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Starlink satellites 12 May 2020 11:02pm to 11:09pm. Timelapse of 674 images ISO 1600 20mm prime f/1.8 and 5 second shutter speed. Started at 10:45pm and ended 12:37am. 5 seconds between each exposure. Nikon D850.
It's been a while since I stepped into a church, so when I knew I was going to Suffolk at the weekend, I asked a friend whoch ones I should visit, and was told that this is one of the top churches in England, not just Suffolk.
Set a hundred yards or so from the main road that is chocked with traffic which runs between the county towns of Suffolk and Norfolk, it is down a lovely quiet lane, past some grand large houses, and set back from the road in a small churchyard is St Mary.
You enter through a small Norman doorway, into a body of a small and simple church, bt one filled with delights.
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From the moment that you see it across the fields, you know that St Mary is something special. At first the silhouette perhaps, or a stain of gold that resolves as you approach into a solid little Norman church. The thatched roof is charming, and set against is a small square tower, also crowned in thatch. There is a stubborn timelessness about it, a silent witness to long centuries. There isn’t really a village, and St Mary sits lonely in the fields. At night it is floodlit and floats above the darkness. On winter days, the low light catches its honeyed walls across ploughed furrows. In summer, the entrancing trees gather, a setting for a diadem.
This has always been a special place for me. I was captivated at an early stage of my life in Suffolk. And it was while visiting here in late 1998 that I first got the idea for this website, and decided to do it. Thornham Parva was the first entry. In common with most of the very earliest entries, it wasn’t terribly good – I hadn’t even taken any photographs.
But that was an excuse to return again and again, and when this website was featured on BBC Television’s Songs of Praise in 2000, the interview was recorded here at St Mary. They filmed me cycling the narrow lanes round about in the sub-zero temperatures of late-January; if anything, it was even colder inside the church, and my breath clouded the air as I became quite possibly the first person ever to say the Hail Mary on prime-time television.
Thornham Parva, of course, isn’t just special to me. It is one of the most remarkable churches in East Anglia, a treasure house, an aesthetic pleasure, a delight. It is a perfect antidote to the triumphalism of nearby Eye, an intensely rural collision of historical circumstances that have left us a moving and coherent document of our Suffolk past. When Cautley’s revising editors came this way in 1975 they found the church in a bit of a state, and even feared for its future. That it is now the perfect model of a well-cared-for English parish church is a tribute to the energy and enthusiasm of the tiny handful of local parishioners who have nursed it back to health.
The church gets a fair number of visitors, because its fame has spread far and wide. As an example, I popped in here a few years back with my daughter. She was about five years old at the time, and without me noticing she signed the visitors book with our full address (not something I would normally advise). Within a fortnight, I had received a nice postcard from Israel, from a user of this site who had spotted the entry in the visitors book. It is not surprising that the church does get visitors from all over the world, because St Mary is worth seeing, and worth going to see. In particular, it has, not one, but two astonishing survivals. If they were in the Victoria and Albert Museum you would willingly travel to London to see them, and pay handsomely for doing so. And yet here they are, in the fields that punctuate the Thornham woods, in a church which is open every day.
You step directly down into the church from a small Norman doorway in the north side. A gorgeous 18th century gallery curves above you – there’s no other like it in Suffolk. It was made tiny, to fit in this tiny space. Unfortunately, the stairway is now kept locked so, unless you contact a churchwarden first, you can’t see the clever way the carpenter engineered benches that open and close over the gangway to allow more seating space. The gallery is a reminder that St Mary was the church of the ordinary people; The neighbpouring village is Thorenham Magna, and the local big house Thornham Hall, the home of the Hennikers, is beside the church at Thornham Magna. However, it was at the big house, or more accurately in one of its barns, that in the 1920s was found and donated to this church the remarkable Thornham retable. It was restored in the early years of this century, and returned to St Mary, now standing proud behind alarmed glass.
