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The Škoda Rapid Convertible
(cabriolet) was remarkable value for money when sold in the UK in the Mid-1980s. Converted for Škoda (UK) from standard cars by Ludgate Designs in Kent, the (now rare) convertible was considerably cheaper than other new soft-topped cars on the market. It was a good drive, too. Autocar described the car as "the poor man's Porsche", and they are now sought after vehicles. This - probably the best one surviving - was taking part in this years SALT Rally, and was snapped at the Three Swans Hotel, Market Harborough.
The SALT Rally 2012 (SALT SIX) was held around Market Harborough. The SALT Rallies are for vehicles built in the Cold War period, and the events tour Cold-War related venues. Most of the participating vehicles come from the Soviet Bloc, but there is no political element, implied or actual in the SALT ethos.
Visit the Communist Classic Cars Panorama!
Camera: Nikon F5
Lens: Nikkor 28-80mm zoom
Film: Kodak Ektar 100
"Society Hill is a historic neighborhood in Center City Philadelphia, with a population of 6,215 as of the 2010 United States Census. Settled in the early 1680s, Society Hill is one of the oldest residential neighborhoods in Philadelphia. After urban decay developed between the late 19th and early 20th centuries, an urban renewal program began in the 1950s, restoring the area and its many historic buildings. Society Hill has since become one of the most expensive neighborhoods with the highest average income and second-highest real estate values in Philadelphia. Society Hill's historic colonial architecture, along with planning and restoration efforts, led the American Planning Association to designate it, in 2008, as one of the great American neighborhoods and a good example of sustainable urban living.
The neighborhood hosts one of the largest concentrations of original 18th- and early 19th-century buildings in the United States. Society Hill is noted for its Franklin street lamps, brick sidewalks, cobblestone and Belgian block streets bordered by two- to four-story brick rowhouses in Federal and Georgian architecture, and public buildings in Greek Revival architecture such as the Merchants' Exchange Building and the Old Pine Street Church.
Philadelphia, often called Philly, is the largest city in the Commonwealth of Pennsylvania, the sixth-largest city in the U.S., the second-largest city in both the Northeast megalopolis and Mid-Atlantic regions after New York City, and the 68th-largest city in the world. Since 1854, the city has been coextensive with Philadelphia County, the most populous county in Pennsylvania and the urban core of the Delaware Valley, the nation's seventh-largest and world's 68th-largest metropolitan region, with 6.245 million residents as of 2020. The city's population as of the 2020 census was 1,603,797, and over 56 million people live within 250 mi (400 km) of Philadelphia.
Philadelphia was founded in 1682 by William Penn, an English Quaker. The city served as capital of the Pennsylvania Colony during the British colonial era and went on to play a historic and vital role as the central meeting place for the nation's founding fathers whose plans and actions in Philadelphia ultimately inspired the American Revolution and the nation's independence. Philadelphia hosted the First Continental Congress in 1774 following the Boston Tea Party, preserved the Liberty Bell, and hosted the Second Continental Congress during which the founders signed the Declaration of Independence, which historian Joseph Ellis has described as "the most potent and consequential words in American history". Once the Revolutionary War commenced, both the Battle of Germantown and the Siege of Fort Mifflin were fought within Philadelphia's city limits. The U.S. Constitution was later ratified in Philadelphia at the Philadelphia Convention of 1787. Philadelphia remained the nation's largest city until 1790, when it was surpassed by New York City, and served as the nation's first capital from May 10, 1775, until December 12, 1776, and on four subsequent occasions during and following the American Revolution, including from 1790 to 1800 while the new national capital of Washington, D.C. was under construction.
During the 19th and 20th centuries, Philadelphia emerged as a major national industrial center and railroad hub. The city’s blossoming industrial sector attracted European immigrants, predominantly from Germany and Ireland, the two largest reported ancestry groups in the city as of 2015. In the 20th century, immigrant waves from Italy and elsewhere in Southern Europe arrived. Following the end of the Civil War in 1865, Philadelphia became a leading destination for African Americans in the Great Migration. In the 20th century, Puerto Rican Americans moved to the city in large numbers. Between 1890 and 1950, Philadelphia's population doubled to 2.07 million. Philadelphia has since attracted immigrants from East and South Asia, Eastern Europe, and Latin America.
With 18 four-year universities and colleges, Philadelphia is one of the nation's leading centers for higher education and academic research. As of 2021, the Philadelphia metropolitan area was the nation's ninth-largest metropolitan economy with a gross metropolitan product (GMP) of US$479 billion. Philadelphia is the largest center of economic activity in Pennsylvania and the broader multi-state Delaware Valley region; the city is home to five Fortune 500 corporate headquarters as of 2022. The Philadelphia skyline, which includes several globally renowned commercial skyscrapers, is expanding, primarily with new residential high-rise condominiums. The city and the Delaware Valley are a biotechnology and venture capital hub; and the Philadelphia Stock Exchange, owned by NASDAQ, is the nation's oldest stock exchange and a global leader in options trading. 30th Street Station, the city's primary rail station, is the third-busiest Amtrak hub in the nation, and the city's multimodal transport and logistics infrastructure, including Philadelphia International Airport, the PhilaPort seaport, freight rail infrastructure, roadway traffic capacity, and warehouse storage space, are all expanding.
Philadelphia is a national cultural hub, hosting more outdoor sculptures and murals than any other American city. Fairmount Park, when combined with adjacent Wissahickon Valley Park in the same watershed, is 2,052 acres (830 ha), representing one of the nation's largest contiguous urban parks and the 45th largest urban park in the world. The city is known for its arts, culture, cuisine, and colonial and Revolution-era history; in 2016, it attracted 42 million domestic tourists who spent $6.8 billion, representing $11 billion in total economic impact to the city and surrounding Pennsylvania counties.
With five professional sports teams and a hugely loyal fan base, the city is often ranked as the nation's best city for professional sports fans. The city has a culturally and philanthropically active LGBTQ+ community. Philadelphia also has played an immensely influential historic and ongoing role in the development and evolution of American music, especially R&B, soul, and rock.
Philadelphia is a city of many firsts, including the nation's first library (1731), hospital (1751), medical school (1765), national capital (1774), university (by some accounts) (1779), stock exchange (1790), zoo (1874), and business school (1881). Philadelphia contains 67 National Historic Landmarks, including Independence Hall. From the city's 17th century founding through the present, Philadelphia has been the birthplace or home to an extensive number of prominent and influential Americans. In 2021, Time magazine named Philadelphia one of the world's greatest 100 places." - info from Wikipedia.
The fall of 2022 I did my 3rd major cycling tour. I began my adventure in Montreal, Canada and finished in Savannah, GA. This tour took me through the oldest parts of Quebec and the 13 original US states. During this adventure I cycled 7,126 km over the course of 2.5 months and took more than 68,000 photos. As with my previous tours, a major focus was to photograph historic architecture.
Now on Instagram.
Website:
www.museudooriente.pt/?lang=en
PORTUGUESE PRESENCE IN ASIA
english
The unifying concept underpinning this wide reaching exhibition was the
construction of an Oriental utopia by the Portuguese, from the 15th century right through to contemporary times based on trade, proselytism and the interchange of cultures. Given the boundaries to the collection theme allusive to the Portuguese presence in Asia, an enormous effort was therefore put into conceptualising and staging a narrative that would serve to maximise its unquestionable values and offset any shortcomings.
The visitor is welcomed into the central area on level 1 dedicated to Macau, a territory formerly under Portuguese administration and where the Fundação Oriente was founded in 1988. The large exhibition area is dominated by the four magnificent Chinese folding screens belonging to the collection. The oldest displays a Portuguese nau sailing the China Sea and flanked by another, essentially decorative in nature, bearing the coat of arms of the Gonçalves Zarco family and another inscribed with “do Coromandel”, with interesting Christian iconography echoing the school of painting founded by the Jesuits in Japan and that later spread to Macau. The fourth highly rare screen, displaying representations of the cities of Canton and Macau, is located next to the section dedicated to the iconography of the Cidade do Nome de Deus de Macau, with exhibits particularly focusing on the 17th and 18th centuries complemented by pieces from the 19th.
A granite statue, a crude depiction of a Dutchman, recalls the failed attempt to conquer Macau by Holland in 1622. This exhibition section also features a number of paintings and engravings from the period known as “China Trade” (18-19th centuries), both by Western and by Chinese artists.
A small set of designs and a charming painted miniature recall the extensive twenty seven year stay in Macau of the famous painter Georges Chinnery (1774-1852). This exponent of romantic Oriental landscapes left a sizeable legacy of urban, natural and human landscapes across the territory just as its final period of splendour as a key trading post between China and the West came to a close. On visits to Praia Grande or the sampans next to the A-Má Temple, the artist captured surprising instants of daily life dominated by the presence of the Chinese population going about their affairs against a backdrop influenced by a nostalgic European presence.
The role of Macau in international trade is extensively documented in the opposite section with highlights including the collection of porcelain bearing coats of arms laid out with the plates, dishes, terrines or jugs forming a dragon. Furthermore, there is a significant selection of examples of “China Trade” gouaches portraying the production and trade in tea and porcelain as well as Chinese fans so highly appreciated in the West.
Moving onto the eastern sector of level 1, leading onto the staircase, we encounter the following sections:
• And among remote people was founded/ A new kingdom held in great exaltation. Portuguese presence in Asia, in which, “guided” by the words of Camões in his epic Os Lusíadas in addition to those of Fernão Mendes Pinto in Peregrinação and based on a carefully selected range of objects (furniture, textiles, gold jewellery, painting and ivory pieces), complemented by maps and scale models, the establishment and expansion of the Portuguese Empire in the Orient is set out. Centred around Goa, this section features cities and strongholds, the social and cultural interchange resulting from the dialogue and confrontation between cultures and religions. Within this scope, of particular importance are an 18th century treatise written by a Goan on Hindu gentiles along with a set of watercolours making up an album portraying the traditional characters, professions and military authorities in India,
• The Far East, which testifies to the Portuguese discovery of the culture of the Middle Empire and the lucrative trade in luxury products that came about while also incorporating the role of the missionaries that would accompany the traders and soldiers and who first founded the Christian Church in China, as well as those martyred for their faith. The profitable interchange with Japan throughout the 16th and 17th centuries is brilliantly encapsulated by two folding screens and the Namban lacquered pieces, among the most significant pieces in the entire collection,
• The mother of pearl route: from the Holy Land to Oriental Asia, a collection made up of devotional pieces and “remembrances”, of small and medium size, destined either for export or the local Christian community with crucifixes and fixed crosses to the fore in a collection built up over decades by the sculptor Domingos Soares Branco and acquired by the Fundação Oriente.
With this section over, the visitor again returns to the central area of the Macau section and enters the western wing given over to the following:
• East Timor, peoples and cultures, a very rich collection that documents, through pieces related either to the daily reality and the genealogic traditions or to the sacred, the unity and diversity of the cultures presented in addition to the close ties these peoples held and still hold with Portugal. The seed remover and the bench are located in the daily world of working instruments while the bracelets, necklaces, insignias of power or circumcision knives project us into the worlds of ceremony and ritual and developed through the various types of mask present. The various types of cloth woven by Timorese women illustrate the genealogical traditions within community while the decorative doors and panels of homes or votive statues takes us into the microcosm of Timorese homes with their succession of storeys — from ground level, home to animals and lesser spirits, up to the quarters of the living before rising to the area given over to the worship of ancestors.
• Collecting the Art of East Asia contains a collection of terracotta and other antique Chinese, Japanese and Korean pieces acquired by the Fundação Oriente complemented by loans from Machado de Castro National Museum in Coimbra, enriched by the bequests of the poet Camilo Pessanha and the politician and writer Manuel Teixeira Gomes.
