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Tintagel Castle (Cornish: Dintagel, meaning "fort of the constriction") is a medieval fortification located on the peninsula of Tintagel Island, adjacent to the village of Tintagel in Cornwall, England, in the United Kingdom. The site was possibly occupied in the Romano-British period, as an array of artefacts dating to this period have been found on the peninsula, but as yet no Roman era structure has been proven to have existed there. It subsequently saw settlement during the Early Medieval period, when it was probably one of the seasonal residences of the regional king of Dumnonia. A castle was built on the site by Richard, Earl of Cornwall in the 13th century, during the Later Medieval period, after Cornwall had been subsumed into the kingdom of England. It later fell into disrepair and ruin. Archaeological investigation into the site began in the 19th century as it became a tourist attraction, with visitors coming to see the ruins of Richard's castle. In the 1930s, excavations revealed significant traces of a much earlier high status settlement, which had trading links with the Mediterranean during the Late Roman period.
Preah Khan (Khmer: ប្រាសាទព្រះខ័ន; "Royal Sword") is a temple at Angkor, Cambodia, built in the 12th century for King Jayavarman VII. It is located northeast of Angkor Thom and just west of the Jayatataka baray, with which it was associated. It was the centre of a substantial organisation, with almost 100,000 officials and servants. The temple is flat in design, with a basic plan of successive rectangular galleries around a Buddhist sanctuary complicated by Hindu satellite temples and numerous later additions. Like the nearby Ta Prohm, Preah Khan has been left largely unrestored, with numerous trees and other vegetation growing among the ruins.
HISTORY
Preah Khan was built on the site of Jayavarman VII's victory over the invading Chams in 1191. Unusually the modern name, meaning "holy sword", is derived from the meaning of the original - Nagara Jayasri (holy city of victory). The site may previously have been occupied by the royal palaces of Yasovarman II and Tribhuvanadityavarman. The temple's foundation stela has provided considerable information about the history and administration of the site: the main image, of the bodhisattva Avalokiteśvara in the form of the king's father, was dedicated in 1191 (the king's mother had earlier been commemorated in the same way at Ta Prohm). 430 other deities also had shrines on the site, each of which received an allotment of food, clothing, perfume and even mosquito nets; the temple's wealth included gold, silver, gems, 112,300 pearls and a cow with gilded horns. The institution combined the roles of city, temple and Buddhist university: there were 97,840 attendants and servants, including 1000 dancers and 1000 teachers.
The temple is still largely unrestored: the initial clearing was from 1927 to 1932, and partial anastylosis was carried out in 1939. Since then free-standing statues have been removed for safe-keeping, and there has been further consolidation and restoration work. Throughout, the conservators have attempted to balance restoration and maintenance of the wild condition in which the temple was discovered: one of them, Maurice Glaize, wrote that;
The temple was previously overrun with a particularly voracious vegetation and quite ruined, presenting only chaos. Clearing works were undertaken with a constant respect for the large trees which give the composition a pleasing presentation without constituting any immediate danger. At the same time, some partial anastylosis has revived various buildings found in a sufficient state of preservation and presenting some special interest in their architecture or decoration.
Since 1991, the site has been maintained by the World Monuments Fund. It has continued the cautious approach to restoration, believing that to go further would involve too much guesswork, and prefers to respect the ruined nature of the temple. One of its former employees has said, "We're basically running a glorified maintenance program. We're not prepared to falsify history". It has therefore limited itself primarily to stabilisation work on the fourth eastern gopura, the House of Fire and the Hall of Dancers.
THE SITE
The outer wall of Preah Khan is of laterite, and bears 72 garudas holding nagas, at 50 m intervals. Surrounded by a moat, it measures 800 by 700 m and encloses an area of 56 hectares. To the east of Preah Khan is a landing stage on the edge of the Jayatataka baray, now dry, which measured 3.5 by 0.9 km. This also allowed access to the temple of Neak Pean in the centre of the baray. As usual Preah Khan is oriented toward the east, so this was the main entrance, but there are others at each of the cardinal points. Each entrance has a causeway over the moat with nāga-carrying devas and asuras similar to those at Angkor Thom; Glaize considered this an indication that the city element of Preah Khan was more significant than those of Ta Prohm or Banteay Kdei.
Halfway along the path leading to the third enclosure, on the north side, is a House of Fire (or Dharmasala) similar to Ta Prohm's. The remainder of the fourth enclosure, now forested, was originally occupied by the city; as this was built of perishable materials it has not survived. The third enclosure wall is 200 by 175 metres. In front of the third gopura is a cruciform terrace. The gopura itself is on a large scale, with three towers in the centre and two flanking pavilions. Between the southern two towers were two celebrated silk-cotton trees, of which Glaize wrote, "resting on the vault itself of the gallery, [they] frame its openings and brace the stones in substitute for pillars in a caprice of nature that is as fantastic as it is perilous." One of the trees is now dead, although the roots have been left in place. The trees may need to be removed to prevent their damaging the structure. On the far side of the temple, the third western gopura has pediments of a chess game and the Battle of Lanka, and two guardian dvarapalas to the west.
