Reconstruction of the Terme Boxer, 2018, bronze cast, 128 x 110 x 55 cm, recostruction created by Vinzenz Brinkmann and Ulrike Koch-Brinkmann (Liebieghaus Skulpturensammlung, Frankfurt am Main, Sammlung Stäelisches Kunstinstitut)

Learn more at Smarthistory

Im Appenzeller Hinterland sind am 13. Januar die Sylvesterchläuse unterwegs, und wünschen "Es guets Neus" in der Tradition des Julianischen Kalenders.13 January, «Old New Year's Eve», the «Chläuse» make their way around the Appenzell hinterland. The origin and meaning of this ancient custom are the subject of speculation, because few written documents exist.

German postcard by Ross Verlag, no. A 2013/1, 1939-1940. Photo: Metro-Goldwyn-Mayer.

Lupe Velez (1908-1944), was one of the first Mexican actresses to succeed in Hollywood. Her nicknames were 'The Mexican Spitfire' and 'Hot Pepper'. She was the leading lady in such silent films as The Gaucho (1927), Lady of the Pavements (1928), and Wolf Song (1929). During the 1930s, her well-known explosive screen persona was exploited in a series of successful films like Hot Pepper (1933), Strictly Dynamite (1934), and Hollywood Party (1934). In the 1940s, Vélez's popularity peaked after appearing in the Mexican Spitfire films, a series created to capitalise on Vélez's well-documented fiery personality. She had several highly publicised romances and a stormy marriage. In 1944, Vélez died of an intentional overdose of the barbiturate drug Seconal. Her death and the circumstances surrounding it have been the subject of speculation and controversy.

Lupe Vélez was born María Guadalupe Villalobos Vélez in 1908 in the city of San Luis Potosí in Mexico. She was the daughter of Jacobo Villalobos Reyes, a colonel in the army of the dictator Porfirio Diaz, and his wife Josefina Vélez, an opera singer according to some sources, or vaudeville singer according to others. She had three sisters: Mercedes, Reina and Josefina, and a brother, Emigdio. The family was financially comfortable and lived in a large home. At the age of 13, her parents sent her to study at Our Lady of the Lake (now Our Lady of the Lake University) in San Antonio, Texas. It was at Our Lady of the Lake that Vélez learned to speak English and began to dance. She later admitted that she liked dance class, but was otherwise a poor student. Denny Jackson at IMDb: "Life was hard for her family, and Lupe returned to Mexico to help them out financially. She worked as a salesgirl for a department store for the princely sum of $4 a week. Every week she would turn most of her salary over to her mother, but kept a little for herself so she could take dancing lessons. By now, she figured, with her mature shape and grand personality, she thought she could make a try at show business." She began her career as a performer in Mexican vaudeville in 1924. She initially performed under her paternal surname, but after her father returned home from the war, he was outraged that his daughter had decided to become a stage performer. She chose her maternal surname, "Vélez", as her stage name and her mother introduced Vélez and her sister Josefina to the popular Spanish Mexican vedette María Conesa, "La Gatita Blanca". Vélez debuted in a show led by Conesa, where she sang 'Oh Charley, My Boy' and danced the shimmy. Aurelio Campos, a young pianist, and friend of the Vélez sisters recommended Lupe to stage producers, Carlos Ortega and Manuel Castro. Ortega and Castro were preparing a season revue at the Regis Theatre and hired Vélez to join the company in March 1925. Later that year, Vélez starred in the revues 'Mexican Rataplan' and '¡No lo tapes!', both parodies of the Bataclan's shows in Paris. Her suggestive singing and provocative dancing was a hit with audiences, and she soon established herself as one of the main stars of vaudeville in Mexico. After a year and a half, Vélez left the revue after the manager refused to give her a raise. She then joined the Teatro Principal but was fired after three months due to her "feisty attitude". Vélez was quickly hired by the Teatro Lirico, where her salary rose to 100 pesos a day. In 1926, Frank A. Woodyard, an American who had seen Vélez perform, recommended her to stage director Richard Bennett, the father of actresses Joan and Constance Bennett. Bennett was looking for an actress to portray a Mexican cantina singer in his upcoming play 'The Dove'. He sent Vélez a telegram inviting her to Los Angeles to appear in the play. Vélez had been planning to go to Cuba to perform, but quickly changed her plans and traveled to Los Angeles. However, upon arrival, she discovered that she had been replaced by another actress.

While in Los Angeles, Lupe Vélez met the comedian Fanny Brice. Brice recommended her to Flo Ziegfeld, who hired her to perform in New York City. While Vélez was preparing to leave Los Angeles, she received a call from MGM producer Harry Rapf, who offered her a screen test. Producer and director Hal Roach saw Vélez's screen test and hired her for a small role in the comic Laurel and Hardy short Sailors, Beware! (Fred Guiol, Hal Yates, 1927). After her debut, Vélez appeared in another Hal Roach short, What Women Did for Me (James Parrott, 1927), opposite Charley Chase. Later that year, she did a screen test for the upcoming Douglas Fairbanks feature The Gaucho (F. Richard Jones, 1927). Fairbanks was impressed by Vélez and hired her to appear in the film with him. The Gaucho was a hit and critics were duly impressed with Vélez's ability to hold her own alongside Fairbanks, who was well known for his spirited acting and impressive stunts. Her second major film was Stand and Deliver (Donald Crisp, 1928), produced by Cecil B. DeMille. That same year, she was named one of the WAMPAS Baby Stars. Then she appeared in Lady of the Pavements (1929), directed by D. W. Griffith, and Where East Is East (Tod Browning, 1929), starring Lon Chaney as an animal trapper in Laos. In the Western The Wolf Song (Victor Fleming, 1929), she appeared alongside Gary Cooper. As she was regularly cast as 'exotic' or 'ethnic' women that were volatile and hot-tempered, gossip columnists took to referring to Vélez as "Mexican Hurricane", "The Mexican Wildcat", "The Mexican Madcap", "Whoopee Lupe" and "The Hot Tamale". Lupe Vélez made the transition to sound films without difficulty. Studio executives had predicted that her accent would likely hamper her ability to make the transition. That idea was dispelled after she appeared in the all-talking Rin Tin Tin vehicle, Tiger Rose (George Fitzmaurice, 1929). The film was a hit and Vélez's sound career was established. Vélez appeared in a series of Pre-Code films like Hell Harbor (Henry King, 1930), The Storm (William Wyler, 1930), and the crime drama East Is West (Monta Bell, 1930) opposite Edward G. Robinson. The next year, she appeared in her second film for Cecil B. DeMille, Squaw Man (Cecil B. DeMille, 1931), opposite Warner Baxter, in Resurrection (Edwin Carewe, 1931), and The Cuban Love Song (W.S. Van Dyke, 1931), with the popular singer Lawrence Tibbett. She had a supporting role in Kongo (William J. Cowen, 1932) with Walter Huston, a sound remake of West of Zanzibar (Tod Browning, 1928) which tries to outdo the Lon Chaney original in morbidity. She also starred in Spanish-language versions of Universal films like Resurrección (Eduardo Arozamena, David Selman, 1931), the Spanish version of Resurrection (1931), and Hombres en mi vida (Eduardo Arozamena, David Selman, 1932), the Spanish version of Men in Her Life (William Beaudine, 1931) in which Lois Moran had starred.

In 1932, Lupe Vélez took a break from her film career and traveled to New York City where she was signed by Broadway impresario Florenz Ziegfeld, Jr. to take over the role of "Conchita" in the musical revue 'Hot-Cha!'. The show also starred Bert Lahr, Eleanor Powell, and Buddy Rogers. Back in Hollywood, Lupe switched to comedy after playing dramatic roles for five years. Denny Jackson at IMDb: "In 1933 she played the lead role of Pepper in Hot Pepper (1933). This film showcased her comedic talents and helped her to show the world her vital personality. She was delightful." After Hot Pepper (John G. Blystone, 1933) with Edmund Lowe and Victor McLaglen, Lupe played beautiful but volatile, characters in a series of successful films like Strictly Dynamite (Elliott Nugent, 1934), Palooka (Benjamin Stoloff, 1934) both opposite Jimmy Durante, and Hollywood Party (Allan Dwan, a.o., 1934) with Laurel and Hardy. Although Vélez was a popular actress, RKO Pictures did not renew her contract in 1934. Over the next few years, Vélez worked for various studios as a freelance actress; she also spent two years in England where she filmed The Morals of Marcus (Miles Mander, 1935) and Gypsy Melody (Edmond T. Gréville, 1936). She returned to Los Angeles the following year where she appeared in the final part of the Wheeler & Woolsey comedy High Flyers (Edward F. Cline, 1937). In 1938, Vélez made her final appearance on Broadway in the musical You Never Know, by Cole Porter. The show received poor reviews from critics but received a large amount of publicity due to the feud between Vélez and fellow cast member Libby Holman. Holman was irritated by the attention Vélez garnered from the show with her impersonations of several actresses including Gloria Swanson, Katharine Hepburn, and Shirley Temple. The feud came to a head during a performance in New Haven, Connecticut after Vélez punched Holman in between curtain calls and gave her a black eye. The feud effectively ended the show. Upon her return to Mexico City in 1938 to star in her first Mexican film, Vélez was greeted by ten thousand fans. The film La Zandunga (Fernando de Fuentes, 1938) co-starring Arturo de Córdova, was a critical and financial success. Vélez was slated to appear in four more Mexican films, but instead, she returned to Los Angeles and went back to work for RKO Pictures. In 1939, Lupe Vélez was cast opposite Leon Errol and Donald Woods in the B-comedy, The Girl from Mexico (Leslie Goodwins, 1939). Despite being a B film, it was a hit with audiences and RKO re-teamed her with Errol and Wood for a sequel, Mexican Spitfire (Leslie Goodwins, 1940). That film was also a success and led to a series of eight Spitfire films. Wikipedia: "In the series, Vélez portrays Carmelita Lindsay, a temperamental yet friendly Mexican singer married to Dennis 'Denny' Lindsay (Woods), an elegant American gentleman. The Spitfire films rejuvenated Vélez's career. Moreover, they were films in which a Latina headlined for eight films straight –a true rarity." In addition to the Spitfire series, she was cast in such films as Six Lessons from Madame La Zonga (John Rawlins, 1941), Playmates (David Butler, 1941) opposite John Barrymore, and Redhead from Manhattan (Lew Landers, 1943). In 1943, the final film in the Spitfire series, Mexican Spitfire's Blessed Event (Leslie Goodwins, 1943), was released. By that time, the novelty of the series had begun to wane. Velez co-starred with Eddie Albert in the romantic comedy, Ladies' Day (Leslie Goodwins, 1943), about an actress and a baseball player. In 1944, Vélez returned to Mexico to star in an adaptation of Émile Zola's novel Nana (Roberto Gavaldón, Celestino Gorostiza, 1944), which was well-received. It would be her final film. After filming wrapped, Vélez returned to Los Angeles and began preparing for another stage role in New York.

