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Artist Statement
The list of the worldly issues minor and major that impact personal experiences seems to be endless. Some of those issues may be: human overconsumption, intrusive surveillance, racial and other forms of inequality and discrimination, deforestation, air and water pollution, religious control, etc. In our contemporary society we are all potentially impacted by these negative forces since the time we start developing in our mother’s wombs. Humanity, right now, has all the necessities and commodities to provide every person on this planet with a comfortable place to sleep, healthy food to eat, clean water to drink, fresh clothes to wear, and a proper healthcare. But yet the said destructive forces are too overpowering, so the future seems doomed.
For this photographic project making “the personal is political,” I approached different people and asked how they wanted our world to change and to write out this desire with black marker on a white board. In an attempt to allow the people photographed to freely and fearlessly express their truest thoughts about any issues that bother them, I asked them to wear a Guy Fawkes mask to conceal their identities. I chose specifically to use this mask because of its long history, the meaning and the symbolism it carries, and the emotions and thoughts it invokes in most people who are familiar with the mask.
Guy Fawkes was a revolutionary who did not like the status quo, and wanted to overthrow corrupt government and make the world a better place. Hollywood greatly popularized his image via the movie “V For Vendetta,” so to this day he is remembered by many people around the globe as the one who opposed the ruling system. The mask symbolizes protest against tyranny, totalitarianism, any kind of oppression, and any other type of mistreatment and misconduct towards other fellow human beings. It symbolizes a great desire for a better and happier life for all people. It reminds us that we all are creators of our own destiny, builders of our own fate. Except the limitations you place ourselves into by our your own beliefs there are no limitations to what people can do.
The aboriginal flag draped from the Victoria Bridge encouraging a No Vote in the upcoming referendum.
Premier David Eby; Adrian Dix, Minister of Health; and Jennifer Whiteside, Minister of Mental Health and Addictions, issued a statement about the bilateral agreement in principle with the Government of Canada.
Learn more: news.gov.bc.ca/28298
27-XII-2021 Lunes
______
Bueno a lo tonto
pero hoy voy a ir
para empezar a
tomar metadona
y así al menos
quitar - me
el mono malo
y dar el 1er paso
y así empezar
a moverme para
salir de esto.
Cuando acabe el
dolor voy a estar
en otras
condiciones
seguro, voy a
estar bien sin
consumir.
seguro.
voy a hacerlo
voy x ello
(Documento real, reflexión anónima encontrada en el suelo escrita en una etiqueta por alguien)
Sydney's Metro City and South West took an important step forward with the publication of the Environmental Impact Statement for the third and last section, the adaption of the suburban Bankstown Line between Sydenham and Bankstown to metro standards. This included artist's impressions of the changes envisaged to the railway stations along the line.
It is anticipated that the stations will be ready in 2020, with metrofication completed by 2024.
Graphic: Transport for New South Wales, Sydney Metro
Ramzi Jammal, Executive Vice-President and Chief Regulatory Operations Officer Canadian Nuclear Safety Commission, and President of the Conference, delivers his statement session at the opening of the International Conference on Global Emergency Preparedness and Response. IAEA Vienna, Austria, 19 October 2015.
Photo Credit: Dean Calma / IAEA
Chancellor of the Exchequer, George Osborne leaves HM Treasury with Chief Secretary to the Treasury, Danny Alexander on 05 December 2012.
The parliament debates recent developments in the Ukraine conflict with EU Foreign Affairs chief Federica Mogherini. On the agenda is the Merkel/Hollande peace initiative, Wednesday’s meeting of the presidents of Germany, France, Ukraine and Russia in Minsk (Belarus), a possible US arms delivery to Ukraine and new EU sanctions against Russia.
www.europarl.europa.eu/ep-live/en/plenary/video?date=10-0...
ec.europa.eu/avservices/ebs/schedule.cfm?page=2&date=...
This photo is free to use under Creative Commons licenses and must be credited: "© European Union 2015 - European Parliament".
(Attribution-NonCommercial-NoDerivatives CreativeCommons licenses creativecommons.org/licenses/by-nc-nd/4.0/).
For bigger HR files please contact: webcom-flickr(AT)europarl.europa.eu
Seaman apprentice Roger Priest is flanked by his father Roger A. Priest and mother Pauline Priest April 27, 1970 following a court martial sentence of a reprimand, reduction in rank and a bad conduct discharge for promoting disloyalty for his antiwar newsletter OM.
