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I was quite excited seeing lamb kidneys on the menu. Offal is a bit of a weakness with me. These kidneys were tasty and minerally, well cooked and grainy on the outside, moist and tender near the center. Flavoured with 茴香 fennel, 孜然 cumin, garlic, onion and chilli in the typical 新疆 Xinjiang-style.
The 新疆羊肉串 lamb skewers also had the same flavours with tender bits of lean lamb cosying up for fatty bits. Not bad, but a bit more heat to give it a more smokey flavour would be nice.
---
It seems Chinatown Dumpling is under new management, this time an 阿凡提 Afanti-branded 清真 Halal eatery. Muslims in China tend to be Uyghurs from Xinjiang. They are well known for their flavoursome take on Chinese food. This didn't disappoint!
The signs in the shop window is not coy about their specials, but these dishes served 2 or more people each. No luck for the lone diner.
阿凡提大盘鸡 Chicken Platter
阿凡提拉条子 Hand-pulled Noodles
While I was taking photos a curious chef and shopkeeper wandered over to see what I was doing. Later he approached me as I left the shop, telling me that he was concerned that I was from the city council possibly collecting evidence! :)
He was a nice, smiley Uyghur man though :)
阿凡提 中国城水饺店 (清真)
Chinatown Dumpling Restaurant (under new management)
(03)96633893
254 Swanston St
Melbourne, VIC 3000
Reviews of the previous Shanghai-style, non-Afanti 中国城水饺店 Chinatown Dumpling Restaurant:
- Chinatown Dumpling Restaurant - by harbx October 9, 2006
- Chinatown Dumpling by YJ, July 28th, 2009 - saint.waterscape.cc/
Today it's official. The Cactus has left the stage.Time to look back at a short 14 months of ownership. In all it's a fairly comfortable ride with its strength and weakness.
My Cactus was fitted with the highest trim level (shine) which meant it had sat nav, 16" Square gris rims, rear parking sensors and camera, privacy glass in the rear and things as daylight sensor with automatic lights and a rain sensor.
The engine was a 82 hp 3 cylinder engine with a 5-speed automated manual gearbox. This is not your traditional automatic gearbox but a manual gearbox that has been transformed into an automatic one.
The interior was in black and blue fabric to match the Blue Lagoon outside of the car. This is, in my opinion, one of the most fun colors for the C4 Cactus. In the beginning, My girlfriend and I where in doubt between Hello Yellow and Blue Lagoon.
The Cactus is really comfortable to drive. It knows how to filter out most of the bumps in city trafic. Because it's not that big (4157mm long, 1729mm wide and 1450 mm high) it's easy to manouvre in small city streets. Because it's fairly light (just 950 kg) it doesn't need a huge engine, making the 82 horsepower enough in daily traffic.
The ride height gives it a bit of a tough look, this also means that it can be used outside the normal roads. I've taken it into fields and dirt roads a couple of times and never got stuck or missed power.
In a car with a color this bright you never go through traffic unnoticed. Especially (young) kids seem to love this car. More then once I heared children telling their mum or dad how nice they thought this car is.
Regardless of the small outside dimensions it really is a spacious and practical car. With 1.87 meters I'm no giant but not small either. Still I could take place behind myself quite easily. With 358 liters the boot of the car also was large enough. With the rear seats down it even had 1170 liters of luggage space.
Then the downsides. Because of al the weight reduction they left out some soundproofing. This means that it is a bit noisy on higher speed. At motorway speeds (+/- 120 km/h) it's also a bit thirsty. You can definitly tell the tiny engine has to work hard to take it up to speed and keep it there.
Also the overal quality is what one might expect with a cheap family car. That being said, the dashboard is covered with grat material which looks and feels very nice. It's the door panels where you find plastic of the hard, cheap kind (that also scratches quite easy)
The gearbox is in my opinion the biggest downside of this car. If I where to do it all over I'd go for the manual gearbox. This robotised manual gearbox is just too slow in its respons. Also it sometimes choses to shift back or up in the worst possible moment. For instance it could go back to first gear just when you saw a small opening on a road you want to enter. meaning you had to wait a few seconds untill there was a connection between the engine and the wheels, just enough time for your opening to disappear.
It did prove to be reliable. In 31.000 kilometers the only thing outside normal maintenance was a worn out stability rod so nothing shocking there.