Lupe Vélez's temper and jealousy in her often tempestuous romantic relationships were well documented and became tabloid fodder, often overshadowing her career. Vélez was straightforward with the press and was regularly contacted by gossip columnists for stories about her romantic exploits. Her first long-term relationship was with actor Gary Cooper. Vélez met Cooper while filming The Wolf Song in 1929 and began a two-year affair with him. The relationship was passionate but often stormy. Reportedly Vélez chased Cooper around with a knife during an argument and cut him severely enough to require stitches. By that time, the rocky relationship had taken its toll on Cooper who had lost 45 pounds and was suffering from nervous exhaustion. Paramount Pictures ordered him to take a vacation to recuperate. While he was boarding the train, Vélez showed up at the train station and fired a pistol at him. During her marriage to actor Johnny Weissmuller, stories of their frequent physical fights were regularly reported in the press. Vélez reportedly inflicted scratches, bruises, and love-bites on Weissmuller during their fights and "passionate love-making". In July 1934, after ten months of marriage, Vélez filed for divorce citing cruelty. She withdrew the petition a week later after reconciling with Weissmuller. In January 1935, she filed for divorce a second time and was granted an interlocutory decree that was dismissed when the couple reconciled a month later. In August 1938, Vélez filed for divorce for a third time, again charging Weissmuller with cruelty. Their divorce was finalised in August 1939. After the divorce became final, Vélez began dating actor Guinn "Big Boy" Williams in late 1940. They were reportedly engaged but never married. Vélez was also linked to author Erich Maria Remarque and the boxers Jack Johnson and Jack Dempsey. In 1943, Vélez began an affair with her La Zandunga co-star Arturo de Córdova. De Córdova had recently moved to Hollywood after signing with Paramount Pictures. Despite the fact that de Córdova was married to Mexican actress Enna Arana with whom he had four children, Vélez granted an interview to gossip columnist Louella Parsons in September 1943 and announced that the two were engaged. Vélez ended the engagement in early 1944, reportedly after de Córdova's wife refused to give him a divorce. Vélez then met and began dating a struggling young Austrian actor named Harald Maresch (who went by the stage name Harald Ramond). In September 1944, she discovered she was pregnant with Ramond's child. She announced their engagement in late November 1944. On 10 December, four days before her death, Vélez announced she had ended the engagement and kicked Ramond out of her home. On the evening of 13 December 1944, Vélez dined with her two friends, the silent film star Estelle Taylor and Venita Oakie. In the early morning hours of 14 December, Vélez retired to her bedroom, where she consumed 75 Seconal pills and a glass of brandy. Her secretary, Beulah Kinder, found the actress's body on her bed later that morning. A suicide note addressed to Harald Ramond was found nearby. Lupe Vélez was only 36 years old. More than four-thousand people filed past her casket during her funeral. Her body was interred in Mexico City, at Panteón Civil de Dolores Cemetery. Velez' estate, valued at $125,000 and consisting mostly of her Rodeo House home, two cars, jewelry, and personal effects were left to her secretary Beulah Kinder with the remainder in trust for her mother, Mrs. Josephine Velez. Together with Dolores del Rio, Ramon Novarro, and José Mojica, she was one of the few Mexican people who had made history in the early years of Hollywood.

Sources: Denny Jackson (IMDb), Wikipedia, and IMDb.

And, please check out our blog European Film Star Postcards.

Interstellar dust & matter Looking towards the inner spurs of our galaxy, Milkyway, from the wonderful star party at mt Parnon, Sparta 10th National Annual Star Party of Greek Amateur Astronomers Special thanks to the Astronomical Union of Sparta! Banquet of interstellar dust matter and looking at the internal threads of our galaxy somewhere between Centaur Sagittarius, Scutum and Serpens Cauda. The Galactic Center is the rotational center of the Milky Way. The estimates for its location range from 7.6 to 8.7 kiloparsecs (about 25,000 to 28,000 lightyears) from Earth in the direction of the constellations Sagittarius, Ophiuchus, and Scorpius where the Milky Way appears brightest. There is strong evidence consistent with the existence of a supermassive black hole at the Galactic Center of the Milky Way. text bit.ly/2bblTJz The main disc of our galaxy has a diameter of 80,000 to 100,000 light-years, the perimeter 250 to 300 000 light years and a thickness of about 1,000 light years. It consists of 200 up to 400 billion stars. If we define a natural scale and assume that the Milky Way has a diameter of 130 km, the solar system would have a length of 2 mm. The Galactic Halo extends over a diameter of 250,000 and 400,000 light years. As reported extensively in the galaxy structure below, new research has shown that the disk extends much more than we thought until last. Officially, since 2005, the Milky Way is now considered to be a large barred spiral galaxy SBbc type the Hubble sequence (small barred spiral helix) with a total mass of 600 to 3,000 billion solar masses (M☉) [5] [6], comprising from 200 to 400,000,000,000 stars. The galactic disk has an estimated diameter of about 100,000 light years. The distance of the Sun from the center of the galaxy is estimated at 26,000 light years. The disc is protuberant in the center and symperikleietai from the so-called thick disk. The Sun (and thus the Earth and the Solar System) is quite close to the inner ring of the Arm of Orion, local cloud, at 7,94 ± 0,42 kpc from the Galactic Center. The distance between the local arm and immediately nearest, the Perseus Arm, is of the order of 1 · 1019 m (6.500 light years). The Sun and by extension the solar system, located in what scientists call the Galactic Habitable Zone. The direction of the Sun's path (apix or corymb), refers to the direction of the Sun as it travels in the Galaxy. The general direction of galactic motion of the Sun is near the constellation Hercules, at an angle of approximately 86 degrees from the Galactic Center. The orbit of the Sun in the Galaxy is expected to be approximately elliptical with the addition of influences from the galactic arms and uneven mass distribution. We are currently 1/8 of the track before perigalaxio (the shortest distance from the center of the Milky Way). The solar system takes about 225-250000000 years to complete an orbit (one Galactic Year), so speculation has performed approximately 20-25 orbits during its lifetime. The orbital speed of the Solar System is 217 km / sec, ie. One light-year every 1,400 years, and 1 AU in 8 days. Canon eos 6D, Skywatcher EQ6 unguide, EF 85mm f1.2 LII, 85mm f/2.8, Iso800, 7X240sec, DSS, PS

The Jewish families who settled in Queensland from the time of Separation formed the nucleus of the Brisbane Hebrew Congregation founded in Brisbane in 1865. The congregation used a number of venues as temporary places of worship, while raising money through various land speculations to purchase a site and build a Synagogue. The present site was purchased by R B Lewin and sold to the congregation for £200. In 1885 designs for a Synagogue were sought from architects and plans submitted by Arthur Morry, who worked in the Government Architect's office, were chosen. The foundation stone was laid on the 7th of July 1885 and a bottle containing artefacts and documents was embedded beneath it. The foundation stone is no longer visible following the raising of the level of Margaret Street, and it is believed that the courtyard of the Synagogue was raised at the same time. This is supported by the fact that ventilated arches for the basement are now located well below ground level.

Arthur Midson, a prominent building contractor, built the Synagogue for the sum of £6450. It was finally consecrated on the 18th of July 1886. The building features a large circular geometric tracery window of Oamaru stone above the Margaret Street arched doorway. The stained glass lead lighting was obtained from Messrs Lyon, Cottier & Co of Sydney. The window is flanked on either side by a minaret turret which rose to a height of 90 feet (27 metres) from the original ground level. The rendered brick structure, constructed on concrete foundations, contains a basement, a nave and side aisles on the ground floor with a minister's retiring or robe room at the rear. In accordance with traditional Jewish religious practices the sexes are seperated during worship, and a gallery level for females only is incorporated constructed. It contains 140 seats and two women's retiring rooms.

The Synagogue remained largely unaltered over the years. Prior to the centenary celebrations of the Brisbane Jewish community in 1965, considerable renovations were carried out, including the installation of additional stained glass windows. Many of these were donated by congregation members whose families died in the Holocaust (World War II). The words 'The Brisbane Synagogue' and the congregation's spiritual name 'Kehilla Kedosha Sha'ari Emuna', (The Holy Congregation of the Gates of Faith) were added over the arched entry during 1967/1968.

Source: Queensland Heritage Register.

המשפחות היהודיות שהתיישבו בקווינסלנד מאז הפרידה היוו את גרעין הקהילה העברית של בריסביין שנוסדה בבריסביין בשנת 1865. הקהילה השתמשה במספר מקומות כמקומות פולחן זמניים, תוך גיוס כסף באמצעות השערות שונות על קרקע כדי לרכוש אתר ולבנות בית כנסת. האתר הנוכחי נרכש על ידי ר. ב. לוין ונמכר לקהילה תמורת 200 דולר. בשנת 1885 ביקשו אדריכלים עיצובים לבית כנסת ונבחרו תוכניות שהוגשו על ידי ארתור מורי, שעבד במשרד האדריכלים הממשלתי. אבן היסוד הונחה ב-7 ביולי 1885 ובקבוק המכיל חפצים ומסמכים הוטבע מתחתיו. אבן היסוד כבר לא נראית לאחר העלאת רמת רחוב מרגרט, ונחשבת כי חצר בית הכנסת הועלתה באותו הזמן. זה נתמך על ידי העובדה כי קשתות מאוורר עבור המרתף נמצאים כעת הרבה מתחת לפני הקרקע.

ארתור מידסון, קבלן בנייה מפורסם, בנה את בית הכנסת בסכום של 6450 דולר. הוא הוקדש לבסוף ב-18 ביולי 1886. הבניין כולל חלון עגול גדול של אבן אומרו מעל דלת הקשת ברחוב מרגרט. תאורת העופרת הזכוכית הצבועה הושגה ממר ליון, קוטייה ושות ' מסידני. החלון מקיף משני הצדדים על ידי מגדל מינראט אשר עלה לגובה של 90 רגל (27 מטרים) ממרחב הקרקע המקורי. מבנה הלבנים, שנבנה על יסודות בטון, מכיל מרתף, נב ומסדרונות צדדיים בקומה הקרובה עם חדר הפרישה של השר או חדר הלבוש מאחור. בהתאם למנהגים דתיים יהודיים מסורתיים, המינים מופרדים במהלך עבודת האל, ובונה רמת גלריה לנשים בלבד. הוא מכיל 140 מושבים ושני חדרים לנשים.

בית הכנסת נשאר ללא שינוי במשך השנים. לפני חגיגות המאה שנה של הקהילה היהודית בבריסביין בשנת 1965, בוצעו שיפוצים משמעותיים, כולל התקנת חלונות זכוכית צבועה נוספים. רבים מהם נתרמו על ידי חברי הקהילה שמשפחותיהם מתו בשואה (מלחמת העולם השנייה). המילים ' בית הכנסת בריסביין 'והשם הרוחני של הקהילה' קהילה קדושה שארי אמונה', (הקהילה הקדושה של שערי האמונה) הוספו מעל הכניסה הקשתית במהלך 1967/1968.

מקור: רישום המורשת של קווינסלנד

There was some speculation that Red Sonja and the Sparta Warrior had the same headsculpt with different hair. If the Sparta Warrior is different, it might only be subtle changes in the paint job. Even so, for some reason I find I like the Spartan's sculpt a bit more than Sonja's. It might be a little soft, but I guess not having any expectations for the Spartan makes it easier to accept her as she is.

Burnt Norton

Time present and time past

Are both perhaps present in time future

And time future contained in time past.

If all time is eternally present

All time is unredeemable.

What might have been is an abstraction

Remaining a perpetual possibility

Only in a world of speculation.

What might have been and what has been

Point to one end, which is always present.

Footfalls echo in the memory

Down the passage which we did not take

Towards the door we never opened

Into the rose-garden. My words echo

Thus, in your mind.

But to what purpose

Disturbing the dust on a bowl of rose-leaves

I do not know.

Other echoes

Inhabit the garden. Shall we follow?

Quick, said the bird, find them, find them,

Round the corner. Through the first gate,

Into our first world, shall we follow

The deception of the thrush? Into our first world.

There they were, dignified, invisible,

Moving without pressure, over the dead leaves,

In the autumn heat, through the vibrant air,

And the bird called, in response to

The unheard music hidden in the shrubbery,

And the unseen eyebeam crossed, for the roses

Had the look of flowers that are looked at.

There they were as our guests, accepted and accepting.

So we moved, and they, in a formal pattern,

Along the empty alley, into the box circle,

To look down into the drained pool.

Dry the pool, dry concrete, brown edged,

And the pool was filled with water out of sunlight,

And the lotos rose, quietly, quietly,

The surface glittered out of heart of light,

And they were behind us, reflected in the pool.

Then a cloud passed, and the pool was empty.

Go, said the bird, for the leaves were full of children,

Hidden excitedly, containing laughter.

Go, go, go, said the bird: human kind

Cannot bear very much reality.

Time past and time future

What might have been and what has been

Point to one end, which is always present.

T. S. Eliot Poems

The Four Quartets

This is the last of this series for now, tomorrow being Valentines Day I need to liven up and get all lovey dovey again lol. I'll revisit this horror scene in Spring and Summer. :-)

Happy Friday the 13th my flicke friends, :-) and thank you all for your support and friendship. :-))

Snippets from Howard Nemerov's poem.