Priest worked in the Navy’s Office of Information at the Pentagon when he published his mimeographed alternative GI newsletter and faced charges of up to six years hard labor, forfeiture of pay and grade and a dishonorable discharge.
OM had a print run of 1000 and featured anti-Vietnam War articles and information as well as acting as a “gripe” forum for armed service members.
The court martial at the Washington Navy Yard included charges of soliciting fellow soldiers to desert, urging insubordination and making statements disloyal to the United States
The Navy charges were all based around the issue of free speech in the military and would become nationally publicized at a time when GIs were increasingly resisting the Vietnam War, including refusal of orders to go to Vietnam and refusal of orders to fight for those who shipped out.
Upon appeal, the conviction was reversed and he was granted an honorable discharge.
The following excerpts of Roger Priest’s anti-Vietnam War activities and subsequent court martial are from “His crime was speech” by Dale M. Brumfield posted on the Lessons from History site:
The Defense Department reported that in 1970, almost 245 underground presses published at least one anti-Vietnam edition on America’s military bases.
But it was one fearless sailor working inside the Pentagon, Journalist Seaman Apprentice Roger L. Priest, that pushed hardest against military boundaries and caused the Defense Department the biggest headaches.
Roger Priest entered the Navy in October 1967 and was transferred to the Pentagon’s office of Navy Information in January 1968.
“I was anti-Vietnam before I got into the service,” Priest told Washington Post writer Nicholas von Hoffman. “I thought I could live this lie … and I’m not even killing, I’m just shuffling papers.”
Throughout 1968, Priest became more disgusted with America’s role in Southeast Asia, leading him to create the only underground paper published by someone who actually worked inside the Pentagon. It was published on his own time and with his own funds and was one of the few such papers to use the creator’s real name instead of a pseudonym.
“How many more women and children must be burned before the people of the United States realize the horrendous crime they are committing against a peasant people?” he wrote in his paper he called OM — the Servicemen’s Newsletter before later changing it to Om — the Liberation Newsletter.
1,000 copies of the first mimeographed issue of OM appeared on April 1, 1969. The next morning, within 90 minutes of arriving at his desk, he was abruptly reassigned to the Navy and Marines Exhibit Center at the Washington Navy Yard. “I don’t care if they send me to the North Pole,” Priest told the Washington Post, “I’ll write my stuff on ice cubes if I have to.”
Exercising his First Amendment rights while knowing full well he was placing himself in the U.S. Navy’s crosshairs, Priest published a second edition of OM on May 1, then a third one on June 1, each with a press run of 1,000 copies.
Priest also raised the ire of the Navy when he made an antiwar group the beneficiary of his service life insurance and urged other soldiers to do the same. In his case, if he was killed by the Viet Cong in Southeast Asia, the War Resistor’s League would receive his $10,000 payout.
OM was unapologetically blunt. “Today’s Pigs are tomorrow’s bacon” stated one headline in issue two that described Joint Chiefs Chairman General Earl Wheeler. OM called Secretary of Defense Melvin Laird “People’s enemy no. 1” and “a practicing prostitute and a pimp.”
Other statements appearing in the paper that crossed the Navy included “Our goal is liberation … by any means necessary,” and “Shoot a pig!” A headline in another issue read “Be Free Go Canada,” then listed the addresses of groups in Canada aiding military deserters. The article also explained that “landed immigrant status” was available in Canada to deserters.
On June 12, 1969 Priest was interrogated about OM by the Office of Naval Intelligence (ONI). Three days later, fourteen official charges were lodged against him, including soliciting fellow soldiers to desert, urging insubordination, making statements disloyal to the United States, using “contemptuous words” against South Carolina Representative L. Mendel Rivers, and worse, not stating in the paper that his statements were his own opinions, and not those of the U.S. Navy.
Von Hoffmann wrote on June 25, 1969, that Priest was accused of “everything that’s happened to the Navy except perhaps stealing the [U.S.S.] Pueblo.” Priest also noticed at this time that he was being followed around by civilians in Ford Fairlanes and Plymouth Valiants.
“… This whole thing hinges on free speech, freedom of the press,” Priest told von Hoffman. “They’re not talking about my military behavior … they’re talking about what I do on my own free time, outside of the Navy, in my own apartment … in other words my rights as an American citizen.”