West of the third eastern gopura, on the main axis is a Hall of Dancers. The walls are decorated with apsaras; Buddha images in niches above them were destroyed in the anti-Buddhist reaction under Jayavarman VIII. North of the Hall of Dancers is a two-storeyed structure with round columns. No other examples of this form survive at Angkor, although there are traces of similar buildings at Ta Prohm and Banteay Kdei. Freeman and Jacques speculate that this may have been a granary. Occupying the rest of the third enclosure are ponds (now dry) in each corner, and satellite temples to the north, south and west. While the main temple was Buddhist, these three are dedicated to Shiva, previous kings and queens, and Vishnu respectively. They are notable chiefly for their pediments: on the northern temple, Vishnu reclining to the west and the Hindu trinity of Vishnu, Shiva and Brahma to the east; on the western temple, Krishna raising Mount Govardhana to the west.
Connecting the Hall of Dancers and the wall of the second enclosure is a courtyard containing two libraries. The second eastern gopura projects into this courtyard; it is one of the few Angkorian gopuras with significant internal decoration, with garudas on the corners of the cornices. Buddha images on the columns were changed into hermits under Jayavarman VIII.
Between the second enclosure wall (85 by 76 m) and the first enclosure wall (62 by 55 m) on the eastern side is a row of later additions which impede access and hide some of the original decoration. The first enclosure is, as Glaize said, similarly, "choked with more or less ruined buildings". The enclosure is divided into four parts by a cruciform gallery, each part almost filled by these later irregular additions. The walls of this gallery, and the interior of the central sanctuary, are covered with holes for the fixing of bronze plates which would originally have covered them and the outside of the sanctuary - 1500 tonnes was used to decorate the whole temple. At the centre of the temple, in place of the original statue of Lokesvara, is a stupa built several centuries after the temple's initial construction.
MICROBIAL DEGRADATION
Microbial biofilms have been found degrading sandstone at Angkor Wat, Preah Khan, and the Bayon and West Prasat in Angkor. The dehydration and radiation resistant filamentous cyanobacteria can produce organic acids that degrade the stone. A dark filamentous fungus was found in internal and external Preah Khan samples, while the alga Trentepohlia was found only in samples taken from external, pink-stained stone at Preah Khan.
They were a family with three kids...all with an ice cream when i spotted them outside a store. Asked their mom for permission to click them...and you can see the result !!
Danse Macabre 15/10/2024 13h27
Two weeks before the opening of Danse Macabre, Otto and Virgini Charlatan are of course present near Huyverwoud, but there is no trace of the Esmaralde barrel organ.
Photo uploaded on 26/10/2024 the day the first group of subscribers with Premium status were able to receice a time slot for their first visit.
Danse Macabre
Danse Macabre is a future attraction in the Efteling that is named after the symphonic poem Danse Macabre by Camille Saint-Saëns. The ghost attraction will use a large turntable (type: Dynamic Motion Stage, manufacturer: Intamin) with a diameter of eighteen meters. On the large turntable there are six smaller turntables with six choir stalls on top. There is room for 108 visitors per ride. During the ride, the large turntable will rise, tilt and spin like a coin. The capacity is 1250 people per hour and the attraction is suitable for children from 8 years old. The entrance will be located near the Piraña, the Abbey Square. Its theme is 'horror' and will take the place of the former Spookslot. The building will consist of a 20-meter-high abbey and will take visitors into creepy and mysterious spaces. The music from the Haunted Castle, Danse macabre, will be transferred to this new attraction. Part of the old Spookslot wall and tower, with perhaps some minor adjustments, will also become part of the new Huiverwoud theme area. The total theme area will be approximately 17,000 m2. .
The total cost is €30 million and the opening is planned for the autumn of 2024 (expected to be October). Danse Macabre is the only attraction in the themed area Huyverwoud.
[ Wikipedia March 2024 ]
HM ROYAL MARINES PORTSMOUTH
'ROYAL BAND'
The origins of Royal Marine Bands in the Portsmouth area can be traced back to the middle of the 18th Century. However, the present Band is a direct descendant of the Band of the Royal Marine Artillery who were formed in January 1861. By 1865 the Band numbered forty six musicians and eight band boys. They were under the direction of Bandmaster John Winterbottom and were based at the Royal Marines Artillery Barracks, Eastney, Portsmouth.
The band has always been associated with providing music for the Royal family, and for many years a group of 26 musicians and buglers were deployed on HM Yacht Britannia when the Royal Family were on board.
The Band of HM Royal Marines Portsmouth undertakes around 500 engagements each year ranging from massed tri-service military band events, to numerous small orchestral combinations onboard HMS Victory and other venues for senior Royal Naval Officers. The band performs numerous concerts and also supports the Royal Marines School of Music by providing orchestras and bands for student Bandmasters to conduct.