Finally a short summary:
+Great design, in and outside
+It does have the Fun factor
+Great drivability in the city and even offroad
+Practical
+Good fuel economy in the city
+High quality dashboard
-Noisy at speed
-Not economical at speed
-Terrible gearbox
-Cheap feel of some interior parts
2 Corinthians 12:9
And He said to me, “My grace is sufficient for you, for My strength is made perfect in weakness.” Therefore most gladly I will rather boast in my infirmities, that the power of Christ may rest upon me.
I was quite excited seeing lamb kidneys on the menu. Offal is a bit of a weakness with me. These kidneys were tasty and minerally, well cooked and grainy on the outside, moist and tender near the center. Flavoured with 茴香 fennel, 孜然 cumin, garlic, onion and chilli in the typical 新疆 Xinjiang-style.
The 新疆羊肉串 lamb skewers also had the same flavours with tender bits of lean lamb cosying up for fatty bits. Not bad, but a bit more heat to give it a more smokey flavour would be nice.
---
It seems Chinatown Dumpling is under new management, this time an 阿凡提 Afanti-branded 清真 Halal eatery. Muslims in China tend to be Uyghurs from Xinjiang. They are well known for their flavoursome take on Chinese food. This didn't disappoint!
The signs in the shop window is not coy about their specials, but these dishes served 2 or more people each. No luck for the lone diner.
阿凡提大盘鸡 Chicken Platter
阿凡提拉条子 Hand-pulled Noodles
While I was taking photos a curious chef and shopkeeper wandered over to see what I was doing. Later he approached me as I left the shop, telling me that he was concerned that I was from the city council possibly collecting evidence! :)
He was a nice, smiley Uyghur man though :)
阿凡提 中国城水饺店 (清真)
Chinatown Dumpling Restaurant (under new management)
(03)96633893
254 Swanston St
Melbourne, VIC 3000
Reviews of the previous Shanghai-style, non-Afanti 中国城水饺店 Chinatown Dumpling Restaurant:
- Chinatown Dumpling Restaurant - by harbx October 9, 2006
- Chinatown Dumpling by YJ, July 28th, 2009 - saint.waterscape.cc/
How To Recover Body Weakness After Hand Practice
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If you liked this video, then please subscribe to our YouTube Channel to get updates of other useful health video tutorials. You can also find us on Facebook, Twitter and Google+. Thank you for watching this video.
How To Recover Weakness After Hand Practice
Today it's official. The Cactus has left the stage.Time to look back at a short 14 months of ownership. In all it's a fairly comfortable ride with its strength and weakness.
My Cactus was fitted with the highest trim level (shine) which meant it had sat nav, 16" Square gris rims, rear parking sensors and camera, privacy glass in the rear and things as daylight sensor with automatic lights and a rain sensor.
The engine was a 82 hp 3 cylinder engine with a 5-speed automated manual gearbox. This is not your traditional automatic gearbox but a manual gearbox that has been transformed into an automatic one.
The interior was in black and blue fabric to match the Blue Lagoon outside of the car. This is, in my opinion, one of the most fun colors for the C4 Cactus. In the beginning, My girlfriend and I where in doubt between Hello Yellow and Blue Lagoon.
The Cactus is really comfortable to drive. It knows how to filter out most of the bumps in city trafic. Because it's not that big (4157mm long, 1729mm wide and 1450 mm high) it's easy to manouvre in small city streets. Because it's fairly light (just 950 kg) it doesn't need a huge engine, making the 82 horsepower enough in daily traffic.
The ride height gives it a bit of a tough look, this also means that it can be used outside the normal roads. I've taken it into fields and dirt roads a couple of times and never got stuck or missed power.
In a car with a color this bright you never go through traffic unnoticed. Especially (young) kids seem to love this car. More then once I heared children telling their mum or dad how nice they thought this car is.
Regardless of the small outside dimensions it really is a spacious and practical car. With 1.87 meters I'm no giant but not small either. Still I could take place behind myself quite easily. With 358 liters the boot of the car also was large enough. With the rear seats down it even had 1170 liters of luggage space.
Then the downsides. Because of al the weight reduction they left out some soundproofing. This means that it is a bit noisy on higher speed. At motorway speeds (+/- 120 km/h) it's also a bit thirsty. You can definitly tell the tiny engine has to work hard to take it up to speed and keep it there.