In July, Priest published a special “Best & Worst” issue of OM in conjunction with a defense fund called LINK, “The Servicemen’s Link to Peace.” On July 21, Priest — holding a sign that read “My crime is speech” — led a demonstration of about 100 people in front of the National Archives building. The next day an article 32 pre-court martial investigation convened at the Naval Air Station in Anacostia.
Just over 100 members of the Navy Ceremonial Guard armed with M-1 rifles, live ammo and gas masks stood watch as Navy aviator Commander Norman Mills conducted the proceedings. Priest was represented pro-Bono by Washington Attorney David Rein.
“If I can be put away for a number of years in prison for the mere writing of words — an act so basic to the founding of this country that it finds its basis in the First Amendment of the Constitution — then my crime is speech,” Priest said in his opening statement. “But let me tell you this: OM will go on, for others will take up the pen where I leave off.”
During this trial, the prosecution admitted that approximately 25 naval intelligence agents were assigned to follow and harass Priest (hence the Fairlanes and Valiants). Furthermore, when a letter found in Priest’s trash was introduced as evidence, ONI special agent Robert Howard testified that the Washington DC department of sanitation provided a truck exclusively for trash pickup at Priest’s apartment building.
Attorney Rein said that this activity alone “brought more discredit on the armed services than anything Roger Priest has done.”
A furious DC Mayor Walter Washington promised a “full and complete investigation” of the sanitation department when director, William Roeder was quoted as saying “If the police ask us to do this, we cooperate with them.” He later denied making the statement.
“City Denies Trash Spying” trumpeted the Washington Post in embarrassing contradiction to the testimony of ONI Agent Howard.
Despite the disorganization of the proceedings, Priest was ordered to appear before a general court-martial on charges that he solicited members of the military to desert and commit sedition, and that he published statements “urging insubordination, disloyalty, and refusal of duty by members of the military and naval forces with intent to impair loyalty, morale and discipline.”
The combined charges carried a maximum sentence of 39 years in prison and a dishonorable discharge.
During this time Priest kept a low profile at his Navy job, obeying orders and being careful to not break a single regulation. His strategy was to force the Navy to court-martial him only for OM’s contents, which he created on his own time, and not on some extraneous charge that disguised the political nature of his battle.
Not to be held down, Priest published “The Court-Martial Edition” of OM in October 1969.
In it, OM bestowed the “Green Weenie” award to the “25+” people “assigned to gather information, interrogate, follow and harass” him.
“ONI left no stone unturned or garbage can unmolested, nor did they mind to stoop to entrapment in trying to deny the constitutional rights of free speech and free press to Seaman Roger Priest,” OM declared.
By April, Priest had become a hero to other like-minded servicemen across the country. LINK Director Carl Rogers estimated his organization spent over $17,000 in buttons, posters, postage and travel expenses for Priest’s speaking engagements.
“No group like ours,” Rogers warned, “can begin to counter the resources and the manpower of the Pentagon … to harass and oppress dissenters.” Rogers also reported, however, that the court-martial had backfired on the Pentagon, resulting in about 10,000 reprints of OM (far more than the original press run of 1,000) and 10,000 “OM” buttons distributed in a little over two months.
Priest gained support from the infamous Chicago 7 — Abbie Hoffman, Jerry Rubin, David Dellinger, Tom Hayden, Rennie Davis, John Froines, and Lee Weiner
Priest also gained an unlikely ally when New York Senator Charles Goodell issued a statement September 5 that said in part, “When Roger Priest enlisted in the Navy, he accepted certain well-defined responsibilities as a soldier. He did not, however, forfeit his constitutional rights as a citizen of the United States.”
The court-martial board convicted Priest only on two minor counts of promoting “disloyalty and disaffection among members of the armed forces.” They recommended Priest be reprimanded, reduced to the lowest pay grade and receive a bad conduct discharge, but no jail time.
Thrilled with the outcome, Attorney Rein said he would nonetheless appeal the bad conduct discharge.
On February 11, 1971, a panel of Navy appeals judges reversed that conviction and awarded Priest an honorable discharge, citing the grounds of reversal on a “technical error” by Judge Raymond Perkins where he failed to explain to the court-martial that disloyalty to the Navy or a superior officer was not the same as disloyalty to the United States.
Also, upon review of the case, the reprimand was dropped by Rear Admiral George Koch, commandant of the Washington Naval District.