The title of the Royal Marines Band Portsmouth has changed many times - in 1923 on the amalgamation of the Royal Marines Artillery and the Royal Marines Light Infantry the Band became the Band of the Royal Marines, Portsmouth Division. This changed in 1947 when it became the Royal Marines Band, Portsmouth Group. In 1972 the title of the Band changed yet again, when it became the Band of Commander-in-Chief, Naval Home Command, and it is now known as the Band of Her Majesty's Royal Marines, Portsmouth.
Buffalo Trace Distillery, Albert B. Blanton Bottling Hall 6-at-a-time bottle filler. Filling bottles of Blanton's
Trace Adkins is an American country music artist. He made his debut in 1996 with the album Dreamin' Out Loud, released on Capitol Records Nashville. Since then, Adkins has released seven more studio albums and two Greatest Hits compilations. In addition, he has charted more than 20 singles on the Billboard country music charts, including the Number One hits "(This Ain't) No Thinkin' Thing", "Ladies Love Country Boys", and "You're Gonna Miss This", which peaked in 1997, 2007, and 2008, respectively. "I Left Something Turned on at Home" went to #1 on Canada's country chart. All but one of his studio albums have received gold or platinum certification in the United States; his highest-selling to date is 2005's Songs About Me, which has been certified 2× Multi-Platinum for shipping two million copies.
Today I will show you something I found on last year's sky pictures:
This picture shows an anomaly in the sky in the upper part of the lower right quadrant. It is a light trace nearly perpendicular to the star traces. And it crawls ever so slowly through the sky. The trace appears on all 6 subsequent exposures i did on this sky area. Direction of viewing is up to the zenit. The trace varies greatly in it's luminosity throughout the series. In one exposure it reaches a flare like the brightest star in this image while in 2 others it is just faintly above background noise level.
I selected this frame because it shows a good overall brightness + some brightness variation throughout the exposure.
What is also noteable about the trace is that it shows a flat top/bottom at the start and end of the trace. (On this exposure it is only slightly noteable at the bottom when viewed in lightbox or full size. On another exposure where it starts very bright it's quite noticeable. This hints on some size because it must travel quite high as the sun is already a good bit below the horizon)
So what is it ? No idea. I can only tell you what it is not:
- Not a plane
- Not a sattelite
- Not a meteor / shooting star.
Data:
24.09.2011 20:51:11
Eos 550 D
Canon EF 50mm f/1.8 II
Astronomik Eos CLS Clip Filter
Iso 6400
15 seconds
If the complete series is interesting to someone just leave a comment. I can do a compilation then.
Please click the image or press L to view it in Flickr's lightbox !! And also select the biggest size for ultimate viewing pleasure.
Trace Adkins in concert at Fantasy Springs Resort Casino. The country music superstar performed hits live to a cadre of fans.
Using the ball point pen, trace the design. The pen will help you keep track of what you've already traced. Be careful not to move the pattern while tracing.
Traces of cosmic rays in a spark chamber. Charged particles cause trails of sparks, which can be seen.
Interestingly, I saw the same kind of exhibit in Stockholm a few years ago and it was far more active. But Geneva has 57% higher incidence of cosmic rays. Maybe there are differences in the machines, or I was in Stockholm during a solar maximum.
This is a photograph from the first running of the Trim AC Bewley's 10 Mile Road Race which was held on Sunday 1st February 2015 at 12:00 in Trim, Co. Meath, Ireland. This race also incorporated the 2015 Meath 10 Mile Road Championships. For the first staging of this event this was an incredible success with almost 800 runners, joggers and walkers talking to the start line. The weather was perfect for running despite the bitter cold temperatures with air temperature of 4C recorded at the start. Some beautiful Spring sunshine helped brighten the day and the roads were clear and dry for racing.
Want to use this photograph or share it? Please read/scroll down a little further to find out how - it's very easy!
The race started on the Trim Athboy Road (the R154) and headed towards the town before making a left turn onto the Trim Dunderry road. The one mile mark comes just after a Y-junction which the race joins back to before the final 600 meters to the finish. Heading north to Dunderry the route takes a left in the middle of the village and heads west for 2 miles on the Dunderry Athboy road. At the next major junction the race takes another left turning south towards Trim town again. One of the only significant hills/drags of the course happens at around the 6.5 mile marker. Miles 7 - 9 are ran on winding roads with nice hedgerows and shelter from any breeze. During these miles you will begin to see the spire of Trim church in the distance. At the Y-Junction from mile one you have 600 meters to go with a final right turn into the industrial estate and the finish line.
The success of today's race is not an accident. Trim AC, and their army of volunteers and help from other Meath athletic clubs, put in huge work to make this race a success.