Also the overal quality is what one might expect with a cheap family car. That being said, the dashboard is covered with grat material which looks and feels very nice. It's the door panels where you find plastic of the hard, cheap kind (that also scratches quite easy)
The gearbox is in my opinion the biggest downside of this car. If I where to do it all over I'd go for the manual gearbox. This robotised manual gearbox is just too slow in its respons. Also it sometimes choses to shift back or up in the worst possible moment. For instance it could go back to first gear just when you saw a small opening on a road you want to enter. meaning you had to wait a few seconds untill there was a connection between the engine and the wheels, just enough time for your opening to disappear.
It did prove to be reliable. In 31.000 kilometers the only thing outside normal maintenance was a worn out stability rod so nothing shocking there.
Finally a short summary:
+Great design, in and outside
+It does have the Fun factor
+Great drivability in the city and even offroad
+Practical
+Good fuel economy in the city
+High quality dashboard
-Noisy at speed
-Not economical at speed
-Terrible gearbox
-Cheap feel of some interior parts
Briskinfosec offer comprehensive website penetration testing services each audit involves a highly complex website security testing procedure that will identify and attempt to exploit known weaknesses that lurk within your website.
I've been facing my weaknesses head on recently. I can sucessfully say I have withstood the temptation of the Fluevog online sale. Yay me! I don't know, though. I think I might need just one more pair...
Mirit Ben Nun: Shortness of breath
'Shortness of breath' is not only a sign of physical weakness, it is a metaphor for a mental state of strong desire that knows no repletion; more and more, an unbearable glut, without repose. Mirit Ben Nun's type of work on the other hand requires an abundance of patience. This is a Sisyphean work (requiring hard labor) of marking lines and dots, filling every empty millimeter with brilliant blots. Therefore we are facing a paradox or a logical conflict. A patient and effortful work that stems from an urgent need to cover and fill, to adorn and coat. Her craft of layering reaches a state of a continuous ceremonial ritual.
This ritual digests every object into itself - useful or discarded -- available and ordinary or rare and exceptional -- they submit and devote to the overlay work. Mirit BN gathers scrap off the streets -- cardboard rolls of fabric, assortments of wooden boards and pieces, plates and planks -- and constructs a new link, her own syntax, which she alone is fully responsible for. The new combination -- a type of a sculptural construction -- goes through a process of patching by the act of painting.
In fact Mirit regards her three dimensional objects as a platform for painting, with a uniform continuity, even if it has obstacles, mounds and valleys. These objects beg her to paint, to lay down colors, to set in motion an intricate weave of abstract patterns that at times finds itself wandering the contours of human images and sometimes -- not. In those cases what is left is the monotonous activity of running the patterns, inch by inch, till their absolute coverage, till a short and passing instant of respite and than on again to a new onset.
Next to this assembly of garbage and it's recycling into 'painted sculptures' Mirit offers a surprising reunion between her illustrated objects and so called cheap African sculpture; popular artifacts or articles that are classified in the standard culture as 'primitive'.
This combination emphasizes the difference between her individualistic performance and the collective creation which is translated into cultural clichés. The wood carved image creates a moment of peace within the crowded bustle; an introverted image, without repetitiveness and reverberation. This meeting of strangers testifies that Mirit' work could not be labeled under the ´outsiders art´ category. She is a one woman school who is compelled to do the art work she picked out to perform. Therefore she isn't creating ´an image´ such as the carved wooden statues, but she produces breathless ´emotional jam' whose highest values are color, motion, beauty and plenitude. May it never lack, neither diluted, nor dull for even an instant
Tali Tamir
August 2010
Some days I just don't give a shit.
I put on makeup to hide behind, it's just a mask.
To try and make me feel better, because if visually I look healthy and ok- perhaps I'll start to feel that way.
To hide the pain.
To hide the hurt.
To hide the blue black half moons under my eyes that have taken residence.
Sleep, honest, real sleep- eludes me.
I sleep, but I'm not rested.
It's getting exhausting.
I use the makeup to hide.
To step behind the crumbling down that I've been dealing with.
I don't cry enough. I need to.
I'm so used to keeping everything bottled up, until it's overwhelming and a simple word unravels me... And I'm crying hysterically- tears that just come flowing out of my eyes without me really understanding why. Crumbling bits and pieces that are falling from my hands as I try to hold on- and failing to keep them from continuing to slip from my grasp...
The primer for the makeup is great though- I hardly get a smudge.
I don't give a shit about the makeup or what it hides.
I just want to feel normal again.
No pain.
No weakness.
Drought in Kenya, Turkana District.