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Cascading Universe & Garden of Cosmic Speculation, 2 of the gardens at Portrack House near Dumfries. The house features garden designs by Charles Jencks. The house is only open to the public on one day a year.

Canon 5D MKII, Canon 17-40mm, F11, 17mm, ISO200, Exp 1/250 Seconds

Hitech Soft Grad 0.6

Please do not use this image on websites, blogs or any other media without asking my written permission. All rights reserved.....© Brian Kerr Photography 2011

Please, no speculation regarding what we're about to do.

La especulación es nómade.

# # #

Speculation is nomadic.

There is some speculation about the possible age and use of this iconic building. For many years it was dated at 1420, however, ongoing research, sponsored by English Heritage, puts the date back to 1347. Whichever date is correct it is probable that the Britons Arms, or ‘Ye Goddes House’ as it then was, fulfilled a semi religious role in relation to the church of St. Peter Hungate which sits directly to the south.

The plan and layout of the building are untypical of the age, the style relates more closely to the buildings of the Netherlands or Low Countries and reflects the strong links which Norwich had with the continent. It is one of the five remaining timber framed thatched buildings to survive in the city, and the only building to survive the great fire of 1507.

From this time the inhabitants of the building were many and various. In the late 15th. century ‘barbour surgeons’ occupied the property, later it was associated with the wool trade. It is first recorded as an Ale House in 1760, known then as ‘The Kings Arms.’ Not until 1845 does it become ‘The Britons Arms', possibly reflecting the anti-royalist sympathies of the age.

From the mid eighteenth century until 1941 the Britons Arms traded as an Ale House. It was closed during WW2 and used by fire watchers.

In 1951 the brewers Stewart and Patteson sold the property to Norwich City Council for the nominal sum of £10 and the lease was taken by Molly Kent (nee Drury) who founded the business The Britons Arms Coffee House and Restaurant.

In the early 1970's Norfolk born and educated sisters Sue Skipper and Gilly Mixer went into partnership with Molly Kent who eventually retired. The business flourished, but the ancient fabric of the building became increasingly unsound. Unable to meet the cost of repair, in 2011 Norwich City Council put the property up for auction. Under the banner ‘UP IN ARMS’ the sisters mounted a vigorous campaign aimed at keeping the well- loved building in public ownership and accessible to all. At the very last moment the City Council agreed to withdraw the property from auction and offered a 21year lease to The Norwich Preservation Trust.

The Trust was successful in raising substantial funds, largely from English Heritage and the building was extensively restored and re-thatched in 2013 at a cost of £500,000.

In 2020, after 69 years of unbroken trading The Britons Arms Coffee House and Restaurant permanently closed.

The building gained Grade: II* listed building status on 26th. February 1954. (English Heritage Legacy ID: 229069).

The Australian Meat Employees Industry Union Building was built for the Bank of New South Wales in 1887. It was third building which the bank had constructed. Built by Townsville builder Denis Kelleher at a cost of £7,500, the building was probably designed by Sydney architect John Smedley, with construction supervised by architect WM Eyre of the Townsville firm of Eyre and Munro and Brisbane architect FDG Stanley.

The Bank of New South Wales was the second banking company to be established in Townsville. The Australian Joint Stock Bank opened on the 19th of February 1866 and the Bank of New South Wales on the 20th of March 1866.

The Bank of New South Wales was founded in 1817 in Sydney, New South Wales. In 1851 Robert Towns, a Sydney businessman, became a shareholder. During the early 1860s Towns formed a business partnership with John Melton Black in his North Queensland properties and investment speculations, including the establishment of a port on Cleveland Bay. Keen to protect his investment in the new settlement at the port and to encourage the expansion of the Bank of New South Wales into North Queensland, Towns facilitated the establishment of a branch of the bank in Townsville within a year of settlement.

The first branch building, leased from Towns and Black, was located in Flinders Street East near the site of the present building, but the managers and staff soon complained that the building was hot and plagued by mosquitoes from Ross Creek. A decision was made to move after Queensland Bank Inspector, Alexander Archer, reported that the bank and its records were unsafe located amongst a group of wooden buildings.

The second bank building and a manager's residence were constructed in 1869 on the corner of Wickham Street and The Strand on the present Customs House site. While these premises were well placed for the sea breezes, the building was again deemed unsuitable because of the distance from the centre of town and the difficulty of access via Wickham Street.

By August 1875 the Bank of New South Wales had purchased a new site closer to the centre of town while still taking advantage of the sea breezes. However, the block on the corner of Flinders and Wickham Streets remained undeveloped for a further twelve years, despite Brisbane architect James Cowlishaw calling tenders on the 8th of January 1883 for the erection of banking premises at Townsville for the Bank of New South Wales.

During the 1860s, Cowlishaw had supervised the construction of the Brisbane branch of the Bank of NSW for Sydney architect GA Mansfield, and was also involved in the construction of branches in Bowen and Rockhampton. It is not certain whether the 1883 tender for a new bank building in Townsville was for a building designed by Cowlishaw, or another design by Mansfield to be supervised by Cowlishaw. However, newspaper reports of 1887 suggest that, either way, the 1883 design for a Bank of New South Wales in Townsville was not constructed.

By October 1887 however, the Townsville Herald noted that FDG Stanley, architect for three buildings being erected in Townsville including the Bank of NSW, inspected these with his local representative Mr WM Eyre who was supervising their construction. Three months later on the 24th of December 1887, the same newspaper congratulated the architect Mr Smedley of Sydney for his design of the newly completed Bank of New South Wales building. This suggests Smedley was Mansfield's successor as the bank's design architect in Sydney, and Eyre was the local supervising architect with Stanley his senior partner.

The new premises included the banking chamber, manager and accountant's offices, strong rooms and ablution facilities. The manager's residence included nine private rooms, kitchen, bathroom linen press and pantry. Included in the complex were stables, a coach house and a messenger's room.

In 1925 Townsville architect Walter Hunt supervised alterations to the building including the installation of the pressed metal ceiling in the banking chamber. The work was carried out by contractor J Hillman.

On 17 November 1931 the Bank of Commerce amalgamated with the Bank of New South Wales. In Townsville the combined businesses operated from the Flinders St/Wickham Street offices until the 12th of January 1935 when the main office of the bank moved to new premises at the corner of Flinders and Stokes Streets.

The former premises became known as the East Flinders Street Branch of the Bank of New South Wales, with the branch operating from the building until it was sold. Historical Services Section of the Westpac Banking Corporation provided information that the property was sold in 1940 for £2500 but titles information indicates that the building was not sold until the 26th of February 1941 when the Australian Meat Industry Employees Union (Queensland Branch) [AMIEU] purchased it.

With the threat of invasion of Australia by Japan during the early years of WWII, Townsville was selected as the supply base for the allied forces in the south west Pacific. By 1941 many buildings in the city had been requisitioned including the former Bank of New South Wales from the AMIEU.

A detachment of Area Signals personnel established a telegraph, switchboard and dispatch rider service in the building prior to February 1942. For a short time after Pearl Harbour, Col Frank North, Commander of the Townsville area, established his headquarters in the building along with the Signals Corp. During this period PMG style switchboards were installed and the communication centre connected to service units being established throughout the region. Telegraph facilities in the building were linked to Charters Towers and to units further west as well as to Victoria Barracks, Brisbane. Part of the first floor was also used as living quarters for the Area Signals Officer and Operations Officer.

During this period, a concrete bunker was constructed at the rear of the property to house a cypher group who worked to decode Japanese messages. Pigeon lofts were also built in the yard to supply ships and aircraft with carrier pigeons.

Towards the end of 1942 or early 1943, the switch installation became a security monitor of all telephone calls, both civil and military, emanating from North Queensland. About twenty AWAs manned the switch which was connected to the Security Monitoring Centre at Stuart, south of Townsville. The monitoring unit remained in the building until the end of the war.

The AMIEU, located in Denham Street during the war, did not move into this building until about 1948. For the next three decades the AMIEU building became a bastion of the Labor movement in Townsville and North Queensland, with the building and surrounding area becoming a focus for workers seeking permits to work at the Ross River Meatworks, seeking social security in the Queensland Building diagonally opposite, and visiting the Tattersalls Hotel, across Wickham Street which was a favourite recreation venue for all those who lived and worked in the area.

From the late 1940s until the early 1970s, the building was a hive of activity and the centre of labour issues for North Queensland. During this period. apart from the AMIEU, the Trades and Labour Council and the Seaman's Union operated at various times from offices on the first floor, and later the Communist Party had an office on the Wickham Street verandah.

The Seamen's Union, miners unions, the Trades and Labour Council and affiliated unions, and particularly the Communist Party were involved in the 1948 Railway Strike; a strike which highlighted the conflict between the unions and the Labor Party and a conflict which was to split the party a few years later. The Seamen's Union and various mining and craft unions played active roles in this conflict with the Queensland Government and the industrial court over wage fixing measures introduced by the court in 1939. This conflict was to raise questions of fundamental importance to a democratic society, such as the extent of civil liberties, the use of violence, and the distortion of truth.

The labour organisations in this building were also involved in the Mount Isa Strike of 1964/1965 when the Qld Trades and Labour Council, representing unionists at the mine, came into conflict with Mount Isa Mines management over bonus payments. The Communist Party was also involved to a lesser degree through union officials and members who were members of the Communist Party.

From 1 January 1954 Remington Rand Charters Pty Ltd leased most of the ground floor and part of the first floor of the building. They had a showroom of typewriters and business machines in the banking chamber, a workshop at the rear, and accounting branch offices upstairs connected by a stairs to the banking chamber. A partition in the corridor divided them from the other tenants. Remington Rand vacated the building early in the 1970s, then for several years ex-employees continued to work from the building. The ground floor has remained vacant since these workshops closed in the late 1970s.

About 1962 - 1963, the toilets on the first floor were altered to divide the single male toilet into male and female toilets. This became necessary after the introduction of a Federal award which, after some 60 years, again allowed women to work at the meatworks, and so women would be coming to the union offices in the building for their work tickets.

There were also apparently substantial wrought iron gates in the Flinders Street fence and at the Wickham Street entrance, which have all been removed.

During the VP50 Celebrations in 1995, a small ceremony was held in the building and a plaque presented recognising the service of the men and women of the Royal Australian Corps of Signals here during WWII.

Source: Queensland Heritage Register.

