 2010, the theatre was closed to allow for a full $100 million renovation.
El Teatro Colón (Columbus Theatre), located at Cerrito 628, is acoustically considered to be amongst the best opera houses and concert venues in the world. The present theatre, replacing a 1857 theatre by the same name, opened on May 25, 1908 with Giuseppe Verdi's Aïda. The auditorium is horseshoe-shaped, has 2,487 seats with standing room for an additional 1,000 people and a stage which is 20 meters wide, 15 meters high and 20 meters deep.
Designed in the Italian style by architect Francesco Tamburini, and his pupil, Vittorio Meano, construction was started in 1889 and survived the death of Tamburini in 1891, the murder of Meano in 1904 and the death of financer Angelo Ferrari. Construction was completed under the direction of Belgian architect Julio Dormal who made some changes in the structure and left his mark in the French style of the decoration. The bas-reliefs and busts on the facade are the work of sculptor Luigi Trinchero. From 2006 through 2010, the theatre was closed to allow for a full $100 million renovation.
Replacing three bridges in Henrico County and one in Hanover County over the Chickahominy River on Mechanicsville Turnpike. (Photo by Trevor Wrayton, VDOT)
Hello friends!
So i had just replaced my girl Chantelle's clothing, straightened and cut the wig and exchanged the body not too long ago and now shes done! Yes? no? maybe so? XD well it's in the eye of the beholder kind of situation:-)
Me-" Okay are you ready now with your outfit?"
C-" No i don't wanna go take a picture i wanna go outside!..."
Me-" But i already set up the poster Chantelle, it'll be easier to do it here"-
C-" No!" (Runs out and sits on the front porch making a stink face)
Me-" Well, i mean sure you can if you want to that bad...Just don't move too much...the bee's sense fear."
C-" wait...WHAT?" (Runs inside screaming and hiding)
Me-" Just kidding Chantelle, XD we can go outside im just playing with you"
C-" Yeah...haha..ha..." (Looking around wildly)
Me-" Well...the bee's wont hurt you, but maybe the big family sparrows will snatch you up."
C-"What...wait tell me you're kidding?!"
Me-"Nope."
Maybe one day i'll confess about that, but first i'll wait till she apologizes about stealing all her friends clothes and claiming them as her own... Oh Chantie...
My story- Episode 7----
The moment after my shoot and interview was one of the most intense moments of my life. Mike asked me to sit down at at a pristine white desk. My entire career rested on the moment he opened his lips to speak.
I gulped.
"After reviewing your portfolio, We have come to the decision to hire you as a portrait and runway model here at Olsen!"
My heart skipped at beat at that sentence. This was my turning point. Everything in my life would change.
"Thank you, Thank you!" I squealed as I jumped up from the desk and shook his hand wildly. He smiled, nodded, stacked some papers, and headed for his office as I strode in to the dressing room.
"I made the cut!" I exclaimed for all of the girls to hear. Some smiled and daintily clapped, While Janette ran up to me and gave me a hug.
"I'm so glad to hear that!" She said, pulling away from me. I smiled in response. After that, We both headed back to the sofa to chat. She invited me for coffee at her favourite place that I've never heard of before called, "Black Bean." After spending some time with her, I knew that we'd instantly become great friends.
* * * * *
Lately I've come to realize how great of a person Janette is. We share a lot of the same interests, Like artwork, music, and of course, sports! She's like the sister I never had. Other then my own two, but, They weren't exactly my best friends. She's also very pretty, I envy her! Ever since I came she's been sooo nice to me and gave me a warm welcome. I feel like I can share anything with her. She builds me up, Like friends are supposed to do, Right? But in all honesty, I really don't recall feeling this way about someone before.
It feels weird. Not like the kind of feeling you feel with your family, or your pets, or even friends. It's different. And I'm not sure as to what it is.
But I have a suspicion.
Dec 2011 kit unit replaced THIS WAS DAMAGED DUE TO A LEAK THAT THEY KEPT SAYING WAS CONDENSATION, WENT ON FOR MONTHS.
1914 postmarked postcard view of the Brandt & Armstrong Store in Eaton, Indiana. A source in Eaton says the store was located on the northwest corner at the intersection of Harris and Hartford Streets, but has been replaced by the library. This view was looking northwest across the intersection with Harris Street on the left and Hartford Street on the right in this scene.
