Heritage Weekend is more than just the Saturday. In fact its more than one weekend. And the website for the weekend listed many intersting places to go, but few in east Kent on the Sunday, but St Margaret's being open was one of them.

 

So, after we had left St Mildred in Canterbury, we drove up the M2, and then through the usual strip malls and urban spread that is the Medway Towns.

 

The sat nav took us down narrow streets, across a main road, and up a slight hill, and announced we had arrived.

 

Nothing churchy leaped out at me.

 

I thought maybe down the narrow lane in front. It was then I saw the wall.

 

The wall looked chuchy. And beyond was an early 19th century building that had heritage bunting strung out.

 

Bingo.

 

The first view had the tower hidden by a tree, I thought perhaps it didn't have one.

 

But nearer to the church I could see it did have a tower, an a medieval one at that, it looked like an unhappy coupling.

 

I was given a very warm welcome, and the history of the church was explained:

 

the original church was in a ruinous state at the start of the 19th century, and when Army and Naval officers began to have houses built in the area, they wanted a nice fashionable church.

 

So the nave and chancel were taken down, and the current nave put in its place.

 

Built before the English Gothic fervour took hold.

 

The east and west windows have been replaced since the church was built.

 

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THE PARISH OF ST. MARGARET is of large extent, and contains all the lands without the walls on the south side of the city, that are within the bounds of its jurisdiction. It is stiled in some records, St. Margaret's in Suthgate, (fn. 22) and in those of the city, the Borough of Suthgate. (fn. 23)

 

There are two streets of houses in this parish, the one called St. Margaret's-street, leading from Bully-hill to the church, and so on to Borstall and Woldham southward; the other at some distance from it called St. Margaret's-bank, being a long row of houses, situated on a high bank at the north-east boundary of the parish, on the south side of the great London road to Dover, between St. Catherine's hospital in Rochester, and the Victualling-office, in Chatham. These houses are within the manor of Larkhill.

 

THERE are SEVERAL MANORS within the bounds of this parish, the most eminent of which is that of

 

BORSTALL, which was given to the church of Rochester and bishop Beornmod, in the year 811, by Cænulf, king of Mercia, as three plough lands.

 

This manor seems to have continued part of the possessions of the church of Rochester, without any interruption, till the time of the conquest. It is thus described in the general survey of Domesday, taken in the year 1080, under the general title of Terra Epi Rovecestre, i. e. the lands of the bishop of Rochester.

 

In the hundred of Rochester, the same bishop (of Rochester) holds Borchetelle. In the time of king Edward the Confessor it was taxed at two sulings, and now for one suling and an half. The arable land is four carucates. In demesne there are two carucates, and six villeins with three carucates. There are 50 acres of meadow, and two mills of 20 shillings. In the time of king Edward, and afterwards, it was worth six pounds, and now 10 pounds.

 

In Rochester the bishop had, and yet has, 24 plats of ground, which belong to Frindsbury and Borstal, his own manors. In the time of king Edward the Confessor, and afterwards, they were worth three pounds, now they are worth eight pounds, and yet they yield yearly 11 pounds and 13 shillings and four-pence.

 

When bishop Gundulph was elected to this see in the time of the Conqueror, and after the example of his patron, archbishop Lanfranc, separated his own revenues from those of his convent, this manor in the division was allotted to the bishop and his successors.

 

On a taxation of the bishop of Rochester's manors, in 1255, it appears that the bishop had in the manor of Borstalle one hundred and forty acres of arable, estimated each acre at 4d. forty acres of salt meadow at 8d. each, and fourteen acres of salt pasture, each at 6d. which, with the rents of assise, made the total value of the whole manor 9l. 10s. 3d. the repair of the buildings yearly amounting to twenty shillings. (fn. 24)

 

This manor still continues in the possession of the bishop of Rochester; but the demesne lands are leased out by him to Mrs. Vade, of Croydon, in Surry.

 

By the agreement made between John Lowe, bishop of Rochester, and the bailiff and citizens of Rochester, in the 27th year of king Henry VI. concerning the limits of the jurisdiction of the city, according to the charter then lately made to them, this borough and manor of Borstall was declared to be exempt from the precinct of the hundred of Rochester, and the law-day of it, and from all payments, fines, suits forfeitures and amerciaments due on that account, as being within the liberty of the bishop, and his church. (fn. 25)

 

The monks of Rochester priory had several grants of TYTHES, and other premises made to them within this manor and hamlet.

 

Robert Ernulf and Eadric de Borstalle, gave the tithes of their lands in Borstalle to the priory, which were confirmed to it by several bishops of Rochester, and others (fn. 26) In which confirmations they are described, as the whole tithe of Borstalle of corn, and two parts of the tithes of the land of Ralph de Borstalle. (fn. 27) Eadric de Hescenden, with his wife and two sons, entered into the society of the monks of this priory, upon condition, that when they died, the monks should say a service for them, as for their brethren; and the monks were to have for ever the tithes of their lands in Borestealle and Freondesberie, but in corn only.

 

Several parcels of land, &c. lying within the manor or hamlet of Borstall, were likewise at times given to these monks. All these premises continued part of the possessions of the priory till the dissolution of it, in 1549, when they were surrendered into the king's hands, and were settled by him, three years afterwards, on his new founded dean and chapter of Rochester, where they remain at present.

 

This manor, with others in this neighbourhood, was bound antiently to contribute to the repair of the first pier of Rochester-bridge.

 

NASHENDEN is a manor in this parish, which lies about three-quarters of a mile south-eastward from Borstall. In the Textus Roffensis it is called Hescenden, and in Domesday, Essedene.

 

This manor was part of those vast possessions, with which William the Conqueror enriched his half-brother Odo, the great bishop of Baieux; accordingly it is thus entered, under the title of that prelate's lands, in the general survey of Domesday:

 

Rannulf de Columbels holds of the bishop (of Baieux) Essedene. It was taxed at one suling. The arable land is . . . . In demesne there is one carucate, and 19 villeins, with three borderers having three carucates. There are three servants, and 8 acres of meadow. In the time of king Edward the Confessor, it was worth three pounds, when he received it four pounds, now five pounds. Earl Leuuin held it.

 

It appears by the red book of the exchequer, that this estate in the reign of king Henry II. was held by Thomas de Nessingden, of Daniel de Crevequer, as one knight's fee of the old feoffment.

 

In the reign of king Edward I. this manor was become the property of Jeffry Haspale, whose descendant, John de Aspale, for so the name was then spelt, died possessed of Nashenden in the 31st year of that reign, holding it of the king in capite. After which it appears to have come into the name of Basing, and from thence quickly after into that of Charles.

 

Richard Charles, as appears by the inquisition taken after his death, anno 1 Richard II. died possessed of the manor of Naseden, which he held of the king in capite by knight's service, excepting forty acres of pasture and wood, which he held of the lord Grey, as of his manor of Aylesford; whose nephew, Richard, son of his brother Roger Charles, died possessed of it in the 11th year of that reign, holding it of the king in capite, as of his honor of Peverel and Hagenet, by knight's service.

 

Nicholas Haut afterwards possessed this manor, in right of his wife Alice, who was a descendant of the above-mentioned family. She held it for the term of her life with remainder to James Peckham, who on her death, in the 1st year of king Henry IV. came into the possession of it. He obtained the king's licence two years afterwards, to give and amortize to the wardens of Rochester-bridge, and their successors, this manor, and also one hundred acres of pasture, with their appurtenances in Ellesford, the manor then being worth yearly, and above all reprises 6l. 13s. 4d. per annum. (fn. 28) Since which it has continued part of the possessions of the wardens and commonalty of the said bridge, for the support and repair of it. The present lessees of this manor are Leonard Bartholemew and Phil. Boghurst, esqrs.

 

An account of the tithes of this manor will be given, with those of Little Delce in this parish. (fn. 29)

 

There was a chapel at this place, dependent on the parish church of St. Margaret. (fn. 29)

 

GREAT DELCE is a manor which, with the estate now called LOWER DELCE, lies on the eastern side of this parish, about half a mile southward from Eastgate, in Rochester. It was formerly called Much Delce and Delce Magna, or Great Delce, and was given by William the Conqueror to Odo, bishop of Baieux, his halfbrother, under the title of whose lands it is thus entered in the general survey of Domesday:

 

In the lath of Aylesford, in Rochester hundred, the son of William Tabum holds Delce of the bishop (of Baieux). It was taxed at one suling and one yoke. The arable land is . . . . . There is one carucate in demesne, and five villeins having five carucates. There are 12 acres of meadow, wood for the pannage of one bog. In the time of king Edward the Confessor, and afterwards, it was worth three pounds, and now 70 shillings. Godric held it of king Edward.

 

This manor afterwards came into the possession of a family, to which it gave name. Herebert, Gosfrid, and Hugo de Delce possessed it in successive generations. After which it passed to Buckerel, and the heirs of Thomas Buckerel, in the latter end of the reign of king Henry III. held it as two knights fees and a half, of Bertram de Criol. (fn. 30) After which this estate seems to have been separated into parcels, for Geoffry de Haspale held this manor as the fourth part of a knight's fee only, at the time of his death, in the 15th year of king Edward I. as appears by the inquisition taken for that purpose.

 

The next family who succeeded, as appears by the original deeds of this estate, was that of Molineux, descended from those of Sefton, in Lancashire; but they did not keep possession of it long, for by the evidence of an antient court roll, Benedict de Fulsham was lord of it in the 30th year of king Edward III. His descendant, Richard Fulsham, held it of the king in capite, as the fourth part of a knight's fee, at his death in the 5th year of king Henry V. Soon after which this name seems to have become extinct here; for in the 9th year of that reign, Reginald Love died possessed of it, and his successor held it till the latter end of king Henry VI's reign, when it passed by sale to William Venour, whose arms were, Argent, on a fess sable five escallops or, three and two, and who died possessed of this manor in the 1st year of king Edward IV. After which it was within a few months conveyed by sale to Markham, descended from an antient family of that name in Nottinghamshire, in which name it staid but a very short time before it was sold to Tate, who passed it away to Sir Richard Lee, citizen of London, and grocer, who served the office of lord-mayor in the 39th year of king Henry VI. and the 9th year of king Edward IV. (fn. 31) He was the eldest son of John Lee, of Wolksted, in Surry, and grandson of Symon Lee, who was descended of ancestors in Worcestershire, and bore for his arms, Azure, on a sess cotized or, three leopard's faces gules. He lies buried in the church of St. Stephen, Walbrook, his arms are remaining in East-Grinsted church, and in that of St. Dionis Backchurch, in London, with those of several marriages of his posterity; his son Richard Lee seems to have had this manor of Great Delce by gift of his father during his life-time, and kept his shrievalty at this mansion in the 19th year of the latter reign, his son Richard, who was both of Delce and of Maidstone, left two sons, the youngest of whom, Edward, was archbishop of York, (fn. 32) and the eldest Richard, was of Delce, whose only surviving son, Godfrey, in the 31st year of Henry VIII. procured his lands to be disgavelled, by the general act passed for this purpose, (fn. 33) after which his descendants continued to reside here for several generations, but Richard Lee, esq. about the latter end of queen Anne's reign, passed away the whole of this estate, excepting the manor, and forty acres of land, to Thomas Chiffinch, esq. of Northfleet, in this county, from which time this seat and estate acquired the name of Lower Delce.

 

Thomas Chiffinch, esq. died in 1727, and was succeeded by Thomas Chiffinch, esq. his only son and heir, who died without issue in 1775, and by his will bequeathed this, among his other estates, to his niece and heir-at-law, Mary, the daughter of his sister Elizabeth Comyns, who afterwards carried them in marriage to Francis Wadman, esq. of the Hive, in Northfleet, and he is the present possessor of Lower Delce.

 

THE MANOR OF GREAT DELCE, and the forty acres of land above-mentioned, together with a farm, called King's Farm, continued in the possession of Richard Lee, esq. who died possessed of them in 1724, and his grandson, Richard Lee, esq. of Clytha, in Wales, now possesses this manor; but in 1769, he alienated all the demesnes of it, together with King's farm, to Mr. Sampson Waring, of Chatham, who died possessed of them in 1769, leaving his brother, Mr. Walter Waring, and his sister, Mrs. Smith, of Lower Delce, his executors, who are at this time entitled to the profits of them. The court for the manor of Great Delce has not been held for some years.

 

The manor is held by castle-guard rent of Rochester castle; but when the mansion and most part of the lands were sold, as above mentioned, from Lee to Chiffinch, the former expressly charged the whole of that rent on the premises bought by Chiffinch, and entirely exonerated that part which he reserved to himself from paying any portion of it.

 

An account of the tithes of this manor, given to the priory of Rochester, may be seen under the following description of Little Delce manor.