Today's race adds significantly to Trim AC's reputation for top quality organisation of race events. The 10 mile road race today follows on from the Braveheart 5KM Trail Race which is held annually in June around the beautiful and historical fields of Porchfields and Trim Castle. Today's race could be the begining of one of the region's largest and most popular 10 mile road races.
Are there more photographs from this race? This photograph is part of a larger set of photographs from the Trim AC 10 Mile Road Race 2015. They are available on our Flickr photostream in the album set here www.flickr.com/photos/peterm7/sets/72157650166189770
Trim 10 Mile 2015 Event Page on Facebook: www.facebook.com/events/1519629891656513/?fref=ts (may require Facebook logon)
Trim Athletic Club on Twitter twitter.com/trimathletic
Trim Athletic Club Internet Homepage www.trimac.ie/
GPS Trace of the 10 Mile Route 2015 www.mapmyrun.com/routes/fullscreen/590734250/
Boards.ie Athletics Forum Discussion Thread: www.boards.ie/vbulletin/showthread.php?t=2057321634
Precision Timing Results from the Trim 10 Mile 2015: www.precisiontiming.net/result.aspx?v=2381
Sponsors: Bewley's 1840: bewleys.com/
Read about Bewley's company on Wikipedia: en.wikipedia.org/wiki/Bewley%27s
Trim Athletic Club on Facebook: www.facebook.com/trimathleticclub?fref=ts (may require Facebook logon)
Google Streetview - St. Loman's Hall Registration and Refreshments www.google.ie/maps/place/St+Loman%27s+St,+Trim,+Co.+Meath...
Our photographs from the Trim AC Braveheart 5KM 2014 www.flickr.com/photos/peterm7/sets/72157645195984413/
USING OUR PHOTOGRAPHS - A QUICK GUIDE
Can I use these photographs directly from Flickr on my social media account(s)?
Yes - of course you can! Flickr provides several ways to share this and other photographs in this Flickr set. You can share to: email, Facebook, Pinterest, Twitter, Tumblr, LiveJournal, and Wordpress and Blogger blog sites. Your mobile, tablet, or desktop device will also offer you several different options for sharing this photo page on your social media outlets.
We take these photographs as a hobby and as a contribution to the running community in Ireland. Our only "cost" is our request that if you are using these images: (1) on social media sites such as Facebook, Tumblr, Pinterest, Twitter,LinkedIn, Google+, etc or (2) other websites, blogs, web multimedia, commercial/promotional material that you must provide a link back to our Flickr page to attribute us.
This also extends the use of these images for Facebook profile pictures. In these cases please make a separate wall or blog post with a link to our Flickr page. If you do not know how this should be done for Facebook or other social media please email us and we will be happy to help suggest how to link to us.
I want to download these pictures to my computer or device?
You can download the photographic image here direct to your computer or device. This version is the low resolution web-quality image. How to download will vary slight from device to device and from browser to browser. However - look for a symbol with three dots 'ooo' or the link to 'View/Download' all sizes. When you click on either of these you will be presented with the option to download the image. Remember just doing a right-click and "save target as" will not work on Flickr.
I want get full resolution, print-quality, copies of these photographs?
If you just need these photographs for online usage then they can be used directly once you respect their Creative Commons license and provide a link back to our Flickr set if you use them. For offline usage and printing all of the photographs posted here on this Flickr set are available free, at no cost, at full image resolution.
Please email petermooney78 AT gmail DOT com with the links to the photographs you would like to obtain a full resolution copy of. We also ask race organisers, media, etc to ask for permission before use of our images for flyers, posters, etc. We reserve the right to refuse a request.
In summary please remember when requesting photographs from us - If you are using the photographs online all we ask is for you to provide a link back to our Flickr set or Flickr pages. You will find the link above clearly outlined in the description text which accompanies this photograph. Taking these photographs and preparing them for online posting does take a significant effort and time. We are not posting photographs to Flickr for commercial reasons. If you really like what we do please spread the link around your social media, send us an email, leave a comment beside the photographs, send us a Flickr email, etc. If you are using the photographs in newspapers or magazines we ask that you mention where the original photograph came from.
I would like to contribute something for your photograph(s)?
Many people offer payment for our photographs. As stated above we do not charge for these photographs. We take these photographs as our contribution to the running community in Ireland. If you feel that the photograph(s) you request are good enough that you would consider paying for their purchase from other photographic providers or in other circumstances we would suggest that you can provide a donation to any of the great charities in Ireland who do work for Cancer Care or Cancer Research in Ireland.
We use Creative Commons Licensing for these photographs
We use the Creative Commons Attribution-ShareAlike License for all our photographs here in this photograph set. What does this mean in reality?
The explaination is very simple.
Attribution- anyone using our photographs gives us an appropriate credit for it. This ensures that people aren't taking our photographs and passing them off as their own. This usually just mean putting a link to our photographs somewhere on your website, blog, or Facebook where other people can see it.