Priest’s case presented a conundrum regarding military dissent: How does a country impress young men into the army to fight a war they ideologically oppose or even outright despise? Are men so profoundly disaffected reliable soldiers?
An anonymous columnist proposed a somewhat cynical solution off-record to von Hoffman: “You can’t fight imperialist wars [anymore] with conscript armies. You have to use mercenaries.”
For more information and related images, see flic.kr/s/aHsmLuExUi
The photographer is unknown. The image is an Associated Press photograph housed in the D.C. Library Washington Star Collection.
St Brides - In An Ideal World
image ENDS This Week - 'In An Ideal World' at St Brides, Percy Street
The Toxteth Art Gallery presents local artists from Liverpool city and abroad in a mixed exhibition of various media, curated by Alice Lenkiewicz. Based upon the theme,'In an Ideal World', presenting individual artworks and personal statements around this theme.
Artists:
Richard Gustavo Caroprese Hoyos
Tracy Dunn
Alice Lenkiewicz
George Lund
Arthur Roberts
Joel Bird
Janine Pinion
Sarah Ryan
Mary Fitzpatrick
Stephen Osu
Raymond Watson
Richard Ashworth
Barbara Jones
Danny John
Christine O’Reilly Wilson
Mark Owen
Wendy Williams
Ilsa Parry
Iain Yell
Barbara Harrison
Susan Sharples
Theresa Potter
Lee Donnelly
Carl Fletcher
Ken Bullock
St Brides, Percy St, L8 8LT
07954312390 or 07804511364
Wed-Sun:12.00-17.00
Almost ready for top drawer trade fair at olympia london! this is one of our new range to be launched in 4 days time!!
The Chancellor Jeremy Hunt works on his speech ahead of the Autumn Statement in his office in No11. Photo by Zara Farrar / HM Treasury
A BBC video of the Exhibition from BBC World's 'Impact Asia' can be found here:
Exhibition and Charity Auction in aid of the British veterans of the Korean War.
A positive, dynamic and exciting exhibition of contemporary art by forty Korean Artists, reflecting on the Korean War and its legacy.
This exhibition thanked the men and women of Britain who came to Korea’s defence in the name of liberty in 1950.
Exhibition Dates: 16 June – 17 July 2010
The artworks were subsequently sold at a Charity Auction at the KCC with the kind support of Sotheby’s and The Royal British Legion.
The contributing artists for the exhibition PRESENT FROM THE PAST: The 60th Commemoration of the Korean War:
in alphabetical order:
Je BAAK, Seung Woo BACK, Chan-Hyo BAE, C Gene, Francesca CHO, Young-Jin CHOI, Sen CHUNG, Shan HUR, Yun Kyung JEONG, Eemyun KANG, KANG Yong Suk, Ayoung KIM, Hayoung KIM, Kira KIM, Dae Hun KWON, KWON Kyung-hwan, Changwon LEE, LEE Lee Nam, Sang Youp LEE, Sea Hyun LEE, Suejin LEE, Yongbaek LEE, NA Hyun, NANDA, Jae woo OH, Junggeun OH, Hyung Jin PARK, Jinhee PARK, PARK Jongha, PARK Jongwoo, PARK Sungsil, PARK Young Geun, SEO, Gunwoo SHIN, Meekyoung SHIN, Bada SONG, Yun-Hee TOH, Seungho YOO, YOO Hye-Sook, Jungu YOON
PRESENT FROM THE PAST: the 60th Commemoration of the Korean War
All Rights Reserved: The Korean Cultural Centre UK.
Protestors making a statement through art at The Reichstag in Berlin Germany, at the site where The Berlin Wall Once Stood
I am indebted to John Fielding (www.flickr.com/photos/john_fielding/) for posting an aerial shot of Holy Trinity, and my interest was piqued by the timber-framed building with the triple gable at the east end. Turned out this was the Lady Chapel, and more of that later. So, on my way back home to Kent, I called in to see if it looked as remarkable in the flesh as in photographs.
I arrived at Long Melford, after being taken on a magical mystery tour in light drizzle from Wortham, down narrow and narrower lanes, under and over railway lines, through woods, up and down hills until, at last, I saw the town laid out beyond the church.
I parked at the bottom of Church Walk then walked up past the line of timber framed houses, the tudor hospital and the tudor manor house.
Holy Trinity sits on top of the hill, spread out, filling its large churchyard and the large tower not out of proportion.