 

LITTLE DELCE, or DELCE PARVA, now known by the name of UPPER DELCE, is a manor in this parish, situated in the high road between Rochester and Maidstone, somewhat more than a quarter of a mile from the former. This likewise, as well as that of Great Delce, was given by William the Conqueror to his half brother Odo, bishop of Baieux; under the general title of whose lands it is thus described in the book of Domesday:

 

In Rochester hundred, Ansgotus de Roucestre holds Delce of the bishop (of Baieux). It was taxed at one suling. The arable land is two carucates, and there are in demesne . . . . . . . with one villein, and five borderers, and six servants. There are 12 acres of meadow, and 60 acres of pasture. In the time of king Edward the Confessor, and afterwards, and now, it was, and is worth 100 shillings. Osuuard held it of king Edward.

 

This estate, on the disgrace of bishop Odo, most probably reverted again into the king's hands; and seems afterwards to have been in the possession of a family, who assumed their name, De Delce, from it, and held it of William de Say, as one knight's fee. (fn. 34)

 

In the reign of king John, this manor was in the possession of Jeffry de Bosco, a Norman; but when that province was seized by the king of France, the lands of the Normans, in this kingdom, became vested in the crown, by way of escheat or seizure, under the title of, Terra Normanorum; thus the manor of Little Delce was seized by king John, in the 5th year of his reign, who gave it to William de Ciriton, the sheriff, for two hundred pounds, two palfreys, and two gols hawks, (fn. 35) on condition, that if the said Jeffry should return to his allegiance, he should, without delay, again possess the same. (fn. 36) But this never happened, and this manor continued in the desendants of William de Ciriton. Odo de Ciriton died possessed of it it in the 31st year of king Henry III. holding it of the king in capite, by the service of one knight's fee. (fn. 37) This family was extinct here before the middle of the reign of king Edward I. for in the 9th year of that reign, as appears by Kirkby's Inquest. Richard Pogeys held this manor. At the latter end of the reign of king Edward III. it was possessed by the family of Basing, from which name it went into that of Charles. Richard Charles died possessed of the manor of Little Delce, in the 1st year of king Richard II. leaving his brother's sons, Richard and John, his next heirs; the former of whom died possessed of it, anno 11 Richard II. and left a son, Robert Charles, who dying without issue, his two sisters became his coheirs, viz. Alice, married to William Snayth, and Joan to Richard Ormskirk; and on the division of their estates, this manor fell to the share of William Snayth, commonly called Snette, in right of his wife, Alice, the eldest of them. Soon after which, Charles and William Snette, for so the name is spelt in the bridge archives, gave and amortized this manor of Little Delce, of the yearly value of six marcs, above all reprises, to the wardens of Rochester bridge and their successors, for the support and repair of the same. Since which it has acquired the name of Upper Delce, by which it is now only known, and it continues at this time part of the possessions of the wardens and commonalty of the said bridge, for the purposes above mentioned. The present lessees of this manor are Leonard Bartholomew and Philip Boghurst, esqrs.

 

The tithes of Great and Little Delce, Borstal, and Nashenden, were given, in the time of bishop Gundulph, to the priory of Rochester.

 

Gosfrid de Delce, together with his wife and children, on their being admitted to be partakers of the benefits received from the prayers of the monks, gave the whole of the tithes of Little Delce, both great and small, to the priory of St. Andrew.

 

Ansgotus de Rovecestre accepted of the like benefit from the church of St. Andrew, and the monks there, in the time of bishop Gundulph, and gave to the church and monks there, all his tithes, both great and small, of Great Delce, and in like manner the whole of his tithe mill, and of a certain piece of land included within the wall of the monks, towards the south, and five acres of land near Prestefelde, and at their request, gave them, on his death bed, cloathing, and they performed service for him as for a monk.

 

Uulmer, the tenant of Arnulf de Hesdine, by the advice of Adelold, brother of Baldwin, monk of St. Andrew, accepted the benefit of that society, and gave to it his whole tithe, worth ten shillings yearly. Robert de St. Armand gave his tithes of Neschendene and Borstelle to St. Andrew's priory. These several tithes were confirmed to the priory by various bishops of Rochester; by Theobald, archbishop, and Ralph, prior, and the convent of Canterbury. They remained part of the possessions of the priory till their dissolution in 1540; three years after which they were settled on the new founded dean and chapter of Roter, where they still remain.

 

The PARISH of St. MARGARET, is Rochester, is within the ECCLESIASTICAL JURISDICTION of the diocese and deanry of Rochester. The church is situated at the south extremity of St. Margaret's-street; it consists of one nave and two chancels on the south side of much later date than the church. That towards the east end was built and long supported by the family of Lee, of Great Delce, whose remains lie in a large vault under this chancel; but since the alienation of their mansion here, the repair of this part of the fabric has devolved on the parishioners. The chancel, at the east end of the church, belongs to the appropriator, who consequently repairs it. At the west end of the church is a tower, containing five bells; it is entirely covered with ivy to the top of it, which makes a most beautiful and picturesque appearance. Against the east wall, in the south chancel, is the antient bust of a man in robes, with a coronet on his head. (fn. 38) In the reign of king Charles II. a coronet, set round with precious stones, was dug up in this church yard; and the report of the parish has been, that one of our Saxon kings was buried here.

 

Among other monuments and inscriptions in this church are the following: In the chancel, a brass for Syr James Roberte Preess, obt. Sep. 24, 1540. A monument, arms, Head, impaling quarterly a chevron between three hawks belled or, for Francis Head, esq. eldest son of Sir Richard Head. bart. obt. 1678; he married the only daughter of Sir George Ent. In the north window, Argent. three crosses bottony fitchee sable, and argent on a bend quarterly, an efcallop gules. In a pew, partly in the chancel and partly in the nave, Argent on a bend gules, between two peliers, three swans proper. In the nave, a brass for Tho. Cod. vicar, a benefactor to the steeple of this church, obt. Nov. 1465. In the chancel, south of the rectors, a monument, arms, Argent, a right hand couped sable, impaling Lee, for Thomas Manly, esq the third son and heir of George Manly, of Lach, esq. he married Jane, second daughter of Richard Lee, esq. of Delce, and left one only son and two daughters, obt. 1690. In the east window, arms of Lee, Azure on a fess cotized, or three leopards heads gules. In a chapel, west of the Lee chancel, in the east wall, a bust of a person with a crown on his head, much defaced. (fn. 39)

 

At the time of bishop Gundulph's coming to the see of Rochester, and for almost a century afterwards, this church or chapel of St. Margaret, for it is frequently mentioned by both names, was accounted only as an appendage to the parochial altar of St. Nicholas in the cathedral, and the one underwent the same changes as the other; (fn. 40) and Walter, bishop of Rochester, in 1147, confirmed the above mentioned parochial altar, together with this church of St. Margaret, which belonged as a chapel to it, to the monks of this priory, and appropriated it to them. This grant was set aside by bishop Gilbert de Glanville, in the beginning of the reign of king Richard I. who not only separated this church from the altar of St. Nicholas, and divested the monks of all manner of right to it; but on the foundation of his hospital at Stroud about the same time, he gave, in pure and perpetual alms, among other premises, this church of St. Margaret to the master and brethren of it, and appropriated it to them, reserving only half a marc yearly to be paid to the priory, in lieu of the oblations which the monks used to receive from it. (fn. 41)

 

The monks by no means acquiesced in this gift, but seized every opportunity of asserting their right to this church, and after several appeals to the pope from time to time, and confirmation and decrees made in favour of each party, (fn. 42) the dispute seems to have been finally settled in 1255, when the pope adjudged, that this church of St. Margaret, with all its appurtenances, should for the future belong to the prior and chapter of Rochester; accordingly from the above time they kept possession of it.

 

From the time of bishop Walter's appropriation of the profits of the parochial altar of St. Nicholas, with this church appendant to it, to the prior and convent, to the divesting them of it by bishop Glanville, it is likely, instead of a curate being appointed, the duty of this parish was discharged by some member of the society, as it was probably afterwards, whilst in the possession of the hospital, by one of the priests of that foundation; however, within a few years after the convent recovered the permanent possession of St. Margaret's, a vicar was certainly appointed, for William Talevez occurs by that title in 1272.

 

The vicars seem to have had only a yearly stipend from the convent for their pains, for more than a century afterwards; but in 1401, the prior and chapter came into a composition with the vicar for the endowment of this church; in which they agreed, that the vicar and his successors should for the future have, for their maintenance, and the support of the burthens therein mentioned, a mansion with its appurtenances, to be assigned for the vicarage of it, and the accustomed and entire altarage of it, and all the small tithes of the three manors of Nessenden and Great and Little Delce, and of all goods and lands, except the tithes of mills, within the parish, and except the tithes, great, small, and mixed, arising from the lands, cattle, and other things belonging to the religious; and that he and his successors should have three quarters of wheat with three heaps, and three quarters of barley with three heaps, to be taken yearly at their barn, at the times therein mentioned, and the tithes of sheaves, which should arise in gardens not cultivated with the plough; and that the vicar and his suc cessors, content with the above portion, should not demand any thing further of the religious or their successors; and further, that he and they should undergo, at their own proper costs and charges, the burthens of repairing, maintaining, and new building, as often as need should be, the buildings, with their appurtenances, and all other things belonging to the said mansion, with its appurtenances, as well as all things belonging to the celebration of divine services, and the administration of the sacraments and sacramentals to the parishioners, and the finding of bread and wine, lights, books, vestments, and other ornaments necessary to the celebration of divine services, which of custom or right ought to belong to the secular rectors of this church; and also the procurations and subsidies, according to the taxation of his and their portion; but all other things whatsoever, belonging or which in future should belong to this church, as well as all tithes whatsoever, arising or to arise from the lands and possessions of the prior and convent within the parish, even though they should be let or sold to laymen, they the said prior and convent should take and have, who should likewise maintain and repair the chancel, except as before excepted, at their own proper costs and charges. Notwithstanding the stipulation of the vicar for himself and his successors, not to require any increase of their portion from the prior and convent, Edmund Harefelde, vicar of this church, did not consider this clause as obligatory upon him; for in 1488, he petitioned the bishop for an augmentation of his vicarial portion, who decreed, that the vicar and his successors should yearly receive, as the portion of his vicarage, from the prior and convent, five marcs in money; and out of the tithes and profits of this church, appropriated to the prior and convent, four quarters of wheat with four heaps, and four quarters of barley with four heaps, to be taken yearly at their barns of the Upper court, in Harreat, with liberty of entry and distress on the parsonage on non-payment; and he decreed, that the endowment of the vicarage, over and above the portion above mentioned, should be as follows, that the vicar for the time being should have the mansion of the vicarage of this church, with the garden adjoining, for his habitation, which they used to have of old time there, and then had; and all manner of oblations whatsoever within the bounds of the parish, and all manner of tithes whatsoever, as of hay, lambs, wool, mills, calves, chicken, pigs, geese, ducks, eggs, bees, honey, wax, cheese, milk, the produce of the dairy, flax, hemp, pears, apples, swans, pidgeons, merchandizes, fisheries, pastures, onions, garlics, and saffrons whatsoever arising and coming; and also the tithes of sheaves in gardens, whether cultivated with the plough or dug with the foot, increasing within the parish; and the tithes also of firewood, woods, thorns, silva cedua, as well as of all billets, faggots, and fardels whatsoever, within the limits of the parish; and he further decreed, that the burthens of repairing, amending, and new building the mansion, with every appurtenance belonging to it, and the celebration and ministration of the sacraments and the sacramentals to the parishioners, of the finding of bread and wine, and lights to the church, either of right or custom due, should belong to and be borne by the vicar and his successors, as well as all episcopal burthens of the said church, according to the taxation of his portion. But that the burthen of repairing and amending the chancel of the church, as well within as without, as also the finding and repairing of books, vestments, and other ornaments, for the celebration of those divine rights, which of old, either by right or custom, belonged to the rectors of the church, should in future be borne by the prior and convent and their successors, at their own proper charge and expence; and that all other burthens, ordinary and extraordinary, of the vicarage, and to the vicar belonging, by reason of tha same, except as before excepted, should belong to him and his successors, to be borne and supported at his and their own proper costs and charges; saving to the bishop and his successors, a right of augmenting and diminishing this vicarage, and of correcting, amending, and explaining the above decree, whenever he or they should think it expedient so to do; and saving to himself and his successors, all episcopal right, (fn. 43) &c.

 

The appropriation of this church, and the patronage of the vicarage, continued part of the possessions of the prior and convent till the dissolution of the monastery, in 1540, when it was surrendered into the king's hands, who three years after, by his dotation charter, settled this appropriation and vicarage on his new founded dean and chapter of Rochester, where they remain at this time.

 

Adjoining to the north wall of the church yard is a piece of ground, which has probably belonged to the vicars of this parish ever since their first institution here; an antient court roll mentions their being possessed of it in the year 1317.