Given the extent of the Chinese ceramics collection, covering the most diverse period and techniques, the exhibition documents the typological evolution of funereal terracotta works, with examples dating back to the Neolithic period and running through to the Ming dynasty, as well as ceramics and porcelain both for practical daily purposes and pieces made for export.
The display further contains a small but significant set of bronzes in the majority deriving from the Camilo Pessanha Collection, some of them highly rare either due to their age or their artistic quality. A set of images, of various origins, and paintings in the Pessanha Collection provide a point of reference to the most erudite of Buddhist and Taoist artistic expression.
Courtesy of the painting and costumes in the Pessanha Collection, it is possible to evoke the office and artistic tastes of a 19th century Chinese man of letters with all his “cherished items”, libation recipients, screens and folding screens, objects of devotion and the roles and albums of traditional Chinese painting and calligraphy in addition to their respective means of execution.
From the notable collection of Chinese snuff flasks built up by Manuel Teixeira Gomes, the second largest in Europe, there is a representative selection of existing different types. The same level is reached with the Japanese collection of the same type: inrô (small and portable personal containers), netzuke (to close the inrô and mask shaped mostly with depictions of the leading characters from Nô Theatre) and tsuba (sword hand guards), covering a broad chronological period and which in the case of Japan are complemented by three monumental sets of armour and other ceramics, bronzes, painting and furniture.
Concluding this section, there is a display of Korean pieces: a lacquered wooden box set with mother of pearl incrustations and an interesting set of watercolours from the late 19th century by the Korean artist Kim Jun-geun, known by his artistic name of Kisan, depicting the clothing, costumes and festivals of Korea and produced for European and American markets.
português
O conceito gerador deste grande módulo expositivo foi a construção de uma utopia oriental pelos Portugueses, desde o século XV até aos nossos dias, baseada no comércio, na missionação e no encontro de culturas. Dados os referidos condicionalismos da colecção alusiva à presença portuguesa na Ásia, houve que fazer um enorme esforço de conceptualização e de encenação narrativa para de algum modo potenciar os seus indiscutíveis valores e minorar as suas fraquezas.
O visitante é acolhido no espaço central do piso 1, que é dedicado a Macau, território outrora sob administração portuguesa onde foi fundada a Fundação Oriente, em 1988. Este amplo espaço é dominado pela exposição de quatro magníficos biombos chineses da colecção: o mais antigo representa uma nau portuguesa nos mares da China e encontra-se ladeado por outros dois, um de carácter essencialmente decorativo, decorado com as armas da família Gonçalves Zarco, e um outro, dito “do Coromandel”, com interessante iconografia cristã, eco da escola de pintura criada no Japão pelos Jesuítas, que mais tarde se estenderia a Macau. O quarto biombo, raríssimo exemplar decorado com as representações das cidades de Cantão e de Macau, encontra-se junto à secção dedicada à iconografia da Cidade do Nome de Deus de Macau, com exemplares que remontam aos séculos XVII e XVIII e se estendem pelo século XIX.
Uma estátua em granito, representando toscamente um holandês, evoca a tentativa frustrada de conquista de Macau pelos Holandeses, em 1622. Neste módulo expositivo destacam-se ainda várias pinturas e gravuras do chamado período “China Trade” (séculos XVIII-XIX), tanto de autores ocidentais como de autores chineses.
Um pequeno conjunto de desenhos e uma encantadora pinturinha lembram a prolongada presença de vinte e sete anos em Macau do famoso pintor britânico Georges Chinnery (1774-1852), expoente do paisagismo romântico no Oriente, que deixou um notável registo das paisagens urbana, natural e humana do território no derradeiro período do seu esplendor como entreposto entre a China e o Ocidente. Nas vistas da Praia Grande ou das sampanas junto ao Templo de A-Má surpreendem-se instantâneos do quotidiano que envolvem dominantemente a presença da população chinesa nas suas tarefas, em cenários marcados por uma nostálgica presença europeia.
O papel de Macau no comércio internacional está extensivamente documentado na secção oposta, salientando-se a colecção de porcelana brasonada, formando, na disposição de pratos, travessas, terrinas ou jarras, um dragão. Contudo, não deixam de ser significativas as séries de gouaches “China Trade” que representam o fabrico e o comércio do chá e da porcelana, assim como os leques chineses, muito apreciados no Ocidente.
Passando ao sector nascente do piso 1, fronteiro ao acesso por escada, sucedem-se os seguintes módulos:
• E entre gente remota edificaram/Novo reino que tanto sublimaram. Presença portuguesa na Ásia, em que, “guiados” pelas palavras de Camões n’ Os Lusíadas mas também pelas de Fernão Mendes Pinto na Peregrinação, se procura documentar, a partir de uma criteriosa selecção de objectos (mobiliário, têxteis, ourivesaria, pintura e marfins), complementada por mapas e maquetas, o estabelecimento e a construção do Império Português do Oriente, centrado em Goa, com as suas cidades e praças-fortes, as suas sociedade e cultura miscigenadas, em que se deu o diálogo e o confronto entre culturas e religiões. Neste particular destacam-se um exemplar setecentista de um tratado escrito por um goês sobre o gentilismo hindu, assim como as aguarelas de um álbum que representa tipos populares, profissões e autoridades militares da Índia;
• Ásia Extrema, em que se evidencia a descoberta, pelos Portugueses, da cultura do Império do Meio e do lucrativo comércio de produtos de luxo que com ele poderiam realizar, não esquecendo o papel dos missionários que acompanhavam os comerciantes e os soldados e deram início à Igreja Católica na China, inclusive os que sofreram o martírio pela Fé. O frutuoso encontro com o Japão nos séculos XVI e XVII é brilhantemente ilustrado por dois biombos e por lacas namban que estão entre as mais relevantes peças de toda a colecção;
Findo este sector, o visitante atravessa, de novo, o espaço central dedicado a Macau e entra no sector poente, em que se desenvolvem outros dois módulos:
• Timor-Leste, povos e culturas, colecção muito rica que documenta, através de peças relacionadas quer com as vivências quotidianas e as tradições linhagísticas quer com o sagrado, a unidade e a diversidade das culturas em presença, assim como os estreitos laços que esses povos souberam manter com Portugal. O descaroçador e o banco situam-nos no mundo quotidiano dos instrumentos de trabalho, enquanto as pulseiras, os colares, as insígnias de poder ou as facas de circuncisão nos projectam no universo cerimonial e ritual, tal como acontece com as diversas máscaras presentes. Os vários tipos de panos tecidos pelas mulheres timorenses ilustram os patrimónios linhagísticos das comunidades, enquanto as portas e os painéis decorativos das casas ou a estatuária votiva nos projectam no microcosmo da casa timorense com a sua sucessão de andares — do nível térreo, morada dos animais e dos espíritos inferiores, passando pela residência dos vivos, até ao lugar de culto dos antepassados.
• O coleccionismo de arte do Extremo Oriente, constituído pela colecção de terracotas e de outras antiguidades chinesas, japonesas e coreanas que foi adquirida pela Fundação Oriente, a que se acrescentaram os acervos em depósito provenientes do Museu Nacional de Machado de Castro, em Coimbra, em que se destacam os legados do poeta Camilo Pessanha e do político e escritor Manuel Teixeira Gomes.
Atendendo ao elevado número de exemplares de cerâmica chinesa dos mais diversos períodos e técnicas, é possível documentar a evolução tipológica das terracotas funerárias, com exemplares que remontam ao Neolítico e se estendem até à dinastia Ming, assim como da cerâmica e da porcelana de uso quotidiano, nela incluindo alguma de exportação.
Expõe-se também um pequeno mas significativo conjunto de bronzes provenientes, na sua maioria, da Colecção Camilo Pessanha, alguns deles de grande raridade pela sua antiguidade e pela qualidade artística. Um grupo de imagens de vária proveniência e algumas pinturas da Colecção Pessanha permitem referenciar a expressão artística mais erudita do budismo e do taoísmo.
Graças à pintura e ao traje da Colecção Pessanha, evoca-se o ambiente do gabinete e o gosto artístico de um letrado chinês de oitocentos, com as “preciosidades”, as taças de libação, os ecrãs e os biombos, os objectos devocionais ou os rolos e álbuns de pintura tradicional chinesa e de caligrafia, bem como os respectivos apetrechos de execução.
Da notável colecção de frascos de rapé de fabrico chinês de Manuel Teixeira Gomes, a segunda maior da Europa, apresenta-se uma significativa selecção das diferentes tipologias que a constituem. O mesmo se passa com as peças japonesas da mesma proveniência: os inrô (pequenos contentores portáteis pessoais), as netzuke (fechos dos inrô em forma de máscara, com personagens, na sua maioria, do Teatro Nô) e as tsuba (guarda-mãos de espada), peças de cronologia alargada, a que se acrescentam, ainda no âmbito do Japão, as três monumentais armaduras e outros objectos de cerâmica, bronze, pintura e mobiliário.
Concluindo este módulo, expõem-se também peças coreanas: uma caixa em madeira lacada com incrustações de madrepérola e uma curiosa série de aguarelas de finais de oitocentos da autoria do pintor coreano Kim Jun-geun, conhecido pelo nome artístico de Kisan, sobre trajos, costumes e festas da Coreia, realizadas para o mercado europeu e americano.
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english
The Museum of the Orient (Portuguese: Museu do Oriente) in Lisbon, Portugal celebrates the history of Portuguese exploration with a collection of Asian artifacts. The museum opened in May, 2008, and is located in a refurbished industrial building on the Alcântara waterfront. The collection includes Indonesian textiles, Japanese screens, antique snuff bottles, crucifixes made in Asia for Western export, and the Kwok On Collection of masks, costumes, and accessories.
português
O Museu do Oriente está instalado no edifício Pedro Álvares Cabral, antigos armazéns da Comissão Reguladora do Comércio do Bacalhau em Alcântara, Lisboa.
O museu reúne colecções que têm o Oriente como temática principal, nas vertentes histórica, religiosa, antropológica e artística.
A exposição permanente engloba 1400 peças alusivas à presença portuguesa na Ásia e 650 peças pertencentes à colecção Kwok On.
O museu é da responsabilidade da Fundação Oriente e foi inaugurado no dia 8 de Maio de 2008.
A actual directora é Maria Manuela d'Oliveira Martins.
Foi classificado como Monumento de interesse público (MIP) pelo IGESPAR em 15 de junho de 2010.
Back to St Mary, this having taken the precaution of making sure it would be unlocked. Many thanks to the former vicar and one of the current wardens to take time to reply.
Much more inside than I remember, wooden hatchments and more tablet memorials than you can shake a stick at.
The walls lean, the windows are set in recesses that look off centre.
But it works.
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Nonington is a village of two junctions. The church is on the lesser of the two delightfully framed by a picture postcard cottage and venerable Yew. Opposite the gate is an amazing memorial giving you the two alternative routes through life. You really have to see it. The church is large, open and welcoming....though it's interior does have something of a Victorian feel to it. The chancel arch shows signs of once having an infilled Tympanum as the slots are still visible and there is an entrance to the Rood Loft on the north side. The south wall has a large window in a similar position but its stonework is renewed and its difficult to tell if it was there to give light to the rood, or if it was added later to give light to the pulpit that now stands there. The chancel south wall is full of memorial tablets and four hatchments whilst the north chapel is similarly crammed in with tablets. The altar has a very queer companion which takes the form of tiled Decalogue and Lord's Prayer, whilst the altar itself has a fine inlaid reredos. The fine north chapel has what was once a good tomb recess but at some later stage this was pierced with a window to create a light family pew. At the back of the church the pews are tiered (see also Newnham) and overshadow the fine mid seventeenth century font doubtless purchased to replace one destroyed during the Commonwealth. My favourite things here are the two south chancel windows of St Alban and St George designed just after the First World War by Mary Lowndes who was a significant player in the Arts and Crafts movement.
www.kentchurches.info/church.asp?p=Nonington
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NONINGTON.