The 1900, 1910 and 1920 Sanborn™ fire insurance map sets for Eaton all show these two brick buildings on that corner and facing Hartford Street. The corner space was occupied by a dry goods business. The large sign on the side of the building advertised the SELZ ROYAL BLUE $3.50 SHOE. The smaller sign advertised BRANDT & ARMSTRONG GENERAL MERCHANDISE AND SELZ SHOES. The signs on the building’s corner post advertised NOTIONS, DRY GOODS and SHOES. The store’s name was printed on the awning fringe and the sign above the awning advertised CARPETS, RUGS, LINOLEUMS and LACE CURTAINS. There was also a separate office space at the back of the building facing Harris Street.
Next door, the first window advertised JEWELRY AND ________ [PHONOGRAPHS?]. The second window included the name DR. _. DANIELS and ________ [OPTICIAN?]. These signs appear to be advertising a single business, or at least a single retail space. The 1900 map set shows a furniture store at this location while the 1910 and 1920 map sets show an unspecified office.
The small wood frame structure immediately north of these brick buildings was identified in the map sets as an office. The house north of that small office is shown in all three map sets, but had been remodeled in that 20-year timeframe.
The map set also shows a well pump located just a few feet west of the intersection on the north side of Harris Street. One of the blurry objects near the left edge of this scene may be that pump.
From a private collection.
The full postcard image can be seen here.
www.flickr.com/photos/hoosier_recollections/7218895712/in...
Copyright 2010-2014 by Hoosier Recollections. All rights reserved. This image is part of a creative package that includes the associated text, geodata and/or other information. Neither this package in its entirety nor any of the individual components may be downloaded, transmitted or reproduced without the prior written permission of Hoosier Recollections.
The 1955 Chevrolet Pickup truck range was known as the 'Task Force', and replaced the 'Advanced Design' trucks which had been launched after WW II. The initial 1955 models were known as 'Second Series' models, due to the late 1955 launch timing.
Shown here is an enhanced - Flame Job - 1955 Chevrolet 3100 Pickup, mixing in a blend of LUGNuts favourite spices - hot rodding and modding.
This model came is flare-side pickup bodystyle on the short (114 in) wheelbase and fitted with a modified Vee-eight (lego pison engine and rear-drive).
Thid model has been built for Flickr LUGNuts 59th build challenge - 'Nifty Fifties, Daddy-O', - featuring all things automotive from the 1950's
All models shown feature 1955 styling.
Original Chevrolet ads have been used without permission.
Copyright 1955 General Motors Corporation
This instrument had a squished image (see these photos), but I fixed it!
If you have an HP (now Agilent) 54600A oscilloscope with this problem, I suggest you check out this Agilent forum, wherein someone suggests a dried-out electrolytic capacitor as the cause. The forum says that replacing C609 (C651 on the schematic) fixes the problem for some units. That didn't fix my 1991 unit, but I replaced one cap at a time in the vertical scanning section and when I got to C608 (C624 on the schematic), a 10µF, 16V capacitor, literally a five-cent part, the image was restored to its former glory.
Headstone has been replaced and concrete surrounding it has been removed since the original photo I took 15 months ago. For photos of previous headstone and surround. See comments section.
25/720 Rifleman
J S BROWN
Rifle Brigade
Died 29 October 1918
Aged 25
Born 17 July 1893, Auckland
Occupation at enlist: Driver [horse] for Dominion Cement Co. Whangarei
Marks: lady’s head tattooed on right forearm
3rd Battalion Rifle Brigade.
Theatres of operation:
Egyptian 1916
Egyptian E.F. 1916
Western European 1916-17
13 October 1915 Date commenced duty
4 Jun 1916 Admitted No2 NZ Field Amb. In the field
7 June 1916 Rejoined unit
28 June 1916 Admitted No 7 Gen. Hospital St Omer
7 July 1916 Discharged to base
8 August 1916 “leaving the rank without permission” [deprived 14 days pay. Awarded 14 days F.D[?].
10 August 1916 To detention camp
13 August 1916 Rejoined unit
13 October 1916 Admitted No14 Gen. Hospital Wimereux [France]
15 June 1917 Marched out to segregation
1 January 1917 Embarked Mokoia for NZ
24 August 1917 Medical report on invalid, Station - Torquay. Deafness [in childhood – unknown cause, pre-war] Awarded 5 August 1917 Etaples Class C – chronic middle ear catarrh]. “Can hear a watch ticking, ½ inch, but not much more in each ear. No discharge and patient says there never was any at any time. Exam ear shows thickening and dull appearance both drums, other means of exam not available.” Aggravation: exposure to cold and wet on active service.