 

In the 5th year of king Edward III. John de Folkstan, vicar of St. Margaret's, held a messuage, with its appurtenances, adjoining to the church yard, by the assignment of the prior and convent, with the ordination of the bishop, as belonging to the portion of his vicarage; which messuage, with its appurtenances, was held of the master and brethren of the hospital of Stroud, by fealty, and the service of two shillings yearly, and also the payment of twelvepence to them, after the death of each vicar. (fn. 44)

 

The vicars, I am told, now hold this piece of land of the dean and chapter, as of their manor of Ambree, on their paying a small acknowledgment.

 

The vicarage house being from age become irreparable, was taken down, with an intention of erecting a convenient and substantial dwelling in the room of it; for which purpose Mr. Lowth, the late vicar, for several years deposited an annual sum with the dean and chapter, towards defraying the charges of it; and about 1781, erected on this spot a neat and convenient house, built of brick and sashed, with proper offices adjoining, for the use of himself and his successors, vicars of this parish. By an agreement between John Ready, vicar of it, and the dean and chapter, the former, in consideration of several benefits and benevolences done to him by the latter, consented to take an annual payment of 5l. 6s. 8d. instead of the pension in money and corn, granted by the composition made in 1488. Some recompence indeed has since been made for this unjust bargain by the dean and chapter, who have settled on it a larger augmentation than on any other church in their patronage. The vicarage of St. Margaret is valued in the king's books at 10l. and the yearly tenths at 1l. (fn. 45)

 

¶In the survey, taken after the death of Charles I. in 1649, of the church livings within this diocese, by the powers then in being, on the intended abolition of deans and chapters, it was returned, that there were belonging to this rectory or parsonage, a parsonagehouse, two barns, one stable, and other houshings, and also certain tithes, profits, &c. belonging to it, together with certain glebe land, called Court-hill and Court hill marsh, containing together nine acres, and and one marsh, lying in the parish of St. Nicholas, Rochester, called Cow marsh, with the waste ground called salts, containing together seven acres, and all that piece of ground called Upper court, alias Hogshaw, containing one acre; in all seventeen acres, worth together 130l. per annum, viz. the house and lands, 12l. per annum, and the tithes 118l. per ann. all which were let, among other premises, by Henry King, late dean of the cathedral church of Rochester, by his indenture, in 1639, to George Newman, esq. for twenty-one years, at the yearly rent, for Preestfield and Stroud marsh, of 4s. 4d. per annum, and for all the other premises twelve quarters of wheat, heaped, making together the yearly rent of 31l. 1s. 8d. Next the vicarage was, in like manner surveyed, and returned at the yearly value of 30l. (fn. 46)

 

www.british-history.ac.uk/survey-kent/vol4/pp153-182

Will man sich nicht bewegen

Same shoes as yesterday, plus H&M ribbed ivory tights I bought in Vienna during my trip around UK/Europe in '06.

Same picture done differatily

This set mixes it up a bit with both a pretty blonde and brunette goddess! You can see them both modeling the Gold 45 Revolver swimsuits as well as a 45SURFER camera bracket mount for shooting stills & video at the same time.

 

Here's some epic video of the beautiful goddesses:

www.youtube.com/watch?v=txvupr5xOZ4 (modeling swimsuit)

www.youtube.com/watch?v=4G5w3u6L8x8 (modeling swimsuit)

www.youtube.com/watch?v=4pYrQbPayZs (modeling the bracket)

www.youtube.com/watch?v=BGSVw9jbAR0 (pretty closeups!)

 

Nikon D800 Photos of Brunette and Blonde Swimsuit Bikini Goddesses with Pretty Green Eyes and Pretty Blue Eyes shot with the Nikon D800E and Nikon 70-200mm f/2.8G ED VR II AF-S Nikkor Zoom Lens!

 

Shot in both RAW & JPEG, but all these photos are RAWs finished in Lightroom 4 ! :)

 

All the Gold'N'Virtue swimsuits with the main equation to Moving Dimensions Theory on the swimsuits: dx4/dt=ic. Yes I have a Ph.D. in physics! :) You can read more about my research and Hero's Journey Physics here:

herosjourneyphysics.wordpress.com/ MDT PROOF#2: Einstein (1912 Man. on Rel.) and Minkowski wrote x4=ict. Ergo dx4/dt=ic--the foundational equation of all time and motion which is on all the shirts and swimsuits. Every photon that hits my Nikon D800e's sensor does it by surfing the fourth expanding dimension, which is moving at c relative to the three spatial dimensions, or dx4/dt=ic!

 

Modeling both the the Gold 45 Revolver(TM) Gold'N'Virtue(TM) Black Bikini and the Red, White, an Blue American flag bikini!

 

May the HJM Goddesses guide, inspire, and exalt ye along yer heroic artistic journey! all the bets on your Heroic Journey from Johnny Ranger McCoy!

       

Portrait of Sameer AlSaeed at Home Studio

Same as #3, colours altered during scanning process, different crop

Same frame, different views

 

Great Sampford, Essex

 

The beautiful church of St Michael the Archangel at Great Sampford is not the first church to stand on the rising ground at the centre of the village overlooking the cornfields along the valley of the river Pant. It is possibly sited on an ancient place of cult or religious significance. The proximity of the Stow farm may be of some importance, for the word ‘Stow’ in Old English can mean a ‘holy place’ or ‘place of assembly’. A pre-Conquest church, presumably of timber and thatch construction, followed perhaps, by a simple stone-built church, was replaced by the 13c on the same site by a major church building of which one of the transepts remains as the vestry of the present church which was built between 1320 and 1350. The original dedication of the church, if different, is not known as the first documentary reference to St Michael occurs as late as 1540 in a Sampford will. Dedications were sometimes changed and the use of the proper style, St. Michael the Archangel, is in fact quite rare. However, dedications to St. Michael or St. Michael and All Angels are numerous and were popular as the Archangel is an important figure in Christian tradition and art, symbolising the victory of God over evil, as an intercessor for the sick and as a leader of the Church militant. Churches dedicated to him, as at Great Sampford, are often found on hill—top sites or on high ground .a possible allusion to St. Michael’s pre-eminence in the Angelic Host of Christian belief. His Feast Day is 29th September.

 

Knowledge of the origins of the Christian Church in Essex relies largely on the fragile but growing evidence of archaeology and landscape interpretation. An ill-defined and mobile pattern of contemporaneous pagan and early Christian practices in the Roman era comes into historical focus with the missionary endeavours of the Roman and Celtic Churches when such names as Augustine, Mellitus and Cedd are prominent in Essex history. Within that tradition there are various, as yet unproven, theories about the establishment of a church at Great Sampford.

 

On entering the church the first impression that the visitor receives is of its elegant dignity; the next, the incongruence of its scale in such a tiny rural community. An interesting aspect of this enigma is the search for a convincing explanation of its status, from the mid-13c until 1907, as a deanery church serving twenty-one surrounding parishes in the Freshwell Hundred and in part of Uttlesford. It may have been a consequence of an early ‘minster’ (i.e.: missionary) role or as the result of a parochial compromise in an area with more important communities such as (Saffron) Walden. We do not know. However, it is a fact that the missionary work of the early minsters often extended to and beyond the boundaries of the administrative hundreds and became the sites of the hundredal centres themselves. There may well be historic linkages, not yet understood, between the Freshwell and Uttlesford Hundreds and the Sampford Deanery that relate to the early status of the church at Great Sampford.

 

The earliest historical fact about St. Michael’s is the grant by William Rufus, son and successor of William the Conqueror, of the church at Sampford along with the subordinate chapel at Hempstead with their lands and tithes to Battle Abbey in 1094. According to Philip Morant, the most famous of Essex historians, this was a formal confirmation of the Conqueror's original royal grant. This act of confirmation was a necessary and regular practice in regard to the efficacy of grants and early charters which were frequently forged. The church at Hempstead was within the jurisdiction of the vicar of Great Sampford until as late as 1979. Great Sampford remained in the hands of Battle Abbey until the Dissolution of the Monasteries in 1539 when it was transferred to the Dean and Chapter of Canterbury. In 1836 it passed to the newly-established Church Commissioners. In 1982 Great Sampford was combined with the parish of Little Sampford.

 

For perhaps a thousand years, even more, the Church at Sampford pursued its mission and, like others of medieval foundation, did not escape the consequences of religious, political and parochial events or circumstances. An astonishing flowering of spiritual faith and social commitment led to the building and re-building of these lovely churches. This phase was followed by the painful disruption of the Reformation, the Commonwealth and the Restoration, all of which led to anxious change and despoliation. In the course of these events much of the magnificence of the church at Great Sampford and its furnishings was lost or abandoned. All his was compounded by periods of neglect and the chronic problems of maintaining a great building in a small village bereft of wealthy resident patrons.

 

The loss, confiscation or sale of the rood, images, church plate and "such other goods as could be spared" was mirrored by decay of the fabric as is evident from the Parochial Inventories and Visitations of the l6c and l7c. The l7c saw the introduction of new arrangements for the railing of the Lord’s Table and seating for the congregation, a school was held in the south transept and the village musicians performed in a gallery under the tower. The inevitable ‘restorations’ by the Victorians led to the removal of furnishings, the installation of new pews, patterned floor tiling and the stripping of the stucco from the exterior walls of the church to expose the original flint and rubble surfaces. In more recent times the spiral staircase in the tower was removed and the roof structure of the south aisle replaced. We are, fortunately, left with a church of beauty and distinction.

 

It is hoped that the following brief notes on the architectural features and minor objects and details of interest in the church will help visitors to enjoy their visit.

  

The significance of St. Michael the Archangel in the village scene is apparent from the scale of the building, its strong profiles and conspicuous English Gothic idiom of the Decorated period. Internally, the major architectural theme is that of a restrained, uncomplicated elegance that is enhanced by the ample light admitted by plain glass windows. A dominant feature is the fine range of trefoiled, cinquefoiled and sexfoiled lights of the nave, chancel and aisle windows all dating from the period c. 1320-50. The cusped tracery of the windows is complemented by the symmetrical refinement of the arcading which is only lightly embellished by mouldings and carved capitals, typical of the period, and among the best in the county. Although not devoid of interesting detail, there is nothing to detract from the simple elegance and spatial qualities with which the fenestration and graceful arcading endow this fine building.

 

In 1769 Peter Muilman referred to the church at Great Sampford which "stands pleasantly on a small eminence by the roadside". Pleasantly indeed, the church is handsomely set in the Essex cornfields and seen to advantage from the high ground on the opposite side of the river. Close to, the sturdy profiles and somewhat severe external textures, relieved by some decorative areas of knapped flint flushwork, offer little hint of the quality of its Gothic interior. The main structure is built with random-faced flint and rubble set in lime mortar with limestone and clunch dressings. The roof is tiled and slated. The prominent west tower was built in the mid-l4c and, like the south aisle, has an embattled parapet. The south porch is of the same period. Unhappily, the window tracery of the 13c transept has been lost and is now disfigured by brickwork of two phases which seem to date from the late-18c to early-19c. Conspicuous in the churchyard are the fine lime trees planted in about 1835. The only monument of significance is the obelisk near the east wall of the churchyard which commemorates members of the Watson Family of Sampford. Colonel Jonas Watson was a distinguished soldier who was killed in action at the siege of Cartagena in 1741. But spare a moment to look at the adjacent grave stone of William Ruffle who died in 1881, a village worthy who served Great Sampford as shopkeeper, constable, clerk and in other public offices for over half a century.

 

External details of note are a rare series of consecration crosses of varying designs around the church, an early scratch dial, now displaced and seen on a doorstep in the north wall, a benchmark and the slot for the surveyor’s bench on the south-west buttress of the tower and miscellaneous graffiti mainly in the porch. Other details of interest include the rainwater heads, the vigorous carvings on the label of the south transept and niches in the south transept and the north and west walls. The clock on the church tower was installed in l9ll to mark the coronation of King George V.

 

On entering, visitors will appreciate the impressive dimensions and architectural refinement of this handsome village church. Standing in the centre of the nave the dominant curvilinear idiom of the Gothic styling will be apparent. The nave is flanked by north and south arcaded aisles with plain two-centred arches datable to the l4c. The piers of the north arcade are quatrefoil in plan with slender engaged shafting; those of the south arcade are octagonal in plan. All of the piers have moulded bases and capitals.

 

The 14c west tower is constructed in four stages. Internally it is open to the nave under a two-centred moulded arch. There is access to the belfry but, sadly, the brick-built circular Tudor staircase was removed about fifty years ago. The carved head of a woman recovered from this staircase, although it presumably originated from elsewhere in the church, can be seen in the vestry. But the finest aspects of this church are to be seen in the early chancel which is remarkable for its size and the splendour of its architectural expression. It dates from the first decades of the l4c. This fine chancel is framed by an exceptionally large east window of five cinquefoiled lights, the curvilinear bar tracery and verticality of which enhance the powerful impact of this aspect of the building. Most interesting, and presumably deriving from the deanery status of the church, there is a series on the north and south walls of twenty-one stalls recessed under a canopied arcade with mouldings and cusping. At the east end of the south arcade there are the piscina and sedilia. The chancel arch, of the same period and sprung from the capitals of clustered shafts, shows residual traces, near the base on either side of the step, of a former stone screen which is possibly significant in view of the rare stone screens in the nearby churches of Stebbing and Great Bardfield. Note also the small blocked low window by the north side of the arch. The panels behind the altar on which the Creed, Lords Prayer and Commandments are painted were made in 1837 for the church at Danbury and brought to Great Sampford in 1894.