ShareAlike – anyone can use these photographs, and make changes if they like, or incorporate them into a bigger project, but they must make those changes available back to the community under the same terms.
Creative Commons aims to encourage creative sharing. See some examples of Creative Commons photographs on Flickr: www.flickr.com/creativecommons/
I ran in the race - but my photograph doesn't appear here in your Flickr set! What gives?
As mentioned above we take these photographs as a hobby and as a voluntary contribution to the running community in Ireland. Very often we have actually ran in the same race and then switched to photographer mode after we finished the race. Consequently, we feel that we have no obligations to capture a photograph of every participant in the race. However, we do try our very best to capture as many participants as possible. But this is sometimes not possible for a variety of reasons:
►You were hidden behind another participant as you passed our camera
►Weather or lighting conditions meant that we had some photographs with blurry content which we did not upload to our Flickr set
►There were too many people - some races attract thousands of participants and as amateur photographs we cannot hope to capture photographs of everyone
►We simply missed you - sorry about that - we did our best!
You can email us petermooney78 AT gmail DOT com to enquire if we have a photograph of you which didn't make the final Flickr selection for the race. But we cannot promise that there will be photograph there. As alternatives we advise you to contact the race organisers to enquire if there were (1) other photographs taking photographs at the race event or if (2) there were professional commercial sports photographers taking photographs which might have some photographs of you available for purchase. You might find some links for further information above.
Don't like your photograph here?
That's OK! We understand!
If, for any reason, you are not happy or comfortable with your picture appearing here in this photoset on Flickr then please email us at petermooney78 AT gmail DOT com and we will remove it as soon as possible. We give careful consideration to each photograph before uploading.
I want to tell people about these great photographs!
Great! Thank you! The best link to spread the word around is probably http://www.flickr.com/peterm7/sets
Operation AVRO is a forcewide initiative that delivers a surge of extra resources and specialist officers to a different district within Greater Manchester each month.
This month saw the operation take place in Wigan.
The operation targets crimes that members of the public in that district have told us give them the most concern.
Members of the press and key partners, including local representatives, are invited to attend Operation AVRO deployments to see results first-hand and conduct important multi-agency work, such as welfare visits.
More details on AVRO can be found by visiting gmp.police.uk and following us on social media.
You should call 101, the national non-emergency number, to report crime and other concerns that do not require an emergency response.
Always call 999 in an emergency, such as when a crime is in progress, violence is being used or threatened or where there is danger to life.
You can also call anonymously with information about crime to Crimestoppers on 0800 555 111. Crimestoppers is an independent charity who will not want your name, just your information. Your call will not be traced or recorded and you do not have to go to court or give a statement.
You can access many of our services online at www.gmp.police.uk
The Royal Armouries began life as the main royal and national arsenal housed in the Tower of London. Indeed the Royal Armouries has occupied buildings within the Tower for making and storing arms, armour and military equipment for as long as the Tower itself has been in existence.
Early in the 19th century the nature and purpose of the museum began to change radically. Displays were gradually altered from exhibitions of curiosities to historically ‘accurate’ and logically organised displays designed to improve the visitor by illuminating the past.
Origins
The origins of the Armouries may be traced back to the working armoury of the medieval kings of England. The first recorded visitor to the Tower Armouries was in 1498, when entry was only by special permission. After the restoration of Charles II in 1660, the paying public was allowed in to marvel at new displays set up to celebrate the power and splendour of English monarchy.
The Armouries is one of the ancient institutions of the Tower of London, which have also included the Board of Ordnance, the Menagerie, the Royal Mint, the Jewel House, the Royal Observatory and the Tower Record Office. These institutions are the focus of a permanent exhibition in the White Tower – Powerhouse).
An important chapter in its development occurred in the early 15th century, with the emergence of the Office of Armoury as an offshoot of the Privy Wardrobe of the Tower. At this point it seems that the positions ‘Keeper of the King’s armour at the Tower of London’ (first mentioned in 1423) and the ‘Master of the Ordnance’ (first recorded in 1414) replaced the previous ‘Keeper of the Wardrobe’.
The offices of the Armoury and Ordnance were responsible for procuring and issuing a wide variety of military equipment. The Armoury concentrated on armour and edged weapons; the Ordnance concentrated on cannon, handguns and the more traditional bow and arrow. Developments in the art of war resulted in the Ordnance becoming the more important of the two organisations, and in 1670 the equipment and functions of the Office of Armoury passed to the Ordnance.
16th–17th centuries
By the end of the 16th century, some of the early visitors to the Tower began to record their impressions of the Armoury. Jacob Rathgar, secretary of Frederick, Duke of Wirtenburg, described what they were shown in 1592. Despite the presence of many fine pieces of artillery, Rathgar felt the collection did not compare with those in his native Germany for ‘they stand about in the greatest confusion and disorder’.