Inside it really is a collection of wonders, from brasses, the best collection of Medieval glass in Suffolk, to side chapels, and behind, the very unusual Lady Chapel.
------------------------------------------
The Church of the Holy Trinity, Long Melford is a Grade I listed parish church of the Church of England in Long Melford, Suffolk, England. It is one of 310 medieval English churches dedicated to the Holy Trinity.
The church was constructed between 1467 and 1497 in the late Perpendicular Gothic style. It is a noted example of a Suffolk medieval wool church, founded and financed by wealthy wool merchants in the medieval period as impressive visual statements of their prosperity.
The church structure is highly regarded by many observers. Its cathedral-like proportions and distinctive style, along with its many original features that survived the religious upheavals of the 16th and 17th centuries, have attracted critical acclaim. Journalist and author Sir Simon Jenkins, Chairman of the National Trust, included the church in his 1999 book “England’s Thousand Best Churches”. He awarded it a maximum of 5 stars, one of only 18 to be so rated. The Holy Trinity Church features in many episodes of Michael Wood's, BBC television history series Great British Story, filmed during 2011.
A church is recorded as having been on the site since the reign of King Edward the Confessor (1042–1066). It was originally endowed by the Saxon Earl Alric, who bequeathed the patronage of the church, along with his manor at Melford Hall and about 261 acres of land, to the successive Abbots of the Benedictine Abbey of Bury St Edmund’s. There are no surviving descriptions of the original Saxon structure, although the roll of the clergy (see below) and the history of the site extend back to the 12th century.
The church was substantially rebuilt between 1467 and 1497. Of the earlier structures, only the former Lady Chapel (now the Clopton Chantry Chapel) and the nave arcades survive.
The principal benefactor who financed the reconstruction was wealthy local wool merchant John Clopton, who resided at neighbouring Kentwell Hall. John Clopton was a supporter of the Lancastrian cause during the Wars of the Roses and in 1462 was imprisoned in the Tower of London with John de Vere, 12th Earl of Oxford and a number of others, charged with corresponding treasonably with Margaret of Anjou. All of those imprisoned were eventually executed except John Clopton, who somehow made his peace with his accusers and lived to see the Lancastrians eventually triumphant at the Battle of Bosworth in 1485.
The dates of the reconstruction of the church are derived from contemporary wills, which provided endowments to finance the work
In 1710 the main tower was damaged by a lightning strike.[3] It was replaced with a brick-built structure in the 18th century and subsequently remodelled between 1898 and 1903 to its present-day appearance, designed by George Frederick Bodley in the Victorian Gothic Revival style. The new tower was closer to its original form with stone and flint facing and the addition of four new pinnacles.
The nave, at 152.6 feet (46.5 m), is believed to be the longest of any parish church in England. There are nine bays, of which the first five at the western end are believed to date from an earlier structure.
The interior is lit by 74 tracery windows, many of which retain original medieval glass. These include the image of Elizabeth de Mowbray, Duchess of Norfolk, said to have provided the inspiration for John Tenniel's illustration of the Queen of Hearts in Lewis Carroll's Alice's Adventures in Wonderland.
The sanctuary is dominated by the large reredos, of Caen stone and inspired by the works of Albrecht Dürer. It was installed in 1877, having been donated by the mother of the then Rector Charles Martyn.
On the north side is the alabaster and marble tomb of Sir William Cordell who was the first Patron of the Church after the dissolution of the Abbey of Bury St Edmund's in 1539. On either side of the tomb are niches containing figures that represent the four Cardinal virtues of Prudence, Justice, Temperance and Fortitude.
The sanctuary also holds one of the earliest extant alabaster bas relief panels, a nativity from the second half of the 14th century. The panel was hidden under the floor of chancel, probably early in the reign of Elizabeth I, and was rediscovered in the 18th century.[6] The panel, which may be part of an altar piece destroyed during the Reformation, includes a midwife arranging Mary's pillows and two cows looking from under her bed.
The Clopton Chapel is in the north east corner of the church. It commemorates various Clopton family members and was used by the family as a place of private worship.
The tomb of Sir William Clopton is set into an alcove here, in the north wall. An effigy of Sir William, wearing chain mail and plate armour, is set on top of the tomb. Sir William is known to have died in 1446 and it is therefore believed that this corner of the church predates the late 15th-century reconstruction. There are numerous brasses set in the floor commemorating other members of the Clopton family; two date from 1420, another shows two women wearing head attire in the butterfly style from around 1480, and a third depicts Francis Clopton who died in 1558.