 

The vestry, formerly a chapel, is of great interest as a surviving major element of the previous church of the late - 13c (however when I visited this was locked). In the east wall there are good coupled windows of two trefoiled lights with two quatrefoil and sexfoil circular openings, interesting examples of pierced plate-tracery. The large brick-filled window in the south wall is of the mid-13c with good mouldings and the surviving arch and shafting in the splays. Below this window, fragments of medieval glass were found buried in the ground outside. The contemporary archway in the west wall has some intriguing carved capitals richly adorned with robust oak-leaf foliage and vibrant figures including an owl, snail, pig and a human face in a good state of preservation. One is assumed to be a representation of a ‘Green Man’ a symbolic figure of English folklore. The north wall has four quatrefoil openings. There is, under the south window, a triple gabled recess with crockets and linear moulding, pinnacles and a neat acanthus motif which was probably once a fine tomb of an important local family, perhaps a member of the de Kemesek family. It is said to have served as a fireplace in the time when the vestry housed the village school! The battened and studded oak door leading into the chancel is 16c.

 

The open church roof structures are well worth close study. The best is in the vestry which is roofed with twelve pairs of collared scissor-braced trusses supporting the steep-pitched rafters on moulded wall plates. The chancel roof is also of trussed-rafter construction of seven cants, as is that of the nave roof which also has three tie-beams which may have been installed at a later date, perhaps when, as we know from church records, the roof was repaired in the 16c. The lean-to roof of the north aisle is attractively braced with graceful curved members sprung from a good moulded wall-plate. Unfortunately, the original roof of the south aisle has been replaced by a modern structure, but three of the amusing stone corbels which supported it remain. The trussed-rafter roof of the south porch with seven cants should be noted as it rests on extremely fine early moulded plates. Visitors should not miss the intriguing carved medieval wooden head which is fastened onto the wall above the chancel arch at the north-west corner facing the nave. This appears to have been repositioned, perhaps from a figure that was once part of church statuary. On the south side in the clerestory will be seen an attractive 15c Perpendicular style rectilinear and cinquefoiled window of three ogee lights which was devised to throw light onto the former rood.

 

Originally the church would have been resplendent with a comprehensive range of wall paintings for visual instruction depicting scenes of biblical or religious significance. A few fragments survive, having been discovered during restoration work in 1979, above the arches on the walls of the north arcade. Although faint and incomplete the two remaining paintings are of interest. One represents the seven deadly sins in the form of a diagrammatic tree which is comparatively rare. The other may be of St. Christopher, a saintly figure normally positioned, as possibly here, opposite the church entrance as a reassuring gesture to the worshippers. There are traces, too, possibly of another period, that suggest a dragon was depicted which would imply an association with St. Michael to whom the church is dedicated or, possibly, St. Margaret. Traces of colour in the wall plaster of the vestry may eventually yield further paintings.

 

Worthy of note are some special features beginning with the door at the church entrance. This is thought to be contemporary with the building of the church in the early l4c and, although damaged at the base, is still a fine example and retains the original wrought iron strap-work and studding. According to expert opinion it is the most elaborate of all saltire-braced doors in Essex. The boards of which it is constructed are pegged together. The font in the south aisle has a plain moulded octagonal bowl of the 15c. Its stem is earlier and has complex decoration which combines ogee-headed panels with intricate tracery on a chamfered 14c plinth. The Victorian pews were recently detached and the nave flooring paved. The beautiful series of kneelers worked with flower motifs were recently embroidered by local people. The lovely embroidered runner on the step of the sanctuary was made in 1990 and is an exact copy of the Victorian runner it replaced.

 

It is valid to observe that St. Michael’s benefits aesthetically from the absence of monumental clutter which, although sometimes historically useful, can be detrimental to the architectural purity of the building as a whole. The only remaining monuments of antiquity in the church are the tomb slabs (Calthorp and Burrows) of the 17c and 18c in the chance]. They commemorate a family whose name persists at a local farm and another of textile merchants who lived opposite the church. There is another (Gretton) in the south aisle. The pulpit, the provenance of which is unknown, is Victorian. There are also a few notable pieces of furniture. These include a 17c desk with a writing slope and cupboard which once served the school in the church. There is also a standing cupboard or hutch of the late 16c and a 16c church chest, iron-banded with strap hinges and an interior ‘till’ which may have been built-in as a response to a Parochial Visitation of 1686 which ordered it to be provided and lockable. The modern portable altar at the east end of the north aisle was given to the church by an anonymous donor in 1991. The small bronze of the Madonna and Child is of German provenance.

 

The five church bells which were once rung for church services as well as for special village occasions like harvest and gleaning can no longer be pealed. This is because of structural weaknesses in the belfry though they are still hung on the original stocks. Nowadays one is chimed for church services, as a Sanctus bell and used to ring the hours for the clock. The first, third and fourth bells were cast by William Land in 1624; the second (which bears the Royal Arms and a medallion with a bust of Charles II) by Henry Yaxley in 1684; the fifth by John Hodson in 1664. The church plate includes an interesting early Elizabethan silver cup of 1562 with a paten cover of c1567 and another paten dated 1630. None of these is inscribed although they carry makers' marks. An electro-plated flagon of 1854 was purchased by the vicar for five guineas in 1856. The organ, installed in 1976, is said to have come from a nonconformist chapel and to have been built in c1830 by G.M. Holdich. The eagle lectern in the south aisle was placed in the church in 1909 as a tribute to the incumbency of the Rev. Robert Eustace, vicar from 1850 to 1905.

 

Almost every ancient church has a range, most of which cannot be satisfactorily explained, of markings and graffiti, ostensibly symbolic figuring, idle scratchings and numerous initials and dates. Great Sampford has a generous quota of such. Of genuine interest is a 3-men’s (or 9-men's) Morris cut into the second stall on the north side of the chancel inside the altar rail. These are gaming boards of some antiquity, the play having affinities with ludo and allegedly used to relieve the boredom of long sermons or tedious ritual. On the opposite side one of the sedilia has a set of unexplained grooves, possibly another game.

 

This guide has so far been concerned mostly with events, architecture and objects of beauty or interest. More important are the people, clergy, church officers and villagers who have worked for and worshipped in the church. They all emerge from the obscurity of the past through the church records and the village archives as personalities or in human situations which help us to share their hopes, commitment or despair. The clergy, ever since Thomas de Sampford, dean in 1163, have served the church and ministered to the people throughout the ages and struggled with the traumas of turbulent and anxious times. The churchwardens, like Richard Petytt and John Mylner in the l6c and their successors, have striven to preserve the church from decay and neglect and carried out their onerous and multifarious duties with devotion if not always with alacrity. There have been too the countless parishioners whose recurring family names fill the registers recording the joy of marriage and birth and the sadness of illness and death. They are all part of the story and the reality of the church and its life in the village. They too were familiar with the building we admire. They sat in the pews and looked upon the beauty that is now our heritage. Their responsibility has passed to successive generations, and now to us. We hope that they would have approved of this little booklet and that it will play its part in safeguarding the continuity of that inheritance.

Balcony gardening. Nice weather again. Hicima leaves are inedible.

ONLY the root portion of jicama is edible. The leaves, flowers and vines of the plant contain rotenone, a natural insecticide designed to protect the plant from predators. Eating any of these parts of the plant can cause a toxic reaction.

 

Pachyrhizus erosus, commonly known as jícama (/ˈhɪkəmə/ or /dʒɪˈkɑːmə/;[1] Spanish jícama [ˈxikama] (About this soundlisten); from Nahuatl xīcamatl, [ʃiːˈkamatɬ]), Mexican yam bean, or Mexican turnip, is the name of a native Mexican vine, although the name most commonly refers to the plant's edible tuberous root. Jícama is a species in the genus Pachyrhizus in the bean family (Fabaceae). Plants in this genus are commonly referred to as yam bean, although the term "yam bean" can be another name for jícama. The other major species of yam beans are also indigenous within the Americas. Pachyrhizus tuberosus[2] and Pachyrhizus ahipa are the other two cultivated species. The naming of this group of edible plants seems confused, with much overlap of similar or the same common names.

 

Pachyrhizus erosus

 

Pachyrhizus erosus Blanco2.249.png

Scientific classification:

Kingdom: (unranked):

Angiosperms: (unranked):

Eudicots: (unranked):

Rosids

Order: Fabales

Family: Fabaceae

Genus: Pachyrhizus

Species: P. erosus

Binomial name: Pachyrhizus erosus

(L.) Urb.

Flowers, either blue or white, and pods similar to lima beans, are produced on fully developed plants. Several species of jicama occur, but the one found in many markets is P. erosus. The two cultivated forms of P. erosus are jicama de aguaand jicama de leche, both named for the consistency of their juice. The leche form has an elongated root and milky juice, while the aguaform has a top-shaped to oblate root and a more watery, translucent juice, and is the preferred form for market.[3][4]

 

Botany:

 

Other names for jicama include Mexican potato, ahipa, saa got, Chinese potato, and sweet turnip. In Ecuador and Peru, the name jicama is used for the unrelated yacón or Peruvian ground apple, a plant of the sunflower family whose tubers are also used as food.[4]

  

Fresh jícama for sale at a farmers' market

The jícama vine can reach a height of 4–5 m given suitable support. Its root can attain lengths up to 2 m and weigh up to 20 kg. The heaviest jícama root ever recorded weighed 23 kg and was found in 2010 in the Philippines (where they are called singkamas).[5] Jicama is frost-tender and requires 9 months without frost for a good harvest of large tubers or to grow it commercially. It is worth growing in cooler areas that have at least 5 months without frost, as it will still produce tubers, but they will be smaller. Warm, temperate areas with at least 5 months without frost can start seed 8 to 10 weeks before the last spring frost. Bottom heat is recommended, as the seeds require warm temperatures to germinate, so the pots will need to be kept in a warm place. Jicama is unsuitable for areas with a short growing season unless cultured in a greenhouse. Growers in tropical areas can sow seed at any time of the year. Those in subtropical areas should sow seed once the soil has warmed in the spring.[6]

 

History:

 

The jicama originated in Mexico and central America.[7] It has been found at archaeological sites in Peru dating to 3000 BC.[7] In the 17th century, the jicama was introduced to Asia by the Spanish.[7]

 

In cooking:

 

Diced fresh jícama, seasoned with Tajín chili powder

The root's exterior is yellow and papery, while its inside is creamy white with a crisp texture that resembles raw potato or pear. The flavor is sweet and starchy, reminiscent of some apples or raw green beans, and it is usually eaten raw, sometimes with salt, lemon, or lime juice, alguashte, and chili powder. It is also cooked in soups and stir-fried dishes. Jícama is often paired with chilli powder, cilantro, ginger, lemon, lime, orange, red onion, salsa, sesame oil, grilled fish, and soy sauce.[8] It can be cut into thin wedges and dipped in salsa. In Mexico, it is popular in salads, fresh fruit combinations, fruit bars, soups, and other cooked dishes. In contrast to the root, the remainder of the jícama plant is very poisonous; the seeds contain the toxin rotenone, which is used to poison insects and fish.[9] The exterior of the seed pods are edible and can be used in cooking, for example the Ilocano dish “Bunga ng singkamas” where it is cooked in a stew as the main ingredient.

 

Spread to Asia:

 

Jícama

Yambean (jicama), raw

Nutritional value per 100 g (3.5 oz)

Energy: 159 kJ (38 kcal)

Carbohydrates: 8.82 g

Sugars: 1.8 g

Dietary fiber: 4.9 g

Fat: 0.09 g

Protein: 0.72 g

Vitamins: Quantity%DV†.

Thiamine (B1): 2%0.02 mg

Riboflavin (B2): 2%0.029 mg

Niacin (B3): 1%0.2 mg

Pantothenic acid (B5): 3%0.135 mg

Vitamin B6: 3%0.042 mg

Folate (B9): 3%12 μg

Choline: 3%13.6 mg

Vitamin C: 24%20.2 mg

Minerals: Quantity%DV†

Calcium: 1%12 mg

Iron: 5%0.6 mg

Magnesium: 3%12 mg

Manganese: 3%0.06 mg

Phosphorus: 3%18 mg

Potassium: 3%150 mg

Sodium: 0%4 mg

Zinc: 2%0.16 mg

 

Link to USDA Database entry

 

Units:

 

μg = micrograms • mg = milligrams

IU = International units

†Percentages are roughly approximated using US recommendations for adults.