The next parish eastward is Nonington, which lies partly, that is, so much as is within the borough of Kettington, and of Nonington, alias Ratling, in this hundred of Wingham; and the remainder, containing the boroughs of Esole, and Frogham, in the lower half of the hundred of Eastry.
THIS PARISH is, as to soil and situation, much the same as that of Goodnestone last described, being in a fine open champaign country, exceedingly dry and healthy; it is about three miles across each way, the village called Church-street, with the church in it, is nearly in the middle of the parish, in a valley, in which, at no great distance from it, is the seat of St. Alban's, a low situation, looking up to the uninclosed lands. Near it is the hamlet of Esole, usually called Isill-street, and further eastward the estate of Kettington belonging to Sir Narborough D'Aeth, bart. In the bottom, at some distance south-west from the church, among some small inclosures, is the seat of Fredville, a damp and gloomy situation; near it are the small hamlets of Frogham and Holt, now called Old-street, near which is a place called Oxendenden, from whence the family of that name are said to derive their origin. At the northern boundary of the parish is the hamlet of Acol, which had once owners of that name, who bore for their arms, Quarterly, argent, and azure, over all, a bend componee, or, and gules, as they were formerly painted in the windows of this church. It now belongs to Sir Brook William Bridges, and at the western boundary that of Ratling-street. In this parish is the estate of Curleswood park, now commonly called the Park farm, belonging to the archbishop, the lessee of it being Sir Brook William Bridges. There is a fair held yearly in Church-street, on Ascension day, for pedlary, &c.
The MANOR OF WINGHAM claims paramountover the greatest part of this parish, and the manor of Eastry over the remainder. Subordinate to the former is
The MANOR OF RETLING, usually called Ratling, in that part of this parish adjoining to Adisham, which was antiently held of the archbishop by a family of the same name, who bore for their arms, Gules, a lion rampant, between an orle of tilting spears heads, or, as they were on the surcoat of Sir John de Ratling, formerly painted in one of the windows of this church, in which it continued down to Sir Richard de Retling, who died possessed of it in the 23d year of king Edward III. leaving a sole daughter and heir Joane, who marrying John Spicer, entitled him to it. After which, by Cicely, a daughter and coheir of this name, it passed in marriage to John Isaac, of Bridge, who died possessed of it anno 22 Henry VI. and his descendant Edward Isaac, esq. in king Henry VIII.'s reign, alienated it to Sir John Fineux, chief justice of the king's bench, whose son William Fineux, esq. of Herne, alienated it to Thomas Engeham, gent. of Goodneston, who by his will in 1558, gave it to his second son Edward, and his son, William Engeham sold it to William Cowper, esq. who afterwards resided here, and was first created a baronet of Nova Scotia, and then, in 1642, a baronet of Great Britain. His great-grandson Sir William Cowper, bart. was by queen Anne, being then lord keeper of the great seal, created lord Cowper, made lord chancellor, and afterwards, anno 4 George I. created earl Cowper, and in his descendants, earls Cowper, this manor has descended down to the right hon. PeterFrancis, earl Cowper, the present owner of this manor. (fn. 1) There has not been any court held for it for many years past.
ARCHBISHOP PECKHAM, on the foundation of Wingham college, anno 1286, endowed the first subdiaconal prebend of it, which he distinguished by the name of the prebend of Retling, with the tithes of the demesne lands, which Richard de Retling and Ralph Perot held of him in Nonyngton, between the highway which led from Cruddeswode to the cross of Nonyngtone, and from thence to the estate of the prior, of Addesham. (fn. 2)
OLD-COURT is an estate in this parish, situated about a mile northward from the church, which was antiently the property of the family of Goodneston, who took their name from their possession and residence in that parish, and it continued in an uninterrupted succession in this family, of whom there is frequent mention in private evidences, which, though without date, appear to be made in the reigns of king Henry III. and king Edward I. till at length Edith, daughter and heir of William Goodnestone, carried it in marriage to Vincent Engeham, whose son Thomas Engeham, esq. of Goodneston, by his will in 1558, gave it, together with the lands in Nonington, late Mr. Sidley's and John Bewe's, to his second son Edward, whose son William Engeham, gent. passed it away in queen Elizabeth's reign to Thomas Wilde, esq. descended from an antient family of that name in Chester, and his son Sir John Wilde, of St. Martin's hill, near Canterbury, in the next reign of James I. alienated it to Thomas Marsh, gent. of Brandred, in Acrise, whose descendant John Marsh resided here till the year 1665, when he removed to Nethersole, in Wimlingwold. Since which it has continued, in like manner as that seat, down to his descendant John Marsh, esq. now of Chichester, in Sussex, the present owner of it.
ST. ALBANS COURT, antiently called, at first Eswalt, and afterwards Esole, is a manor situated in the valley, north-eastward from the church, in the borough of its own name, which with another estate near it, called Bedesham, (all that remains of the name of which is a grove behind St. Albans house, called Beauchamp wood, in which are many foundations of buildings, being now esteemed as part of the manor of St.Albans court) was in the time of the Conqueror, part of the possessions of Odo, bishop of Baieux, and they are accordingly both thus entered in the record of Domesday:
Adelold holds of the bishop Eswalt. It was taxed at three sulings. The arable land is . . . . In demesne there is one carucate, and six villeins, with two borderers having three carucates. There are two servants, and a small wood for fencing. In the time of king Edward the Confessor it was worth nine pounds, now fifteen. Alnod Cilt held it of king Edward.
And Somewhat further below:
Osbert, the son of Letard, holds of the bishop, Bedesham. It was taxed at one yoke and an half. The arable. land is . . . . In demesne there is one carucate, with one villein and four borderers. In the time of king EdEdward the Confessor it was worth sixty shillings, and afterwards thirty shillings, now fifty shillings. Godisa held it of king Edward. In the same manor ten thanes held of Osbern himself one suling and half a yoke, and there they themselves have four carucates and an half. In the time of king Edward the Confessor it was worth one hundred shillings, and afterwards thirty shillings, now sixty shillings.
On the bishop of Baieux's disgrace, in the year 1084, it came, with the rest of his estates, into the hands of the crown, whence the manor of Esole, alias St. Albans, seems to have been granted to William de Albineto, or Albini, surnamed Pincerna, who had followed the Conqueror from Normandy hither, whose son, of the same name, earl of Albermarle, gave it, by the name of the manor of Eswelle, to the abbot of St. Alban's, in Hertfordshire; which gift was afterwards confirmed by king Stephen; (fn. 3) and from thence it gained the name of St. Albans. And anno 7 king Edward I. the abbot of St. Albans claimed and was allowed, before the justices itinerant, free-warren and other liberties within this manor. After which it continued in the possession of the abbey till the 30th year of king Henry VIII. when the abbot and convent, with the king's consent, sold it, with its lands, appurtenances, and tithes belonging to it, as well of corn, grain, hay, and otherwise, then in the occupation of John Hammond, to Sir Christopher Hales, master of the rolls. Which alienation having been made in consequence of the licence by the king's word only, was confirmed by act the next year, specially for that purpose. On whose death in the 33d year of that reign, (fn. 4) his three daughters became his coheirs, of whom Elizabeth, then married to John Stocker, and Margaret, then unmarried, joined in the sale of their shares in it, to Alexander Culpeper, who had married Mary, the other daughter, and he quickly afterwards alienated the whole of it to his eldest brother Sir Thomas Culpeper, of Bedgbury, who in the 2d and 3d of Philip and Mary, sold it to Thomas Hammond, gent. who at that time resided here, being the direct descendant of John Hamon, or Hammond, who was resident here in king Henry the VIIIth.'s time, as tenant to the abbot and convent of St. Alban's, who died in 1525, and was buried in this church, as were his several descendants afterwards, in whom it continued down to William Hammond, esq. of St. Albans, who married Charlotte, eldest daughter of Dr. Wil liam Egerton, prebendary of Canterbury, by whom he left William, of whom hereafter; Anthony, rector of Ivychurch, and vicar of Limne, and three daughters, Anna-Maria; Charlotte, married to Thomas Watkinson Payler, esq. of lleden, and Catherine. William Hammond, esq. the eldest son, married Elizabeth, eldest daughter of Osmund Beauvoir, D.D. by whom he has issue two sons and five daughters, viz. William-Osmond, Maximilian-Dudley-Diggs; Elizabeth-Mary, Mary-Elizabeth, Charlotte, Julia-Jemima, and Jemima-Julia. He bears for his arms, Argent, on a chevron, sable, between three ogresses, each charged with a martlet of the field, three escallop-shells, or, all within a bordure engrailed, vert; which arms were granted by Barker, garter, to Thomas Hamon, gent. of Nonington, anno 1548, and confirmed by Cooke, clarencieux, and they were certified to the college of arms by William Hammond, esq. last-mentioned, his descendant, in 1779, (fn. 5) and he is the present owner of this manor and seat, at which he resides.
A court baron is held for this manor, which extends over some part of the borough of Wingmere, in Eleham, and over a few acres of land in Barham.
SOLES is a manor at the boundary of this parish, next to Barfreston, which at the taking the survey of Domesday, in 1080, was part of the possessions of Odo, bishop of Baieux, under the general title of whose lands it is thus entered in that record:
Ansfrid holds of the bishop Soles. It was taxed at one suling. The arable land is . . . In demesne there are two carucates, and eight viheins with half a carucate. In the time of king Edward the Confessor it was worth one hundred shillings, and afterwards twenty shillings, now six pounds. Elmer held it of king Edward.
Four years after which, on the bishop's disgrace, the king seized on this estate among the rest of his possessions. After which it was granted to the family of Crevequer, and made a part of that barony, being held of it by the tenure of performing ward to Dover castle. Of Hamo de Crevequer it was held by knight's service in king Edward I.'s reign, by Richard de Rokesle, and of him again by Hamo and John de Soles, who certainly took their name from it, but this name was extinct here in the beginning of king Henry IV.'s reign, for in the 4th year of it Thomas Newbregge, of Fordwich, was become possessed of it, whose descendant sold it to Rutter, from which name it passed; about the beginning of king Edward IV. to Litchsield, whose descendant Gregory Litchfield alienated it in king Henry VIII.'s reign to John Boys, esq. of Nonington, in whose descendants it continued down to John Boys, esq. of Hode-court, who in Charles I.'s reign alienated it to Sir Anthony Percival, of Dover, comptroller of the customs there; in whose descendants it remained till, not many years since, it was by one of them passed away to Major Richard Harvey, who sold it to Thompson, of Ramsgate, after whose death it came by marriage to Mr. Stephen Read, of Canterbury, who afterwards alienated it to John Plumptree, esq. of Fredville, the present owner of it. A court baron is held for this manor.