Women suddenly gather behind a building, saying two older women have just died. Fortunately these two women, Kabei Eruan and Ikale Akinu, had only collapsed before receiving urgent help from a Kenya Red Cross doctor who luckily was on the spot. The doctor gave both an injection of Dextroval and saline, as well as clean water to drink. "I've never seen anything like this – the situation for these people is getting worse day by day," says Abdul Hakim Otula, from Kenya Red Cross disaster unit.
Photo: Jakob Dall / Danish Red Cross (p-KEN0551)
Please visit www.ifrc.org for more information from the International Federation of Red Cross and Red Crescent Societies.
I am indebted to John Fielding (www.flickr.com/photos/john_fielding/) for posting an aerial shot of Holy Trinity, and my interest was piqued by the timber-framed building with the triple gable at the east end. Turned out this was the Lady Chapel, and more of that later. So, on my way back home to Kent, I called in to see if it looked as remarkable in the flesh as in photographs.
I arrived at Long Melford, after being taken on a magical mystery tour in light drizzle from Wortham, down narrow and narrower lanes, under and over railway lines, through woods, up and down hills until, at last, I saw the town laid out beyond the church.
I parked at the bottom of Church Walk then walked up past the line of timber framed houses, the tudor hospital and the tudor manor house.
Holy Trinity sits on top of the hill, spread out, filling its large churchyard and the large tower not out of proportion.
Inside it really is a collection of wonders, from brasses, the best collection of Medieval glass in Suffolk, to side chapels, and behind, the very unusual Lady Chapel.
------------------------------------------
The Church of the Holy Trinity, Long Melford is a Grade I listed parish church of the Church of England in Long Melford, Suffolk, England. It is one of 310 medieval English churches dedicated to the Holy Trinity.
The church was constructed between 1467 and 1497 in the late Perpendicular Gothic style. It is a noted example of a Suffolk medieval wool church, founded and financed by wealthy wool merchants in the medieval period as impressive visual statements of their prosperity.
The church structure is highly regarded by many observers. Its cathedral-like proportions and distinctive style, along with its many original features that survived the religious upheavals of the 16th and 17th centuries, have attracted critical acclaim. Journalist and author Sir Simon Jenkins, Chairman of the National Trust, included the church in his 1999 book “England’s Thousand Best Churches”. He awarded it a maximum of 5 stars, one of only 18 to be so rated. The Holy Trinity Church features in many episodes of Michael Wood's, BBC television history series Great British Story, filmed during 2011.
A church is recorded as having been on the site since the reign of King Edward the Confessor (1042–1066). It was originally endowed by the Saxon Earl Alric, who bequeathed the patronage of the church, along with his manor at Melford Hall and about 261 acres of land, to the successive Abbots of the Benedictine Abbey of Bury St Edmund’s. There are no surviving descriptions of the original Saxon structure, although the roll of the clergy (see below) and the history of the site extend back to the 12th century.
The church was substantially rebuilt between 1467 and 1497. Of the earlier structures, only the former Lady Chapel (now the Clopton Chantry Chapel) and the nave arcades survive.
The principal benefactor who financed the reconstruction was wealthy local wool merchant John Clopton, who resided at neighbouring Kentwell Hall. John Clopton was a supporter of the Lancastrian cause during the Wars of the Roses and in 1462 was imprisoned in the Tower of London with John de Vere, 12th Earl of Oxford and a number of others, charged with corresponding treasonably with Margaret of Anjou. All of those imprisoned were eventually executed except John Clopton, who somehow made his peace with his accusers and lived to see the Lancastrians eventually triumphant at the Battle of Bosworth in 1485.
The dates of the reconstruction of the church are derived from contemporary wills, which provided endowments to finance the work
In 1710 the main tower was damaged by a lightning strike.[3] It was replaced with a brick-built structure in the 18th century and subsequently remodelled between 1898 and 1903 to its present-day appearance, designed by George Frederick Bodley in the Victorian Gothic Revival style. The new tower was closer to its original form with stone and flint facing and the addition of four new pinnacles.
The nave, at 152.6 feet (46.5 m), is believed to be the longest of any parish church in England. There are nine bays, of which the first five at the western end are believed to date from an earlier structure.
The interior is lit by 74 tracery windows, many of which retain original medieval glass. These include the image of Elizabeth de Mowbray, Duchess of Norfolk, said to have provided the inspiration for John Tenniel's illustration of the Queen of Hearts in Lewis Carroll's Alice's Adventures in Wonderland.