 

Source: USDA Food Data Central

 

Spaniards spread cultivation of jícama from Mexico to the Philippines (where it is known as singkamas, from Nahuatl xicamatl),[10] from there it went to China and other parts of Southeast Asia, where notable uses of raw jícama include popiah, bola-bola (meatballs) and fresh lumpia in the Philippines, and salads in Indonesia, Singapore, and Malaysia such as yusheng and rojak.

 

In the Philippines, jícama is usually eaten fresh with condiments such as rice vinegar and sprinkled with salt, or with bagoong (shrimp paste). In Malay, it is known by the name ubi sengkuang. In Indonesia, jícama is known as bengkuang. This root crop is also known by people in Sumatra and Java,[citation needed] and eaten at fresh fruit bars or mixed in the rojak (a kind of spicy fruit salad). Padang, a city in West Sumatra, is called "the city of bengkuang". Local people might have thought that this jícama is the "indigenous crop" of Padang. The crop has been grown everywhere in this city and it has become a part of their culture.[11]

 

It is known by its Chinese name bang kuang to the ethnic Chinese in Southeast Asia. In Mandarin Chinese, it is known as dòushǔ (豆薯; lit. ‘bean potato’) or liáng shǔ (涼薯), as sa1 got (沙葛, same as "turnip") in Yue Chinese/Cantonese, and as mang-guang (芒光) in Teochew, where the word is borrowed from the Malay, and as dìguā (地瓜) in Guizhou province and several neighboring provinces of China, the latter term being shared with sweet potatoes. Jícama has become popular in Vietnamese food as an ingredient in pie, where it is called cây củ đậu (in northern Vietnam) or củ sắn or sắn nước (in southern Vietnam).

 

In Myanmar, it is called စိမ်းစားဥ (sane-saar-u). Its Thai name is มันแกว (man kaeo).[12] In Cambodia, it is known as ដំឡូងរលួស /dɑmlɔoŋ rəluəh/ or under its Chinese name as ប៉ិកួៈ ~ ប៉ិគក់ /peʔkŭəʔ/.[13]In Bengali, it is known as shankhalu (শাঁখ আলু), literally translating to "conch (shankha, শাঁখ) potato (alu, আলু)" for its shape, size, and colour. In Hindi, it is known as mishrikand (मिश्रीकंद). It is eaten during fast (उपवास) in Bihar (India) and is known as kesaur (केसौर). In Odia, it is known as (ଶଙ୍ଖ ସାରୁ) shankha saru. In Laos, it is called man phao (ມັນເພົາ),[14]smaller and tastes a little sweeter than the Mexican type. It is used as a snack by peeling off the outer layer of the skin, then cutting into bite sizes for eating like an apple or a pear.

 

Its formal Japanese common name is kuzu-imo (葛芋, lit. =‘kudzu vine’+ ‘tuber’), though it may be referred to as benkowan (ベンコワン) or bankuan (バンクアン) after the Indonesian name bengkuang or as hikama (ヒカマ) as in the Mexican name.[15]

 

Nutrition:

 

Jícama is high in carbohydrates in the form of dietary fiber (notably inulin).[16] It is composed of 86–90% water; it contains only trace amounts of protein and lipids. Its sweet flavor comes from the oligofructose inulin (also called fructo-oligosaccharide), which is a prebiotic. Jícama is very low in saturated fat and sodium. It is also a good source of vitamin C.[17]

 

Storage:

 

Learn more:

This section does not cite any sources. (July 2017)

Jícama should be stored dry, between 12 and 16 °C (53 and 60 °F). As colder temperatures will damage the roots, whole unpeeled jicama root should not be refrigerated. A fresh root stored at an appropriate temperature will keep for a month or two.

 

References:

 

^ Collins English Dictionary – Complete and Unabridged, 12th Edition 2014. S.v. "Jicama." Retrieved July 18, 2017 from www.thefreedictionary.com/jicama

^ Pachyrhizus tuberosus

^ Johnson, Hunter. "Extension Vegetable Specialist". UC-Davis.

^ a b "Globalization of Foods-Jicama". Global Bhasin. Archived from the original on 11 January 2014. Retrieved 31 July 2013.

^ 'Heaviest' Singkamas Found in Ilocos

^ "Jicama Growing Information". Green Harvest. Retrieved 31 July 2013.

^ a b c Sanderson, Helen (2005). Prance, Ghillean; Nesbitt, Mark (eds.). The Cultural History of Plants. Routledge. p. 67. ISBN 0415927463.

^ Green, Aliza (2004). Field Guide to Produce. Quirk Books. p. 194. ISBN 1-931686-80-7.

^ Duke, James A. (1992). "Handbook of phytochemical constituents of GRAS herbs and other economic plants". Dr. Duke's Phytochemical and Ethnobotanical Databases. CRC Press. Archived from the original on September 23, 2015. Retrieved June 25, 2010.

^ "Singkamas". Merriam-Webster. Retrieved 2 January 2015.

^ "What is Jicama?". Innovateus. Retrieved 30 July 2013.

^ So Sethaputra, New Model Thai-English Dictionary, Bangkok: Thai Watana Panich, 1965, p. 366.

^ Pauline Dy Phon, វចនានុក្រមរុក្ខជាតិប្រើប្រាស់ក្នុងប្រទេសកម្ពុជា, Dictionnaire des Plantes utilisées au Cambodge, Dictionary of Plants used in Cambodia, ភ្នំពេញ Phnom Penh, បោះពុម្ពលើកទី ១, រោងពុម្ព ហ ធីម អូឡាំពិក (រក្សាសិទ្ធិ៖ អ្នកគ្រូ ឌី ផុន) គ.ស. ២០០០, ទំព័រ ៤៨៥, 1st edition: 2000, Imprimerie Olympic Hor Thim (© Pauline Dy Phon), 1er tirage : 2000, Imprimerie Olympic Hor Thim, p. 485; វចនានុក្រមខ្មែរ ពុទ្ធសាសនបណ្ឌិត្យ ភ្នំពេញ ព.ស. ២៥១០-២៥១១ គ.ស. ១៩៦៧-១៩៦៨ ទំព័រ ៦២៧, ១០១៣, Dictionnaire cambodgien, Institut bouddhique de Phnom Penh, 1967-1968, p. 627, 1013.

^ Reinhorn, Marc, Dictionnaire laotien-français, Paris: CNRS, 1970, p. 1635.

^ Mitsubishi UFJ Research & Consulting (February 2019), Baiomasu nenryō bi anteichōtatsu/jizokukanōsei ni kakawaru chōsa バイオマス燃料の安定調達・持続可能性等に係る調査 [Study regarding the stable procurement, sustainability, etc., of biomass fuels] (PDF), p. 16, n9

^ Hughes SR, Qureshi N, López-Núñez JC, Jones MA, Jarodsky JM, Galindo-Leva LÁ, Lindquist MR (2017). "Utilization of inulin-containing waste in industrial fermentations to produce biofuels and bio-based chemicals". World Journal of Microbiology & Biotechnology. 33 (4): 48. doi:10.1007/s11274-017-2241-6. PMID 28341907. S2CID 23678976.

^ "Nutrition Data: Yambean (jicama), raw". Nutrition Data. Retrieved 11 July 2014.

The Anti-Aircraft/ Armor Mechanized Combat Walker, commonly known as "Poison Orchid" is an incredibly effective defense solution. Often deployed in the days after a successful campaign, they serve the function of point defense against air raids or unexpected ground assaults.

 

They are equipped with two Linear Particle Acceleration Cannons, and are powered by a microfusion generator.

same guy / same city

different day / different location

McKibbin Bros Cullybackey County Antrim

 

SAME tractor looks to be in particularly poor shape. These are fairly rare now so would be good to see restored but the rust has fairly taken hold on this one.

 

Part of the McKibbin Bros collection pictured at the Killyless Open Day 2016

same boots same scuffing.

Some background:

The idea for a heavy infantry support vehicle capable of demolishing heavily defended buildings or fortified areas with a single shot came out of the experiences of the heavy urban fighting in the Battle of Stalingrad in 1942. At the time, the Wehrmacht had only the Sturm-Infanteriegeschütz 33B available for destroying buildings, a Sturmgeschütz III variant armed with a 15 cm sIG 33 heavy infantry gun. Twelve of them were lost in the fighting at Stalingrad. Its successor, the Sturmpanzer IV, also known by Allies as Brummbär, was in production from early 1943. This was essentially an improved version of the earlier design, mounting the same gun on the Panzer IV chassis with greatly improved armour protection.

 

While greatly improved compared to the earlier models, by this time infantry anti-tank weapons were improving dramatically, too, and the Wehrmacht still saw a need for a similar, but more heavily armoured and armed vehicle. Therefore, a decision was made to create a new vehicle based on the Tiger tank and arm it with a 210 mm howitzer. However, this weapon turned out not to be available at the time and was therefore replaced by a 380 mm rocket launcher, which was adapted from a Kriegsmarine depth charge launcher.

 

The 380 mm Raketen-Werfer 61 L/5.4 was a breech-loading barrel, which fired a short-range, rocket-propelled projectile roughly 1.5 m (4 ft 11 in) long. The gun itself existed in two iterations at the time. One, the RaG 43 (Raketenabschuss-Gerät 43), was a ship-mounted anti-aircraft weapon used for firing a cable-spooled parachute-anchor creating a hazard for aircraft. The second, the RTG 38 (Raketen Tauch-Geschoss 38), was a land-based system, originally planned for use in coastal installations by the Kriegsmarine firing depth-charges against submarines with a range of about 3.000 m. For use in a vehicle, the RTG 38 was to find use as a demolition gun and had to be modified for that role. This modification work was carried out by Rheinmetall at their Sommerda works.

 

The design of the rocket system caused some problems. Modified for use in a vehicle, the recoil from the modified rocket-mortar was enormous, about 40-tonnes, and this meant that only a heavy chassis could be used to mount the gun. The hot rocket exhaust could not be vented into the fighting compartment nor could the barrel withstand the pressure if the gasses were not vented. Therefore, a ring of ventilation shafts was put around the barrel which channeled the exhaust and gave the weapon something of a pepperbox appearance.

 

The shells for the weapon were extremely heavy, far too heavy for a man to load manually. As a result, each of them had to be carried by means of a ceiling-mounted trolley from their rack to a roller-mounted tray at the breech. Once on the tray, four soldiers could then push it into the breech to load it. The whole process took 10 minutes per shot from loading, aiming, elevating and, finally, to firing.

There were a variety of rocket-assisted round types with a weight of up to 376 kg (829 lb), and a maximum range of up to 6,000 m (20,000 ft), which either contained a high explosive charge of 125 kg (276 lb) or a shaped charge for use against fortifications, which could penetrate up to 2.5 m (8 ft 2 in) of reinforced concrete. The stated range of the former was 5,650 m (6,180 yd). A normal charge first accelerated the projectile to 45 m/s (150 ft/s) to leave the short, rifled barrel, the 40 kg (88 lb) rocket charge then boosted this to about 250 m/s (820 ft/s).

 

In September 1943 plans were made for Krupp to fabricate new Tiger I armored hulls for the Sturmtiger. The Tiger I hulls were to be sent to Henschel for chassis assembly and then to Alkett, where the superstructures would be mounted. The first prototype was ready and presented in October 1943. By May 1944, the Sturmtiger prototype had been kept busy with trials and firing tests for the development of range tables, but production had still not started yet and the concept was likely to be scrapped. Rather than ditch the idea though, orders were given that, instead of interrupting the production of the Tiger I, the Sturmtigers would be built on the chassis of Tiger I tanks which had already been in action and suffered serious damage. Twelve superstructures and RW 61 weapons were prepared and mounted on rebuilt Tiger I chassis. However, by August 1944 the dire need for this kind of vehicle led to the adaptation of another chassis to the 380 mm Sturmmörser: the SdKfz. 184, better known as “Ferdinand” (after its designer’s forename) and later, in an upgraded version, “Elefant”.

 

The Elefant (German for "elephant") was actually a heavy tank destroyer and the result of mismanagement and poor planning: Porsche GmbH had manufactured about 100 chassis for their unsuccessful proposal for the Tiger I tank, the so-called "Porsche Tiger". Both the successful Henschel proposal and the Porsche design used the same Krupp-designed turret—the Henschel design had its turret more-or-less centrally located on its hull, while the Porsche design placed the turret much closer to the front of the superstructure. Since the competing Henschel Tiger design was chosen for production, the Porsche chassis were no longer required for the Tiger tank project, and Porsche was left with 100 unfinished heavy tank hulls.

It was therefore decided that the Porsche chassis were to be used as the basis of a new heavy tank hunter, the Ferdinand, mounting Krupp's newly developed 88 mm (3.5 in) Panzerjägerkanone 43/2 (PaK 43) anti-tank gun with a new, long L71 barrel. This precise long-range weapon was intended to destroy enemy tanks before they came within their own range of effective fire, but in order to mount the very long and heavy weapon on the Porsche hull, its layout had to be completely redesigned.