Baphomet (/ˈbæfoʊmɛt/; from Medieval Latin Baphometh, Baffometi, Occitan Bafometz) is a term originally used to describe an idol or other deity that the Knights Templar were accused of worshipping and that subsequently was incorporated into disparate occult and mystical traditions. It appeared as a term for a pagan idol in trial transcripts of the Inquisition of the Knights Templar in the early 14th century.[The name first came into popular English usage in the 19th century, with debate and speculation on the reasons for the suppression of the TemplarsSince 1856, the name Baphomet has been associated with a "Sabbatic Goat" image drawn by Eliphas Levi which contains binary elements representing the "sum total of the universe" (e.g. male and female, good and evil, etc.The name Baphomet appeared in July 1098 in a letter by the crusader Anselm of Ribemont: Sequenti die aurora apparente, altis vocibus Baphometh invocaverunt; et nos Deum nostrum in cordibus nostris deprecantes, impetum facientes in eos, de muris civitatis omnes expulimus. As the next day dawned, they called loudly upon Baphometh; and we prayed silently in our hearts to God, then we attacked and forced all of them outside the city walls. A chronicler of the First Crusade, Raymond of Aguilers, called the mosques Bafumarias. The name Bafometz later appeared around 1195 in the Occitan poems "Senhors, per los nostres peccatz" by the troubadour Gavaudan. Around 1250 a poem bewailing the defeat of the Seventh Crusade by Austorc d'Aorlhac refers to Bafomet. De Bafomet is also the title of one of four surviving chapters of an Occitan translation of Ramon Llull's earliest known work, the Libre de la doctrina pueril, "book on the instruction of children". Two Templars burned at the stake, from a French 15th-century manuscript. When the medieval order of the Knights Templar was suppressed by King Philip IV of France, on Friday October 13, 1307, Philip had many French Templars simultaneously arrested, and then tortured into confessions. Over 100 different charges had been leveled against the Templars. Most of them were dubious, as they were the same charges that were leveled against the Cathars and many of King Philip's enemies; he had earlier kidnapped Pope Boniface VIII and charged him with near identical offenses of heresy, spitting and urinating on the cross, and sodomy. Yet Malcolm Barber observes that historians "find it difficult to accept that an affair of such enormity rests upon total fabrication".The "Chinon Parchment suggests that the Templars did indeed spit on the cross," says Sean Martin, and that these acts were intended to simulate the kind of humiliation and torture that a Crusader might be subjected to if captured by the Saracens, where they were taught how to commit apostasy "with the mind only and not with the heart". Similarly Michael Haag suggests that the simulated worship of Baphomet did indeed form part of a Templar initiation ritual. The indictment (acte d'accusation) published by the court of Rome set forth ... "that in all the provinces they had idols, that is to say, heads, some of which had three faces, others but one; sometimes, it was a human skull ... That in their assemblies, and especially in their grand chapters, they worshipped the idol as a god, as their saviour, saying that this head could save them, that it bestowed on the order all its wealth, made the trees flower, and the plants of the earth to sprout forth."The name Baphomet comes up in several of these confessions. Peter Partner states in his 1987 book The Knights Templar and their Myth, "In the trial of the Templars one of their main charges was their supposed worship of a heathen idol-head known as a 'Baphomet' ('Baphomet' = Mahomet)."The description of the object changed from confession to confession. Some Templars denied any knowledge of it. Others, under torture, described it as being either a severed head, a cat, or a head with three faces.The Templars did possess several silver-gilt heads as reliquaries,including one marked capud lviiim,another said to be St. Euphemia,and possibly the actual head of Hugues de Payens. The claims of an idol named Baphomet were unique to the Inquisition of the Templars.Karen Ralls, author of the Knights Templar Encyclopedia, argues that it is significant that "no specific evidence [of Baphomet] appears in either the Templar Rule or in other medieval period Templar documents."Gauserand de Montpesant, a knight of Provence, said that their superior showed him an idol made in the form of Baffomet; another, named Raymond Rubei, described it as a wooden head, on which the figure of Baphomet was painted, and adds, "that he worshipped it by kissing its feet, and exclaiming, 'Yalla,' which was," he says, "verbum Saracenorum," a word taken from the Saracens. A templar of Florence declared that, in the secret chapters of the order, one brother said to the other, showing the idol, "Adore this head—this head is your god and your Mahomet."Modern scholars such as Peter Partner and Malcolm Barber agree that the name of Baphomet was an Old French corruption of the name Muhammad, with the interpretation being that some of the Templars, through their long military occupation of the Outremer, had begun incorporating Islamic ideas into their belief system, and that this was seen and documented by the Inquisitors as heresy.Alain Demurger, however, rejects the idea that the Templars could have adopted the doctrines of their enemies. Helen Nicholson writes that the charges were essentially "manipulative"—the Templars "were accused of becoming fairy-tale Muslims." Medieval Christians believed that Muslims were idolatrous and worshipped Muhammad as a god, with mahomet becoming mammet in English, meaning an idol or false god. This idol-worship is attributed to Muslims in several chansons de geste. For example, one finds the gods Bafum e Travagan in a Provençal poem on the life of St. Honorat, completed in 1300.In the Chanson de Simon Pouille, written before 1235, a Saracen idol is called Bafumetz.

Alternative etymologies

Knights Templar Seal representing the Gnostic figure Abraxas. While modern scholars and the Oxford English Dictionary state that the origin of the name Baphomet was a probable Old French version of "Mahomet",alternative etymologies have also been proposed.In the 18th century, speculative theories arose that sought to tie the Knights Templar with the origins of Alchemy.Bookseller, Freemason and Illuminatus [33] Christoph Friedrich Nicolai (1733–1811), in Versuch über die Beschuldigungen welche dem Tempelherrenorden gemacht worden, und über dessen Geheimniß (1782), was the first to claim that the Templars were Gnostics, and that "Baphomet" was formed from the Greek words βαφη μητȢς, baphe metous, to mean Taufe der Weisheit, "Baptism of Wisdom". Nicolai "attached to it the idea of the image of the supreme God, in the state of quietude attributed to him by the Manichaean Gnostics", according to F. J. M. Raynouard, and "supposed that the Templars had a secret doctrine and initiations of several grades" which "the Saracens had communicated ... to them." He further connected the figura Baffometi with the pentagram of Pythagoras:

What properly was the sign of the Baffomet, 'figura Baffometi,' which was depicted on the breast of the bust representing the Creator, cannot be exactly determined ... I believe it to have been the Pythagorean pentagon (Fünfeck) of health and prosperity: ... It is well known how holy this figure was considered, and that the Gnostics had much in common with the Pythagoreans. From the prayers which the soul shall recite, according to the diagram of the Ophite-worshippers, when they on their return to God are stopped by the Archons, and their purity has to be examined, it appears that these serpent-worshippers believed they must produce a token that they had been clean on earth. I believe that this token was also the holy pentagon, the sign of their initiation (τελειας βαφης μετεος).

Émile Littré (1801–1881) in Dictionnaire de la langue francaise asserted that the word was cabalistically formed by writing backward tem. o. h. p. ab, an abbreviation of templi omnium hominum pacis abbas, 'abbot' or 'father of the temple of peace of all men.' His source is the "Abbé Constant", which is to say, Alphonse-Louis Constant, the real name of Eliphas Levi.

Hugh J. Schonfield (1901–1988),one of the scholars who worked on the Dead Sea Scrolls, argued in his book The Essene Odyssey that the word "Baphomet" was created with knowledge of the Atbash substitution cipher, which substitutes the first letter of the Hebrew alphabet for the last, the second for the second last, and so on. "Baphomet" rendered in Hebrew is בפומת; interpreted using Atbash, it becomes שופיא, which can be interpreted as the Greek word "Sophia", meaning wisdom. This theory is an important part of the plot of the novel The Da Vinci Code.

Joseph Freiherr von Hammer-Purgstall

Joseph von Hammer-Purgstall (1774-1856) associated a series of carved or engraved figures found on a number of supposed 13th century Templar artifacts (such as cups, bowls and coffers) with the Baphometic idol.

In 1818, the name Baphomet appeared in the essay by the Viennese Orientalist Joseph Freiherr von Hammer-Purgstall, Mysterium Baphometis revelatum, seu Fratres Militiæ Templi, qua Gnostici et quidem Ophiani, Apostasiæ, Idoloduliæ et Impuritatis convicti, per ipsa eorum Monumenta "Discovery of the Mystery of Baphomet, by which the Knights Templars, like the Gnostics and Ophites, are convicted of Apostasy, of Idolatry and of moral Impurity, by their own Monuments"), which presented an elaborate pseudohistory constructed to discredit Templarist Masonry and, by extension, Freemasonry. Following Nicolai, he argued, using as archaeological evidence "Baphomets" faked by earlier scholars[citation needed] and literary evidence such as the Grail romances, that the Templars were Gnostics and the "Templars' head" was a Gnostic idol called Baphomet.

His chief subject is the images which are called Baphomet ... found in several museums and collections of antiquities, as in Weimar ... and in the imperial cabinet in Vienna. These little images are of stone, partly hermaphrodites, having, generally, two heads or two faces, with a beard, but, in other respects, female figures, most of them accompanied by serpents, the sun and moon, and other strange emblems, and bearing many inscriptions, mostly in Arabic ... The inscriptions he reduces almost all to Mete[, which] ... is, according to him, not the Μητις of the Greeks, but the Sophia, Achamot Prunikos of the Ophites, which was represented half man, half woman, as the symbol of wisdom, unnatural voluptuousness and the principle of sensuality ... He asserts that those small figures are such as the Templars, according to the statement of a witness, carried with them in their coffers. Baphomet signifies Βαφη Μητεος, baptism of Metis, baptism of fire,or the Gnostic baptism, an enlightening of the mind, which, however, was interpreted by the Ophites, in an obscene sense, as fleshly union ... the fundamental assertion, that those idols and cups came from the Templars, has been considered as unfounded, especially as the images known to have existed among the Templars seem rather to be images of saints.

Hammer's essay did not pass unchallenged, and F. J. M. Raynouard published an "Etude sur 'Mysterium Baphometi revelatum'" in Journal des savants the following year. Charles William King criticized Hammer saying he had been deceived by "the paraphernalia of ... Rosicrucian or alchemical quacks,"[43] and Peter Partner agreed that the images "may have been forgeries from the occultist workshops." At the very least, there was little evidence to tie them to the Knights Templar—in the 19th century some European museums acquired such pseudo-Egyptian objects,[citation needed] which were catalogued as "Baphomets" and credulously thought to have been idols of the Templars.

Eliphas Lévi

Androgyne of Heinrich Khunrath, Amphitheatrum Sapientiae Aeternae.

Later in the 19th century, the name of Baphomet became further associated with the occult. Eliphas Levi published Dogme et Rituel de la Haute Magie ("Dogma and Rituals of High Magic") as two volumes (Dogme 1854, Rituel 1856), in which he included an image he had drawn himself which he described as Baphomet and "The Sabbatic Goat", showing a winged humanoid goat with a pair of breasts and a torch on its head between its horns (illustration, top). This image has become the best-known representation of Baphomet. Lévi considered the Baphomet to be a depiction of the absolute in symbolic form and explicated in detail his symbolism in the drawing that served as the frontispiece:

The goat on the frontispiece carries the sign of the pentagram on the forehead, with one point at the top, a symbol of light, his two hands forming the sign of occultism, the one pointing up to the white moon of Chesed, the other pointing down to the black one of Geburah. This sign expresses the perfect harmony of mercy with justice. His one arm is female, the other male like the ones of the androgyne of Khunrath, the attributes of which we had to unite with those of our goat because he is one and the same symbol. The flame of intelligence shining between his horns is the magic light of the universal balance, the image of the soul elevated above matter, as the flame, whilst being tied to matter, shines above it. The beast's head expresses the horror of the sinner, whose materially acting, solely responsible part has to bear the punishment exclusively; because the soul is insensitive according to its nature and can only suffer when it materializes. The rod standing instead of genitals symbolizes eternal life, the body covered with scales the water, the semi-circle above it the atmosphere, the feathers following above the volatile. Humanity is represented by the two breasts and the androgyne arms of this sphinx of the occult sciences.

Witches' Sabbath

Lévi's depiction of Baphomet is similar to that of The Devil in early Tarot. Lévi, working with correspondences different from those later used by S. L. MacGregor Mathers, "equated the Devil Tarot key with Mercury," giving "his figure Mercury's caduceus, rising like a phallus from his groin."

Lévi believed that the alleged devil worship of the medieval Witches' Sabbath was a perpetuation of ancient pagan rites. A goat with a candle between its horns appears in medieval witchcraft records, and other pieces of lore are cited in Dogme et Rituel.

Le Diable, from the early eighteenth century Tarot of Marseilles by Jean Dodal.

Below this figure we read a frank and simple inscription—THE DEVIL. Yes, we confront here that phantom of all terrors, the dragon of the all theogenies, the Ahriman of the Persians, the Typhon of the Egyptians, the Python of the Greeks, the old serpent of the Hebrews, the fantastic monster, the nightmare, the Croquemitaine, the gargoyle, the great beast of the Middle Ages, and—worse than all these—the Baphomet of the Templars, the bearded idol of the alchemist, the obscene deity of Mendes, the goat of the Sabbath. The frontispiece to this ‘Ritual’ reproduces the exact figure of the terrible emperor of night, with all his attributes and all his characters.... Yes, in our profound conviction, the Grand Masters of the Order of Templars worshipped the Baphomet, and caused it to be worshipped by their initiates; yes, there existed in the past, and there may be still in the present, assemblies which are presided over by this figure, seated on a throne and having a flaming torch between the horns. But the adorers of this sign do not consider, as do we, that it is a representation of the devil; on the contrary, for them it is that of the god Pan, the god of our modern schools of philosophy, the god of the Alexandrian theurgic school and of our own mystical Neoplatonists, the god of Lamartine and Victor Cousin, the god of Spinoza and Plato, the god of the primitive Gnostic schools; the Christ also of the dissident priesthood.... The mysteries of the Sabbath have been variously described, but they figure always in grimoires and in magical trials; the revelations made on the subject may be classified under three heads—1. those referring to a fantastic and imaginary Sabbath; 2. those which betray the secrets of the occult assemblies of veritable adepts; 3. revelations of foolish and criminal gatherings, having for their object the operations of black magic.