FREDVILLE is a manor in this parish, which in antient deeds is sometimes written Froidville, from its cold situation, which is both low and watry. It was held of the castle of Dover, as part of those lands which made up the barony of Maminot, afterwards, from its succeeding owners, called the barony of Saye. In the reign of king Edward I. it was held, in manner as above-mentioned, by John Colkin, in whose posterity it remained till the latter end of king Richard II.'s reign, when it was conveyed by sale to Thomas Charleton, and he, by sine levied anno 2 Henry IV. passed it away to John Quadring, whose descendant Thomas Quadring leaving an only daughter and heir Joane, she carried it in marriage to Richard Dryland, and he, about the latter end of king Edward IV. alienated it to John Nethersole, who by fine levied in the 2d year of king Richard III. conveyed it to William Boys, esq. of Bonnington, (fn. 6) and he died possessed of it in 1507, and by his will gave this manor to his eldest son John Boys, esq. of Fredville. His descendant Major Boys, of Fredville, being a firm loyalist, suffered much by sequestration of his estates. He had seven sons and a daughter, who all died s.p. Two of his elder sons, John and Nicholas, finding that there was no further abode at Fredville, to which they had become entitled, departed each from thence, with a favourite hawk in hand, and became pensioners at the Charter-house, in London. (fn. 7) Before which they had, in 1673, sold it to Denzill, lord Holles, from whose descendant it afterwards came to Thomas Holles, duke of Newcastle, who in 1745 sold it to Margaret, sister of Sir Brook Bridges, bart. of Goodnestone, and she in 1750, marrying John Plumptree, esq. of Nottinghamshire, he became in her right possessed of it. He was descended from a family who had been long settled in that county, who bore for their arms, Argent, a chevron, between two mullets in chief, and an annulet in base, sable. (fn. 8) He served in parliament for Penryn, in Cornwall, and afterwards for Nottingham. By his first wife above-mentioned, he had no issue; but by his second, daughter of Philips Glover, esq. of Lincolnshire, he had one son John Plumptree, esq. married to Charlotte, daughter of the Rev. Jeremiah Pemberton, of Cambridgeshire; and a daughter, married to R. Carr Glynn, esq. He rebuilt this seat, in which he afterwards resided, and dying in 1791, was succeeded by his only son John Plumptree, esq. beforementioned, who now resides in it.
At a small distance from the front of Fredvillehouse, stands the remarkable large oak tree, usually known by the name of the Fredville oak. It measures twenty-seven feet round in girt, and is about thirty feet in height; and though it must have existed for many centuries, yet it looks healthy and thriving, and has a most majestic and venerable appearance.
Charities.
EDWARD BOYS, son of William Boys, esq. of Nonington, gave by his will in 1596, and annnity of 40s. out of lands which he had purchased in Nonington and Barfreston, containing 15 acres, to be yearly paid among the poorest of this parish.
ROBERT BATGHAR, yeoman, of Bridge, by will in 1600, gave to the parson and churchwardens of Nonington, the rents and profits of his house there, for the relief of the poor.
SIR EDWARD BOYS, of Nonington, by will in 1634, gave to the poor of Nonington, 6l. to be employed for a stock to set the poor at work, and not otherwise to be employed, so as the overseers or any sufficient man of the parish be bound yearly to the heirs of Fredville, whereby the stock be not lost.
A PERSON UNKNOWN gave to two poor housekeepers of this parish, two houses and an acre and an half of land, in it, at Frogham, to each, with a sack of wheat to each housekeeper every Christmas; now vested in the Reverend James Morrice, owner of Betshanger manor, and of the annual produce of 5l. 10s.
The poor constantly relieved are about thirty, casually forty.
THIS PARISH is within the ECCLESIASTICAL JURISDICTION of the diocese of Canterbury, and deanry of Bridge.
The church, which is dedicated to St. Mary, consists of two isles and two chancels, having a tower steeple at the north corner at the west end, in which are three bells. In the south isle are the figures of a man between his two wives, traced on the stone, and inscription for John Hamon and Margaret and Mary his wives, obt. 1526. A memorial for Wm. Hammond, obt. 1717. In the south or high chancel, against the wall, a brass plate for Alicia, daughter and heir of William Sympson, esq. once marshal of Calais, and Catherine Gemecot, wife to Francis Wilford, obt. 1581. A stone, and inscription in brass, for John Cooke, vicar, obt. March 7, 1528. Several memorials for the Hammonds. In the north chancel, now made use of as a school, a memorial for Edward Boys, esq. obt. 1597. A monument for Mary, daughter of Edward Boys, and wife of J. Hole, obt.— Several memorials for Trotter and Wood. A monument for Sir John Mennes. In the windows of this church were formerly several shields of arms, long since destroyed; and the figure of a knight, kneeling on his surcoat, the arms of Boys, of Bonnington, and opposite to him the figure of a woman kneeling, and on her coat the arms of Roper. Another like figure of a knight, and on his surcoat the arms of Ratling, being Gules, a lion rampant or, an orle of Spears heads argent.
The church of Nonington was antiently a chapel of ease to that of Wingham, and was on the foundation of the college there by archbishop Peckham, in 1286, separated from it, and made a distinct parish of itself, (fn. 9) and then given to the college, and becoming thus appropriated to the college, continued with it till its suppression in king Edward VI.'s reign, when this parsonage appropriate, with the advowson of the vicarage or curacy of it, came into the hands of the crown, where it did not remain long, for in the year 1558, queen Mary granted it, among others, to the archbishop, but the rectory or parsonage appropriate, with the chapel of Wimlingswold appendant, continued in the crown till queen Elizabeth, in her 3d year, granted it in exchange, to the archbishop, when it was valued at thirty-three pounds, reprises to the curate 13l. 6s. 8d. At which rent it has continued to be leased out ever since, and it now, with the patronage of the curacy, remains parcel of the possessions of the see of Canterbury. William Hammond, esq. is the present lessee of the parsonage.
At the time this church was appropriated to the college of Wingham, a vicarage was endowed in it, which, after the suppression of the college, came to be esteemed as a perpetual curacy. It is not valued in the king's books. The antient stipend paid to the curate as above, was, in 1660, augmented by archbishop Juxon with the addition of twenty pounds, but by the addition of Mr. Boys's legacy of the small tithes in this parish and Wimlingswold, mentioned below, it is now, with that chapel, of the yearly certified value of 71l. 6s. 8d. In 1588 here were two hundred and thirty-five communicants.
¶Edward Boys, esq. of Nonington, by his will in 1596, gave towards the maintenance of a minister, being licenced and preaching every other Sunday at farthest at Nonington, yearly, for ever, all the profits of the small-tithes of Nonington and Wemingewell, (excepting those of the lands in his occupation, and the oblations and obventions due out of them, and the tithes of wood of all the lands and farms he had, or his heirs should have, within the parish) the said minister paying to him and his heirs the yearly sum of 40s.
www.british-history.ac.uk/survey-kent/vol9/pp251-262
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St. Mary’s Church appears to have been built on or near a farm or settlement on the Manor of Oesewalum (also Oeswalum & Oesuualun) which had belonged to the Abbesses of Minster Abbey, on the Isle of Thanet, and Southminster Abbey, at Lyminge, in the late 8th and early 9th centuries before eventually passing into the possession of Christchurch Priory of Canterbury. The abbess’s ownership of Oesewalum most likely give rise to the name Nunningitun, the nuns farm or manor, which in turn became Nonington. The manor of Oesewalum would have been administered on behalf of the abbess by a manorial steward and his house would have been the focal point of the settlement and possibly eventually became the site of the chapel that became St. Mary’s Church.
The manor of Oesewalum came into the personal possession of Wulfred, Archbishop of Canterbury, in 824 and he willed it to Werhard, his kinsman, on the proviso that Werhard would in turn will it to Christ Church Priory. In his will drawn up in the 830’s Werhard made the following provisions:
“ To five paupers at Harrow (Middlesex), five at Otford (Kent), two at Graveney (Kent), seven at Oesuualun ( in Nonington, Kent) and six in the city of Canterbury (Kent) let enough to eat be given each day as is convenient and over the year let each pauper be given twenty-six pence for clothing”
(The original Latin text was “Apud Hergan .v. pauperes; apud Otteford .v.; apud Cliue .ii.; apud Grauenea .ii.; apud Oesuualun .vii.; in ciuitate Dorobernia .vi. Unicuique detur cotidie ad manducandum quod conuenienter sit satis et per annum cuique pauperi ad uestitum .xxvi. denarii.”).
In order to distribute “enough to eat be given each day as is convenient” to the seven paupers at Oesewalum /Oesuualun the food must have either been brought in from Christchurch Priory or one of its other estates on a regular basis, although not necessarily daily, or there must have been a local source of supply.
Werhard’s will records Oesewalum /Oesuualun as extending to 10 hides and the revenue Werhard derived from the holding would therefore have been more than able to adequately provide the specified bounty. A hide was the nominal amount of land required to keep a family for a year and was used for taxation. In East Kent a hide would probably have measured some thirty to fifty modern acres, depending on the quality of the land. The daily ration would have to be distributed and the most logical place to distribute this would be the manorial steward’s house, either by the steward or another servant of Christchurch. As it was an ecclesiastical manor this may then have led to a small chapel being established which by the 1070’s had become the origin of the present St. Mary’s Church.
However, there is some evidence to show that the chapel itself may actually pre-date possession by Christchurch and may have been founded or existed during the ownership of Oesewalum by the Benedictine Abbeys of Minster on the Isle of Thanet and Southminster at Lyminge as both abbey churches were named after St. Mary the Virgin, the same saint as the present Nonington church. Nonington church is next to an ancient road which linked the abbey on the Isle of Thanet with the abbey at Lyminge.
The first Minster Abbey was built on the site of St. Mary’s church, and opposite to the minster across the now silted up Wantsum Channel was St. Mary the Virgin on Strand Street in Sandwich’s, the town’s oldest church and the site of a lost convent. From Sandwich the road went on through Eastry, Nonington, Elham, and Lyminge, settlements whose churches are all dedicated to St. Mary the Virgin. Lyminge church was jointly dedicated to St. Mary and St. Ethelburgha, founder of the abbey there.
Christ Church Priory seem to have lost Oesewalum /Oesuualun at some time in the late 9th century and it came into the possession of the King. Parts of the manor, including the area around the present church, came back into the possession the Archbishop of Canterbury as part of the Manor of Wingham and remained in the See’s possession until Archbishop Cranmer exchanged the Manor of Wingham for other properties with Henry VIII in 1538.
One of the community wells in Kirehe, eastern Rwanda provided by our 2008 partnership with the Lutheran World Federation and Inter-Faith Action for Peace in Africa,to supply clean water to rural communities.
This picture best represents value since it shows the color of the top of the leaves first which is yellow and then it gradually turns into a darker orange color. I edited the levels to make the picture a little bit brighter and used a shutter speed of 1/ 100 and an aperature of F. 6.3.
Some of the values artists value. Croudsourced values, part of *For the Love of it*, Artquest, London 2013
The value "61 degrees" doesn't mean anything unless a reference frame is specified. On compasses used for navigation, North is the primary axis and all angles are given as degrees clockwise from North. In math class, the + x axis is the primary axis and all angles are given as degrees counter-clockwise from x. Both are valid, as are any other reference axes. Usually we'll just use an angle inside one of our force triangles and know that we tell if something is positive or negative from the direction its going in the picture.
That said, sines and cosines work if you use the angle from the positive x-axis. I've shown this with this picture. When you do the angle like this the calculator will give you whether you're talking about something in this reference frame to the left/down (negative) or to the right/up (positive).
To make your life easier, use these greater than 90 degree angles in this lab, because they're what you're reading directly off the protractor. The math that comes next will do so. We use the internal angle to decide which trig function to use (using SOH-CAH-TOA) and then directly plug the angle from the protractor in.
I was going to gloss over this detail in class, but two 8th period students during the 2016-17 school year wanted a mathematical justification of this, so we stayed after school and came up with this picture
Nestlé helps farmers in the Parma region of Italy to increase their production of tomatoes whilst reducing their water consumption.
My students were using 10-longs and unit cubes to create numbers using a place value mat. This student created the number 15 using 1 ten and 5 ones (10 + 5 = 15)
Continuing to create a sample board of value and key-stoning for my online workshop - to be filmed next month.
This picture has light from outside of the underneath path of the stairs and shadow as well because of how the stairs cover the sky.
Podium at the Values Voter Summit in Washington, DC.
Please attribute to Gage Skidmore if used elsewhere.