 

Porsche’s SdKfz. 184’s unusual petrol-electric transmission made it much easier to relocate the engines than would be the case on a mechanical-transmission vehicle, since the engines could be mounted anywhere, and only the length of the power cables needed to be altered, as opposed to re-designing the driveshafts and locating the engines for the easiest routing of power shafts to the gearbox. Without the forward-mounted turret of the Porsche Tiger prototype, the twin engines were relocated to the front, where the turret had been, leaving room ahead of them for the driver and radio operator. As the engines were placed in the middle, the driver and the radio operator were isolated from the rest of the crew and could be addressed only by intercom. The now empty rear half of the hull was covered with a heavily armored, full five-sided casemate with slightly sloped upper faces and armored solid roof, and turned into a crew compartment, mounting a single 8.8 cm Pak 43 cannon in the forward face of the casemate.

 

From this readily available basis, the SdKfz. 184/1 was hurriedly developed. It differed from the tank hunter primarily through its new casemate that held the 380 mm Raketenwerfer. Since the SdKfz. 184/1 was intended for use in urban areas in close range street fighting, it needed to be heavily armoured to survive. Its front plate had a greater slope than the Ferdinand while the sides were more vertical and the roof was flat. Its sloped (at 47° from vertical) frontal casemate armor was 150 mm (5.9 in) thick, while its superstructure side and rear plates had a strength of 82 mm (3.2 in). The SdKfz.184/1 also received add-on armor of 100 mm thickness, bolted to the hull’s original vertical front plates, increasing the thickness to 200 mm but adding 5 tons of weight. All these measures pushed the weight of the vehicle up from the Ferdinand’s already bulky 65 t to 75 t, limiting the vehicle’s manoeuvrability even further. Located at the rear of the loading hatch was a Nahverteidigungswaffe launcher which was used for close defense against infantry with SMi 35 anti-personnel mines, even though smoke grenades or signal flares could be fired with the device in all directions, too. For close-range defense, a 7.92 mm MG 34 machine gun was carried in a ball mount in the front plate, an addition that was introduced to the Elefant tank hunters, too, after the SdKfz. 184 had during its initial deployments turned out to be very vulnerable to infantry attacks.

 

Due to the size of the RW 61 and the bulkiness of the ammunition, only fourteen rounds could be carried internally, of which one was already loaded, with another stored in the loading tray, and the rest were carried in two storage racks, leaving only little space for the crew of four in the rear compartment. To help with the loading of ammunition into the vehicle, a loading crane was fitted at the rear of the superstructure next to the loading hatch on the roof.

Due to the internal limits and the tactical nature of the vehicle, it was intended that each SdKfz. 184/1 (as well as each Sturmtiger) would be accompanied by an ammunition carrier, typically based on the Panzer IV chassis, but the lack of resources did not make this possible. There were even plans to build a dedicated, heavily armored ammunition carrier on the Tiger I chassis, but only one such carrier was completed and tested, it never reached production status.

 

By the time the first RW 61 carriers had become available, Germany had lost the initiative, with the Wehrmacht being almost exclusively on the defensive rather than the offensive, and this new tactical situation significantly weakened the value of both Sturmtiger and Sturmelefant, how the SdKfz 184/1 was semi-officially baptized. Nevertheless, three new Panzer companies were raised to operate the Sturmpanzer types: Panzer Sturmmörser Kompanien (PzStuMrKp) ("Armored Assault Mortar Company") 1000, 1001 and 1002. These originally were supposed to be equipped with fourteen vehicles each, but this figure was later reduced to four each, divided into two platoons, consisting of mixed vehicle types – whatever was available and operational.

 

PzStuMrKp 1000 was raised on 13 August 1944 and fought during the Warsaw Uprising with two vehicles, as did the prototype in a separate action, which may have been the only time the Sturmtiger was used in its intended role. PzStuMrKp 1001 and 1002 followed in September and October. Both PzStuMrKp 1000 and 1001 served during the Ardennes Offensive, with a total of four Sturmtiger and three Sturmelefanten.

After this offensive, the Sturmpanzer were used in the defence of Germany, mainly on the Western Front. During the battle for the bridge at Remagen, German forces mobilized Sturmmörserkompanie 1000 and 1001 (with a total of 7 vehicles, five Sturmtiger and two Sturmelefanten) to take part in the battle. The tanks were originally tasked with using their mortars against the bridge itself, though it was discovered that they lacked the accuracy needed to hit the bridge and cause significant damage with precise hits to vital structures. During this action, one of the Sturmtigers in Sturmmörserkompanie 1001 near Düren and Euskirchen allegedly hit a group of stationary Shermans tanks in a village with a 380mm round, resulting in nearly all the Shermans being put out of action and their crews killed or wounded - the only recorded tank-on-tank combat a Sturmtiger was ever engaged in. After the bridge fell to the Allies, Sturmmörserkompanie 1000 and 1001 were tasked with bombardment of Allied forces to cover the German retreat, as opposed to the bunker busting for which they had originally been designed for. None was actually destroyed through enemy fire, but many vehicles had to be given up due to mechanical failures or the lack of fuel. Most were blown up by their crews, but a few fell into allied hands in an operational state.

 

Total production numbers of the SdKfz. 184/1 are uncertain but, being an emergency product and based on a limited chassis supply, the number of vehicles that left the Nibelungenwerke in Austria was no more than ten – also because the tank hunter conversion had top priority and the exotic RW 61 launcher was in very limited supply. As a consequence, only a total of 18 Sturmtiger had been finished by December 1945 and put into service, too. However, the 380 mm Raketen-Werfer 61 remained in production and was in early 1946 adapted to the new Einheitspanzer E-50/75 chassis.

  

Specifications:

Crew: Six (driver, radio operator/machine gunner in the front cabin,

commander, gunner, 2× loader in the casemate section)

Weight: 75 tons

Length: 7,05 m (23 ft 1½ in)

Width: 3,38 m (11 ft 1 in)

Height w/o crane: 3,02 m (9 ft 10¾ in)

Ground clearance: 1ft 6¾ in (48 cm)

Climbing: 2 ft 6½ in (78 cm)

Fording depth: 3 ft 3¼ (1m)

Trench crossing: 8 ft 7 ¾ in (2,64 m)

Suspension: Longitudinal torsion-bar

Fuel capacity: 1.050 liters

 

Armour:

62 to 200 mm (2.44 to 7.87 in)

 

Performance:

30 km/h (19 mph) on road

15 km/h (10 miles per hour () off road

Operational range: 150 km (93 mi) on road

90 km (56 mi) cross-country

Power/weight: 8 hp/ton

 

Engine:

2× Maybach HL120 TRM petrol engines with 300 PS (246 hp, 221 kW) each, powering…

2× Siemens-Schuckert D1495a 500 Volt electric engines with 320 PS (316 hp, 230 kW) each

 

Transmission:

Electric

 

Armament:

1x 380 mm RW 61 rocket launcher L/5.4 with 14 rounds

1x 7.92 mm (0.312 in) MG 34 machine gun with 600 rounds

1x 100 mm grenade launcher (firing anti-personnel mines, smoke grenades or signal flares)

  

The kit and its assembly:.

This fictional tank model is not my own idea, it is rather based on a picture of a similar kitbashing of an Elefant with a Sturmtiger casemate and its massive missile launcher – even though it was a rather crude model, with a casemate created from cardboard. However, I found the idea charming, even more so because the Ferdinand/Elefant was rather a rolling bunker than an agile tank hunter, despite its powerful weapon. Why not use the same chassis as a carrier for the Sturmtiger’s huge mortar as an assault SPG?

 

The resulting Sturmelefant was created as a kitbashing: the chassis is an early boxing of the Trumpeter Elefant, which comes not only with IP track segments but also alternative vinyl tracks (later boxing do not feature them), and casemate parts come from a Trumpeter Sturmtiger.

While one would think that switching the casemate would be straightforward affair, the conversion turned out to be more complex than expected. Both Elefant and Sturmtiger come with separate casemate pieces, but they are not compatible. The Sturmtiger casemate is 2mm wider than the Elefant’s hull, and its glacis plate is deeper than the Elefant’s, leaving 4mm wide gaps at the sides and the rear. One option could have been to trim down the glacis plate, but I found the roofline to become much too low – and the casemate’s length would have been reduced.

 

So, I used the Sturmtiger casemate “as is” and filled the gaps with styrene sheet strips. This worked, but the casemate’s width created now inward-bent sections that looked unplausible. Nobody, even grazed German engineers, would not have neglected the laws of structural integrity. What to do? Tailoring the casemate’s sides down would have been one route, but this would have had created a strange shape. The alternative I chose was to widen the flanks of the Elefant’s hull underneath the casemate, which was achieved with tailored 0.5 mm styrene sheet panels and some PSR – possible through the Elefant’s simple shape and the mudguards that run along the vehicle’s flanks.

Some more PSR was necessary to blend the rear into a coherent shape and to fill a small gap at the glacis plate’s base. Putty was also used to fill/hide almost all openings on the glacis plate, since no driver sight or ball mount for a machine gun was necessary anymore. New bolts between hull and casemate were created with small drops of white glue. The rest of the surface details were taken from the respective donor kits.

  

Painting and markings:

This was not an easy choice. A classic Hinterhalt scheme would have been a natural choice, but since the Sturmelefant would have been converted from existing hulls with new parts, I decided to emphasize this heritage through a simple, uniform livery: all Ferdinand elements would be painted/left in a uniform Dunkelgelb (RAL, 7028, Humbrol 83), while the new casemate as well as the bolted-on front armor were left in a red primer livery, in two different shades (Humbrol 70 and 113). This looked a little too simple for my taste, so that I eventually added snaky lines in Dunkelgelb onto the primer-painted sections, blurring the contrast between the two tones.

 

Markings remained minimal, just three German crosses on the flanks and at the rear and a tactical code on the casemate – the latter in black and in a hand-written style, as if the vehicle had been rushed into frontline service.

 

After the decals had been secured under sone varnish the model received an overall washing with dark brown, highly thinned acrylic paint, some dry-brushing with light grey and some rust traces, before it was sealed overall with matt acrylic varnish and received some dirt stains with mixed watercolors and finally, after the tracks had been mounted, some artist pigments as physical dust on the lower areas.

  

Again a project that appeared simple but turned out to be more demanding because the parts would not fit as well as expected. The resulting bunker breaker looks plausible, less massive than the real Sturmtiger but still a menacing sight.

 

This set mixes it up a bit with both a pretty blonde and brunette goddess! You can see them both modeling the Gold 45 Revolver swimsuits as well as a 45SURFER camera bracket mount for shooting stills & video at the same time.

 

Here's some epic video of the beautiful goddesses:

www.youtube.com/watch?v=txvupr5xOZ4 (modeling swimsuit)

www.youtube.com/watch?v=4G5w3u6L8x8 (modeling swimsuit)

www.youtube.com/watch?v=4pYrQbPayZs (modeling the bracket)

www.youtube.com/watch?v=BGSVw9jbAR0 (pretty closeups!)

 

Nikon D800 Photos of Brunette and Blonde Swimsuit Bikini Goddesses with Pretty Green Eyes and Pretty Blue Eyes shot with the Nikon D800E and Nikon 70-200mm f/2.8G ED VR II AF-S Nikkor Zoom Lens!

 

Shot in both RAW & JPEG, but all these photos are RAWs finished in Lightroom 4 ! :)

 

All the Gold'N'Virtue swimsuits with the main equation to Moving Dimensions Theory on the swimsuits: dx4/dt=ic. Yes I have a Ph.D. in physics! :) You can read more about my research and Hero's Journey Physics here:

herosjourneyphysics.wordpress.com/ MDT PROOF#2: Einstein (1912 Man. on Rel.) and Minkowski wrote x4=ict. Ergo dx4/dt=ic--the foundational equation of all time and motion which is on all the shirts and swimsuits. Every photon that hits my Nikon D800e's sensor does it by surfing the fourth expanding dimension, which is moving at c relative to the three spatial dimensions, or dx4/dt=ic!

 

Modeling both the the Gold 45 Revolver(TM) Gold'N'Virtue(TM) Black Bikini and the Red, White, an Blue American flag bikini!

 

May the HJM Goddesses guide, inspire, and exalt ye along yer heroic artistic journey! all the bets on your Heroic Journey from Johnny Ranger McCoy!

       

Same photo !

Portrait of Sameer AlSaeed at Home Studio

gruppo Colombo - Monza Garden 2015

2° Raduno "Le Tigri Meccaniche" - Treviglio - BG - 9/2022

Same pose, different view

Same tessellation, different paper

Sameer AlSaeed Dramatic Portrait at Home Studio

same as previous, but very different camera!