The sanctuary is dominated by the large reredos, of Caen stone and inspired by the works of Albrecht Dürer. It was installed in 1877, having been donated by the mother of the then Rector Charles Martyn.
On the north side is the alabaster and marble tomb of Sir William Cordell who was the first Patron of the Church after the dissolution of the Abbey of Bury St Edmund's in 1539. On either side of the tomb are niches containing figures that represent the four Cardinal virtues of Prudence, Justice, Temperance and Fortitude.
The sanctuary also holds one of the earliest extant alabaster bas relief panels, a nativity from the second half of the 14th century. The panel was hidden under the floor of chancel, probably early in the reign of Elizabeth I, and was rediscovered in the 18th century.[6] The panel, which may be part of an altar piece destroyed during the Reformation, includes a midwife arranging Mary's pillows and two cows looking from under her bed.
The Clopton Chapel is in the north east corner of the church. It commemorates various Clopton family members and was used by the family as a place of private worship.
The tomb of Sir William Clopton is set into an alcove here, in the north wall. An effigy of Sir William, wearing chain mail and plate armour, is set on top of the tomb. Sir William is known to have died in 1446 and it is therefore believed that this corner of the church predates the late 15th-century reconstruction. There are numerous brasses set in the floor commemorating other members of the Clopton family; two date from 1420, another shows two women wearing head attire in the butterfly style from around 1480, and a third depicts Francis Clopton who died in 1558.
There is an altar set against the east wall of the chapel and a double squint designed to provide priests with a view of the high altar when conducting Masses.
The Clopton Chantry Chapel is a small chapel at the far north east corner of the church, accessed from the Clopton Chapel. This was the original Lady Chapel and is the oldest part of the current structure. After John Clopton's death in 1497, his will made provision for the chapel to be extended and refurbished and for him to be buried alongside his wife there.[10] The chapel was then renamed, while the intended Chantry Chapel became the Lady Chapel.
The tomb of John Clopton and his wife is set in the wall leading into the chapel. Inside, the canopy vault displays faded portraits of the couple. Also displayed is a portrait of the risen Christ with a Latin text which, translated, reads Everyone who lives and believes in me shall never die. A series of empty niches in the south wall most likely once held statues of saints. Around the cornice, John Lydgate's poem "Testament" is presented in the form of a scroll along the roof, while his "Lamentation of our Lady Maria" is along the west wall.
The Lady Chapel is a separate building attached to the east end of the main church. In an unusual layout, it has a central sanctuary surrounded by a pillared ambulatory, reflecting its original intended use as a chantry chapel with John Clopton's tomb in its centre. Clopton was forced to abandon this plan when his wife died before the new building was completed and consecrated; so she was buried in the former Lady Chapel and John Clopton was subsequently interred next to her.[12]
The stone carving seen in the Lady Chapel bears similarities to work at King's College Chapel, Cambridge and at Burwell Church in Cambridgeshire. It is known that the master mason employed there was Reginald Ely, the King's Mason, and although there is no documentary proof, it is believed that Ely was also responsible for the work at Holy Trinity, Long Melford.[13]
The chapel was used as a school from 1670 until the early 18th century, and a multiplication table on the east wall serves as a reminder of this use. The steep gables of the roof also date from this period.
The Martyn Chapel is situated to the south of the chancel. It contains the tombs of several members of the Martyn family, who were prominent local wool merchants in the 15th and 16th centuries, and who also acted as benefactors of the church. These include the tomb chest of Lawrence Martyn (died 1460) and his two wives. On the floor are the tomb slabs of Roger Martyn (died 1615) and his two wives Ursula and Margaret; and of Richard Martyn (died 1624) and his three wives.
Originally, the Martyn chapel contained an altar flanked by two gilded tabernacles, one displaying an image of Christ and the other an image of Our Lady of Pity. These tabernacles reached to the ceiling of the chapel, but were removed or destroyed during the English Reformation in the reign of King Edward VI.
en.wikipedia.org/wiki/Holy_Trinity_Church,_Long_Melford
---------------------------------------------
The setting of Holy Trinity is superlative. At the highest point and square onto the vast village green, its southern elevation is punctuated by the 16th Century Trinity Hospital almshouses. Across the green is the prospect of Melford Hall's pepperpot turrets and chimneys behind a long Tudor wall. Another great house, Kentwell Hall, is to the north. Kentwell was home to the Clopton family, whose name you meet again and again inside the church. Norman Scarfe described it as in a way, a vast memorial chapel to the family.