The retable is only part of a much larger altarpiece that probably once stood in the Priory at Thetford in Norfolk. The rest of the piece can be found in the Musee de Cluny in Paris. The retable was rescued and hidden after the Anglican Reformation destroyed the priory, along with so many of England’s treasures. Perhaps it was taken by recusant Catholics to use in their devotions. More likely, it was simply rescued because it is beautiful. From left to right, the figures are St Dominic (Thetford was a Dominican Priory); St Catherine; St John the Baptist; St Paul; a rood group of the Blessed Virgin, Christ and St John; St Peter; St Edmund; St Margaret; St Peter Martyr (another Dominican). The retable dates from the height of the Decorated period, in the decades before the Black Death. They are probably the most alive, and lively, medieval figures in Suffolk; St Catherine in particular looks as if she is stepping through an archway from dancing in a garden.
As if the retable were not enough, the walls of St Mary are lined with some of Suffolk’s most fascinating wall-paintings. They rank with those at Wissington, and date broadly from the early years of the 14th century, and are in two ranges; on the south wall is the story of the early years of Christ. On the north wall is the martyrdom of St Edmund. This is amazingly rare; fragments survive not far off at Troston, but there is only one other sequence of the martyrdom surviving in the whole of the Kingdom.
Both sequences are organised chronologically from right to left. This may seem awkward, but effectively they start in the south west corner of the church and continue anti-clockwise around to the north-west corner. Unfortunately, the paintings on the west wall are now lost to us, behind the gallery.
On the south side, it is reasonable to assume that the very first painting, on the south side of the west wall, was an Annunciation – the angel appearing to Mary. This is lost. A fragment of the next frame survives, just poking up above the south end of the gallery. This is the Visitation, and we see Mary embracing her cousin Elizabeth. The Visitation was a very important part of medieval devotions, because of the way it balances and connects with the Assumption; the Assumption of the Blessed Virgin, on August 15th, was one of the most significant feast days in the English medieval calendar, and the Assumption was probably the dedication of the majority of Suffolk churches. The other images in the sequence are clearer. We see the angel appearing to the shepherds, and then Christ sits on his mothers lap while the shepherds adore him. Note the way we have lost the adoring figures because of the later punching through of a window. Similarly, the next frame, the Presentation in the temple, has also suffered from fenestration. We often talk about Victorian vandalism of medieval churches, but here is a prime example of destruction caused by 15th century ‘restoration’.
What was the point of this sequence? A lot of nonsense is talked about wallpaintings and stained glass being ‘the poor mans Bible’ for peasants who couldn’t read. This analysis suggests that they were destroyed during the 16th century Anglican Reformation because ‘they were no longer needed’. In fact, the Anglicans destroyed them because they were Catholic devotional tools – the wall paintings on the south side here form a rosary sequence, pictures for meditation while saying prayers with the aid of rosary beads. Often this was done during Mass. If the Anglicans were to turn our churches into congregational preaching houses, the wall paintings had to go.
Intriguingly, the wall paintings here may have been whitewashed even before there were theological reasons for doing so. Most of the windows that punch through the wall paintings date from the 15th century, not the 16th. Could there have been a general redecoration at this time? Whichever, they were whitewashed, to be rediscovered in a kinder, gentler age. When the ranges here were uncovered by the Victorians, the south range was easily recognisable. But the north range wasn’t. For many years, it was thought to represent the martyrdom of St Catherine, because of the large wheel above the way you came in. It was only at the time the paintings were restored in the late 1970s that it became clear that here was something much more exciting.
The sequence begins at the eastern end of the range, and you can click on the images below to enlarge them. We see Edmund fleeing the Viking attack on a town, possibly Rendlesham, home of the Wuffings, the East Anglian royal family. The actual martyrdom is lost because of another of those great windows, but we next see Edmund’s decapitated head being put back on the body by a group of monks. Then, the body is carried off to its shrine at Bedricsworth (soon to become St Edmundsbury) while the wolf that found and guarded the head looks on. The final image on the north wall shows the wheel of a bullock cart crossing a bridge – delightfully, the bridge is represented by the arch of the doorway. This depicts an event that happened some time after. St Edmund’s body (by now sanctified and canonised) is being taken away to escape a later assault by Vikings. It approaches a bridge that is simply too narrow to allow the cart to pass. Miraculously, the cart crosses the bridge, and the Vikings are foiled.