Portsmouth

(L-R) Honbless, Rodelicious, Mawie Chan, Tsiklotsilog, Rembcc, Boiworx, Christy (Rodel's wife), Sweet Caroline, Chocoaficionada, Maggy Buenaventura, Dabawenya, Aby (Maraculio's wife), Maraculio, Rey Nunez, Mang Kiko, rempleo (meee!!)

  

Before going back to Manila yesterday.. we headed to Samal for a quick tour of the islands including Talicud...

 

it was heaven!.. the white sands, blue skies.. clear blue and cyan waters perfect for a swim... great food.. and we even met a beautiful fil-austrian girl that gladly posed as our model.

Cebu City is a significant cultural centre in the Philippines. The city's most famous landmark is Magellan's Cross. This cross, now housed in a chapel, is reputed to have been planted by Ferdinand Magellan when he arrived in the Philippines in 1521. It was encased in hollow tindalo wood in 1835 upon the order of the Augustinian Bishop Santos Gómez Marañon to prevent devotees from taking it home chip by chip. The same bishop restored the present template or kiosk, located at the present Magallanes street between the City Hall and Colegio del Santo Niño. Revered by Filipinos, the Magellan's Cross is a symbol of Christianity in the Philippines.

 

A few steps away from the Magellan's Cross is the Basilica Minore del Santo Niño (Church of the Holy Child). This is an Augustinian church elevated to the rank of Basilica in 1965 during the 400th year celebrations of Christianity in the Philippines, held in Cebu. The church, which was the first to be established in the islands, is built of hewn stone and features the country's oldest relic, the figure of the Santo Niño de Cebu (Holy Child of Cebu).

 

This religious event is celebrated during the island's cultural festivities known as the Sinulog festival. Held every third Sunday of January, it celebrates the festival of the Santo Niño, who was formerly considered to be the patron saint of Cebu. (This patronage was later changed to that of Our Lady of Guadalupe after it was realised that the St. Nino could not be a patron saint because he was an image of the Christ and not a saint.) The Sinulog is a dance ritual of pre-Hispanic indigenous origin. The dancer moves two steps forward and one step backward to the rhythmic sound of drums. This movement resembles somewhat the current (sulog) of the river. Thus, the Cebuanos called it Sinulog.

 

When the Spaniards arrived in Cebu, the Italian chronicler, Antonio Pigafetta, sailing under convoy with the Magellan expedition, offered a baptismal gift to Hara Amihan, wife of Rajah Humabon. She was later named Juana, the figure of the Santo Niño. The natives also honored the Santo Niño de Cebu in their indigenous Sinulog ritual. The Sinulog ritual was preserved but limited to honoring the Santo Niño. Once the Santo Niño church was built in the 16th century, the Christian Malay people started performing the Sinulog ritual in front of the church, the devotees offering candles and indigenous dancers shouting "Viva Pit Señor!" (Hail Mister).

 

In the 1980s and 2000s, the city authorities of Cebu added the religious feast of Santo Niño de Cebú during the Sinulog Festival to its cultural event.

  

This week I've started reading up on the ancient-Greek philosopher Socrates. He died in 399BC aged about 71, coincidentally the same age as myself. So far I've learned neither of us feared death, even though in our younger years we'd both experienced active military service. We'd also both realised early in life the importance of maintaining moral virtues to protect our own mental heath and spirituality. There were also other things in common. We and our fathers had all dabbled with stonemasonry. I like that bit. Furthermore, Socrates and I each grew full beards and preferred to go bare footed whenever possible. Unfortunately we were both considered to have grown uglier as we aged. Unlike me, Socrates wasn't a writer, his wisdom is dependent on the veracity of secondary sources such as Plato, Xenophon and Wikipedia, all of which I intend to delve into for a while. I also own a weighty copy of the 800 page Oxford history of the classical world.

fremantlebiz.livejournal.com/2016/07/13/

 

For no particular reason other than it being almost the end of the year, I was wondering last night what I had been writing about on this date in the three earliest years of Fremantlebiz. In those days I didn't have a digital camera, so more words were the thing. Much more than what I write now. I used to write quite provocatively about all manner of serious subjects, some of which can easily read by clicking the links below for the three 28 Decembers of 2004, 2005 and 2006:

 

www.livejournal.com/users/fremantlebiz/2004/12/28/

www.livejournal.com/users/fremantlebiz/2005/12/28/

fremantlebiz.livejournal.com/2006/12/28/

fremantlebiz.livejournal.com/2016/12/28/

Same as the other one, but in colour.

Quinceañera (pronounced: [kinseaˈɲeɾa]/[k̟ĩn̺s̺e̞äˈɲe̞ɾä]; feminine form of "fifteen-year-old"), also called fiesta de quince años, fiesta de quinceañera, quince años or simply quince, is a celebration of a girl's fifteenth birthday in parts of Latin America and elsewhere in communities of people from Latin America. This birthday is celebrated differently from any other as it marks the transition from childhood to young womanhood.[1] Latin myths and tradition tell about how girls were prepared to be married by the age of fifteen or become nuns. In the years prior to their fifteenth birthdays, girls were taught to cook, weave, and about child rearing by the elder women in their communities in preparation for their lives as married women.[2] The celebrations today vary significantly across countries; celebrations in some countries, for example, have taken on more religious overtones than in others.

 

In Brazil, a Portuguese-speaking country, the same celebration is called festa de debutantes, baile de debutantes or festa de quinze anos. In the French Caribbean and French Guiana, it is called fête des quinze ans. It is comparable to the debutante formerly common amongst the upper-class in the United Kingdom and the United States.

for more:

en.wikipedia.org/wiki/Quincea%C3%B1era

  

Contents

[hide] 1 In specific countries 1.1 Argentina, Peru, Paraguay, Bolivia and Uruguay 1.1.1 Ceremony of the 15 Candles

 

1.2 Brazil

1.3 Cuba

1.4 Dominican Republic

1.5 Ecuador, Venezuela and Colombia

1.6 French Guiana and French Caribbean

1.7 Mexico

1.8 Traditions from other hispanic countries

 

2 Quinceañera's new tradition

3 See also

4 References

5 External links

  

In specific countries[edit]

 

Argentina, Peru, Paraguay, Bolivia and Uruguay[edit]

 

In Argentina, Peru, Paraguay, and Uruguay[citation needed] the celebration (which is never referred to as a quinceañera but as a fiesta de quince) begins with the arrival of the teenager accompanied by her father, the girl wearing an elaborate, elegant dress she has chosen according to her preferences in colors and style, but still maintaining with the traditional dress. The location, if indoors, commonly has its entrance specially adorned for the occasion. The father and daughter make their entry through this front-door entrance, while music plays and friends and relatives customarily give flowers (usually roses) to the father. After this, the ceremony of the waltz begins, in which the girl first dances with her father—or the father figure—who then passes her on to her friends and relatives. Normally, the ball is divided into segments between which various food dishes are served in order to allow the guests—who are usually close family members and friends—to mingle and enjoy the celebration. The following order of events represents a typical program:

1.Entrance, which is usually accompanied by slow songs

2.Waltz

3.Entree

4.First period of dancing

5.Main meal course

6.Second period of dancing

7.Dessert and video playback of the recorded birthday with her friends

8.15-candle ceremony (optional)

9.Third period of dancing

10.Toast, cake cutting, and a ritual where each female friend/relative pulls a ribbon out of a bunch. The ribbons all have charms on the ends except for one which has a ring.

11.Last period of dancing

 

Ceremony of the 15 Candles[edit]

 

In this ceremony, the birthday girl hands a candle to each of fifteen people she considers were most influential in her life during her fifteen years. It is often accompanied by a speech, usually dedicated to each of the people that are given candles. This ceremony is also known as the Tree of Life. The 15 candles symbolize the 15 years the girl has "left behind". Each of the candles represents a special memory, a moment shared with any person who is invited to join the ritual. This is to give gratitude to these 15 people she will tell how they helped her.

 

Brazil[edit]

 

In Brazil the celebration is called festa de debutantes, baile de debutantes or festa de quinze anos. The following order of events represents a typical program:

1.Entrance

2.Mass (optional)

3.First period of dancing (usually to international music)

4.Ceremony with videos about the girl's life with friends' greeting

5.A dance with men from her family and one boy (either her boyfriend or her best friend)

6.Second period of dancing (usually to national music)

7.Cake cutting

8.Third period of dancing

 

Cuba[edit]

 

In Cuba, the party may include a choreographed group dance, in which 14 couples waltz around the quinceañera, who is accompanied by one of the main dancers, a boy of her choice, her boyfriend or friends of rights.[vague] The choreography often includes four or six dancers or escorts called experts, who are allowed to dance around the quinceañera. They are usually inexperienced dancers whose function is to highlight the central couple. The male dancers are also allowed to wear tuxedos in different colors.

 

Fifteenth birthday celebrations were very popular in Cuba until the late 1970s. This practice partly entered Cuba via Spain, but the greatest influence was the French.[citation needed] The wealthy families who could afford to rent expensive dining rooms in private clubs or hotels of four and five stars were the real precursors of quinceañeras, which they called quinces. These celebrations usually took place in the house of the girl or the more spacious house of a relative.

 

Dominican Republic[edit]

 

This celebration is very traditional and common. It begins with a Mass in the Catholic Church to receive the blessing of God and give thanks for another year of life. At the birthday party, the birthday girl makes her entrance to the place of the party accompanied by 14 additional pairs of guests, which together with the teenager's own are 15 pairs of people total. Usually, the quinceañera wears a bright color dress. Ladies wear long dresses and gentlemen wear suits and ties, which are often brightly colored, but never to overshadow the birthday girl's dress, which is the focal point of the celebration. Almost immediately the quinceañera birthday girl dances the waltz with her partner who usually waltzes in the middle and passes her to the hands of her father to finish the waltz.

 

It is customary for the quinceañera girl and her escorts to perform several choreographed dances, which may include rhythms like merengue, pop, or salsa. A buffet and drinks are usually served. As the party favors or memories are given to the guests, an album is signed by invited guests to record their presence at the party. One of the main attractions in the Dominican Republic is the traditional cake of fifteen years, which is usually of immense size and beauty, decorated with colorful designs. The cake is cut shortly after the dancing. Traditionally an artist or band participates in the celebration to bring it to life and give a musical touch.

     

A Nicaraguan girl celebrating her quince años. In Nicaragua, only the girl, and never the celebration itself, is referred to as quinceañera.

Ecuador, Venezuela and Colombia[edit]

 

In Ecuador, the quince starts with the arrival of the teenager, accompanied by her father, who is then received by her mother and other relatives and friends. Then father and daughter dance a waltz and other tunes.[3] The quinceañera birthday girl will dance with her brothers (if any) and their uncles and godparents. Then she performs the paso doble and the waltz with all members of the procession (then optional dances to other music, such as merengue or pop). For this occasion the teenager wears an evening dress in light colors or pastels, is dressed and made up slightly, and usually places a tiara in her hair and jewels on her neck and hands. All the guests dress in formal attire, including the teenager's peers.

 

After the original dance, the choreography begins with a setup by the teenager and her friends. After that, the festival begins with music from live bands, some famous artists, DJs, food, drink, and at one late point of the night a "crazy hour" is carried out, in which the attendants wear masks or funny wigs and make noise with whistles and rattles while fast-tempo music is played. It is optional to make some surprise dance performed by the quinceañera birthday girl (alone or accompanied), and also a dance that will give away her friends, cousins, and others. [4]

 

French Guiana and French Caribbean[edit]

 

In French Guiana and the French Caribbean the celebration is known as fête des quinze ans.

 

Mexico[edit]

  

File:Mexican Quinceanera.theora.ogvPlay media

   

A Mexican quinceañera celebration

    

Quinceañera with "chambelanes"

In Mexico the quinceañera is adorned with elegant jewelry and makeup. Traditionally, this would be the first time she would wear makeup, but this is no longer the case. The quinceañera is also expected to wear a formal evening dress, traditionally a long, elegant ball gown chosen by the girl and most often, her mother, according to her color and style of favor.[5]

 

In the Mexican tradition, when the teenager is Catholic, the quinceañera celebration begins with a thanksgiving mass.[5] She arrives at the celebration accompanied by her parents, godparents and court of honor. The court of honor is a group of her chosen peers consisting of paired-off girls and boys, respectively known as damas (dames) and chambelanes (chamberlains). Typically, the court consists of pairs ranging from seven to fifthteen damas and chambelanes. At this religious mass, a rosary, or sometimes a necklace with a locket or pendant depicting Mexico's patron saint, the Virgin of Guadalupe, is presented to the teenager by her godparents, the necklace having been previously blessed by the church clergy. She is also awarded a tiara, which serves as a reminder that to her loved ones, especially her immediate family, the quinceañera will always be a princess. Some also see it as denoting that she is a "princess" before God and the world. After this, the girl may leave her bouquet of flowers on the altar for the Virgin Mary.[5]

 

After the thanksgiving mass, guests gather for a reception where the remaining celebratory events meant to honor the quinceañera will take place, including the rendering of gifts. This reception may be held at the quinceañera's home, at venues (such as dining halls, banquet halls, or casinos), or in some cases, in more public places, similar to a block party. During the reception, the birthday girl usually dances a traditional waltz with her father to a song chosen by both that speaks about the occasion and their relationship. Then her father passes her over to the "chambelán de honor", who is her chosen escort, and afterwards continues the dance with the rest of her court of honor.[5] Often this section of the celebration is previously practiced and/or choreographed, often weeks in advance, sometimes even with months of anticipation.[5] The basic reception consists of six major parts[6] with dances taking place while a traditional Mexican meal is served:

1.The formal entry - A grand entrance made by the Quinceañera once most guests have been seated.