Holy Trinity is the longest church in Suffolk, longer even than Mildenhall, but this is because of a feature unique in the county, a large lady chapel separate from the rest of the church beyond the east end of the chancel. The chapel itself is bigger than many East Anglian churches, although it appears externally rather domestic with its triple gable at the east end. There is a good collection of medieval glass in the otherwise clear windows, as well as a couple of modern pieces, and a very mdern altarpiece at the central altar. Jacqueline's mother remembered attending Sunday School in this chapel in the 1940s.
The intimacy of the Lady Chapel is in great contrast to the vast walls of glass which stretch away westwards, the huge perpendicular windows of the nave aisles and clerestories, which appear to make the castellated nave roof float in air. An inscription in the clerestory records the date at which the building was completed as 1496. Forty years later, it would all have been much more serious. Sixty years later, it would not have been built at all. A brick tower was added in the early 18th Century, and the present tower, by GF Bodley, was encased around it in 1903. As Sam Mortlock observes, this tower might seem out of place in Suffolk, but it nevertheless matches the scale and character of the building. It is hard to imagine the church without it.
I came here back in May with my friend David Striker, who, despite living thousands of miles away in Colorado, has nearly completed his ambition to visit every medieval church in Norfolk and Suffolk. This was his first visit to Long Melford, mine only the latest of many. We stepped down into the vast, serious space.. There was a fairly considerable 19th Century restoration here, as witnessed by the vast sprawl of Minton tiles on the floor, although perhaps the sanctuary furnishings are the building's great weakness. Perhaps it is the knowledge of this that fails to turn my head eastwards, but instead draws me across to the north aisle for the best collection of medieval glass in Suffolk. During the 19th century restoration it was collected into the east window and north and south aisles, but in the 1960s it was all recollected here. Even on a sunny day it is a perfect setting for exploring it.
The most striking figures are probably those of the medieval donors, who originally would have been set prayerfully at the base of windows of devotional subjects. Famously, the portrait of Elizabeth, Duchess of Norfolk is said to have provided the inspiration for John Tenneil's Duchess in his illustrations to Lewis Carroll's Alice in Wonderland, although I'm not sure there is any evidence for this. Indeed, several of the ladies here might have provided similar inspiration.
The best glass is the pieta, Mary holding the body of Christ the Man of Sorrows. Beneath it is perhaps the best-known, the Holy Trinity represented in a roundel as three hares with their ears interlocking. An angel holding a Holy Trinity shield in an upper light recalls the same thing at Salle. Other glass includes a fine resurrection scene and a sequence of 15th Century Saints. There is also a small amount of continental glass collected in later centuries, including a most curious oval lozenge of St Francis receiving the stigmata.
Walking eastwards down the north aisle until the glass runs out, you are rewarded by a remarkable survival, a 14th century alabaster panel of the Adoration of the Magi. It probably formed part of the altar piece here, and was rediscovered hidden under the floorboards in the 18th century. Fragments of similar reliefs survive elsewhere in East Anglia, but none in such perfect condition. Beyond it, you step through into the north chancel chapel where there are a number of Clopton brasses, impressive but not in terribly good condition, and then beyond that into the secretive Clopton chantry. This beautiful little chapel probably dates from the completion of the church in the last decade of the 15th century. Here, chantry priests would have celebrated Masses for the dead of the Clopton family. The chapel is intricately decorated with devotional symbols and vinework, as well as poems attributed to John Lidgate. The beautiful Tudor tracery of the window is filled with elegant clear glass except for another great survival, a lily crucifix. This representation occurs just once more in Suffolk, on the font at Great Glemham. The panel is probably a later addition here from elsewhere in the church, but it is still haunting to think of the Chantry priests kneeling towards the window as they asked for intercessions for the souls of the Clopton dead. It was intended that the prayers of the priests would sustain the Cloptons in perpetuity, but in fact it would last barely half a century before the Reformation outlawed such practices.
You step back into the chancel to be confronted by the imposing stone reredos. Its towering heaviness is out of sympathy with the lightness and simplicity of the Perpendicular windows, and it predates Bodley's restoration. The screen which separates the chancel from the south chapel is medeival, albeit restored, and I was struck by a fierce little dragon, although photographing it into the strong south window sunshine beyond proved impossible. The brasses in the south chapel are good, and in better condition. They are to members of the Martyn family.