Lévi's Baphomet, for all its modern fame, does not match the historical descriptions from the Templar trials, although it may also have been partly inspired by grotesque carvings on the Templar churches of Lanleff in Brittany and

Saint-Merri in Paris, which depict squatting bearded men with bat wings, female breasts, horns and the shaggy hindquarters of a beast,[unreliable source] as well as Eugène Viollet-le-Duc's vivid gargoyles that were added to Notre-Dame de Paris about the same time as Lévi's illustration.[citation needed]

Goat of Mendes

Banebdjedet

Lévi called his image "The Goat of Mendes", possibly following Herodotus' account that the god of Mendes—the Greek name for Djedet, Egypt—was depicted with a goat's face and legs. Herodotus relates how all male goats were held in great reverence by the Mendesians, and how in his time a woman publicly copulated with a goat. E. A. Wallis Budge writes,

At several places in the Delta, e.g. Hermopolis, Lycopolis, and Mendes, the god Pan and a goat were worshipped; Strabo, quoting (xvii. 1, 19) Pindar, says that in these places goats had intercourse with women, and Herodotus (ii. 46) instances a case which was said to have taken place in the open day. The Mendisians, according to this last writer, paid reverence to all goats, and more to the males than to the females, and particularly to one he-goat, on the death of which public mourning is observed throughout the whole Mendesian district; they call both Pan and the goat Mendes, and both were worshipped as gods of generation and fecundity. Diodorus (i. 88) compares the cult of the goat of Mendes with that of Priapus, and groups the god with the Pans and the Satyrs. The goat referred to by all these writers is the famous Mendean Ram, or Ram of Mendes, the cult of which was, according to Manetho, established by Kakau, the king of the IInd dynasty.Historically, the deity that was venerated at Egyptian Mendes was a ram deity, Banebdjedet (literally Ba of the lord of djed, and titled "the Lord of Mendes"), who was the soul of Osiris. Lévi combined the images of the Tarot of Marseilles Devil card and refigured the ram Banebdjed as a he-goat, further imagined by him as "copulator in Anep and inseminator in the district of Mendes".

Aleister Crowley

The Baphomet of Lévi was to become an important figure within the cosmology of Thelema, the mystical system established by Aleister Crowley in the early twentieth century. Baphomet features in the Creed of the Gnostic Catholic Church recited by the congregation in The Gnostic Mass, in the sentence: "And I believe in the Serpent and the Lion, Mystery of Mysteries, in His name BAPHOMET."[55]

In Magick (Book 4), Crowley asserted that Baphomet was a divine androgyne and "the hieroglyph of arcane perfection": Seen as that which reflects. "What occurs above so reflects below, or As above so below" The Devil does not exist. It is a false name invented by the Black Brothers to imply a Unity in their ignorant muddle of dispersions. A devil who had unity would be a God... 'The Devil' is, historically, the God of any people that one personally dislikes... This serpent, SATAN, is not the enemy of Man, but He who made Gods of our race, knowing Good and Evil; He bade 'Know Thyself!' and taught Initiation. He is 'The Devil' of The Book of Thoth, and His emblem is BAPHOMET, the Androgyne who is the hieroglyph of arcane perfection... He is therefore Life, and Love. But moreover his letter is ayin, the Eye, so that he is Light; and his Zodiacal image is Capricornus, that leaping goat whose attribute is Liberty. For Crowley, Baphomet is further a representative of the spiritual nature of the spermatozoa while also being symbolic of the "magical child" produced as a result of sex magic. As such, Baphomet represents the Union of Opposites, especially as mystically personified in Chaos and Babalon combined and biologically manifested with the sperm and egg united in the zygote. Crowley proposed that Baphomet was derived from "Father Mithras". In his Confessions he describes the circumstances that led to this etymology: I had taken the name Baphomet as my motto in the O.T.O. For six years and more I had tried to discover the proper way to spell this name. I knew that it must have eight letters, and also that the numerical and literal correspondences must be such as to express the meaning of the name in such a ways as to confirm what scholarship had found out about it, and also to clear up those problems which archaeologists had so far failed to solve ... One theory of the name is that it represents the words βαφὴ μήτεος, the baptism of wisdom; another, that it is a corruption of a title meaning "Father Mithras". Needless to say, the suffix R supported the latter theory. I added up the word as spelt by the Wizard. It totalled 729. This number had never appeared in my Cabbalistic working and therefore meant nothing to me. It however justified itself as being the cube of nine. The word κηφας, the mystic title given by Christ to Peter as the cornerstone of the Church, has this same value. So far, the Wizard had shown great qualities! He had cleared up the etymological problem and shown why the Templars should have given the name Baphomet to their so-called idol. Baphomet was Father Mithras, the cubical stone which was the corner of the Temple.

Modern interpretations and usage

The Devil in the Rider-Waite tarot deck.

Lévi's Baphomet is the source of the later Tarot image of the Devil in the Rider-Waite design. The concept of a downward-pointing pentagram on its forehead was enlarged upon by Lévi in his discussion (without illustration) of the Goat of Mendes arranged within such a pentagram, which he contrasted with the microcosmic man arranged within a similar but upright pentagram. The actual image of a goat in a downward-pointing pentagram first appeared in the 1897 book La Clef de la Magie Noire by Stanislas de Guaita. It was this image that was later adopted as the official symbol—called the Sigil of Baphomet—of the Church of Satan, and continues to be used among Satanists.Promotional poster for Léo Taxil, Les Mystères de la franc-maçonnerie dévoilés (1886), adapts Lévi's invention. Baphomet, as Lévi's illustration suggests, has occasionally been portrayed as a synonym of Satan or a demon, a member of the hierarchy of Hell. Baphomet appears in that guise as a character in James Blish's The Day After Judgment.[citation needed] Christian evangelist Jack T. Chick claimed that Baphomet is a demon worshipped by Freemasons,a claim that apparently originated with the Taxil hoax. Léo Taxil's elaborate hoax employed a version of Lévi's Baphomet on the cover of Les Mystères de l'Alchimie dévoilés, his lurid paperback "exposé" of Freemasonry, which in 1897 he revealed as a hoax intended to ridicule the Catholic Church and its anti-alchemic propaganda. In 2014 The Satanic Temple commissioned an 8 1/2 foot statue of Baphomet to stand alongside a monument of the Ten Commandments at Oklahoma State Capitol, citing "respect for diversity and religious minorities" as reasons for erecting the monument. After the Ten Commandments monument was vandalized plans to erect the Baphomet statue were put on hold as the Satanic Temple did not want their statue to stand alone by the Oklahoma capitol. The Oklahoma Supreme Court declared all religious displays illegal and on 25 July 2015 the statue was erected near a warehouse in Detroit, as a symbol of the modern Satanist movement. The Satanic Temple may take the statue to Arkansas where another 10 Commandments monument is proposed. Baphomet appears in Dungeons & Dragons as a powerful demon lord, and is also known as the "Horned King", or the "Prince of Beasts". Baphoment is followed by minotaurs and other savage creatures. He desires the end of civilizations so all creatures may embrace their most basic, brutal instincts. He is described as a massive, black minotaur, with blood around his mouth and red eyes. He wears an iron crown topped with the heads of his enemies, along with spiked armor. He wields a huge glaive, named "Heartcleaver", but commonly fights with his hooves, claws, and horns. He rules of the 600th layer of The Abyss, known as the "Endless Maze", and is the sworn enemy of Yeenoghu, another demon lord.

en.wikipedia.org/wiki/Baphomet

Warkworth Castle in Northumberland is forever associated with the Percy Earls of Northumberland but the site did not start with them. Indeed there is some mystery over who first built it and when. Located on a tight bend in the River Coquet and about a mile from the sea, the castle sits on the neck of this land which means that the enclosed space becomes an outer ward with the river as its moat on three sides. The medieval church and modern village now occupy the bend.

As an easy to defend site, close to the English/Scottish border, the speculation is that it may have had some sort of fortification well before the present building but this is now elusive - especially so if the first fortification was of mere earth and timber. Henry, son of King David I of Scotland, was granted the site around 1139 AD and he, in turn, granted salt pans to various local monks. As the new Earl of Northumberland the old guide book speculates that he either built the first castle or he improved an existing motte and bailey with new stone walls; the guide book certainly notes ‘Norman’ foundations at various points in the current building. A castle certainly exists in documents of 1157 AD.

King John of England confirmed the castle to Robert of Clavering in 1199 AD. Robert spent much time in the area as Sheriff of Northumberland and was gifted other local estates. He is thought to have built the main gateway, some of the walls and improved the Great Hall. He may also have built or improved the keep but this work has since vanished under the large and luxurious later Percy building. The Claverings held the castle but such was its importance that royal troops were also garrisoned here at times - at the king’s expense - due to the Scottish wars. In 1322 the constable of the castle sent 26 light horsemen (hobilars) to join the English army. The Scots were beaten off in 1327 and again the following year when Robert The Bruce besieged it.

The last Clavering male died in debt in 1332 and the castle eventually passed to Henry, the second Lord Percy of Alnwick. He improved the gatehouse and walls and may have added the Grey Mare’s Tail tower on the eastern side. From this time onwards Warkworth was the second castle home of the Percys and much favoured by them. The third Percy lord was a great soldier in the 100 Years War in France and was created Earl of Northumberland in 1377 before winning the battles of Otterburn and Homildon Hill against the Scots.

Sometime during this period extensive building work was carried out by the Percys with the keep on the motte being rebuilt as a sumptuous and comfortable building with decent accommodation, ample water management and drainage. It even had a very modern feature - a light well extending down the centre of the building to draw in both light and fresh air. For the ‘grim north’ this was a very princely home.

However after supporting Henry IV’s 1399 coup against Richard II, the Percys fell out with King Henry and rebelled - leading to executions and a period of disgrace. During this time Warkworth was attacked by a royal army with gunpowder artillery and it surrendered after seven discharges of the royal cannons. It is thus the first British castle to be successfully attacked by artillery despite the claims of nearby Bamburgh Castle.

John, Duke of Bedford held the castle for 11 years before it was returned to the next Percy - Henry, Earl of Northumberland. He was drawn into disputes with the junior Nevilles (the Earls of Salisbury and Warwick) but was supported by the senior Nevilles, the Earls of Westmoreland, who had their own issues with the junior Nevilles. Inevitably all this was mostly about money and inheritance. It paved the way to private battles between these families BEFORE the so-called Wars of the Roses. Indeed the first Battle of St Albans in 1455 may be more of a Mafia-style ‘hit’ as the Yorkists were lead by the three Richards (York, Salisbury and Warwick) and the principal dead were the Duke of Somerset, Henry Percy and a Percy kinsman, Lord Clifford.

The castle passed into Yorkist hands and - at various times - the Earl of Warwick directed sieges at Alnwick, Bamburgh and Dunstanburgh using Warkworth as his base. Warwick’s brother John Neville was given the castle and the earldom of Northumberland for a time but Edward IV eventually returned it to Henry Percy, the 4th Earl of Northumberland. John Neville was thus ‘downgraded’ to 1st Marquis of Montague and was thoroughly alienated by this action, leading to John joining his brother Warwick in rebellion against Edward IV. Warkworth’s Montague Tower is probably his work.

The 4th Percy earl carried out some work in his own right. One oddity is that a collegiate church was planned right in front of the keep which would have cut the keep off from the rest of the inner bailey. We know this as the present church foundations contain a tunnel which would have passed under the massive building to allow access to the keep from the bailey. However the guide book suggests the church was never finished and that the foundation crypts were partly buried and then became used for storage.