Paul Hentzner provided the first detailed description of the Armoury after a visit to London in 1598. He was shown many items belonging to Henry VIII, including a gilt suit of armour, and several historic cannon; among them two wooden pieces used to deceive the French at the siege of Boulogne in 1544.
The following year Joseph Platter, a Swiss traveller from Basle, visited the Tower and again paid attention to the personal armoury of Henry VIII, which he makes clear was located in the White Tower. Interestingly, reference is made to the cost of viewing the Armoury, with payments being made at four points in the building ‘to a servant appointed to receive the same’.
Rathgar’s complaint in 1592 about the disorderly appearance of the Armoury, repeated by the Duke of Stettin-Pomerania a decade later, suggests that little attention was paid to presentation in the late 16th and early 17th centuries.
This situation was to change immediately after the Restoration of the monarchy in 1660, when two permanent public displays were set up, known as the Line of Kings and the Spanish Armoury.
The former, as the name suggests, was a row of figures representing the kings of England. They appeared on life-sized wooden horses wearing what was said to be their personal armour. The line was first recorded in the Tower in an inventory dated October 1660, and it is possible that the display was assembled to mark Charles II’s visit to the Tower of London in August that year, after his many years in exile.
The Spanish Armoury was a collection of fearsome-looking weapons, displayed alongside a few instruments of torture, claimed to have been taken from the Spanish Armada in 1588. However, the historical basis for this association was quite unsound, with few, if any, of the objects having Spanish connections.
17th–19th centuries
Towards the end of the 17th century, the Office of Ordnance added two new armouries’ displays to the visitor attractions at the Tower. These were housed in one of the largest and most prestigious buildings ever to be seen at the Tower – the Grand Storehouse – that was built on the high ground immediately north of the White Tower.
The third, and most fantastic, display was installed on the first floor in 1696. Under the supervision of John Harris of Eaton, tens of thousands of small arms, and a mass of elaborate wooden carvings, were used to create such diverse installations as the ‘Witch of Endor’, the ‘Back Bones of a Whale’, a huge organ, and a seven-headed monster.
In the great Artillery Hall stood the great guns of the artillery train. As time went by, however, the room increasingly took on the appearance of a museum of military power, in which cannon and other trophies captured from battlefields around the world were brought here and displayed.
Also to be seen were items of curiosity and historic interest. Perhaps one of the most infamous was the Tower ‘Rack to extort Confession’. Last prepared for use in January 1673, the rack had presumably been decommissioned by June 1675, as it then appears in the first of several Ordnance inventories.
Throughout the 18th and into the early 19th century, the Ordnance continued to adjust and embellish its four armouries at the Tower. In 1825, the decision was taken to re-locate the Line of Kings into a new building against the south side of the White Tower.
The Horse Armoury was architecturally significant as it represented the first purpose-built museum gallery at the Tower. With the move, the notable antiquarian Dr Samuel Meyerick reorganised the exhibits along more scholarly and scientific lines.
Moreover, the Ordnance began to release funds allowing objects to be bought for the first time to expand the collection in specific and targeted, areas. Together with inaugural efforts at object conservation, the first decisive steps had been taken to transform the Tower armouries into a modern museum.
19th–21st centuries
In 1838 the cost of visiting the Tower Armouries was cut from 3 shillings to 1 shilling and lowered again the following year to 6d. The effect of these reductions was to see visitor numbers rise from 10,500 in 1837 to 80,000 in 1839.
On the evening of 30 October 1841 the Grand Storehouse was engulfed by a terrible fire destroying most
Today's Pentecostal movement traces its community's growth to a prayer meeting at Bethel Bible College in Topeka, Kansas on January 1, 1901[18]. Here, through careful study of scripture, many came to the conclusion that speaking in tongues was the biblical sign of the Holy Spirit's baptism. Charles Parham, the founder of this school would later move to Houston, Texas, where in spite of segregation, William J. Seymour, a (literally) one-eyed African-American preacher was allowed to listen in to the Bible classes. Seymour traveled to Los Angeles, where his preaching sparked the Azusa Street Revival. According to Pentecostals, this was one of the first newsworthy outpourings of the Holy Spirit, despite records of earlier occurrences, and attracted people from all around the world. Consequently, this event is regarded as the actual beginning of the Pentecostal renewal because of the impact it had on the world. The Los Angeles Press gave close attention to the Azusa Street Revival, which helped fuel its growth. A number of new smaller groups started up, inspired by the events of this revival. International visitors and Pentecostal missionaries would eventually bring these teachings to other nations. Almost all classical Pentecostal denominations today trace their historical roots to the Azusa Street Revival. In Puerto Rico the Pentecostal movement was brought by the Americans after their invasion.