Perhaps there was a final image on the north side of the west wall. Perhaps it showed the fabulous shrine at Bury itself. We can never be sure.
Although it is sad that we have lost so much of both sequences because of later alterations, it has to be said that the walls of this church are beautiful. The late medieval windows, which include some excellent 20th century glass by Lawrence Whistler, the paraffin lamps, the memorials to churchwardens, all add rather than detract. The screen is tiny and over-restored, but you can still see the sawn-off ends of the rood beam and the floor of the rood loft.
Standing in the rood screen, the retable behind you for a moment, the full beauty of the gallery can be seen, and above it a circular Saxon window. You can step outside and see how it is hidden by the tower. The tower itself is surprisingly late; we are told that in the 1480s it was the work of Richard Cutting and John Mason. Apparently, they were sued for defective workmanship, but it still appears to be standing.
The graveyard is an interesting one. As well as several significant musicians, it includes the grave of the great 20th century architect Basil Spence, designer of Coventry Cathedral, the Kensington and Chelsea barracks in London, and Britains best university campus, the University of Sussex - to name but three. Ironically, his 1980s gravestone appears to be wearing away. One hopes he used better materials for his buildings.
Simon Knott, 1998, rewritten 2003, revised February 2009
www.suffolkchurches.co.uk/thornhamentry.htm
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The Thornhams, Magna and Parva, flank Thornham Hall and its park. Until the end of the 19thc. the estate boasted a hall, Tudor with an 18thc. facade, surrounded by an extensive park. Most of the hall was demolishedc.1900, and the rest was destroyed by fire in the late 1940s. The present hall is modern, and the estate has been converted for use as a field centre, a commercial market garden and a site for small businesses. Excavations in the estate have provided evidence of continuous occupation in the area from the Neolithic period to the present. The surrounding landscape is flattish and given over to arable cultivation. Thornham Parva lies to the N of the hall, some 2 miles W of Eye in central North Suffolk. The settlement is dispersed and sparsely populated with no real centre apart from the church, which lies just off the road from Thornham Magna and the Hall.
St Mary's has a nave and chancel in one, covered with a thatched roof, and a low W tower with a thatched pyramid roof. The church is of flint with ashlar dressings. The nave is apparently 12thc., with N and S doorways and a S window surviving from that period, but a round window visible in the interior W wall of the nave is said to be late Anglo-Saxon by Cautley. A flowing tracery window has been added on the S wall, and 15thc. windows have been inserted towards the W end. There is no chancel arch, and two Y-tracery windows on the lateral walls towards the E suggest a date ofc.1300 for the chancel. The E window is three-light reticulated, and there is a 15thc. S window. The tower is of knapped flint with no buttresses; it has a tall plinth course and a 15thc. main W window. Its E quoins are of brick, as are the upper windows, except for their ashlar ogee heads, suggesting an 18thc. date for the top of the tower. St Mary's is celebrated as the home of a 14thc. retable, probably painted for the Dominican house at Thetford. It was discovered in a stable loft at Thornham Hall in 1927 and given to the church by Lord Henniker. Romanesque work recorded here is found on the two nave doorways and the S nave window.
Thornham Parva was held by Robert Malet in 1086. There were various small parcels here before the Conquest: 7 acres held by two free men commended to Eadric (these were held by Robert’s mother in 1086); 28 acres held by 8 free men commended to Wulfgifu; 15 acres held by two free men, one commended to Wulfgifu; and 14 acres held by Sigeric, also commended to Wulfgifu (these three holdings in the hands of Robert Malet in 1086). There was three parts of a church in 1086 with 10 acres of free land. The present lords of Thornham are the Hennikers; it has been in the family since the mid-18thc.
South Hartismere benefice, i.e. Gislingham, Mellis, Stoke Ash, Thorndon with Rishangles, Thornham Magna, Thornham Parva, Thwaite and Wetheringsett cum Brockford.
A sequence of shots showing the partial phase of the total lunar eclipse of 27th/28th September 2015. Viewed from the UK.
Yes my friends, I'm alive, busy in the end of my vacations, that's the life.