The south chapel is also the last resting place of Long Melford's other great family, the Cordells. Sir William Cordell's tomb dominates the space. He died in 1581, and donated the Trinity Hospital outside. His name survives elsewhere in Long Melford: my wife's mother grew up on Cordell Road, part of a council estate cunningly hidden from the High Street by its buildings on the east side.
Simon Knott, January 2013
Mirit Ben Nun: Shortness of breath
'Shortness of breath' is not only a sign of physical weakness, it is a metaphor for a mental state of strong desire that knows no repletion; more and more, an unbearable glut, without repose. Mirit Ben Nun's type of work on the other hand requires an abundance of patience. This is a Sisyphean work (requiring hard labor) of marking lines and dots, filling every empty millimeter with brilliant blots. Therefore we are facing a paradox or a logical conflict. A patient and effortful work that stems from an urgent need to cover and fill, to adorn and coat. Her craft of layering reaches a state of a continuous ceremonial ritual.
This ritual digests every object into itself - useful or discarded -- available and ordinary or rare and exceptional -- they submit and devote to the overlay work. Mirit BN gathers scrap off the streets -- cardboard rolls of fabric, assortments of wooden boards and pieces, plates and planks -- and constructs a new link, her own syntax, which she alone is fully responsible for. The new combination -- a type of a sculptural construction -- goes through a process of patching by the act of painting.
In fact Mirit regards her three dimensional objects as a platform for painting, with a uniform continuity, even if it has obstacles, mounds and valleys. These objects beg her to paint, to lay down colors, to set in motion an intricate weave of abstract patterns that at times finds itself wandering the contours of human images and sometimes -- not. In those cases what is left is the monotonous activity of running the patterns, inch by inch, till their absolute coverage, till a short and passing instant of respite and than on again to a new onset.
Next to this assembly of garbage and it's recycling into 'painted sculptures' Mirit offers a surprising reunion between her illustrated objects and so called cheap African sculpture; popular artifacts or articles that are classified in the standard culture as 'primitive'.
This combination emphasizes the difference between her individualistic performance and the collective creation which is translated into cultural clichés. The wood carved image creates a moment of peace within the crowded bustle; an introverted image, without repetitiveness and reverberation. This meeting of strangers testifies that Mirit' work could not be labeled under the ´outsiders art´ category. She is a one woman school who is compelled to do the art work she picked out to perform. Therefore she isn't creating ´an image´ such as the carved wooden statues, but she produces breathless ´emotional jam' whose highest values are color, motion, beauty and plenitude. May it never lack, neither diluted, nor dull for even an instant
Tali Tamir
August 2010
We decided to do the touristy thing and visit St Pauls. It is a remakarble building. I would love to have taken some pictures inside but that is not allowed. I'm not a religious man, but i did feel that it was a 'spiritual' place.The sheer size and immense space inside achieves it's purpose of making us feel small. It's easy to mock religion, and criticise the oppulence but it is in a way a memorial to our human weaknesses and so allows us to admit and confront these imperfections, and hopefully move on.
From Wikipedia:
St Paul's Cathedral is the Anglican cathedral on Ludgate Hill, in the City of London, and the seat of the Bishop of London. The present building dates from the 17th century and is generally reckoned to be London's fifth St Paul's Cathedral, although the number is higher if every major medieval reconstruction is counted as a new cathedral. The cathedral sits on the edge of London's oldest region, the City, which originated as a Roman trading post along the edge of the River Thames. The cathedral is one of London's most visited sites.
There had been a late-Roman See in London, but the first Saxon cathedral was built of wood, probably by Mellitus or another of the Augustinian missionaries, on the see's re-foundation in AD 604 on Ludgate Hill in the western part of the old Roman city and the eastern part of Lundenwic. It was these missionaries' habit, as in mainland Europe, to build cathedrals within old Roman city-walls. This building is traditionally said to have been on the site of an ancient megalith, or stone circle, and a temple dedicated to the goddess Diana, in alignment with the Apollo Temple that once stood at Westminster, although Christopher Wren found no evidence of this (Kruger, 1943). This would have only been a modest chapel at first and may well have been destroyed after Mellitus was briefly expelled from the city by Saeberht's pagan successors. It burned down in 675.