Templo y Convento Santo Domingo de Guzmán
"San Miguel Arcangel"
Dirección : 4 Pte No 101
Colonia : centro
Telefono: 01 (222) 232 3548
Telefono Fax : 01 (222) 232 3548
Código Postal: 72000
Localidad ;Puebla de los Ángeles
Municipio: Puebla de los Ángeles
Estado: Puebla
Pais:México
Zona Pastoral: Urbana
Decanato: Juan de Palafox
RR.PP.Dominicos
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© Álbum 0074
By Catedrales e Iglesias
By Cathedrals and Churches
Par Cathédrales et Eglises
By catedrals i esglésies
Arquidiócesis de Puebla
Church and Convent Santo Domingo
"San Miguel Arcangel"
Address: 4 No 101 Pte
Cologne: center
Telephone: 01 (222) 232 3548
Telephone Fax: 01 (222) 232 3548
Postal Code: 72000
Location; Puebla de los Angeles
County: Puebla de los Angeles
State: Puebla
Country: Mexico
Pastoral Zone: Urban
Dean: Juan de Palafox
RR.PP.Dominicos
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By Cathedrals and Churches
Cathedrals and Churches By
Par Cathédrales et Eglises
By catedrals i Esglésies
Archdiocese of Puebla
El Templo Conventual de Santo Domingo de Guzmán es un templo religioso de culto católico romano que pertenece a la jurisdicción eclesiástica de la Provincia de Santiago de México, de la orden de Predicadores y colabora con la Arquidiócesis de Puebla De los Ángeles siendo independiente de misma, bajo la advocación de San Miguel Arcángel. Comunica el cuerpo del templo con la gran Capilla del Rosario espléndido ejemplo del barroco novohispano, considerada en su tiempo como la “octava maravilla del mundo”Está ubicado en av. 5 de Mayo y 4 Poniente del Centro Histórico.
La orden de los predicadores dominicos fue la segunda en llegar a México en 1526, y en abril de 1534 ya residía en Puebla un vicario de la orden de Santo Domingo.
Fue fray Julian Garcés miembro de esta orden quien fue nombrado como primer obispo de Tlaxcala con sede en Puebla y el primero que tuvo América quien concedió a sus religiosos, en la recién fundada ciudad, unos solares destinados para su Iglesia Mayor.
A fines de 1534, de acuerdo a una solicitud de la ciudad a la Real Audiencia, ya tenían una iglesia provisional y estaban en proceso de construir una grande pero que formalmente comenzó en 1571 y en la que intervino el arquitecto Francisco Becerra mismo al que se debe la traza de la Catedral Angelopolitana.
El convento recibió una merced de agua en 1549 cuando los monjes dominicos hallaron manantiales cerca del camino a Tlaxcala y abrieron en 1551 tres derrames o fuentes de las que se surtió la ciudad.
Según Carrión, el templo se comenzó en 1571 para terminarse, excepto la cúpula y la torre, en 1611. Pero una inscripción en el piso del templo parece contradecirlo: "ACABOSE AÑO DE 1659". Posteriormente se agregó con letras modernas "SE REFORMÓ 1901" refiriendose a la transformación del piso entarimado del templo en las lajas de Sto Tomás que actualmente se observan.
La Capilla del Rosario, que merece un tema parte, se inauguró en 1690, y la torre, el último elemento arquitectónico en emprenderse en 1801 nunca se concluyó.
La planta es una nave en forma de cruz latina, sin cúpula, el transepto conduce a la suntuosa Capilla del Rosario.
LA FACHADA
La portada en cantera gris es de estilo purista ejemplo de las pocas fachadas de este estilo en México. Consta de dos secciones con remate, en la primera, al lado del arco se yerguen adosadas dos pares de columnas toscanas. La segunda con dos pares de columnas lisas que flanquean una gran ventana cuadrada y abajo de ella una imagen de San Miguel en mármol. En el remate de la fachada hay una estatua de Santo Domingo en mármol de Tecáli y arriba una cruz griega, el escudo de la orden dominica rodeada de un rosario. Está flanqueada por dos perros con una antorcha en el hocico y un globo entre los pies, símbolo de su fundado
Haciendo ángulo con la fachada del templo se halla la antigua portería del convento, guardando el estilo de todos los templos conventuales, hoy forma parte del Museo José Luis Bello y Zetina, pues dejó de ser parte del conjunto arquitectónico al ser enajendos los bienes por virtud de las Leyes de Reforma, fue adquirido entonces por el acaudalado comerciante José Luis Bello y Acedo quien a su vez lo heredo a su hijo José Luis que lo conservó hasta 1968, año en que murió y actualmente alberga su colección de arte.
Esta fachada, ejemplo del más bello barroco poblano de exteriores, albergaba al Portal de Peregrinos y en su interior la Capilla de Profundis que servía para el entierro de los religiosos, actualmente se observan sus tres arcos tapiados y en la parte alta con exuberante decoración manierista las ventanas hoy convertidas en balcones.