Sorry I don't have time to look all my contacts shots, but in the middle of one drawing to another I'll look.
About this sequence, I was looking my old files and drinking a Drambuie to relax.
Prost, cheers, saúde, tim-tim.
;-)
Sony Alpha700
Free photographs of sequences to use for any reason. Check out TheWriteMoms.com for more free stuff including photoshop patterns of these.
Video here: www.youtube.com/watch?v=YMu7v-JxcMU
The Shroomtronic is a small hand held noise-making sequencer that allows you to create a bank of 4 sounds, that can then be tapped out in real time or put into a sound loop.
June 24, 2019
Long Beach, California
This four-panel photo illustrates the sequence of operations by a spill response operating team (SROT) in deploying oil spill containment boom from the offshore platform Ellen near Long Beach, California during a training activity. The orange boom is initially stored on the platform in a tight coil. When needed, platform personnel lift the boom and place it into the water. Next, a response vessel hooks the package and unwinds the boom to prepare it for deployment. Two response vessels then connect to each end of the containment boom and tow it in a U-shaped configuration to simulate collecting an oil spill. Once the training is completed, the boom is rewound in a tight coil and stored back on the platform. BSEE Preparedness Analysts from the Oil Spill Preparedness Division (OSPD) regularly inspect these types of equipment and observe industry training and exercise activities to ensure compliance with regulations and to monitor the overall vigor of the oil spill preparedness and response community.
Photo by: Robert Zaragoza, BSEE
Moz performs a flying squirrel, a trick that he learnt from the PS2 game SSX! Here in sequence.
check my site www.gosseti.com
After researching image sequences for a particular University task, we then had to go on and produce one ourselves. After this session I went for a pint (or 4), and figured what a great opportunity it would be for an interesting(ish) sequence.
Grade I listed historic structure.
"York Castle is a fortified complex in the city of York, England. It has comprised a sequence of castles, prisons, law courts and other buildings, which were built over the last nine centuries on the south side of the River Foss. The now-ruined keep of the medieval Norman castle is commonly referred to as Clifford's Tower. Built originally on the orders of William I to dominate the former Viking city of Jórvík, the castle suffered a tumultuous early history before developing into a major fortification with extensive water defences. After a major explosion in 1684 rendered the remaining military defences uninhabitable, York Castle continued to be used as a jail and prison until 1929.
The first motte and bailey castle on the site was built in 1068 following the Norman conquest of York. After the destruction of the castle by rebels and a Viking army in 1069, York Castle was rebuilt and reinforced with extensive water defences, including a moat and an artificial lake. York Castle formed an important royal fortification in the north of England.
In 1190, 150 local Jews were killed in a pogrom in the castle keep; most of them committed suicide in order not to fall into the hands of the mob. Henry III rebuilt the castle in stone in the middle of the 13th century, creating a keep with a unique quatrefoil design, supported by an outer bailey wall and a substantial gatehouse. During the Scottish wars between 1298 and 1338, York Castle was frequently used as the centre of royal administration across England, as well as an important military base of operations.
York Castle fell into disrepair by the 15th and 16th centuries, becoming used increasingly as a jail for both local felons and political prisoners. By the time of Elizabeth I the castle was estimated to have lost all of its military value but was maintained as a centre of royal authority in York. The outbreak of the English Civil War in 1642 saw York Castle being repaired and refortified, playing a part in the Royalist defence of York in 1644 against Parliamentary forces. York Castle continued to be garrisoned until 1684, when an explosion destroyed the interior of Clifford's Tower. The castle bailey was redeveloped in a neoclassical style in the 18th century as a centre for county administration in Yorkshire, and was used as a jail and debtors' prison. Prison reform in the 19th century led to the creation of a new prison built in a Tudor Gothic style on the castle site in 1825; used first as a county and then as a military prison, this facility was demolished in 1935. By the 20th century the ruin of Clifford's Tower had become a well-known tourist destination and national monument; today the site is owned by English Heritage and open to the public. The other remaining buildings serve as the York Castle Museum and the Crown Court.