There is an altar set against the east wall of the chapel and a double squint designed to provide priests with a view of the high altar when conducting Masses.
The Clopton Chantry Chapel is a small chapel at the far north east corner of the church, accessed from the Clopton Chapel. This was the original Lady Chapel and is the oldest part of the current structure. After John Clopton's death in 1497, his will made provision for the chapel to be extended and refurbished and for him to be buried alongside his wife there.[10] The chapel was then renamed, while the intended Chantry Chapel became the Lady Chapel.
The tomb of John Clopton and his wife is set in the wall leading into the chapel. Inside, the canopy vault displays faded portraits of the couple. Also displayed is a portrait of the risen Christ with a Latin text which, translated, reads Everyone who lives and believes in me shall never die. A series of empty niches in the south wall most likely once held statues of saints. Around the cornice, John Lydgate's poem "Testament" is presented in the form of a scroll along the roof, while his "Lamentation of our Lady Maria" is along the west wall.
The Lady Chapel is a separate building attached to the east end of the main church. In an unusual layout, it has a central sanctuary surrounded by a pillared ambulatory, reflecting its original intended use as a chantry chapel with John Clopton's tomb in its centre. Clopton was forced to abandon this plan when his wife died before the new building was completed and consecrated; so she was buried in the former Lady Chapel and John Clopton was subsequently interred next to her.[12]
The stone carving seen in the Lady Chapel bears similarities to work at King's College Chapel, Cambridge and at Burwell Church in Cambridgeshire. It is known that the master mason employed there was Reginald Ely, the King's Mason, and although there is no documentary proof, it is believed that Ely was also responsible for the work at Holy Trinity, Long Melford.[13]
The chapel was used as a school from 1670 until the early 18th century, and a multiplication table on the east wall serves as a reminder of this use. The steep gables of the roof also date from this period.
The Martyn Chapel is situated to the south of the chancel. It contains the tombs of several members of the Martyn family, who were prominent local wool merchants in the 15th and 16th centuries, and who also acted as benefactors of the church. These include the tomb chest of Lawrence Martyn (died 1460) and his two wives. On the floor are the tomb slabs of Roger Martyn (died 1615) and his two wives Ursula and Margaret; and of Richard Martyn (died 1624) and his three wives.
Originally, the Martyn chapel contained an altar flanked by two gilded tabernacles, one displaying an image of Christ and the other an image of Our Lady of Pity. These tabernacles reached to the ceiling of the chapel, but were removed or destroyed during the English Reformation in the reign of King Edward VI.
en.wikipedia.org/wiki/Holy_Trinity_Church,_Long_Melford
---------------------------------------------
The setting of Holy Trinity is superlative. At the highest point and square onto the vast village green, its southern elevation is punctuated by the 16th Century Trinity Hospital almshouses. Across the green is the prospect of Melford Hall's pepperpot turrets and chimneys behind a long Tudor wall. Another great house, Kentwell Hall, is to the north. Kentwell was home to the Clopton family, whose name you meet again and again inside the church. Norman Scarfe described it as in a way, a vast memorial chapel to the family.
Holy Trinity is the longest church in Suffolk, longer even than Mildenhall, but this is because of a feature unique in the county, a large lady chapel separate from the rest of the church beyond the east end of the chancel. The chapel itself is bigger than many East Anglian churches, although it appears externally rather domestic with its triple gable at the east end. There is a good collection of medieval glass in the otherwise clear windows, as well as a couple of modern pieces, and a very mdern altarpiece at the central altar. Jacqueline's mother remembered attending Sunday School in this chapel in the 1940s.
The intimacy of the Lady Chapel is in great contrast to the vast walls of glass which stretch away westwards, the huge perpendicular windows of the nave aisles and clerestories, which appear to make the castellated nave roof float in air. An inscription in the clerestory records the date at which the building was completed as 1496. Forty years later, it would all have been much more serious. Sixty years later, it would not have been built at all. A brick tower was added in the early 18th Century, and the present tower, by GF Bodley, was encased around it in 1903. As Sam Mortlock observes, this tower might seem out of place in Suffolk, but it nevertheless matches the scale and character of the building. It is hard to imagine the church without it.