Some unloved cans of Tesco's budget bitter, stranded in Victoria station. There's a lot of emotions there (mainly along the lines of, seriously, Tesco do a value bitter? And also, that alcohol percentage, who is their target market for this?)
515-527 1/2 Pandora Avenue, Victoria, BC.
Description of Historic Place:
515-527 1/2 Pandora Avenue is a long masonry commercial building, two storeys in height, with a full lower level exposed to the rear courtyard. It is part of Market Square, a rehabilitated complex of late nineteenth century buildings that comprise the western half of a full block, with continuous historic streetfronts along three major streets and a central courtyard behind, in Victoria's Old Town.
Heritage Value:
515-527 1/2 Pandora Avenue is a significant contributing resource to a key historic grouping of nineteenth-century structures in Victoria's Old Town that marks the southern edge of the expansion of Victoria's original Chinatown (now a National Historic Site). This block, bounded to the north by Pandora Avenue and to the south by Johnson Street, was once part of the course of the Johnson Street Ravine, a swamp that marked the boundary between the European business area to the south and Chinatown to the north. During the 1880s, the wooden shacks on the north side of the ravine were replaced with utilitarian commercial blocks housing Chinese businesses, spurred by the dramatic increase in the local Chinese population after the Canadian Pacific Railway was completed. The announcement of a land grant to the Esquimalt and Nanaimo Railway in 1883, and its completion in 1888, sparked a construction boom in Victoria of stores and hotels around the terminus at the west foot of Pandora Avenue. The south side of the block was filled with more elaborate buildings, such as hotels and commercial enterprises run by Europeans, illustrating the physical and cultural divide within the early city. Accessed by alleyways cut through the buildings, the large open space in the centre of the block remains as a significant representation of the interconnected network of courtyards and alleyways in Old Town. These alleyways provided service areas and access which were important to the commercial functions of these buildings.
Built in two halves, this structure is also significant for its late Victorian era architecture. The western half was built in 1888 and later extended to the east in 1900, demonstrating how buildings expanded to meet Victoria's growing commercial needs. Typical of historic usage in downtown Victoria, the structure exhibits street-level retail space, and a clear division into smaller retail units. The second floor doorways illustrate that this building, similar to others of the same vintage, once had a continuous wooden front arcade and balcony.
515-527 1/2 Pandora Avenue is valuable for its association with its original owner. Joseph Westrop Carey (1829-1910), a prominent local businessman who emigrated from Ireland in 1845, participated the Californian gold rush, served as a Victoria city councillor from 1869 to 1871 and was elected mayor in 1884.
Additionally, this building represents Market Square's role in the modern revitalization of Victoria's historic downtown core. In the 1970s, Sam Bawlf and his brother, architect Nick Bawlf, pioneered private sector revitalization in Victoria by creating Market Square, a half-block of contiguous rehabilitated heritage buildings that framed a partly covered central courtyard, housing a vibrant urban environment with boutiques, restaurants, offices, and performance space. Seeking to reactivate Victoria's depressed downtown core with this massive project, the Bawlfs balanced urban revitalization with heritage conservation. The preservation of the open space in the central courtyard is a key feature that recalls the integral role of these secondary spaces in Victoria's commercial activities.
Source: City of Victoria Planning and Development Department
Character-Defining Elements:
Key elements that define the heritage character of 515-527 1/2 Pandora Avenue include its:
- location within Market Square and the historic streetscape of Pandora Avenue, set flush to the front and side property lines with other contemporaneous buildings, on a south-sloping lot that exposes the lower level at the rear
- continuous commercial and retail use
- commercial form, scale and massing as expressed by its two-storey plus lower level, cubic form, basement areaways and flat roof
- masonry construction, including: structural front, side and rear brick walls; timber internal frame; rubble-stone foundations; parged window sills; and granite door thresholds
- Italianate style details such as tall windows with segmental arched window heads and simple front and rear corbelled brick cornices
- additional exterior details include a straight parapet incorporating recessed panels, with an arched parapet in the westernmost (1888) portion of the facade; red-brick projections above parapet; keystones; simple cornice and stringcourses; second-storey (balcony) doorways, with glazed doors and double-paned transom lights; individual first-storey access to each upper-storey suite, through narrow doorway openings with round-headed arches; glazed double doors with multi-paned transom lights to each storefront; and first and second-storey doorways on the rear elevation
- irregular fenestration with: rectangular storefront openings; recessed, double-hung 2-over-2 wooden sash second-storey front elevation windows with window horns; and double-hung 4-over-4 wooden sash windows on the rear elevation
- elements of the 1970s rehabilitation, such as the rear decks, openings into the rear courtyard from the front street, projecting metal balconies on front façade, and stairways to upper floors
VIP 尊貴客戶鑑賞 7 件藝術品
Seven valuable works of art for VIP valued customers to appreciate
Youtube:
2022 年 3 月份全球觀眾： 1,373 總觀看次數及1,588 總觀看時間 (分鐘)
Youtube:
Global audience in March 2022: 1,373 total views and 1,588 total watch time (minutes)
youtube.com/shorts/5gn_UiOEH6I?feature=share
Uploaded on April 12, 2022, the number of visitors on the first two days of upload was 127.
2022 年 4 月 12 日上傳，上傳首二日訪問人數為 127 人。
Facebook 臉書：
擁有 48,000 名全球會員的臉書公共社群網站 'Fine Art to sell'：
Facebook:
Facebook Public Group 'Fine Art to sell' that has 48,000 global members:
www.facebook.com/groups/fine.art.to.sell/permalink/317271...
m.facebook.com/groups/fine.art.to.sell/permalink/31678471...
www.facebook.com/groups/fine.art.to.sell/permalink/316883...
Flickr:
flickr.com/photos/myfatedata/51998680392/in/dateposted-pu...
Uploaded on April 12, 2022, the number of visitors on the first day of upload was 96.
2022 年 4 月 12 日上傳，上傳首日訪問人數為 96 人。
(1) 價格：新台幣八億八千萬元。
極為罕見稀少的外太空外星隕石鑽石 (一面形似人類腳底、一面形似人類腳背、它形似人類腳掌形狀)。
Youtube:
2022 年 3 月份全球觀眾： 1,373 總觀看次數及1,588 總觀看時間 (分鐘)
Facebook 臉書：
擁有 48,000 名全球會員的臉書公共社群網站 'Fine Art to sell'：
www.facebook.com/groups/fine.art.to.sell/permalink/316826...
重量：2,091 公克
國際上「隕石鑽石」價格為每顆至少新台幣7.5億元以上 (美金2,500萬元以上，請參閱「隕石鑽石 - 百度百科 baike.baidu.hk/item/%E9%9A%95%E7%9F%B3%E9%91%BD%E7%9F%B3/... 」)
全球目前「隕石鑽石」只發現三顆，一顆在中華人民共和國、二在美利堅合眾國、三「似乎也是最大一顆」則在中華民國的台灣。
「天然宇宙神韻」形狀
來自宇宙的天然迷人和令人驚嘆的藝術作品
極為罕見稀少的「外太空外星隕石鑽石 」(一面形似人類「腳底」、一面形似人類「腳背」、它形似人類「腳掌」形狀)。
在地球上，過去從未被發現，將來也不會被發現。
1、我們已經「專業研究隕石」數十多年，「貨真價實」。
2、我們有「隕石專業人員」會把「賣出隕石」預先「以手工特別盤整過一段時日」，使「賣出隕石」能夠讓購買者「更容易吸收」外太空外星隕石的「宇宙外太空外星微量元素及其能量」，而這些都是地球上所沒有具備的「微量元素及其能量」。
3、不是我們賣出的隕石，如果未經過我們的「隕石專業人員以手工特別盤整過一段時日」，可能會讓其購買者「完全無法、或是非常地不容易 ‘’吸收‘’ 外太空外星隕石的 '宇宙外太空外星微量元素及其能量'」；只能當作是「擺設用、收藏用、或是投資用隕石」，或只是「隕石擺件、或吊飾」使用而已。
這真是非常地可惜，如同浪費了「宇宙外太空中極為稀有、罕見、尤其珍貴」的外太空外星隕石之「宇宙外太空外星微量元素及其能量」。
千萬請勿浪費宇宙外太空外星隕石！
上開說法是有何憑據呢？
1、數千年來，西藏藏傳佛教喇嘛皆是採用「外太空外星隕石天鐵」與「外太空外星隕石天銅」製作「金剛法器」，如金剛杵、金剛降魔杵與金剛法鈴等等。
這就是西藏藏傳佛教喇嘛引用「外太空外星隕石之 ‘’宇宙外太空外星微量元素及其能量‘’」，並藉由西藏藏傳佛教喇嘛的「法會佛事活動、和藏傳佛教儀式」，達到讓人「更容易吸收」外太空外星隕石的「宇宙外太空外星微量元素及其能量」的千古年來如山鐵證。
2、「隕石的微量元素與健康」部分，請參閱文末之每日頭條新聞報導內容。
kknews.cc/news/9n55mkl.html#amp_tf=%E4%BE%86%E6%BA%90%EF%...
但千萬注意，上開文中所介紹「將多類石隕石或泡水或煮水，就可以獲得富含微量元素的水。」者部分，則萬萬不可，因為外太空外星隕石的「宇宙外太空外星微量元素及其能量」是完全無法被溶入水份子中的。
而數千年來，也從未曾聽說過，有何西藏藏傳佛教喇嘛曾經將伊採用「外太空外星隕石天鐵」與「外太空外星隕石天銅」所製成的「金剛法器」，如金剛杵、金剛降魔杵與金剛法鈴等等，或泡水、或煮水，而讓信徒們飲用者情事。
天然宇宙神韻形狀
Natural Cosmic Charming Shape
天然宇宙神韻形狀
來自宇宙的天然迷人和令人驚嘆的藝術作品
極為罕見稀少的外太空外星隕石鑽石 (一面形似人類腳底、一面形似人類腳背、它形似人類腳掌形狀)。
在地球上，過去從未被發現，將來也不會被發現。
此隕石鑽石具備「球粒石隕石 Chondrite Aerolite (a stony meteorite)」應有的隕石氣印 (拇指印)、深黑色隕石熔殼、隕石熔流微細線、隕石的高比重密度 3.5、球粒石隕石會稍微吸引磁鐵的磁性、表面上可見些許鎳鐵球粒 (銀白色顆粒)、球粒石隕石具有的球粒、球粒石隕石斷面或表面上都能看到金屬銀白色的顆粒斑點，甚至於在隕石表面上尚具有隕石鑽石的非常微小鑽石晶體顆粒。
重量：2,091 grams 公克
尺寸：長 16.3 x 寬 8.9 x 厚 6.4 cm 公分
比重密度：3.5
地球普通岩石的密度為 2.5 - 3.0
鐵礦石的密度 4.0 - 6.0
鐵隕石的密度是 7.0 - 8.0
大多數隕石是由重礦物組成，密度為 3.0 - 8.0
石隕石密度 3 - 3.5
普通隕石的密度是 3.0 - 3.7
月球隕石的密度是 2.7 - 3.8
石隕石中的鐵鎳金屬含量小於等於30%；
石鐵隕石的鐵鎳金屬含量在30% - 65%之間；
鐵隕石的鐵鎳金屬含量大於等於95%。
玻璃隕石不含金屬成分。
「石隕石」分為「球粒隕石」 (占大部分) 與「非球粒隕石」兩個子類。
石隕石，是來自地球以外太陽系其他天體的碎片，絕大多數來自位於火星和木星之間的小行星。
球粒隕石 (Chondrite) 是行星母體未經過熔融或行星分化，而未被改變的石隕石。
球粒隕石是由原始太陽系中存在的塵埃和砂石粒子吸積形成的，並且在超過 45.5 億年前產生了小行星。這些球粒隕石的小行星母體是 (或曾經是) 中小型的小行星，它們是從未曾大到可以進行熔融和行星分化的太陽系小天體的一部分。
它們的特點之一是存在著由不同礦物形成圓形晶粒的隕石球粒，通常構成球粒隕石體積的20%至80%。它們的球粒直徑大小一般在0.5至1毫米之間。
球粒隕石中的金屬顆粒主要為鐵和鎳，而鎳的存在也是決定一顆石頭是否隕石的常用指標。
重量：2,091 公克
國際上「隕石鑽石」價格為每顆至少新台幣 7.5 億元以上 (美金 2,500 萬元以上，請參閱「隕石鑽石 - 百度百科
baike.baidu.hk/item/%E9%9A%95%E7%9F%B3%E9%91%BD%E7%9F%B3/... 」)
全球目前「隕石鑽石」只發現三顆，一顆在中華人民共和國、二在美利堅合眾國、三「也似乎是最大的一顆」則在中華民國的台灣。
Youtube:
2022 年 3 月份全球觀眾： 1,373 總觀看次數及1,588 總觀看時間 (分鐘)
Facebook 臉書：
擁有 48,000 名全球會員的臉書公共社群網站 'Fine Art to sell'：
m.facebook.com/groups/fine.art.to.sell/permalink/31649615...