[On enlistment, deafness was noted and noted that consequent disabilities: “can’t hear orders”.]
No longer physically fit for war service pre-inlistment[sic] disability aggravated by active service [deafness].
1 February 1918 Date finally discharged
Next of Kin: wife Mrs M L BROWN, 12 Commercial Street, Pontnewydd, Newport, Mon[mouthshire].
John married Mavis Lilian PRICE [born June 1894] on 5 September 1918, Pontypool, Mon[mouthshire].
Died Auckland Hospital [married a month and a half before John died].
His Cenotaph database record:
muse.aucklandmuseum.com/databases/Cenotaph/17715.detail?O...
His Commonwealth War Graves Commission record:
www.cwgc.org/find-war-dead/casualty/643047/BROWN,%20JOHN%...
His military records are online to read:
www.archway.archives.govt.nz/ViewFullItem.do?code=2188870...
SOURCES:
Military records and Ancestry.co.uk
Replacing an earlier scanned print with a better version 15-Jan-16.
Originally built as a Tristar 1, this aircraft was delivered to Delta Air Lines in May-74 as N706DA. It was traded in to the Boeing Equipment Holding Corporation in Mar-84 and stored. It was converted to Tristar 50 standard in Dec-84 and sold to ATA American Trans Air in Jan-85. The aircraft was re-registered N186AT in Apr-85. It was operated for Air Algerie on a Haj Pilgrimage operation Jun/Aug-86 and also for Air Afrique Nov-89/Jan-90. The Company was renamed ATA Airlines in Mar-03 and the aircraft was retired at Roswell, NM, USA, in May-03 and subsequently broken up.
This is the Washtec SoftCare intro at Mobil in Silverstream. It's one of many Intro and Evo systems installed by Mobil during the early 2000s, but sadly they are now all dropping like flies. Around half of Mobil's Intro's and Evo's have been replaced in the last two years, and this one is next!
The replacement machine will be an as-yet-unconfirmed Touchless system (but in all probability it will most likely be a PDQ Laserwash 360plus).
GOOGLE STREETVIEW:
www.google.com/maps/@-41.1465978,175.0097736,3a,60y,175.8...
Old Delhi (Hindi: पुरानी दिल्ली; Punjabi: ਪੁਰਾਣੀ ਦਿੱਲੀ; Urdu: پُرانی دِلّی; Purānī Dillī), is a walled city of Delhi, India, was founded as Shahjahanabad (Persian: شاه جهان آباد) by Mughal Emperor Shahjahan in 1639. It remained the capital of the Mughals until the end of the Mughal dynasty. It was once filled with mansions of nobles and members of the royal court, along with elegant mosques and gardens. Today, despite having become extremely crowded and dilapidated, it still serves as the symbolic heart of metropolitan Delhi.
HISTORY
The site of Shahjahanabad is north of earlier settlements of Delhi. Its southern part overlaps some of the area that was settled by the Tughlaqs in the 14th century when it was the seat of Delhi Sultanate. The sultanates ruled from Delhi between 1206 and 1526, when the last was replaced by the Mughal dynasty. The five dynasties were the Mamluk dynasty (1206–90), the Khalji dynasty (1290–1320), the Tughlaq dynasty (1320–1414), the Sayyid dynasty (1414–51), and the Lodi dynasty (1451–1526).
Delhi remained an important place for the Mughals, who built palaces and forts. Most importantly, it was Shah Jahan, who had the walled city built from 1638 to 1649, containing the Lal Qila and the Chandni Chowk. Daryaganj had the original cantonment of Delhi, after 1803, where a native regiment of Delhi garrison was stationed, which was later shifted to Ridge area. East of Daryaganj was Raj ghat Gate of the walled city, opening at Raj Ghat on Yamuna River. First wholesale market of Old Delhi opened as the hardware market in Chawri Bazaar in 1840, the next wholesale market was that of dry fruits, spices and herbs at Khari Baoli, opening in 1850. The Phool Mandi (Flower Market) of Daryaganj was established in 1869, and even today, despite serving a small geographical area, it is of great importance due to dense population.