York is a cathedral city and unitary authority area in North Yorkshire, England. The population of the council area which includes nearby villages was 208,200 as of 2017 and the population of the urban area was 153,717 at the 2011 census. Located at the confluence of the Rivers Ouse and Foss, it is the county town of the historic county of Yorkshire. The city is known for its famous historical landmarks such as York Minster and the city walls, as well as a variety of cultural and sporting activities, which makes it a popular tourist destination in England. The local authority is the City of York Council, a single tier governing body responsible for providing all local services and facilities throughout the city. The City of York local government district includes rural areas beyond the old city boundaries. It is about 25 miles north-east of Leeds and 34 miles north-west of Kingston upon Hull. York is the largest settlement in the ceremonial county of North Yorkshire.
The city was founded by the Romans as Eboracum in 71 AD. It became the capital of the Roman province of Britannia Inferior, and later of the kingdoms of Deira, Northumbria and Jórvík. In the Middle Ages, York grew as a major wool trading centre and became the capital of the northern ecclesiastical province of the Church of England, a role it has retained. In the 19th century, York became a major hub of the railway network and a confectionery manufacturing centre, a status it maintained well into the 20th century. During the Second World War, York was bombed as part of the Baedeker Blitz. Although less affected by bombing than other northern cities, several historic buildings were gutted and restoration efforts continued into the 1960s.
The economy of York is dominated by services. The University of York and National Health Service are major employers, whilst tourism has become an important element of the local economy. In 2016, York became sister cities with the Chinese city of Nanjing, as per an agreement signed by the Lord Mayor of York, focusing on building links in tourism, education, science, technology and culture. Today, the city is a popular tourist attraction, especially for international visitors from America, Germany, France and China. In 2017, York became UK's first human rights city, which formalised the city's aim to use human rights in decision making." - info from Wikipedia.
Summer 2019 I did a solo cycling tour across Europe through 12 countries over the course of 3 months. I began my adventure in Edinburgh, Scotland and finished in Florence, Italy cycling 8,816 km. During my trip I took 47,000 photos.
Now on Instagram.
Become a patron to my photography on Patreon.
What my sequence looks like in Cubase 7. Recording is here soundcloud.com/psychlist1972/mostly-analog-sequence
BMX sequence image. Taken on negative film and all exposed on one frame using flash. All self processed in those days
And now, due to the fact I have seven Kentish churches to edit and upload, more train shots and everything else that is going on, this final tranche of shots from The Grange have been uploaded all at once.
I did post my favourites at the end, out of sequence, as I love the long porch which the visitor has to pass through to enter the house.
The Grange was the home of Augustus Pugin, and the design and decoration of the house, and of course the church next door are simply stunning.
And yet, I could not get away from the feeling this was not a house, or did not feel like one. Of course I am looking at it with modern eyes, but an effigy of the Madonna and child in the entrance hall, and one of the Virgin Mary looking down on the marital bed does not seem normal to me, but then who am I to judge.
As we climb up the house, we come to the bedrooms, the master bedroom has the Virgin Mary looking on over the marital bed.
Up and up the tower I climbed, past a floor with just a bathroom, and above that a floor where Pugin's assistant slept. Apart from the bed, a chest of drawers the room contained a staircase down and another to the tower roof.
And so in time I came to the roof, with wonderful views over the church next door, Ramsgate and over Pegwell Bay to Sandwich. I would have built a house here too.
Finally, I climbed back down, taking shots as I went.
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The Grange is important today because it is the house Augustus Pugin built for himself and his family. Listed Grade I, it was rescued from development by the Landmark Trust in 1997 with a grant from the Heritage Lottery Fund. The HLF provided a further grant for its repair and restoration (2004-6), with generous additional support from English Heritage, Thanet District Council, charitable trusts and many private individuals.
Augustus Welby Northmore Pugin (1812-52) was one of the most influential and prolific architects and designers of the 19th century. Only 40 years old when he died, Pugin spent his life trying to revive medieval Gothic architecture and design as the only fit architecture for a Christian society, part of a movement known as the Gothic Revival. He looked back wistfully and sometimes whimsically to medieval society, which he thought morally superior to the increasingly mechanised and secular society he saw around him. A devout convert to English Catholicism, Pugin built many churches, schools, convents, monasteries and country houses. He also designed the interiors for the Houses of Parliament. As a man, Pugin was passionate, intense, naïve, impatient, combative and funny. He worked ceaselessly to recreate, in his own life and works, the Gothic life that he idealised, supported by a loyal team of craftsmen and builders who translated into reality his countless designs.