I came here back in May with my friend David Striker, who, despite living thousands of miles away in Colorado, has nearly completed his ambition to visit every medieval church in Norfolk and Suffolk. This was his first visit to Long Melford, mine only the latest of many. We stepped down into the vast, serious space.. There was a fairly considerable 19th Century restoration here, as witnessed by the vast sprawl of Minton tiles on the floor, although perhaps the sanctuary furnishings are the building's great weakness. Perhaps it is the knowledge of this that fails to turn my head eastwards, but instead draws me across to the north aisle for the best collection of medieval glass in Suffolk. During the 19th century restoration it was collected into the east window and north and south aisles, but in the 1960s it was all recollected here. Even on a sunny day it is a perfect setting for exploring it.
The most striking figures are probably those of the medieval donors, who originally would have been set prayerfully at the base of windows of devotional subjects. Famously, the portrait of Elizabeth, Duchess of Norfolk is said to have provided the inspiration for John Tenneil's Duchess in his illustrations to Lewis Carroll's Alice in Wonderland, although I'm not sure there is any evidence for this. Indeed, several of the ladies here might have provided similar inspiration.
The best glass is the pieta, Mary holding the body of Christ the Man of Sorrows. Beneath it is perhaps the best-known, the Holy Trinity represented in a roundel as three hares with their ears interlocking. An angel holding a Holy Trinity shield in an upper light recalls the same thing at Salle. Other glass includes a fine resurrection scene and a sequence of 15th Century Saints. There is also a small amount of continental glass collected in later centuries, including a most curious oval lozenge of St Francis receiving the stigmata.
Walking eastwards down the north aisle until the glass runs out, you are rewarded by a remarkable survival, a 14th century alabaster panel of the Adoration of the Magi. It probably formed part of the altar piece here, and was rediscovered hidden under the floorboards in the 18th century. Fragments of similar reliefs survive elsewhere in East Anglia, but none in such perfect condition. Beyond it, you step through into the north chancel chapel where there are a number of Clopton brasses, impressive but not in terribly good condition, and then beyond that into the secretive Clopton chantry. This beautiful little chapel probably dates from the completion of the church in the last decade of the 15th century. Here, chantry priests would have celebrated Masses for the dead of the Clopton family. The chapel is intricately decorated with devotional symbols and vinework, as well as poems attributed to John Lidgate. The beautiful Tudor tracery of the window is filled with elegant clear glass except for another great survival, a lily crucifix. This representation occurs just once more in Suffolk, on the font at Great Glemham. The panel is probably a later addition here from elsewhere in the church, but it is still haunting to think of the Chantry priests kneeling towards the window as they asked for intercessions for the souls of the Clopton dead. It was intended that the prayers of the priests would sustain the Cloptons in perpetuity, but in fact it would last barely half a century before the Reformation outlawed such practices.
You step back into the chancel to be confronted by the imposing stone reredos. Its towering heaviness is out of sympathy with the lightness and simplicity of the Perpendicular windows, and it predates Bodley's restoration. The screen which separates the chancel from the south chapel is medeival, albeit restored, and I was struck by a fierce little dragon, although photographing it into the strong south window sunshine beyond proved impossible. The brasses in the south chapel are good, and in better condition. They are to members of the Martyn family.
The south chapel is also the last resting place of Long Melford's other great family, the Cordells. Sir William Cordell's tomb dominates the space. He died in 1581, and donated the Trinity Hospital outside. His name survives elsewhere in Long Melford: my wife's mother grew up on Cordell Road, part of a council estate cunningly hidden from the High Street by its buildings on the east side.