After the fall of the Mughal Empire post 1857 revolt, the British Raj shifted the capital of India to a less volatile city, Calcutta, where it remained until 1911. After the announcement of the change, the British developed Lutyens' Delhi (in modern New Delhi) just south-west of Shahjahanabad. At this point, the older city started being called Old Delhi, as New Delhi became the seat of national government. It was formally inaugurated as such in 1931. Until the 1930s, few people ventured outside the walled city; thus in the following years, as the walled city got more and more congested, other areas around it were developed.
WALLS AND GATES
It is approximately shaped like a quarter cìrcle, with the Red Fort as the focal point. The old city was surrounded by a wall enclosing about 6.1 km2, with 14 gates:
- Nigambodh Gate: northeast, leading to historic Nigambodh Ghat on the Yamuna River
- Kashmiri Gate: north
- Mori Gate: north
- Kabuli gate: west
- Lahori gate: west close to the Sadar Railway station, Railway Colony, including the tomb of Syed Abdul Rehman Jilani Dehlvi.
- Ajmeri Gate: southeast, leading to Ghaziuddin Khan's Madrassa and Connaught Place, a focal point in New Delhi.
- Turkman Gate: southeast, close to some pre-Shahjahan remains which got enclosed within the walls, including the tomb of Hazrat Shah Turkman Bayabani.
- Delhi Gate: south leading to Feroz Shah Kotla and what was then older habitation of Delhi.
The surrounding walls, 3.7 m wide and 7.9 m tall, originally of mud, were replaced by red stone in 1657. In the Mughal period, the gates were kept locked at night. The walls have now largely disappeared, but most of the gates are still present. The township of old Delhi is still identifiable in a satellite image because of the density of houses.
The famous Khooni Darwaza, south of Delhi Gate and just outside the walled city, was originally constructed by Sher Shah Suri.
Streets and neighbourhoods
The main street, now termed Chandni Chowk, runs from the Red Fort to Fatehpuri Masjid. Originally a canal ran through the middle of the street.
North of the street, there is the mansion of Begum Samru, now called Bhagirath Palace. South is the street is Dariba Kalan, a dense residential area, beyond which is Jama Masjid. Daryaganj is a section that used to border the river at Rajghat and Zeenat-ul-Masajid.
The Urdu language emerged from the Urdu Bazaar section of Old Delhi. The Din Dunia magazine and various other Urdu publications are the reason of this language staying alive.
MAIN ARTERIES
- Netaji Subhash Marg/Bahadur Shah Zafar Marg leading to India Gate (north and south)
- Chandni Chowk/Khari Bawli Road (east and west)
Old Delhi is approximately bounded by these modern roads:
- Gokhle Marg (south)
- Mahatma Gandhi Marg road (east)
- Shraddhananda Rd (west)
- Jawaharlal Nehru Marg (south)
In 1876, Carr Stephen described the city as follows:
Of the two streets described by François Bernier, the longer extended from the Lahore Gate of the city to the Lahore Gate of the citadel, and the other from the Delhi Gate of the city to the Lahore Gate of the fort. Both these streets were divided into several sections, each of which was known by a different name.
The section between the Lahore Gate of the fort and the entrance of the street called the Dariba, known as the Khuni Darwazah, was called the Urdu or the Military Bazaar; owing, very probably, to the circumstances of a portion of the local garrison having been once quartered about the place. Between the Khuni Darwazah and the present Kotwali, or the Head Police Station of the city, the street has the name of Phul ka Mandi or the flower market. The houses in front of the Kotwali were built at a short distance from the line of the rest of the houses in the street, so as to form a square.
Between the Kotwali and the gate known as the Taraiah, was the Jauhari or the Jewellers' Bazaar; between the Taraiah and the neighbourhood known as Asharfi ka Katra, was, par excellence, the Chandni Chauk. There was a tank in the centre of the Chauk the site of which is now occupied by the Municipal Clock Tower, and beyond this to the Fatehpuri Masjid was the Fatehpuri Bazaar. The houses round Chandni Chauk were of the same height, and were ornamented with arched doors and painted verandahs. To the north and south of the square there were two gate-ways, the former leading to the Sarai of Jehan Ara Begum, and the latter to one of the most thickly populated quarters of the city. Round the tank the ground was literally covered with vegetable, fruit, and sweetmeat stalls. In the course of time the whole of this long street came to be known as the Chandni Chauk.