Pugin built few domestic houses and the site in Ramsgate is particularly important because here he was building for himself, to create his ideal setting for his family. He wanted to bring Catholicism back to this part of Kent and so a church and monastery were also part of his plan, to recreate the medieval social structure that he so admired. Here he was able to build according to his own true principles, imposing ‘No features … which are not necessary for convenience, construction or propriety.’ Built of yellow stock brick and surrounded by walls of knapped flint, The Grange was not an inherently extravagant house despite the richness of its interiors. However, it is quietly revolutionary in the arrangement of rooms and their outward expression in architecture. Pugin was reacting against mainstream Classical architecture, which had been the most popular style for the past hundred years and which he considered pagan. Pugin’s starting point for The Grange was not outward symmetry but internal function - how he and his large family were to live in the house. Windows, roofs and chimneys were placed to suit life inside rather than external appearance. This cheerful and uncontrived asymmetry became and remains such a familiar feature of English domestic architecture that it is easy to forget how radical it was after the formal terraces of the 18th century. The principle it reflects, that form should follow function, remains central to much of today’s architecture.
Pugin bought the site on the West Cliff at Ramsgate in 1841. The house was built between 1843 and 1844 by his builder, George Myers. The original floorplan (now reinstated) was a distinctive ‘pinwheel’ arrangement: three principal ground floor rooms (the drawing room, library and dining room) grouped around a square entrance hall, with a corridor leading off to a small kitchen, a square tower (from which Pugin would watch for vessels in distress on the Goodwin Sands) and a private chapel. The house was designed to enjoy views of the sea and the monastic site next door from all angles and was richly wallpapered, painted and panelled. It was full of furniture to Pugin’s own designs and of the paintings and 'objets' that he collected avidly.
As his second wife Louisa died in 1844 just before the family moved into the house, it was only after his marriage to Jane Knill in 1848 that the house became the happy family home he dreamed of. Sadly, Pugin himself died in 1852, just two years after the interiors were completed, worn out by his pace of work and unbalanced and poisoned by the mercury prescribed to cure recurring eye inflammation.
After a decade away, Augustus’s eldest son Edward Pugin returned to live in the house in 1862 with his stepmother Jane and other family members. Edward too was an architect and became a substantial local figure in his own right. It was Edward who designed and built most of St. Augustine’s monastery and finished the church. He also altered his father’s house, adding the entrance corridor and the gate piers, extending the drawing room, adding a conservatory and making various extensions and changes to the internal layout to adapt it for mid-Victorian life. The house remained in family ownership until the death of Augustus’s last son Cuthbert in 1928, after which its contents were dispersed and it became a school run by the monks of St Augustine’s monastery next door. It passed into private ownership in the early 1990s, but sadly continued to deteriorate until it was put on the market again with talk of turning it into flats. By now, its importance was more widely recognised and the Heritage Lottery Fund stepped in to enable Landmark to acquire it.
www.landmarktrust.org.uk/our-landmarks/properties/grange-...
Augustus Welby Northmore Pugin (1 March 1812 – 14 September 1852) was an English architect, designer, artist and critic, chiefly remembered for his pioneering role in the Gothic Revival style; his work culminated in the interior design of the Palace of Westminster. Pugin designed many churches in England, and some in Ireland and Australia.[1] Pugin was the son of Auguste Pugin, and the father of E.W. and Peter Paul Pugin, who continued his architectural firm as Pugin & Pugin.
Written and directed by Juan González-Páramo, for the short film Serendipia.
In the scene, Pedro and Laura go to his place and they make love.
I wanted to portray effectively a sex scene without showing anything explicitly, with detail shots of her hands, his back, their feet, her clothes on the floor. Then marvellous music was composed by a friend of mine, and it suits the scene perfectly.