Natural Cosmic Charming Shape
Natural Charming and Amazing Work of Art by the Universe
An extremely rare extraterrestrial Alien stone meteorite diamond of the outer space (one side resembles the sole of a human foot, the other resembles the instep of a human foot, and it resembles the footpalm shape of a human foot).
Youtube:
Global audience in March 2022: 1,373 total views and 1,588 total watch time (minutes)
Facebook:
Facebook Public Group 'Fine Art to sell' that has 48,000 global members:
www.facebook.com/groups/fine.art.to.sell/permalink/316826...
On Earth never has it been found in the past and will not be found in the future.
This meteorite diamond has the features of meteorite regmaglypts (thumbprints), dark black meteorite fusion crust, tiny meteorite fusion flow lines, high specific gravity density of meteorite 3.5, and the magnetic characteristic to attract magnet slightly by a chondrite meteorite. There are some nickel-iron chondrules (silver-white particles) on the surface, chondrules of chondrite stony meteorite, and metallic silver-white particle spots of chondrite stony meteorite being seen on the section or the surface, even on the surface of this meteorite, very tiny diamond crystal grains of a meteorite diamond being seen as well.
Weight: 2,091 grams
Dimensions: Length 16.3 x Width 8.9 x Depth 6.4 cm
Specific Gravity Density: 3.5
The average Specific Gravity Density of Earth's rock: 2.5 - 3.0
The Specific Gravity Density of iron ore: 4.0 - 6.0
The Specific Gravity Density of iron meteorite: 7.0 - 8.0
Most meteorites are composed of heavy minerals and have a Specific Gravity Density of 3.0 - 8.0
The Specific Gravity Density of Stone Meteorite: 3 - 3.5
The Specific Gravity Density of normal meteorites: 3.0 - 3.7
The Specific Gravity Density of lunar meteorites: 2.7 - 3.8
The iron-nickel metal content of stony meteorites is less than or equal to 30%;
The iron-nickel metal content of stony-iron meteorites is between 30% and 65%;
The iron-nickel metal content of iron meteorites is greater than or equal to 95%.
Glass meteorites do not contain metallic components.
"Stony meteorite" is divided into "chondrite" (mostly) and "achondrite", two sub-categories.
Stony meteorites are debris from other celestial bodies in the solar system other than Earth, most of which come from asteroids located between Mars and Jupiter.
Chondrites are stony meteorites whose celestial parent bodies have not been melted or differentiated, and without changing.
Chondrites were formed by the accretion of dust and sand particles that existed in the original solar system and produced asteroids more than 4.55 billion years ago. The asteroid parent bodies of these chondrites are (or were) small to medium-sized asteroids, that were part of small solar system bodies, that were never large enough to undergo melting and planetary differentiation.
One of their characteristics is the presence of chondrules, which are circular grains of different minerals, and typically make up 20 to 80 percent of the volume of the chondrite. Their spherulites are generally between 0.5 and 1 mm in diameter.
The metal particles in chondrites are mainly iron and nickel, and the presence of nickel is also a common indicator for determining whether a stone is a meteorite.
Weight: 2,091 grams
The international price of "meteorite diamonds" is at least NT$750 million per piece (more than US$ 25 million, please refer to "Meteorite Diamonds - Baidu Encyclopedia"
baike.baidu.hk/item/%E9%9A%95%E7%9F%B3%E9%91%BD%E7%9F%B3/... ”)
At present, only three "meteorite diamonds" have been found in the world, one in the People's Republic of China, two in the United States, and three "seems to be the largest" in Taiwan, the Republic of China.
Youtube:
Global audience in March 2022: 1,373 total views and 1,588 total watch time (minutes)
Facebook:
Facebook Public Group 'Fine Art to sell' that has 48,000 global members:
m.facebook.com/groups/fine.art.to.sell/permalink/31649615...
kknews.cc/news/9n55mkl.html#amp_tf=%E4%BE%86%E6%BA%90%EF%...
「每日頭條」新聞
隕石的微量元素與健康
時間＼2018-10-07
2018年2月17曰，我在新浪微博發表過一篇題為《養生保健7種隕石礦物元素》的文章，有興趣的新朋友可以百度「華北隕石」微博中看到，當時，讀者反映很不錯，好多人認真進行了嘗試，作用顯著。
這就是隕石走向大眾化可喜的發展結果。也有個別朋友詢問，如何獲得隕石微量元素？在此簡單述說，大家一定知道「礦泉水」，經過水質檢測部門進行水質分析，這種來自山石縫隙間的水富含多種礦物微量元素。同樣的道理，我們將多類石隕石或泡或煮，就可以獲得富含微量元素的水。
隕石養生是一門新的科學。儘管，隕石養生功效直接使人的睡眠改善，多種慢性疾病康復等等，仍然需要喜好隕石者認真嘗試，不斷深入探究。我們收藏隕石，不要首先考慮它能賣多少錢？
關鍵看它有沒有養生功效，能讓我們睡的好，吃的飽，身體少毛病，少不適感，這才是它最大價值。只要發現特具養生能量的隕石，就是好藏品！為了更完善，更全面的科學利用隕石，今天再來補充說明三種特別的隕石微量元素，以便大家有針對性的運用。
【1】隕石中的「鍶」元素
在隕石里發現多種礦物元素，據說有一百餘種，而更重要的是隕石里有些元素對於人體來說都是必需品。比如隕石中的「鍶」元素，就是人體骨骼及牙齒所生長的組成成分，它能夠促進骨骼的發育成長，維繫人體正常的生理功能，在經研究中發現，鍶與鈣、鎂、矽、鋰等元素一樣，也能防治心血管類的疾病，與長壽息息相關，其機理可能是鍶元素在腸道內會與鈉元素競爭，從而減少人體對於鈉元素本身的吸收，這對於平常飲食口重，攝取鹽分較多的人群，血粘稠患者簡直算是救星。
【2】隕石中的「鈷」元素、和【3】「鈦」元素
還有像隕石中的「鈷」元素和「鈦」元素，前者能夠增強人體甲狀腺的生理功能，要知道鈷元素可是合成腺素所必需的成分，因此對於甲狀腺腫大的症狀有著一定的療效，同時還能預防甲狀腺腫瘤，而後者的功效則更為強大，鈦元素能夠刺激吞噬細胞，使免疫力增強的這一效益已被證實，鈦由於有親生物特性，在人體內，可以抵抗分泌物的腐蝕，對任何殺菌方法都較為適應，另外鈦元素還是一種能通過放射一致的波長使得細胞電離，從而達到調節人體內電流元素的作用，這也直接解釋了，為什麼人長時間接觸過隕石後，可以對人體產生有益的生理作用。
各種礦物元素是存在於所有身體組織和體液中的無機物質，它們的存在對於生命所依賴的許多生理化學過程至關重要。
這些礦物元素可以廣義的分為基本元素，例如鈣、磷、鈉、氯和微量元素，例如鐵、銅、鈷、鉀、鎂、碘、鋅、錳、鉬、氟、鉻、硒和硫。
這些礦物元素是不同於蛋白質、脂肪、碳水化合物和維他命等的營養實體。儘管需求量不大，但它們是各種酶、激素和細胞的組成部分，它們之間的新陳代謝相互關聯，相互輔助，也影響到其它組織。
礦物元素對人體健康的重要性已經被人類意識到。這些元素的缺乏或紊亂會對新陳代謝和組織結構產生重要影響，從而導致多種疾病的產生。
不幸的是，大多數人並沒有從膳食中攝取到足夠的這些必要礦物元素。而且，隨著年齡的增長，人體對這些基本和微量元素的需求都會增加，同時某些藥物的服用也會導致這些礦物元素的流失。
因此，單從攝取膳食和水中的礦物元素很難補足，而有針對性的從隕石中獲得一些隕石礦物元素，也是一種可行的方法。但要記住一點，貴在長久堅持！
（2）價格： 新台幣十一億七千七百萬元。
北宋汝窯天青釉刻劃印花五爪龍吐珠十二梅花紋折沿盤
Youtube:
2022 年 3 月份全球觀眾： 1,373 總觀看次數及1,588 總觀看時間 (分鐘)
Facebook 臉書：
擁有 48,000 名全球會員的臉書公共社群網站 'Fine Art to sell'：
m.facebook.com/groups/fine.art.to.sell/permalink/31677981...
www.facebook.com/groups/fine.art.to.sell/permalink/317863...
圓盤直徑：17.9 ～ 18.0 cm 厘米
圈足直徑：9.1 ～ 9.2 cm 厘米
本瓷盤為滿釉支燒，五支釘痕，香灰胎，天青釉，冰裂紋片，潤之如玉，在器物底部可見細如芝麻狀的支釘痕五個，痕跡很淺，大小如芝麻。
瓷盤龍紋上有數處「黑點之古瓷瑕疵」，龍紋線條「皆是手工製作、亦顯左右不對稱」，十二梅花紋「大小、間隙、寬度、深度皆不相同，明顯是由手工刻劃形成」，底部圈足兩側壁緣有「瑪瑙入釉及聚釉痕跡」，折沿口緣內側邊線上有一個明顯之「棕眼之古瓷瑕疵」，滿釉有古代柴燒氣泡及冰裂開片紋，底部圈足略為外撇。
而此傳世北宋汝窯瓷器的胎體有三個特點：
第一點是輕薄。
第二點胎色為香灰色，胎骨輕薄，胎質看色粗松實則細密。汝瓷胎色呈淺灰、灰白，因其色調與香燃燒之後形成的香灰相似，因而俗稱「香灰胎」。
第三點是汝瓷胎質細膩滋潤，堅緻緊密，被譽為「銅骨」。另外，接觸過傳世汝瓷的人常有「扣聲如磬」的形容，這在一定程度上也說明了汝瓷胎的輕薄與緻密。
另外，器底於光線下呈現略為凹凸不平，是由於泥坯中間的部位水份未乾，成型泥胎在掙脫粘連的泥范（模）時，由北宋窯工左右輕微轉動脫模操作所形成。
現代博物館裡的專業人士、收藏家、鑑賞家、學者、專家等等，因為他們都不是北宋皇帝宋徽宗本人，所以顯然他們已經把自己作為平民老百姓的品味，當作是應該屬於北宋皇帝宋徽宗的最愛。他們普遍認為，市面上流傳下來的 80 餘件傳世汝窯瓷器，應該就是北宋皇帝宋徽宗的御用汝官窯瓷器。 你認為有可能嗎？
Northern Song Dynasty Ru Kiln Sky-green glazed inscribed and printed Five-clawed Dragon Spit Bead and Twelve Plum Patterns Folding Edge Plate
Youtube:
Global audience in March 2022: 1,373 total views and 1,588 total watch time (minutes)
Facebook:
Facebook Public Group 'Fine Art to sell' that has 48,000 global members:
m.facebook.com/groups/fine.art.to.sell/permalink/31677981...
www.facebook.com/groups/fine.art.to.sell/permalink/317863...