This grand street was laid out by Jahanara Begam, daughter of Shah Jahan. From the Lahore Gate of the fort to the end of the Chandni Chauk the street was about 40 yards wide and 1,520 yards long. Through the centre of this street ran the canal of 'Ali Mardan, shaded on both sides by trees. On the eastern end of the Chandni Chauk stands the Lahore Gate of the Fort, and on the opposite end the handsome mosque of Fatehpuri Begam).
The clock tower no longer exists, although the locationn is still called Ghantaghar. The Sarai of Jehan Ara Begum has been replaced by the city hall. The kotwali is now adjacent to Gurdwara Sis Ganj Sahib.
HISTORICAL SPOTS
Many of the historical attractions are in the Chandni Chowk area and the Red Fort. In addition, Old Delhi also has:
- Ghalib ki Haveli that is in Ballimaran is famous for Mirza Asadullah Khan Ghalib, the renowned Urdu and Persian poet.
- Gali Qasim Jan that is in Ballimaran is famous for Mirza Ghalib's haveli, and that of Hakim Ajmal Khan
- Razia Sultana's (Delhi's only female ruler before Indira Gandhi) tomb near Kalan Masjid}
- Jama Masjid, India's largest mosque
- Fatehpuri Masjid
- Khari Baoli, Asia's biggest spice market
- Zinat-ul Masjid, Daryaganj built in 1710 by one of Aurangzeb's daughters
- Rajghat, Mahatma Gandhi's
- St. James Church (near Kashmiri Gate) built in 1836, Delhi's oldest church, built by Col. James Skinner.
SOME OF THE HISTORICAL MANSIONS
- Begum Samru's Palace of 1806 now called Bhagirath Palace.
- Naughara mansions in Kinari Bazaar, 18th century Jain mansions.
- Khazanchi haveli
- Haveli Sharif Manzil that is in Ballimaran is famous for its Aristocratic Hakims and their Unani practice, and that of Hakim Ajmal Khan
- Haveli of Mirza Ghalib, Gali Qasim Jan that is in Ballimaran
- Chunnamal haveli, Katra Neel
- Haveli of Zeenat Mahal, Lal Kuan Bazar
- Haksar Haveli, Bazar Sitaram, where Jawaharlal Nehru was married in 1916 to Kamla Nehru.
- Haveli Naharwali, Kucha Sadullah Khan, where Pervez Musharraf, former president of Pakistan was born
- Kucha Chelan (Kucha Chehle Ameeran), where the Persian descent inhabited
OLD DELHI CUISINE
Old Delhi is well known for its cuisine. There area in and around Jama Masjid and Lal Kuan are predominantly Muslim. Hence the cuisine here is more meat dominant Mughlai cuisine. The area in and around Chandni Chowk is predominantly Jain and Baniya communities. Hence the food is strictly vegetarian and in a lot of cases made without onion and garlic. The famous Gali Paranthe Wali and Ghantewala halwai are also situated here.
Old Delhi is also famous for its street food. Chandni Chowk and Chawri Bazaar areas have many street joints that sell spicy chaat (tangy and spicy snacks).
WIKIPEDIA
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I didn't replace this sky in this one...just tagged it because I thought I would use this to replace another sky in some of my shots. If you happen to use it in replacing yours all I ask is that you drop me a note and share your creation with me -would love to see what you did
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This location opened on August 14th, 2002, replacing their original location at North Hills Mall.
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Replaced almost all indoor lights with warm white LED replacements. Much more energy efficient and also gives a more modern look.
I dont like the look of the blueish white LEDs, these are much better and give a more "usable" light.
Everything can be done at home by yourself, even the big cluster lights. The manual says it needs to be done by the garage / dealer, but save yourself some money and do it yourself!
All lights are either 36mm / 39mm festoon C5W or W5W / T10 Wedge bulbs
These are new forks that will replace the stock one. I will only be doing a 3 degree rak to keep it in class. So no radicle change on the rake. The crown spikes will be 24K gold plated, the forks will be black chromed, the inner part, black you see will be painted to match the bike paint in the Bio Mech paint scheme. The new head light will be added, the extream, chromed black then shrouded by the new Bio Bars see Photos of bars.