Henry the 4th earl became infamous for not supporting King Richard III at Bosworth in 1485. He then managed to get himself killed by the locals at Cocklodge in 1489 and is now buried in Beverley Cathedral. Later Percys got involved in the 16th century religious conflicts in England and none of them came out of it well. One even got involved in the Gunpowder Plot against the new Protestant King James I of England. One footnote is that King James visited Warkworth in this period and found it ruined and overrun by goats and sheep in every chamber. Some of his party went into the castle and were: “Much moved to see it so spoiled and so badly kept”.

Later Percys favoured Alnwick over Warkworth and it was one of these (now a Duke) who turned the site over to the future Ministry of Public Building and Works in 1922. It is now an English Heritage site and well worth a visit.

:)

Strathalbyn.

A Special Survey of 4,000 acres was taken out along the Angas River in 1839 for George Hall (secretary to Governor Gawler) and William Mein and others. Land was surveyed from the mouth of the Angas along the river to about where Macclesfield is now situated. Other contributors to the Mouth of the Angas Special Survey were Strathalbyn settlers including: 806 acres purchased by Dr John Rankine, Blackwood Park; 166 acres purchased by William Rankine, Glenbarr; 410 acres purchased by Donald McLean; 81 acres purchased by Edward and Charles Stirling of Hampton and later the Lodge. William and Nicol Mein kept 728 acres for themselves but George Hall (who kept about 930 acres) was a Colonial Office employee with an eye on speculation. He also paid £4,000 for the Great Bend Special Survey along the River Murray from Morgan to Blanchetown but it was claimed this was taken for Governor Gawler but in Hall’s name to avoid scandal! But the land was not worth £1 per acre! The Meins were graziers and also took out Occupational Licenses for leasehold land in 1843. They were Scots so they donated £600 for the building fund for the Presbyterian Church in Adelaide in 1840. But in 1843 they dissolved a business partnership in Adelaide and they appear to have left the colony perhaps to join their relatives in NSW. Meins did not stay on to become Strathalbyn pioneers unlike the Rankines, McLeans and Stirlings. The other prominent early founder was William Dawson- hence the creek flowing in front of Glen Barr is the Dawson Creek which enters the Angas River in Strathalbyn. Dawson Banks is another of the grand old properties in Strathalbyn.

Stirlings chose their land to the north of the town and built Hampden and the Lodge; John Rankine chose his land to the north of the town and built Blackwood Park whilst brother William Rankine chose land to the south on Dawson Creek and built Glenbarr house. The first public building in the fledgling town of Strathalbyn was the Strathalbyn Hotel erected in 1840 and the second was probably St. Andrews Presbyterian Church which opened in 1844 with additions in 1869. As most of the settlers were Scottish the name chosen for the town was Scottish and the first church was Presbyterian. The first farmer to produce a crop was David Gollan. His interest in wheat led him to open the first flour mill in 1850 in the centre of the town. Mill Bridge adjacent to the flourmill bridged the Angas River. As the town progressed quickly a local council was formed in 1854 with the Stirlings, Rankines and Archibald McLean (investor in Langhorne Creek) being among the first councillors. The Stirlings were especially important to Strathalbyn. Edward Stirling (the father) joined into a partnership with (Sir) Thomas Elder and Robert Barr Smith in 1855. Stirling stayed with the company as it funded the Moonta and Wallaroo copper mines in 1861 then he withdrew but remained as an investor in the mines. The company went on to become Elder Smith and Co the most successful SA 19th century company. Edward Stirling had two sons, (Sir) Edward Stirling a famed surgeon who lived at St. Vigeans at Stirling and (Sir) Lancelot Stirling, local Member of Parliament for the Strathalbyn district, sheep and cattle breeder and company director. The Stirlings lived in the family home Hampden until it burnt down around 1870. Then they moved into the Lodge which was extended and remained the family home for Sir Lancelot Stirling after his father Edward died in 1873. Lancelot lived there until he died in 1932. The Stirlings of Strathalbyn also owned and operated Nalpa Station on Lake Albert. The Lodge is now the centre of a new suburban development at Strathalbyn.

From the beginning Strathalbyn prospered because of its access to water from the Angas River, its reliable rainfall, its genial climate for cropping and from the patronage of its wealthy founders. The town was laid out in 1840 and blocks sold at that time. The discovery of silver, lead and zinc at nearby Wheal Ellen mine in 1857 further boosted the growing town. The mine closed a short time later but re-opened in 1869 and operated until closure in 1888. It briefly re-opened from 1910-14 for the last phase. Until recently Strathalbyn had another zinc mine conducted by Terramin Mining which started operations in 2007. The zinc from here was sent to Nyrstar refinery at Port Pirie for smelting. The mining occurred 360 metres below the ground surface. The mine had a life of five years and closed in late 2013 ending the jobs of 115 local people. But Strathalbyn has always had a range of local industry. A foundry operated in the town from the mid 1850s as well as the usual businesses of blacksmith, saddlery etc, and the town handled coach services to Wellington via Langhorne Creek from around 1854. It was also one of the first towns in SA to have its own gas works started by David Trenouth in 1868. By 1870 the small urban centre of Strathalbyn had gas street lights! The gas works operated until 1917 when an electrical service took over power provision. From an early date Strathalbyn also had its own newspaper and printing press the Southern Argus housed in Argus House which was built 1867/68. The Southern Argus which is still published, is SA’s oldest country newspaper. In 1912 it established an offshoot - the Victor Harbor Times. In terms of transportation and the transport of goods Strathalbyn prospered as it was the terminus of the horse drawn tram service from Port Elliott and Goolwa in 1869. That is why the Terminus Hotel is so named. In 1884 that line was converted to a broad gauge rail line for steam engines and linked at Mt Barker with the line to Adelaide. Strathalbyn had a flour mill from 1850 as noted above and in the 1860s the town had its own brewery. The heyday of business boom for Strathalbyn was in the 1860s and 1870 when so many of the fine town buildings were erected. Heritage buildings are shown on map above and they include:

Commercial Street/Dawson Street.

•At the northern end of Commercial Street on the corner with North Parade is the Doctor’s Residence. 26 North Parade. Dr Herbert built a grand 8 roomed residence here in 1858. Dr Ferguson purchased it in 1869 and added and altered the verandas. Dr Shone bought it in 1897. Dr Formby took it over in 1907 and kept it until he sold it to Dr Fairley in 1979! Note the double chimneys and the ogee(S shaped) gutters above the bay windows and the 1850s French windows.

•On the northern end of Commercial Street is the Wesleyan Methodist Church which was built in 1874. It replaced the demolished Methodist church built in 1854. Built of random stone, semi rounded windows etc. It became the only Methodist church at the time of Methodist amalgamations in 1900 .It closed around the time of amalgamation with the Presbyterians and Congregationalists in 1977. The Hall was added in 1939.

•Blackwell House, 18 Commercial Street. A two storey bluestone structure from the 1860s. It was much altered in 1912 when the parapet along the roof was removed, the slate replaced with iron and the upper balcony added.

•The former Power House 1917 –when gas works closed. Became Council Chamber 1939 when ETSA arrived.

•Coleman Mill store. Fine stone building with few windows. Built 1864. Coleman bought the mill from Gollan.

•1850 flour mill which was sold to Laucke’s in 1938. Commercial Rd and Mill Street an imposing four storey structure. Note the four storeys, purple sandstone, and little windows.

•Beside the mill is Water Villa house. The earliest part dates from 1849 and the Italianate bay window sections are 1879. David Gollan the owner of the 1850 flour mill built this as his residence. It is a mixture of stones. Note the French doors in the old original part of the house onto the veranda.

•Argus House, 1868. 33 Commercial Street. It was a print works and residence and shop.

•Post Office 1911. 37 Commercial Street.

•Savings Banks of South Australia. A fine two storey structure for the bank and manager’s residence. Built in 1930. It has rough stone, prominent gables, repeating arches, wooden doors, and terra cotta tiles.

•Church of Christ. Opened in 1873.Limestone walls, arched windows.

•Masonic Hall built in 1896 but Lodge established 1866.Additons 1912 and 1957.

Rankine Street/Albyn Terrace.

•Strathalbyn Police Station (1855) and Court House (1865) now the National Trust Museum.

•National Bank 2 Albyn Terrace. Squared stone blocks, two storeys and a dominant building. Elaborate porch and balcony and decorative window surrounds etc. Erected in 1869. Nearby Norfolk Island pine was planted in 1895.

•Tucker & Sons solicitors at 8 Albyn Terrace. Have a look at all the shops along Albyn Terrace a great 19th century streetscape still largely intact. It was used in the film “Picnic at Hanging Rock.”

High Street.

•London House general store at 7 High Street 1867. Now an antiques shop. Cobb and Co used to use the stables at the rear for the daily coaching service to Adelaide. London House had the first telephone in Strathalbyn in 1883.

•Robin Hood hotel erected in 1855 and still standing. 18 High Street.

•The Strathalbyn library 9 High Street. Opened 1922 with a classical façade with good symmetry.

•The Town Hall at 11 High Street. 1874 opened as a two storey stone structure with fancy parapet as an institute building. The parapet is supported by paired brackets.

Other locations- Chapel Street, East Terrace and South Terrace.

•St. Andrews Uniting Church (formerly Presbyterian) 1844 for main church with transept added 1857. Manse erected 1854. 1869 tower completed, bell donated by Edward Stirling. Clock installed 1895. Church hall on the opposite corner was built in 1911.

•Former Primitive Methodist Church 1861 was sold to the Anglican Church as a church hall in 1901 following the Methodist amalgamation. It was sold to the Foresters Lodge in 1912(when Anglicans purchased the former Catholic Church) and much later it as sold to the Scouts.

•St. Barnabas Catholic Church 2 Chapel Street. This was a late addition to Strathalbyn being erected in 1913. But Catholic services began in 1881 when a Catholic church was consecrated in Rowe St. The first priest arrived in 1906. A presbytery as built 1911 in East Tce and then church two years later. The 1881 church was sold in 1913 as Anglican parish hall called St. Barnabas. It is on the corner of Rowe and Murray street.

•Christ Church Anglican Church 7 East Terrace. The tower on Christ Church was erected from donations on the death of Sir Lancelot Stirling in 1932. The tower opened in 1933 but the church was built in 1871.

•Railway Station on South Terrace erected 1883 in time for opening of broad gauge line to Adelaide and start of branch line trains to Milang from Sandergrove siding.

•Two storey residence attached to Rowe’s foundry in South Terrace. Britannia House as it is known was built in 1855.

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Based on an archer from the west pediment of Temple of Aphaia now in Munich, 2019, marble stucco on PMMA (acylic), egg tempera, tin, wood, and gold foil, 96 x 77 x 55 cm, created by Vinzenz Brinkmann and Ulrike Koch-Brinkmann (Liebieghaus Skulpturensammlung, Frankfurt am Main, property of the Städelscher Museums-Verein e.V.)

Learn more at Smarthistory

I leave these speculations to others. It’s quite possible that my work represents a search for beauty in the most prosaic and ordinary places. One doesn’t have to be in some faraway dreamland in order to find beauty. Saul Leiter

Kodak Portra 160 120 Film

© www.markdanielphoto.com

Tetenal Colortec C-41

Pre wash 5 mins at dev temp 38.5Deg

Dev 3.15 mins - invert 2 times every 30 secs

Blix 4 mins - invert 2 times every 30 secs

Wash 4 mins - Change water every 30 secs

Stabiliser 1 mins - invert 2 times every 30 secs

Wash 5 mins to clear residue of chemicals

Reconstruction of the Small Herculaneum Woman, 2019, marble stucco on plaster cast, egg tempera, and gold foil 185 x 56 x 65 cm, created by Vinzenz Brinkmann and Ulrike Koch-Brinkmann (Liebieghaus Skulpturensammlung Frankfurt, on permanent loan from Johann Wolfgang Goethe-Universität, Frankfurt am Main)

Learn more at Smarthistory

Walking down St Martin's Walk through the middle of The Bull Ring Shopping centre, in Birmingham, West Midlands.