Plate diameter: 17.9 - 18.0 cm
Ring foot diameter: 9.1 - 9.2 cm
This porcelain plate was full-glazed and burned with supporting-nails, five supporting-nail marks, incense-ash-like-earth-yellow-greyish porcelain body, sky-green glaze, broken-ice-cracking-like cracking-patterns, jade-like smoothness, and five sesame-like supporting-nail marks can be seen on the bottom of the utensil, the marks are very shallow, their sizes are such as sesames.
The dragon pattern on the porcelain plate has several "black spots of ancient porcelain flaws", the dragon pattern lines "are all handmade and also show asymmetry between the left and right", and the twelve plum patterns "are different in size, gap, width, and depth, which were obviously formed by hand-carving", there are "marks of agate mixed in the glaze and polyglaze" on both side walls of the bottom ring foot, and an obvious "brown-eye-small-hole" which is an ancient porcelain flaw, on the inner edge line of the folding mouth edge. It was fully glazed with ancient wood-fired air bubbles and broken-ice-cracking-like cracking-patterns. The bottom ring foot is slightly slanted outward.
The porcelain body of this handed down Ru kiln porcelain in the Northern Song Dynasty has three characteristics:
The first is “light and thinness”.
The second is that the porcelain fetal color is incense-ash-like-earth-yellow-greyish, the porcelain fetal bone is light and thin, and the fetal quality seems to be rough but fine. The color of Ru porcelain body is light-gray and gray-white, because its color is similar to the incense ash formed after burning incense, so it is commonly known as "incense gray porcelain body".
The third is that the texture of Ru porcelain is delicate and smooth, firm and compact, and is known as "bronze bone". In addition, people who have come into contact with the handed down Ru porcelain often describe it as "sound like a chime (a musical stone)", which to a certain extent also shows the lightness and compactness of the Ru porcelain body.
In addition, the bottom of the utensil is slightly uneven under the light. Because when the water in the middle of the porcelain mud body was not dry yet and meanwhile the molded mud body was slightly turned left and right to be broken away from the sticking mud mold. So long as the porcelain kiln workers in the Northern Song Dynasty took the above procedure, then the uneven bottom would have been formed.
Professionals in the modern museums, collectors, connoisseurs, scholars, experts, and so on, because they are all not the Emperor Song Huizong of the Northern Song Dynasty himself, so obviously they have regarded their own taste of being the common people, as the same favorite that should belonged to the Emperor Song Huizong in the Northern Song Dynasty. They generally believed that more than 80 pieces of Ru kiln porcelain handed down on the market should be the personal royal Ru Imperial kiln porcelain wares of the Northern Song Emperor Song Huizong. Do you think it is possible?
來源：
屬擊敗蒙古元朝歐亞大帝國的明朝皇帝朱元璋所分封為軍事大元帥的「陳秀甫」(陳秀甫亦為明代開國功臣光祿大夫《光祿大夫為皇帝開國及軍事作戰的出糧出資金錢財主》) 家族傳世的祖傳傳世品。
Provenance:
The handed down collection from the family ancestor of Chen Xiufu, a military marshal who was assigned by the Ming Emperor Zhu Yuanzhang (Zhu Yuanzhang defeated the Eurasian Empire of the Mongolian Yuan Dynasty), (Chen Xiufu was also the founding hero of the Ming Dynasty, whose official name was Guangludafu, "Guangludafu was the rich and wealthy capitalist of food and money supplied for the emperor's nation-founding and military operations.").
（3）價格：新台幣三億元。
中國周朝周文王鈎首龍頭鈎身鈎尾狐狸紋青銅鎏金戰袍帶鈎
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重量：301 grams 公克
尺寸：長 22.8 x 寬 4.4 x 高 3.3 cm 公分
《山海經》裡記載青丘之山，有九尾狐。這個九尾狐，經學者研究，很可能是九個氏族，或者是當地氏族崇拜的圖騰。甚至周文王也曾給商紂王獻過九尾狐。周文王被商紂王關在羑里，西岐方面為了救他出來，就到處尋找珍禽異獸。散宜生弄到了一隻九尾狐，連同其他珍寶獻給了商紂王。商紂王一高興就把姬昌 (周文王) 給放了。原文是：
文王拘羑里，散宜生至西海之濱，取白狐青翰獻紂，紂大悅。（《尚書大傳》，青翰，青色的野雞）
散宜生至吳，得九尾狐，以獻紂也。 （《幽通賦》注）
因此，周文王因「九尾狐」而得救，致御用青銅鎏金戰袍帶鈎為鈎首龍頭鈎身鈎尾雕狐狸紋。
King Zhou Wenwang's gilt bronze war robe hook with dragon head, fox pattern hook body and hook tail, Zhou Dynasty, China
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Weight: 301 grams
Dimensions: Length 22.8 x Width 4.4 x Height 3.3 cm
The "Shan Hai Jing" records that there was nine-tailed fox on the mountain of Qingqiu. This nine-tailed fox, studied by scholars, was likely to be the nine clans, or a totem worshipped by the local clan. Even King Zhou Wenwang (周文王) presented a nine-tailed fox to King Shang Zhou (商紂王). King Zhou Wenwang (周文王) was imprisoned in Yuli by King Shang Zhou (商紂王), and in order to rescue him, the subjects in Kingdom Xiqi searched everywhere for rare birds and animals. San Yisheng obtained a nine-tailed fox and presented it to King Shang Zhou (商紂王) along with other treasures. When King Shang Zhou (商紂王) was pleased, he released Ji Chang [King Zhou Wenwang (周文王)]. The original text is:
King Zhou Wenwang (周文王) was detained in Yuli, San Yisheng went to the coast of the West Sea, and took the white fox and qinghan (green pheasant) to present to King Shang Zhou (商紂王), and King Shang Zhou (商紂王) was very pleased. ("The Great Biography of Shangshu", Qinghan, the green pheasant)
San Yisheng went to Wu and got a nine-tailed fox to offer King Shang Zhou (商紂王). (The Note of "You Tong Fu")
Therefore, King Zhou Wenwang (周文王) was saved because of the "nine-tailed fox", so he used a gilt bronze war robe hook, with dragon head, fox pattern hook body and hook tail.
來源：
屬擊敗蒙古元朝歐亞大帝國的明朝皇帝朱元璋所分封為軍事大元帥的「陳秀甫」(陳秀甫亦為明代開國功臣光祿大夫《光祿大夫為皇帝開國及軍事作戰的出糧出資金錢財主》) 家族傳世的祖傳傳世品。
Provenance:
The handed down collection from the family ancestor of Chen Xiufu, a military marshal who was assigned by the Ming Emperor Zhu Yuanzhang (Zhu Yuanzhang defeated the Eurasian Empire of the Mongolian Yuan Dynasty), (Chen Xiufu was also the founding hero of the Ming Dynasty, whose official name was Guangludafu, "Guangludafu was the rich and wealthy capitalist of food and money supplied for the emperor's nation-founding and military operations.").
（4）價格：新台幣三千萬元。
白堊紀早期美洲大陸最高大的恐龍波塞東龍幼龍化石板
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化石板重量：591 grams 公克
化石板尺寸：長 18.0 x 寬 14.2 x 厚 0.9 cm 公分
波塞東龍（Sauroposeidon）（意思為希臘神“波塞東”的“蜥蜴地震神”）是一種蜥腳類恐龍，係從幾個不完整的標本中得知，包括在美國奧克拉荷馬州、懷俄明州、德州發現的骨床化石和足跡化石。
波塞東龍（Sauroposeidon），生存於白堊紀早期。波塞東龍是目前已知最高的恐龍，經估計有17公尺高；而身長接近30到34公尺，體重被估計為50到60公噸之間。
目前已發現數個標本，正模標本由4個頸椎構成，在1994年發現於美國奧克拉荷馬州，之後在懷俄明州、德州也發現化石與足跡化石，地質年代屬於白堊紀早期，該地區過去是史前墨西哥灣的三角洲。由於之前很少發現該時代的北美洲巨型蜥腳類化石，這些化石曾一度被認為是矽化木。
出版著錄：
《Dinosaurs and Meteorites 恐龍與隕石 恐龙与陨石 恐竜と隕石》由美國谷歌圖書出版並在全球七十九國家發行：
Google Books:
books.google.com/books/about/Dinosaurs_and_Meteorites_%E6...
Google Play:
play.google.com/store/books/details/Orion_Hsu_Dinosaurs_a...
The tallest dinosaur Sauroposeidon baby fossil stone plate in the American Continent in the early Cretaceous
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Fossil stone plate weight: 591 grams
Fossil stone plate size: length 18.0 x width 14.2 x thickness 0.9 cm
Sauroposeidon (meaning "lizard earthquake god" after the Greek god Poseidon) is a genus of sauropod dinosaur known from several incomplete specimens including a bone bed fossil and fossilized trackways that have been found in the U.S. states of Oklahoma, Wyoming, and Texas.
Sauroposeidon was living in the early Cretaceous. Sauroposeidon was the tallest known dinosaur, at an estimated height of 17 meters; its body length was nearly 30 to 34 meters, and its weight was estimated to be between 50 and 60 metric tons.
Several specimens have been found so far. The holotype is composed of 4 cervical vertebrae. It was discovered in Oklahoma, USA in 1994. Fossils and footprint fossils were also found in Wyoming and Texas. The geological age belongs to the early Cretaceous period. It used to be the delta of the prehistoric Gulf of Mexico. The fossils were once thought to be petrified wood because few giant sauropod fossils from this era have been found before.
Published bibliography:
《Dinosaurs and Meteorites 恐龍與隕石 恐龙与陨石 恐竜と隕石》Published by Google Books USA and distributed in 79 countries around the world:
Google Books:
books.google.com/books/about/Dinosaurs_and_Meteorites_%E6...
Google Play:
play.google.com/store/books/details/Orion_Hsu_Dinosaurs_a...
（5）價格：新台幣三千萬元。
唐朝皇室和闐白玉圓雕七隻豬 (代表無限財富) 紙鎮
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重量：390 grams 公克
尺寸：長 16.7 x 高 5.6 x 厚 5.1 cm 公分
玉石與眾不同的色澤和光彩，使人愛不惜手。古代由於數量少，加工困難，成為難得的奢侈品。它必定是社會地位極高的人物所擁有，玉石器就成了權力的象徵物，這又使它漸漸演變成為禮器、祭器。玉石器從原來僅僅是一種特殊的石頭轉化為代表權力、地位、財富、神權的象徵。
古代豬是財富的象徵，在漢唐時代如果說羊代表了吉祥，那麼豬就是財富的象徵。在漢唐時代豬已經是財富的重要表徵，豬也是一個富足家庭中所必備的家畜。因此在漢字中「家」中「豕」就是豬的象形文字，可見在古代漢朝與唐朝，豬確實是漢朝與唐朝皇室與人民重要的財產，也是財富的象徵之一。
由七隻豬 (代表無限財富) 紙鎮之材質和闐白玉石的皮層表面已經包漿氧化成為皮殼，而玉石皮表面的鐵元素亦氧化成為紅色，但無漢朝皇室玉雕品的圖騰紋飾，可確認此七隻豬 (代表無限財富) 紙鎮為唐朝 (618 - 907) 之皇室工藝和闐白玉圓雕巧作。
Tang Dynasty (618 - 907) Hetian White Jade circular carving imperial workshop carved Jade Seven Pigs (representing infinite wealth) paperweight
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Global audience in March 2022: 1,373 total views and 1,588 total watch time (minutes)
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Weight: 390 grams
Dimensions: total length 16.7 cm x height 5.6 cm x depth 5.1 cm
The distinctive color and brilliance of jade make people love it at all costs. In ancient times, due to the small quantity and difficulty in processing, it became a rare luxury. It must be owned by a person of extremely high social status, and the jade carved artifact had become a symbol of power, which has gradually evolved it into a ritual tool and a sacrificial tool. The jade carved artifact was transformed from a special kind of stone into a symbol of power, status, wealth, and theocracy.