2.The formal toast - An optional but usually featured part of the reception, generally initiated by the parents or godparents of the birthday girl.

3.The first dance - Usually a waltz where the girl dances, starting with her father.

4.The family dance - Usually a waltz involving just the immediate relatives, the "chambelanes", godparents and the closest friends of the girl.

5.The preferred song - Any modern song particularly enjoyed by the Quinceañera is played and danced.

6.The general dance - Also usually a waltz, where everyone dances to a musical waltz tune.

 

Traditionally, Mexican girls could not dance in public until they turned fifteen, except at school dances or at family events. So the waltz with her "chambelanes" is choreographed and elaborate to celebrate what was meant to be the quinceañera's first public dance.

 

Some families may choose to add a ceremonial components to the celebration, depending on local customs. Among them are the ceremony of the Change of Shoes, in which a family member presents the quinceañera with her first pair of high heel shoes; the Crowning ceremony, in which a close relative vests her with a crown on her head; and ceremonia de la ultima muñeca (literally "ceremony of the last doll"), during which her father presents her with a doll usually wearing a dress similar to the quinceañera herself. The ceremony of the last doll is based on a Maya tradition and is related to the birthday girl's receipt and renouncement of the doll as she grows into womanhood. Likewise, the ceremony of the change of shoes symbolizes the girl's maturity.[5]

 

Once all symbolic gestures have taken place, the dinner is commenced. At this point, the celebration reaches its peak; contracted musical groups begin playing music, keeping the guests entertained. The music is played while the guests dine, chat, mingle, and dance. The next morning the family and closest friends may also attend a special breakfast, especially if they are staying with the family. Sometimes what is known as a recalentado (re-warming) takes place in which any food not consumed during the event of the night before is warmed again for a brunch type event.[7]

 

Traditions from other hispanic countries[edit]

 

Another tradition[where?] is to have 14 ladies (sometimes 7), and 14 escorts (sometimes 7) as a court.[citation needed] The escorts hold flowers (usually roses) and the ladies carry candles. As the quinceañera dances the waltz with her father she blows out one candle, then picks up one rose. This continues until all candles have been blown out and all roses have been picked up. The 14 candles blown out represent her 14 years of age. When the time comes to cut the cake the quinceañera will blow out her last candle thus completing her 15 wishes. The flowers are given to her mother. An English quinceañera waltz song especially made for the father and daughter dance is "Sure As The Wind" - www.youtube.com/watch?v=Yw520MtDw28 .

 

Quinceañera's new tradition[edit]

 

Nowadays, many young girls create their own Quinceañera celebrations. Whereas traditional dresses were formal and usually white or pink only, dress designs are now more detailed.[8] Also, instead of having the traditional seven damas and seven chambelanes, the Quinceañera now also has the choice to pick all damas or all chambelanes. Traditionally, girls were not allowed to dance in public until turning fifteen, but this taboo has also receded significantly. The ceremony of the Changing of the Shoes has also been modified. Instead of wearing slippers before ceremonially exchanging them for high heels, a girl may decide to wear shoes compatible with the color and style of her dress instead of donning the traditional slippers.

 

same day as previous upload , Sat 2nd March 1968 this time around Buxton

This set mixes it up a bit with both a pretty blonde and brunette goddess! You can see them both modeling the Gold 45 Revolver swimsuits as well as a 45SURFER camera bracket mount for shooting stills & video at the same time.

 

Here's some epic video of the beautiful goddesses:

www.youtube.com/watch?v=txvupr5xOZ4 (modeling swimsuit)

www.youtube.com/watch?v=4G5w3u6L8x8 (modeling swimsuit)

www.youtube.com/watch?v=4pYrQbPayZs (modeling the bracket)

www.youtube.com/watch?v=BGSVw9jbAR0 (pretty closeups!)

 

Nikon D800 Photos of Brunette and Blonde Swimsuit Bikini Goddesses with Pretty Green Eyes and Pretty Blue Eyes shot with the Nikon D800E and Nikon 70-200mm f/2.8G ED VR II AF-S Nikkor Zoom Lens!

 

Shot in both RAW & JPEG, but all these photos are RAWs finished in Lightroom 4 ! :)

 

All the Gold'N'Virtue swimsuits with the main equation to Moving Dimensions Theory on the swimsuits: dx4/dt=ic. Yes I have a Ph.D. in physics! :) You can read more about my research and Hero's Journey Physics here:

herosjourneyphysics.wordpress.com/ MDT PROOF#2: Einstein (1912 Man. on Rel.) and Minkowski wrote x4=ict. Ergo dx4/dt=ic--the foundational equation of all time and motion which is on all the shirts and swimsuits. Every photon that hits my Nikon D800e's sensor does it by surfing the fourth expanding dimension, which is moving at c relative to the three spatial dimensions, or dx4/dt=ic!

 

Modeling both the the Gold 45 Revolver(TM) Gold'N'Virtue(TM) Black Bikini and the Red, White, an Blue American flag bikini!

 

May the HJM Goddesses guide, inspire, and exalt ye along yer heroic artistic journey! all the bets on your Heroic Journey from Johnny Ranger McCoy!

       

This set mixes it up a bit with both a pretty blonde and brunette goddess! You can see them both modeling the Gold 45 Revolver swimsuits as well as a 45SURFER camera bracket mount for shooting stills & video at the same time.

 

Here's some epic video of the beautiful goddesses: vimeo.com/45surf

Nikon D800 Photos of Brunette and Blonde Swimsuit Bikini Goddesses with Pretty Green Eyes and Pretty Blue Eyes shot with the Nikon D800E and Nikon 70-200mm f/2.8G ED VR II AF-S Nikkor Zoom Lens!

 

Shot in both RAW & JPEG, but all these photos are RAWs finished in Lightroom 4 ! :)

 

All the Gold'N'Virtue swimsuits with the main equation to Moving Dimensions Theory on the swimsuits: dx4/dt=ic. Yes I have a Ph.D. in physics! :) You can read more about my research and Hero's Journey Physics here:

herosjourneyphysics.wordpress.com/ MDT PROOF#2: Einstein (1912 Man. on Rel.) and Minkowski wrote x4=ict. Ergo dx4/dt=ic--the foundational equation of all time and motion which is on all the shirts and swimsuits. Every photon that hits my Nikon D800e's sensor does it by surfing the fourth expanding dimension, which is moving at c relative to the three spatial dimensions, or dx4/dt=ic!

 

Modeling both the the Gold 45 Revolver(TM) Gold'N'Virtue(TM) Black Bikini and the Red, White, an Blue American flag bikini!

 

May the HJM Goddesses guide, inspire, and exalt ye along yer heroic artistic journey! all the bets on your Heroic Journey from Johnny Ranger McCoy!

   

Harris & Ewing,, photographer.

 

[Wedding]

 

[1935 January]

 

1 negative : glass ; 4 x 5 in. or smaller

 

Notes:

Title devised by Library staff.

Date based on date of negatives in same range.

Gift; Harris & Ewing, Inc. 1955.

 

Subjects:

United States.

 

Format: Glass negatives.

 

Rights Info: No known restrictions on publication. For more information, see Harris & Ewing Photographs - Rights and Restrictions Information www.loc.gov/rr/print/res/140_harr.html

 

Repository: Library of Congress, Prints and Photographs Division, Washington, D.C. 20540 USA, hdl.loc.gov/loc.pnp/pp.print

 

Part Of: Harris & Ewing photograph collection (DLC) 2009632509

 

General information about the Harris & Ewing Collection is available at hdl.loc.gov/loc.pnp/pp.hec

 

Higher resolution image is available (Persistent URL): hdl.loc.gov/loc.pnp/hec.38332

 

Call Number: LC-H2- B-6991

 

Part of a Set / Slideshow documenting the art works on display at the touring exhibition "Postcards from Japan", subtitled "A message from Tohoku artists". The photographs were taken while the exhibition was hosted by the Embassy of Japan, London, UK.

 

Title: Under the Same Sky

Artist: Kate THOMSON ケイト・トムソン - living in Iwate / Edinburgh

Artist's website: www.ukishima.net/ [日本語 and English]

Media: Photographs taken in the sky from Scotland to Iwate; Collage of inkjet prints on paper.

 

The exhibition has been curated and organised by Scottish and Japanese artists and sculptors Kate THOMSON and KATAGIRI Hironori. They are based both in Scotland and their Ukishima Sulpture Studio in Iwate prefecture, part of the Tohoku region. They were living and working in Iwate when the Great Earthquake and Tsunami struck the pacific coast on 11th March 2011.

 

Electricty, telephone and internet services (fixed and mobile) all stopped (or had to be prioritised for emergency relief purposes), and retail supplies of bottled drinking water and petrol (gasoline) quickly ran out.

 

Japan Post proved the most resilient communications service for people living in the affected areas. It was often the first service available for people to check on the welfare of friends and relatives. This is the inspiration behind the theme of the exhibition. All the works are A5 postcard sized - measuring 21 x14.8 cm (approximately 8.3 x 5.8 inches).

 

St Johns Church, Princes Street, Edinburgh, EH2 4BJ

6 - 29 August 2011

 

Japan Society, 333 East 47th Street, New York, NY 10017

7 October 2011 - 27 November 2011

 

Embassy of Japan, 101/104 Piccadilly, London W1J 7JT

12 December 2011 - 31 January 2012

 

Ikon Gallery, 1 Oozells Square, Brindleyplace, Birmingham, B1 2HS

15 February 2012 - 22 April 2012

 

The exhibition is part of the Postcard project [www.postcardproject.org/], the catalogue is available for purchase online [scroll down to foot of page] with profits used to sustain the project.

 

The exhibition has been supported by the The Great Britain Sasakawa Foundation and The Daiwa Anglo-Japanese Foundation.

 

Long exposures on a tripod enabled the use of a slow - low noise - sensor setting and small aperture settings to optimise the depth of field. The frames were glazed, and so the art works were photographed at an angle - to avoid reflections of the camera and tripod. A dark coat was also used to minimise visible reflections. The images were subsequently adjusted to appear rectilinear - using Photoshop's lens correction "Perspective" and "Barrel Distortion" functions, and also the "Distort" transformation. This is why the images of the frames have one point perspective, with an offset vanishing point. Some "Smart Sharpening" was also selectively used.

This set mixes it up a bit with both a pretty blonde and brunette goddess! You can see them both modeling the Gold 45 Revolver swimsuits as well as a 45SURFER camera bracket mount for shooting stills & video at the same time.

 

Here's some epic video of the beautiful goddesses:

www.youtube.com/watch?v=txvupr5xOZ4 (modeling swimsuit)

www.youtube.com/watch?v=4G5w3u6L8x8 (modeling swimsuit)

www.youtube.com/watch?v=4pYrQbPayZs (modeling the bracket)

www.youtube.com/watch?v=BGSVw9jbAR0 (pretty closeups!)

 

Nikon D800 Photos of Brunette and Blonde Swimsuit Bikini Goddesses with Pretty Green Eyes and Pretty Blue Eyes shot with the Nikon D800E and Nikon 70-200mm f/2.8G ED VR II AF-S Nikkor Zoom Lens!

 

Shot in both RAW & JPEG, but all these photos are RAWs finished in Lightroom 4 ! :)

 

All the Gold'N'Virtue swimsuits with the main equation to Moving Dimensions Theory on the swimsuits: dx4/dt=ic. Yes I have a Ph.D. in physics! :) You can read more about my research and Hero's Journey Physics here:

herosjourneyphysics.wordpress.com/ MDT PROOF#2: Einstein (1912 Man. on Rel.) and Minkowski wrote x4=ict. Ergo dx4/dt=ic--the foundational equation of all time and motion which is on all the shirts and swimsuits. Every photon that hits my Nikon D800e's sensor does it by surfing the fourth expanding dimension, which is moving at c relative to the three spatial dimensions, or dx4/dt=ic!

 

Modeling both the the Gold 45 Revolver(TM) Gold'N'Virtue(TM) Black Bikini and the Red, White, an Blue American flag bikini!

 

May the HJM Goddesses guide, inspire, and exalt ye along yer heroic artistic journey! all the bets on your Heroic Journey from Johnny Ranger McCoy!