The market legally began on the site in 1154 when Peter de Bermingham, a local landowner, obtained a Charter of Marketing Rights from King Henry II. Initially, a textile trade began developing in the area and it was first mentioned in 1232 in a document, in which one merchant is described as a business partner to William de Bermingham and being in the ownership of four weavers, a smith, a tailor and a purveyor. Seven years later, another document described another mercer in the area. Within the next ten years, the area developed into a leading market town and a major cloth trade was established.

The name Mercer Street is first mentioned in the Survey of Birmingham of 1553. This was a result of the prominence of the area in the cloth trade. In the 16th century and 17th century, Mercer Street rapidly developed and became cramped. In the early 18th century Mercer Street was known as Spicer Street, reflecting the growing grocery and meat trade that had begun to take over from the cloth trade. By the end of the century the street was known as Spiceal Street. Despite being overcrowded and cramped, many houses on the street had gardens as indicated by an advertisement for a residential property in 1798. Houses were constructed close to St Martin's Church, eventually encircling it. These became known as the Roundabout Houses.

On a map produced by Westley in 1731, other markets had developed nearby including food, cattle and corn markets with other markets located nearby on the High Street. This corn market was moved to the Corn Exchange on Carrs Lane in 1848. The Bull Ring developed into the main retail market area for Birmingham as the town grew into a modern industrial city.

The earliest known building for public meetings in the town with any architectural record is the High Cross, which stood within the Bull Ring. The last known construction work was in 1703; it was demolished in 1784. It was also known as the Old Cross, to distinguish it from the Welch Cross, and was also nicknamed the Butter Cross due to farmwives selling dairy produce beneath its arches.

A series of events in Birmingham's political history saw the area become a popular meeting place for demonstrations and speeches from leaders of working class movements during the 1830s and 1840s.

In 1839, the Bull Ring was the location of the Bull Ring Riots, which resulted in widespread vandalism and destruction of property. It prompted fears amongst the town's residents at the council's inability to prevent or control the riots and led to speculation that the council was tolerant of lawlessness. Because of disorderly behaviour at fairs, in 1861 the area, along with Smithfield and Digbeth, became the only place in central Birmingham where fairs were permitted. In 1875, all fairs were banned from the town.

The area around the market site developed and, by the Victorian era, a large number of shops were operating there. Immigrants set up businesses such as flower-sellers and umbrella vendors. The Lord Nelson statue became the location for preaching and political protests. Well-known preachers of the time were nicknamed Holy Joe and Jimmy Jesus.

With temps well below freezing, the retreating waters of Still Creek leave icicles behind.

My speculation on the sequence:

We had heavy rains, and the creeks and rivers ran high with water. It being late autumn many leaves were transported in the water, and (in the case of this picture) were caught on a branch in the stream.

A dry cold snap hit, and for days on end the temps were well-below freezing, but no precipitation, and the creeks and rivers slowly receded, leaving the leaves frozen to the branches and vertical ice formations coming off the tips of stems and twigs as the water level dropped. Not exactly traditional icicles, as they are formed not by dripping water, but by retreating water. You could see this all along the banks of the stream.

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Late afternoon reflections

Henryton State Hospital is a now-closed hospital complex in Marriottsville, in southern Carroll County, Maryland, just across the Howard County line. The complex is located within Patapsco Valley State Park and along its southern end runs CSX's Old Main Line Subdivision and is very close to the Henryton Tunnel. The Henryton State Hospital center, or the Henryton Tuberculosis Sanatorium as it was called, was erected in 1922 by the Maryland Board of Mental Hygiene. It was established as a facility to treat African Americans suffering from tuberculosis.[1] This was one of the first such facilities in Maryland erected to provide African Americans with the same level of treatment as whites.

The original complex opened in 1922 and consisted of 6 main buildings and one utility plant. These buildings were erected between the years of 1921 and 1923. The establishment of the Henryton Sanatorium was one of the final steps in Maryland’s program to treat all of the state's tubercular patients. In the late twenties and early thirties the tuberculosis rate among African Americans in Maryland was quadruple what the rate was among whites.[1] This placed a heavy burden on the hospital to deal with the increasing number of patients. In 1938 the hospital was budgeted $270,000 for the construction of new buildings to house 200 more patients.[1] The new buildings roughly doubled the size of the overall facility, and several more municipal buildings added even more space to the complex. However, by the time the new buildings were completed in 1946, the tuberculosis rates had dropped, leaving much more room than was necessary.

In the decades since the facility’s closure, the Henryton State Hospital complex has become a haven for vandals, drifters, and drug addicts. The façade of most of the buildings have been extensively damaged and are covered in graffiti. Most of the windows have been broken out, making the grounds around the hospital very dangerous. The doors to all of the buildings have been broken in, allowing access to the inside. Although the furnishings and equipment were removed before the facility closed, there is still remarkable damage from people going through. Henryton has been the site of many suspicious fires since its closure, the most well-known of them taking place in the early morning of December 19, 2007.[citation needed] Henryton caught fire on April 28, 2011.[2] Initial speculation of this fire was believed to be suspicious in nature, but after fire marshalls conducted their investigation, it was believed to have been sparked by a lightning strike in the roof area.[citation needed] Firefighters arrived on the scene with heavy fire throughout the roof. Severe storms had passed through the area during the time that the fire was reported.

Henryton has suffered from extensive damage over the years

In this incident, the auditorium and cafeteria sections of the complex were engulfed with flames. The blaze took 80 firefighters from 3 counties to extinguish. The burned areas have since been demolished and removed. The 2011 fire affected the Physician and Nurses Cottage, destroying the roof. Visiting the Henryton State Hospital complex without the expressed written consent of the Maryland DHMH is trespassing, but the possible charges and fines seem not to deter most vandals. However, the decades of wear on the buildings without maintenance and the presence of large quantities of asbestos make Henryton a dangerous place to explore.

Since its closing, many attempts to purchase the land have been made, but most potential buyers, after having been approved to buy, have had their proposal for usage vetoed by local government and the like.[citation needed] The land on which the old Henryton Center rests goes on the market occasionally (every 5–6 years or so) and then is removed from the market. The state of Maryland spends a large amount of money to maintain the property minimally and occasionally patrol, and it is an expense that the state seems eager to be rid of.

Ethiopian Prime Minister Meles Zenawi has died at the age of 57, state media say, after weeks of speculation about his health.

On the picture:

In a filthy clinic, Balto has his left leg in a bamboo split that serves as a cast. His family and his cows have come to keep him company. He is lying on the ground, surrounded by fodder for the animals and by a stifling smoke coming from the fire that his wife is using to cook.

“I was walking peacefully in my field when soldiers began shooting at me for no reason… I was shot with a bullet in my knee. I was lucky, that day 11 people were killed and the soldiers threw four of their bodies off a bridge. They were eaten by hyenas, we only found their bones…”

For security reasons, i cannot show his face, even if he asked me to.

As Meles Zenawi has passed away, things may change, but i 'm not so sure as the government had months to prepare the next step...

© Eric Lafforgue

www.ericlafforgue.com

I am the Storm

60 x 90 cm

Glass, beads, tiles, amethyst, stoneware, mirror, nuggets, TG, crockery and paper

Wedi backing

Grouted in dark lilac

The Great Goddess is not only the giver of life, she also takes it away. She is warmth, sustenance, shelter... she is storms, earthquakes, destruction. Mother Nature is not always gentle and kind - once unleashed, her rage is both awe inspiring and terrifying.

This mosaic shows one of her less peaceful aspects. Here, she is the storm. She is driving the storm, the storm is driving her. But she is also spinning out of control - no one can control the power of the storm, not even she herself. No one knows where its going or where the pieces will fall once it has blown itself out.

The swirls of the storm incorporate pictures of some of the scary, crazy, amazing, wonderful, terrible influences currently pulling our world in different directions. Whether the influences are for good or bad is a matter of opinion, where it will end a matter of speculation, but I know I'm not alone in feeling frightened. The storm however isn't frightened, she just is. Her face is an island of calm in the centre of all the surrounding chaos, she looks serene and joyous - who doesn't love a good storm?

The pictures within the mosaic are not in any particular symbolic order of up/down, right/left, good/bad, dark/light... I placed them where they fitted in best according to the colour of the mosaic.

On the top left hand side there's a picture of a cockroach. Cockroaches are not usually seen as forces for good, but I put it here as a hopeful image. It represents the life force in every living being. You often hear that after a nucular war the only suvivors would be the cockroaches - apparently that is not based on fact, but I do believe, if the worst comes to the worst and we manage to wipe out all of humankind and probably a large number of the other inahbitants of Earth while we're at it... I belive that life will continue in some form or other. And if its the cockroaches who survive, good for them.

Below that is the sun... from which we get warmth, light, vitamin D, solar flares, skin cancer, global warming... it shows us that behind the clouds of even the fiercest storm, the sun will still be shining. Admittedly it might take a while for it to get through after a nucular Winter, but it will be there.

Starting from the centre of the dark upper swirl the first image is of Angela Merkel, Chancellor of Germany. I see her as an island of sanity and stability in the current political landscape. I think we should have far more women in postions of power, and btw, women are entitled to being just as falible as men are. I also think that a strong and united Europe is a very desirable thing in these times of shifting power balances. The world would probably be a better place if we had more politicians like Angela Merkel running things.

The next picture is of a woman wearing a niqab, standing for equal rights, obviously. But also against Islamophobia - I purposly chose a woman with a slightly challenging expression. I'm amazed at how much agression and fear a picture like this will often provoke. I once had a fascinating conversation with a women who wears a veil in public. She is articulate, intelligent, and has a great sense of humour. She wears a veil by choice because it is part of her culture and part of her belief system. I still object deeply to cultures that force women (or men) to cover up whatever parts of their anatomy - ours too! Free the nipple! But hating and fearing individuals because they are different is not the solution. So the niqab itself and the reactions to it disturb me about equally.

The next one is Malala - no need for explaination, right? A force for good against unbelievable odds, and an inspiration to us all. If she can still stand up fearlessly for what is right, after all she's been through, surely we can persevere and turn these current developments around!

Next up is a bunch of newspapers. They're from the UK in this case, but they stand for the press in general, all over the world. Some people think that journalists need to be controlled and persecuted... some think they should be free to write what they want about whatever they want. Some people think they always lie, some people think they're in the pockets of various interest groups. Its funny, I feel that in the last half year or so, journalists have moved from being shifty blighters who we need to keep a good eye on, to definitely absolutely being the good guys, a major defence against totalitarian regimes everywhere. This is a classic case of only appreciating something once you might loose it... Free press , please oh please lets keep free press!

Putin. What can I say? I do not like what is happening over there one little bit. I'd really rather not find out what he is working towards.

And on the right hand point of the upper swirl we have Trump. I was worried this mosaic would end up centered too much on the US, because the problems and challenges facing us are global. But lets face it, this mosaic was concieved and inspired by his election and his actions ever since. So yes, it is US centric.

Following the swirl, we come to the Pope. I am highly suspicious of organised religion, religious fundamentalism is resonsable for so much intollerance and hate the world over. So its very interesting that I included the heads of two major organised religions on this mosaic as forces for good. This current pope impresses me no end.

Next is a picture of two hands holding onto prison bars, sybolising lack or loss of basic freedoms for far too many people around the world, and fear that this will increase if things continue the way they seem to be headed now. Don't get me started on for profit prisons! How could that ever be a good idea???

To the left of the Goddess' arms we have the Damai Lama, the second religious leader on this mosaic. He was delt a very difficult hand and has against all odds become a figure who is rightfully admired and revered all the world over. I'm taking Tibet to represent anexed or supressed countries and peoples. China has a lot to answer for in this case and is certainly also observing current global developments with great interest.

Left of the Dalai Lama is a pile of books. Knowledge, or rather lack of it, is the root of many of the more sinister current trends. The books here are old, because knowledge and understanding of our past helps us understand the present and may help us shape the future.

The final image on this swirl is a selection of News outlet logos - representing free press again, but also internet comunication. It has never before been easier to get information on any topic whatsoever, it has proabably never been harder to suppress information either, or to spread false information... it has also never been harder to sift through all the information and try to decide what is true and what is fake. For better or worse, this is technology shaping our world today.