In ancient times, the pig was a symbol of wealth. In the Han Dynasty and Tang Dynasty, if the sheep represented auspiciousness, then the pig was a symbol of wealth. In these Dynasties, the pig was an important symbol of wealth, and the pig was also a must-have domestic animal in a wealthy family. Therefore within the Chinese character of "home", "hog" is the hieroglyph of the pig. It can be seen that in the ancient Han Dynasty and Tang Dynasty, the pig was indeed an important property of the imperial family and the people of these Dynasties, and it was one of the symbols of wealth.
The material of the jade Seven Pigs (representing infinite wealth) paperweight and the cortical surface of the white jade have been slurried and oxidized into a jade shell, and the iron element on the surface of the jade stone skin has also been oxidized to red. However, no patterns’ decoration of the imperial jade carvings of the Han Dynasty was carved on it. It can be confirmed that this jade Seven Pigs (representing infinite wealth) paperweight is a royal craftsmanship of the Tang Dynasty (618 - 907) and a skillful circular carving of white jade.
來源：
屬擊敗蒙古元朝歐亞大帝國的明朝皇帝朱元璋所分封為軍事大元帥的「陳秀甫」(陳秀甫亦為明代開國功臣光祿大夫《光祿大夫為皇帝開國及軍事作戰的出糧出資金錢財主》) 家族傳世的祖傳傳世品。
Provenance:
The handed down collection from the family ancestor of Chen Xiufu, a military marshal who was assigned by the Ming Emperor Zhu Yuanzhang (Zhu Yuanzhang defeated the Eurasian Empire of the Mongolian Yuan Dynasty), (Chen Xiufu was also the founding hero of the Ming Dynasty, whose official name was Guangludafu, "Guangludafu was the rich and wealthy capitalist of food and money supplied for the emperor's nation-founding and military operations.").
（6）價格：新台幣五千萬元。
唐朝 (618 - 907) 皇室工藝和闐白玉圓雕玉佛像
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重量：601 公克
尺寸：全高 19.6 厘米 x 寬 6.5 厘米 x 厚 5.8 厘米
盛唐時代可以說是佛造像的黃金時代，此時期的造像比例舒展勻稱，結構合理，已完全擺脫了隋和初唐時期的佛頭偏大，體態略僵板的感覺，動態極為自由活潑。頭部為螺髮型，大耳下垂，神情莊重而又不失慈祥。身材比例勻稱，結構合理，體態自然舒展，臉龐圓潤，曲眉豐頸，五官秀美。服飾華美，帔帛 (帔帛是美麗女式唐裝的點綴，就是我們看到畫裏唐代婦女肩上或手臂上搭着一條長長的條帶，走路隨風擺動，顯得瀟灑自然，這就是帔帛) 環繞，瓔珞 (瓔珞是一種掛於項頸，垂於胸前的飾品，用多種小巧的花朵穿串而成。 ) 小巧精緻，衣服紋線流暢自然。右手持寶珠。
由玉佛像之材質和闐白玉石的皮層表面已經包漿氧化成為皮殼，而玉石皮表面的鐵元素亦氧化成為紅色，頭部為螺髮且大耳下垂，身材比例勻稱，結構合理，披唐代帔帛，且右手持寶珠，可確認此玉佛像為唐朝 (618 - 907) 之皇室工藝和闐白玉圓雕巧作。
Tang Dynasty (618 - 907) Hetian White Jade circular carving imperial workshop carved Jade Buddha Statue
Youtube:
Global audience in March 2022: 1,373 total views and 1,588 total watch time (minutes)
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Facebook Public Group 'Fine Art to sell' that has 48,000 global members:
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Weight: 601 grams
Dimensions: total height 19.6 cm x width 6.5 cm x depth 5.8 cm
The prosperous Tang Dynasty can be said to be the golden age of Buddha statues. The statues in this period are well-proportioned in proportion and reasonable in structure. They have completely gotten rid of the large head and slightly rigid body of the Buddha in the Sui and early Tang Dynasties, and the dynamics are extremely free and lively. He has a spiral hair on his head, large drooping ears, and a dignified yet kind expression. The body is well-proportioned, the structure is reasonable, the body is naturally stretched, the face is round, the eyebrows are plumply curved and the neck is full, and the facial features are beautiful. The apparels are gorgeous, shawl (shawl is the embellishment of beautiful women's Tang suits, that is, we see a long strip on the shoulders or arms of the women in the Tang Dynasty in the painting, walking with the wind swinging, looking elegant and natural, this is the shawl) is around the body. Wreath (wreath is a kind of decorations hanging on the neck and the chest, made of a variety of small flowers.) is small and delicate, the clothes' lines are smooth and natural. The right hand holds a treasure orb.
The material of the jade Buddha statue and the cortical surface of the white jade have been slurried and oxidized into a jade shell, and the iron element on the surface of the jade stone skin has also been oxidized to red. The head is spiral hair and the big ears are drooping. The body is well-proportioned, the structure is reasonable, wearing in Tang Dynasty shawl, and holding a treasure orb in the right hand. It can be confirmed that this jade Buddha statue is a royal craftsmanship of the Tang Dynasty (618 - 907) and a skillful circular carving of white jade.
來源：
屬擊敗蒙古元朝歐亞大帝國的明朝皇帝朱元璋所分封為軍事大元帥的「陳秀甫」(陳秀甫亦為明代開國功臣光祿大夫《光祿大夫為皇帝開國及軍事作戰的出糧出資金錢財主》) 家族傳世的祖傳傳世品。
Provenance:
The handed down collection from the family ancestor of Chen Xiufu, a military marshal who was assigned by the Ming Emperor Zhu Yuanzhang (Zhu Yuanzhang defeated the Eurasian Empire of the Mongolian Yuan Dynasty), (Chen Xiufu was also the founding hero of the Ming Dynasty, whose official name was Guangludafu, "Guangludafu was the rich and wealthy capitalist of food and money supplied for the emperor's nation-founding and military operations.").
（7）價格：新台幣十一億七千七百萬元
唐朝皇室和闐白玉圓雕觀世音菩薩蓮花底座造像
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重量：1,627 grams 公克
尺寸：高 19.9 x 寬 9.8 x 厚 8.8 cm 公分
玉石與眾不同的色澤和光彩，使人愛不惜手。古代由於數量少，加工困難，成為難得的奢侈品。它必定是社會地位極高的人物所擁有，玉石器就成了權力的象徵物，這又使它漸漸演變成為禮器、祭器。玉石器從原來僅僅是一種特殊的石頭轉化為代表權力、地位、財富、神權的象徵。
盛唐時代可以說是佛造像的黃金時代，此時期的造像比例舒展勻稱，結構合理，已完全擺脫了隋和初唐時期的佛頭偏大，體態略僵板的感覺，動態極為自由活潑。頭部大耳下垂，神情莊重而又不失慈祥。身材比例勻稱，結構合理，體態自然舒展，臉龐圓潤，曲眉豐頸，五官秀美。服飾華美，帔帛 (帔帛是美麗女式唐裝的點綴，就是我們看到畫裏唐代婦女肩上或手臂上搭着一條長長的條帶，走路隨風擺動，顯得瀟灑自然，這就是帔帛) 環繞，瓔珞 (瓔珞是一種掛於項頸，垂於胸前的飾品，用多種小巧的花朵穿串而成。 ) 小巧精緻，衣服紋線流暢自然。觀世音菩薩雙手捧持淨水瓶。
由觀世音菩薩玉佛像之材質和闐白玉石的皮層表面已經包漿氧化成為皮殼，而玉石皮表面的鐵元素亦氧化成為紅色，頭部為大耳下垂，身材比例勻稱，結構合理，披唐代帔帛，且雙手捧持淨水瓶，可確認此觀世音菩薩玉佛像為唐朝 (618 - 907) 之皇室工藝和闐白玉圓雕巧作。
Tang Dynasty (618 - 907) Hetian White Jade circular carving imperial workshop carved Jade Avalokitesvara Bodhisattva lotus pedestal statue
Youtube:
Global audience in March 2022: 1,373 total views and 1,588 total watch time (minutes)
Facebook:
Facebook Public Group 'Fine Art to sell' that has 48,000 global members:
www.facebook.com/groups/fine.art.to.sell/permalink/316780...
Weight: 1,627 grams
Dimensions: total height 19.9 cm x width 9.8 cm x depth 8.8 cm
The distinctive color and brilliance of jade make people love it at all costs. In ancient times, due to the small quantity and difficulty in processing, it became a rare luxury. It must be owned by a person of extremely high social status, and the jade carved artifact had become a symbol of power, which has gradually evolved it into a ritual tool and a sacrificial tool. The jade carved artifact was transformed from a special kind of stone into a symbol of power, status, wealth, and theocracy.
The prosperous Tang Dynasty can be said to be the golden age of Buddha statues. The statues in this period are well-proportioned in proportion and reasonable in structure. They have completely gotten rid of the large head and slightly rigid body of the Buddha in the Sui and early Tang Dynasties, and the dynamics are extremely free and lively. She has large drooping ears, and a dignified yet kind expression. The body is well-proportioned, the structure is reasonable, the body is naturally stretched, the face is round, the eyebrows are plumply curved and the neck is full, and the facial features are beautiful. The apparels are gorgeous, shawl (shawl is the embellishment of beautiful women's Tang suits, that is, we see a long strip on the shoulders or arms of the women in the Tang Dynasty in the painting, walking with the wind swinging, looking elegant and natural, this is the shawl) is around the body. Wreath (wreath is a kind of decorations hanging on the neck and the chest, made of a variety of small flowers.) is small and delicate, the clothes' lines are smooth and natural. The two hands of Avalokitesvara Bodhisattva hold a clean water bottle.
The material of the jade Avalokitesvara Bodhisattva lotus pedestal statue and the cortical surface of the white jade have been slurried and oxidized into a jade shell, and the iron element on the surface of the jade stone skin has also been oxidized to red. The head's big ears are drooping. The body is well-proportioned, the structure is reasonable, wearing in Tang Dynasty shawl, and the two hands of Avalokitesvara Bodhisattva hold a clean water bottle. It can be confirmed that this jade Avalokitesvara Bodhisattva lotus pedestal statue is a royal craftsmanship of the Tang Dynasty (618 - 907) and a skillful circular carving of white jade.
來源：
屬擊敗蒙古元朝歐亞大帝國的明朝皇帝朱元璋所分封為軍事大元帥的「陳秀甫」(陳秀甫亦為明代開國功臣光祿大夫《光祿大夫為皇帝開國及軍事作戰的出糧出資金錢財主》) 家族傳世的祖傳傳世品。
Provenance:
The handed down collection from the family ancestor of Chen Xiufu, a military marshal who was assigned by the Ming Emperor Zhu Yuanzhang (Zhu Yuanzhang defeated the Eurasian Empire of the Mongolian Yuan Dynasty), (Chen Xiufu was also the founding hero of the Ming Dynasty, whose official name was Guangludafu, "Guangludafu was the rich and wealthy capitalist of food and money supplied for the emperor's nation-founding and military operations.").
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