Simon Knott, January 2013
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Python Introduction : youtu.be/M1cuZ7uACf0
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Python Syntax : youtu.be/xGF6C5QBew8
String in Python : youtu.be/KktnyPMUbMA
Concatenation in String : youtu.be/mUdLKJrJOhM
Change And Delete in String : youtu.be/VxdhVhm6NgU
Accessing String Characters : youtu.be/bR6gmgN5pyA
Python Variables : youtu.be/wp0UmFMJQgA
Variables In Python : youtu.be/cucSGrqezS4
If, Else, Elif in Python : youtu.be/0NPSQtWSyUI
Nested If, Else Conditions in Python : youtu.be/TK45j0dky-4
Advance If Else Elif Full Concept Explained: youtu.be/d-mcIBGFbHA
Loops - Python: youtu.be/yGEofqUY0KE
For Loop Full Concept: youtu.be/om5twsco7m4
For Loop in Python - Hindi/English : youtu.be/eKGEf6W_AFs
Loops - Python : youtu.be/yGEofqUY0KE
Advance If Else Elif Full Concept Explained - Python : youtu.be/d-mcIBGFbHA
Python While Loop Full Concept - Hindi/English : youtu.be/oK0yuEJBgoA
Python While Loop Control Flow : youtu.be/onFH2Ug3ryw
Python While Loop With Else : youtu.be/KCLcLbcbFGU
Python While Loop, Break, Continue, Pass Statement : youtu.be/n4QqNU3FuT4
While Loop in Python : youtu.be/PWBZX8tcieY
Python For Loop With Else : youtu.be/Dowu-3esSwM
Python For Loop with Range Function : youtu.be/17e-3uD6Q6o
What is Bitwise Operator : youtu.be/kBrMRHE39Vg
Bitwise AND Operators : youtu.be/6HgBxko6JZ0
OR Bitwise Operator : youtu.be/VkEtbh991eY
NOT Bitwise Operator : youtu.be/9267z5uW8E4
XOR Bitwise Operator : youtu.be/pH8tHR8cros
Right Shift Bitwise Operator : youtu.be/CIJAbJkigf8
Left Shift Bitwise Operator : youtu.be/tHmHAiGGu08
Loops - Python: youtu.be/yGEofqUY0KE
For Loop Full Concept: youtu.be/om5twsco7m4
For Loop in Python - Hindi/English : youtu.be/eKGEf6W_AFs
Python While Loop Control Flow : youtu.be/onFH2Ug3ryw
Python While Loop With Else : youtu.be/KCLcLbcbFGU
Python While Loop, Break, Continue, Pass Statement : youtu.be/n4QqNU3FuT4
While Loop in Python : youtu.be/PWBZX8tcieY
Python For Loop With Else : youtu.be/Dowu-3esSwM
Python For Loop with Range Function : youtu.be/17e-3uD6Q6o
For Loop, Break, Continue, Pass Statement - Python : youtu.be/bY6Rb1baVOg
/ playlist
Python Tutorial - Core Python Programming For Everyone(full Course) :
youtube.com/playlist?list=PLT8Oxq6it82cfHPvuJArCVC-22XhH3OYq
Basic Python Tutorial - Core Python Programming For Beginners(full course) : youtube.com/playlist?list=PLT8Oxq6it82dQod9thIupU9EspOzfCr2v
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I took this shot in London in the early 1980's. That's the monument at Piccadilly Circus that these young people are sitting on. I believe that there are at least three women in this group. Most of these persons are close to 50 years old now, assuming that they have lived that long. It's interesting that they are all Caucasian. Perhaps there was a future Member of Parliament in this group (smile)...
Sold for £ 700
The Jaguar Land-Rover Collection
Brightwells Auctions
Bicester Heritage
Buckingham Road
Bicester
Oxfordshire
England
March 2018
The A40 Somerset made quite a bold statement when unveiled in 1952. Its transatlantic styled all-enveloping body looked quite contemporary, a shift away from the conservative looks of its predecessor, the somewhat antiquated A40 Devon.
The body looked very much like a scaled down A70 Hereford and was initially available only as a four-door saloon. Later in the year a two-door three-seat convertible was marketed as the Somerset Coupe and between the two models, some 173.000 found customers.
The 42 bhp 1,2-litre four-cylinder ohv engine was just about enough, the tough little car selling well in export markets, particularly Australia where many were assembled from CKD kits supplied from England. In a strange quirk of fate, they were also assembled under licence by Datsun in Japan from CKD kits, some years before the tide of exports was to turn the other way.
This September 1953 registered car joined the collection in 2013 and has had five keepers in total over the last 65 years. It comes with a V5C and 40.500 miles on the clock, although we have no more paperwork to understand what it has been doing all these years.
We can be pretty sure it hasn’t done a lot of late though, the car not having seen an MOT station since online records began in 2006. It does look as though someone has at least attempted to have the car running in the recent past, although how successful they were we can’t say.
Irrepressibly chirpy, these charming little Somersets are amongst the easiest classics to own. This one will need a modicum of recommissioning, although its main structure and nice, original interior would respond well to some TLC. Its registration number NYT 390 remains transferable.