The Conventual Church of Santo Domingo de Guzman is a Roman Catholic religious temple of worship belonging to the ecclesiastical jurisdiction of the province of Santiago de Mexico, Order of Preachers and collaborates with the Archdiocese of Puebla de los Angeles is independent of it, under the patronage of San Miguel Archangel. The body communicates with the great temple of the Rosary Chapel splendid example of Baroque New Spain, considered at the time as the "eighth wonder of the world" is located on Av. May 5 and 4 Poniente from downtown.
The order of the Dominican preachers was the second to arrive in Mexico in 1526, and in April, 1534 and resided in Puebla a vicar of the Order of Santo Domingo.
Fray Julian Garcés was a member of the order who was appointed as the first bishop of Puebla Tlaxcala located and the first American who had granted religious, at the newly founded city, some land intended for Church Staff.
In late 1534, according to a request from the city to the Royal Court, and had a temporary church and were in the process of building a large but formally began in 1571 and in which the architect Francisco Becerra spoke to that same must trace the Angelopolitana Cathedral.
The convent received a grant of water in 1549 when the Dominican monks springs found near the road opened in 1551, Tlaxcala and three spills or sources from which the city was filled.
According to Carrión, the temple was started in 1571 to complete, except the dome and the tower in 1611 but an inscription on the floor of the temple seems to contradict "last straw YEAR OF 1659". Then added with modern letters "IS REFORMED 1901" referring to the transformation of the temple parquet floor slabs in Sto Tomas currently observed.
La Capilla del Rosario, who deserves a theme party, opened in 1690, and the tower, the last architectural element taken in 1801 was never completed.
The plant is a ship in a Latin cross, dome, transept leads to the magnificent Chapel of the Rosary.
Photos from previous visits in 2009 / 2011 – www.flickr.com/photos/139375961@N08/shares/s6p9G2DVRa
Pakefield Lighthouse is a decommissioned 19th century lighthouse which was built near Pakefield a suburb of Lowestoft in Suffolk. The lighthouse tower has been used for a variety of maritime, civilian and military roles, and is currently used as a Coastwatch Lookout Post.
– Pakefield Lighthouse 1832-1864 –
Completed in 1832 to a design by the architect Richard Suter, it was commissioned by Trinity House to enable a safe passage to be made through Pakefield Gatway (a channel between two shifting sandbanks providing a way into Lowestoft harbour).
The 30 ft high white tower and keeper's accommodation were built within the estate of Pakefield Hall, on low cliffs overlooking the sea at a cost of £821 (equivalent to £96,349 in 2023). The light was powered by two argand lamps; it originally consisted of a constant white light that could be seen for nine nautical miles. In 1835 the colour was changed to red, as some ships had confused the light with those shining from the windows of clifftop houses in nearby Kessingland.
– Kessingland Light 1864-1886 –
By the time that land negotiations regarding the lighthouse and access road had been completed in 1850, the channel had moved to the south. The lighthouse continued in use (with charts showing an increased angle of approach through the Gatway) until 1864 when Pakefield Lighthouse was decommissioned and a new red sector light was established at Kessingland, to the south.
– Pakefield Light 1886-1906 –
In 1886, the sandbanks again having shifted, the sector light was moved back to Pakefield, but this time to a location north of the old lighthouse (which remained disused). The fixed red light was now displayed from a hut on the cliff, 'about 660 yards in a southerly direction from All Saints' Church'. The following year the angle of the light was altered, the sands again having shifted. In 1905 it was reported that 'considerable alterations have taken place in the depths in Pakefield Gat', shoaling having significantly reduced the depth of water in the former channel. On 1st January 1907 the sector light at Pakefield was discontinued.
– Later history –
Following its closure in 1864, Pakefield Lighthouse remained abandoned for a number of decades until it was subsequently sold to the owners of the Hall in the 1920's, the grounds of which were being used as a campsite; it would eventually become a Pontins holiday camp. In 1938, prior to the Second World War, the tower became an observation post for the Royal Observer Corps, who were checking for any possible seaborne or air invasion force, with both the roof and lantern being removed to improve visibility.
The tower continued to be used throughout the war, with Auxiliary Territorial Service personnel being stationed at the site. The surrounding holiday campsite was requisitioned and became a transit camp. It was strafed by the Luftwaffe during an air-raid on Lowestoft in 1943, and in the following year a V-1 doodlebug with a defective gyrocompass was spotted travelling towards the lighthouse, until it crashed into the sea at the base of the cliffs nearby.
After the war, the tower was eventually purchased by Pontins, and in the 1960’s it was used by the camp's official photographers as a dark room. In the early 1970’s the adjoining keepers accommodation was used as accommodation for the McRoberts family. Bert McRoberts being the bassist with The Harry Bence Orchestra who were the resident band at Pontins for a number of seasons.
– Current use –
The lighthouse tower was renovated in 2000, by voluntary workers from the local Pakefield Coastwatch group, and it is now used by the group as a coastal reconnaissance station.
Information sourced from – en.m.wikipedia.org/wiki/Pakefield_Lighthouse#:~:text=Oper...).