On the right hand side of the Goddess' hair there is a picture of some demonstrators in pussy hats from the women's marches in the US. It is inspiring to see people going out and standing up peacefully for what they believe to be right. Not only in the US, I had pictures of peaceful demonstrations from all over the place, but picked this one because... well: pussy hats, they are cool. Lets hope there are enough people who will continue to do so, that people will be legally allowed to do so... and that it will make a difference.

The blue streak at the hight of her naval, from left to right: First off a LGBT rainbow fist. Equal rights for all... lets hope these rights will not be eroded in the US and that more people all over the world will be able to live and love freely the way they want. Although right now, in too many places, it seems to be going in the other direction.

The next picture is one of the boats in the Mediterranean full of refugees from Syria. It was very hard to choose some of these pictures, and this one, while I was sticking glass to it, then grouting and polishing the tess, I was aware that every little dot on that picture is a human being who has been through horrors I don't even want to imagine. These here are the "lucky" ones, the ones who made it to the Mediterranean and who were sighted before their boat capsized - if anyone who has to flee their country can ever be considered lucky.

The third picture in this row is a group of test tubes/flacons - science, knowledge, research, a blessing or a curse? On the one hand I am deeply in favour of scientific peer reviewed studies as a mothod for gaining knowledge on any subject you care to name. Research should be as independant as possible, but at the same time it is very expensive and can also lead to enormous profits. Letting the free market decide on prices for drugs - for instance - is evidently not a good idea. And don't get me started on for profit health care. That is rather a lot for a couple of test tubes to stand in for though, isn't it?

To the right of her navel there is a puddle of water covered by a film of oil. The colours are beautiful... oil-contaminated water not so much. Renewable energy sources, anyone?

Next is a picture of a whale, just because. These creatures are so fascinating, we know so little about them, and who knows if they'll even last long enough for us to learn more.

The final image in this row is Brexit - another shocking and unexpected vote, another "where on earth is this all going to end?" moment. Buckle up, because like it or not, we're going to find out.

The light strip of clouds from left to right: The first picture is of a bundle of banknotes, because so much nowadays comes down to money - lack of it, wanting more of it, having too much of it. Plenty of studies show that higher income inequality reduces the quality of life for both the haves and the have nots, but at the same time income inequality is increasing at an alarming rate all over. Go figure.

To the left of her knees is a "coexist" sign. I have nothing against any religions or beliefs, so long as they also respect mine. For goodness' sake just live an let live, why is this so hard?

Too much of religion seems to be about hating, suppressing and controling others.

To the right of her knees there's an image of five interlinking hands with five different skin colours. What goes for religion also goes for skin colour... live and let live, we're all in this together. Unfortunatey racism isn't just going to dissapper anytime soon.

The next one is more of the same: The black power sign, another inspiring instance of people standing up for their rights. Its nowhere near where it should be, work in progress... And like so much else here, in the current political climate, things will likely get worse before they get better.

Finally, an archve picture of an atomic mushroom cloud. Too many atomic bombs are in the hands of people who are too trigger happy by far. I don't even want to think about it. But unfortunately I do.

The last Swirl by her feet, starting from the right and working inwards: The first image is one of the most chilling to me. It is of a perfectly nice US family posing with their guns. Seriously, I just don't get the thing Americans have for guns. I live in a country where many housholds have a gun - but locked away for use in the case of war, not paraded around on a Sunday afternoon picknick!

The next is a Polar bear... who may soon become extinct because of global warming and the melting of the ice caps.

To the right of her feet is a lovely picture representing another whole mixture of politics and

religion, a conflict with no end in sight, which can stand for many more similar situations all over the world.

To the left of her feet: A wolf. Wolves are coming back to Switzerland after having been extinct here for many years, which is very cool. Then there are people who don't want them to make a comeback and keep shooting them. The kind of story that is playing out in many places around the world..

The picture right on the left of this swirl is one of the protestors of Standing Rock, a man on a horse facing a line of tanks. The outcome was sadly expected and disapointing, but what a heartwarming show of solidarity and pride in their heritage. People all over the world were rooting for them. Renewable energy sources, anyone?

Going on down: The Chinese Wall - standing in for all kinds of walls built between all kinds of boundries. History doesn't seem to show this to be a particularly successful way of going about things, but hey, people keep on trying.

The next image is of parched earth. Global warming, floods, draught... Is access to clean drinking water a right or a privelege? Will the earth be able to sustain an ever growing population?

The next is another very nasty picture: a sea turtle caught in piece of plastic. The amount of plasic in our oceans in horrendous, and that is another thing that is likely to get worse before it might one day hopefully get better.

The last image on this swirl is a tank. Because war. I don't want to live through one if at all possible. I'm sure a great many other people don't want to either. I expect people living in a war zone would really like it to stop. There are absolutley things worth fighting for... but lets try to work towards less wars, yeah?

The very last picture on the bottom left hand side is a small dandelion working its way through asphalt. Isn't it amazing how you can have six feet of concrete, and somewhere underneath there is a little seed just patiently waiting to work its way through? Life cannot be contained.

There are speculations that the cows can see their fate via dream.

Before they are sacrificed, they are often given a bath.

.... Artist, Michel de Broin's 'One Thousand Speculations', a 7.9 metre / 25 foot in diameter ball made up of 1,000 mirrors .... the world's largest mirror ball

Speculative apartment developments such as these at Xian are typical of modern China. A massive building boom has caused every city to be surrounded by tower blocks built on borrowed money. The problem is that there are far more apartments than buyers/renters and vast numbers stand empty whilst yet more are built nearby. I can only see this ending in some sort of financial collapse in the building industry in China. For now it provides employment for thousands, probably millions.

At The Garden of Cosmic Speculation.

Dumfries, 2012.

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images of a new 'construct,' basically by-products of my mental design exploration, not sure what to tag these with exactly

Only the speculation about their relationship status, then the fuss about her ex-husband Rafael van der Vaart (32) and his wild womanizing: Sylvie Meis (37) is currently in the focus of the media. But the situation does not seem to bring calm she appears relaxed with her ​​best friend in a lux...

www.newerfeed.net/sylvie-meis-spend-time-in-a-comfortable...

As I was approached by adifferentminifigure I want to state that this is only speculation. Please do not threaten them in any way because of unfounded speculation, as this is morally inacceptable. Some of the renders and printing look very similar to Cyclopsbrick's renders and printing which lead me and a few other people to this speculation.

di ako sure sa details ng isang ito.... pero suspetsa ko old MB ang isang ito.... i am basing my speculations on its wheels....

After months of speculation, British Steel finally closed their Redcar steel works on Friday 19th February 2010

I managed to gain access to the shuttered plant a few days later on Tuesday 23rd February

Wien - Decke der Peterskirche

Peterskirche (English: St. Peter's Church) is a Baroque Roman Catholic parish church in Vienna, Austria. It was transferred in 1970 by the Archbishop of Vienna Franz Cardinal König to the priests of the Opus Dei.

The oldest church building (of which nothing remains today) dates back to the Early Middle Ages, and there is speculation that it could be the oldest church in Vienna. That Roman church was built on the site of a Roman encampment.

This church was replaced with a Romanesque church with a nave and two aisles. It is believed to have been established by Charlemagne around 800, although there is no evidence supporting this view. At the outside of the church, there is a relief sculpture by R. Weyr consecrated to the founding of the church by Charlemagne. In any case, a church of Saint Peter in Vienna is first mentioned in 1137. Around the end of the 12th century, the church became part of the Schottenstift.

The old church burned down in 1661 and was given only makeshift repairs. The decision to build a new church was taken up with the arrival of the Fraternity of the Holy Trinity of which the emperor Leopold I was a member. He had taken a vow to rebuild this church when Vienna was ravaged by the plague in 1679-1680.

The construction of the new Baroque church was begun around 1701 under Gabriele Montani, who was replaced by Johann Lukas von Hildebrandt in 1703. The design was inspired by the St. Peter's Basilica of the Vatican in Rome. By 1722, most of the building was finished, and in 1733, the Peterskirche was finally consecrated to the Holy Trinity. The new church was the first domed structure in baroque Vienna. Due to the confinement of available space, it was built in a very compact form, with its oval interior housing an astonishing amount of space and rectangular attachments. The church makes an overwhelming impression on the visitor with its surprisingly rich interior filled with golden stucco.

The Peterskirche is located on Petersplatz, right next to Graben and just west of the Pestsäule. The street Jungferngasse cuts through the pedestrian zone and leads directly to the church. The Peterskirche is largely obscured by the surrounding buildings, and can only be seen clearly from directly in front.

(Wikipedia)

Die Rektoratskirche St. Peter ist eine römisch-katholische Kirche im 1. Wiener Gemeindebezirk Innere Stadt. Das heutige Kirchengebäude wurde 1733 vollendet und geweiht. Die seelsorgliche Betreuung der Peterskirche wurde 1970 vom Wiener Erzbischof Kardinal König Priestern des Opus Dei übertragen.

Die erste Peterskirche, von der heute keine sichtbaren Reste mehr vorhanden sind, ging bis in die Spätantike zurück und war somit die älteste Kirche und Pfarre der Stadt Wien. Sie entstand in der zweiten Hälfte des 4. Jahrhunderts, indem ein Kasernengebäude des römischen Lagers Vindobona zu einer einschiffigen Saalkirche basilikaler Art umgebaut wurde.

Die Kirche selbst soll von Kaiser Karl dem Großen um 792 gegründet worden sein, was jedoch nicht nachgewiesen ist. Erstmals wird 1137 eine Kirche des heiligen Petrus in Wien urkundlich erwähnt. Gegen Ende des 12. Jahrhunderts fiel die Kirche an das Schottenstift. Im Jahr 1661 brannte das Gebäude aus und wurde nur notdürftig instand gesetzt. Der Beschluss, eine neue Kirche zu bauen, wurde allerdings erst 1676 mit der Übersiedelung der Erzbruderschaft der Allerheiligsten Dreifaltigkeit in Angriff genommen.

Um 1701 wurde auf Initiative Kaiser Leopolds I. mit dem Neubau begonnen. Die alte Peterskirche, die wohl schon ziemlich verfallen war, wurde samt dem umliegenden Friedhof abgerissen. Die Planung und der Baubeginn (Fundamente) der neuen Peterskirche erfolgten unter Gabriele Montani. Ab 1703 setzte Johann Lucas von Hildebrandt den Bau nach verändertem Plan fort und 1708 war er im Rohbau vollendet. Sein Bauführer war Franz Jänggl, auch Baumeister Francesco Martinelli ist dokumentiert. Der Steinmetzauftrag wurde dem Wiener Meister Johann Carl Trumler übergeben, der den erforderlichen harten Kaiserstein, unter anderem für den umlaufenden Sockel, aus dem kaiserlichen Steinbruch anforderte.

Die Bauarbeiten zogen sich noch bis 1722 hin, erst zu diesem Zeitpunkt war der Bau größtenteils abgeschlossen. Die neue Kirche war der erste Kuppelbau des barocken Wien. Das Sakralgebäude verfügt über eine sehr kompakte Form, einen ovalen Innenraum mit erstaunlich viel Platz und rechteckigen Anbauten.

Joachim Georg Schwandtner, Superintendent der Erzbruderschaft der Allerheiligsten Dreifaltigkeit, stiftete einen Portalvorbau, der 1751–1753 nach Plänen von Andrea Altomonte aus Gutensteiner Marmor angebaut wurde.

Die Peterskirche befindet sich auf dem Petersplatz, unmittelbar neben dem Graben, kurz nach (westlich) der Pestsäule. Dort durchschneidet die Habsburgergasse die Fußgängerzone (danach Jungferngasse) und führt direkt zur Kirche. Die Peterskirche verschwindet fast zwischen den hohen Häusern, und sie ist erst zu sehen, wenn man davorsteht.

(Wikipedia)

Im Appenzeller Hinterland sind am 13. Januar die Sylvesterchläuse unterwegs, und wünschen "Es guets Neus" in der Tradition des Julianischen Kalenders.13 January, «Old New Year's Eve», the «Chläuse» make their way around the Appenzell hinterland. The origin and meaning of this ancient custom are the subject of speculation, because few written documents exist.