The cathedral was rebuilt in stone, in 685. In it was buried King or Saint Sebbi of Essex. It was sacked by the Vikings in 961, as cited in the Anglo-Saxon Chronicle.
The third cathedral was begun in 962, again in stone. In it was buried Ethelred the Unready. It burnt, with the whole city, in a fire in 1087 (Anglo-Saxon Chronicle).
The fourth St Paul's (known as Old St Paul's, a 19th-century coinage, or the pre-Great Fire St Paul's) was begun by the Normans after the 1087 fire. Work took over 200 years, and a great deal was lost in a fire in 1136. The roof was once more built of wood, which was ultimately to doom the building. The church was consecrated in 1240, but a change of heart led to the commencement of an enlargement programme in 1256. This 'New Work' was completed in 1314 - the cathedral had been consecrated in 1300. It was the third-longest church in Europe. Excavations in 1878 by Francis Penrose showed it was 585 feet (178 m) long and 100 feet (30 m) wide (290 feet or 87 m across the transepts and crossing), and had one of Europe's tallest spires, at some 489 feet (149 m).
By the 16th century the building was decaying. Under Henry VIII and Edward VI, the Dissolution of the Monasteries and Chantries Acts led to the destruction of interior ornamentation and the cloisters, charnels, crypts, chapels, shrines, chantries and other buildings in the churchyard. Many of these former religious sites in St Paul's Churchyard, having been seized by the crown, were sold as shops and rental properties, especially to printers and booksellers, who were often evangelical Protestants. Buildings that were razed often supplied ready-dressed building material for construction projects, such as the Lord Protector's city palace, Somerset House.
Crowds were drawn to the northeast corner of the Churchyard, St Paul's Cross, where open-air preaching took place. In 1561 the spire was destroyed by lightning and it was not replaced; this event was taken by both Protestants and Catholics as a sign of God's displeasure at the other faction's actions.
England's first classical architect, Sir Inigo Jones, added the cathedral's west front in the 1630s, but there was much defacing mistreatment of the building by Parliamentarian forces during the English Civil War, when the old documents and charters were dispersed and destroyed (Kelly 2004). "Old St Paul's" was gutted in the Great Fire of London of 1666. While it might have been salvageable, albeit with almost complete reconstruction, a decision was taken to build a new cathedral in a modern style instead. Indeed this had been contemplated even before the fire.
The task of designing a replacement structure was assigned to Sir Christopher Wren in 1668, along with over 50 other City churches. His first design, for a replacement on the foundations of the old cathedral, was rejected in 1669. The second design, in the shape of a Greek cross (circa 1670-1672), was rejected as too radical, as was a revised design that resulted in the 1:24 scale "Great Model" on display in the crypt of the cathedral.[1] The 'warrant' design was accepted in 1675, and building work began in June. The first stone of the cathedral was laid in 1677 by Thomas Strong, Wren's master stonemason.[2] The 'warrant' design included a small dome with a spire on top, but King Charles II had given Wren permission to make "ornamental" changes to the approved design, and Wren took the liberty to radically rework the design to the current form, including the large central dome and the towers at the west end.
The cathedral was completed on 20 October 1956, Wren's 76th birthday. On Thursday, 2 December 1697, thirty-two years and three months after a spark from Farryner's bakery had caused the Great Fire of London, St Paul's Cathedral came into use: it proved to be well worth the wait. The widower King William III had been scheduled to appear but, uncomfortable in crowds and public displays, had bowed out at the last minute. The crowd of both the great and the small was so big, and their attitude towards William so indifferent, that he was scarcely missed. The Right Reverend Henry Compton, Bishop of London, preached the sermon. It was based on the text of Psalm 122, "I was glad when they said unto me: Let us go into the house of the LORD." The first regular service was held on the following Sunday. The consensus was as with all such works: some loved it ("Without, within, below, above the eye/ Is filled with unrestrained delight."[3]); some hated it ("...There was an air of Popery about the giled capitals, the heavy arches...They were unfamiliar, un-English.."[4]); while most, once their curiosity was satisfied, didn't think about it one way or another.
The cathedral is built of Portland stone in a late Renaissance style that is England's sober Baroque. Its impressive dome was inspired by St Peter's Basilica in Rome. It rises 365 feet (108 m) to the cross at its summit, making it a famous London landmark. Wren achieved a pleasing appearance by building three domes: the tall outer dome is non-structural but impressive to view, the lower inner dome provides an artistically balanced interior, and between the two is a structural cone that supports the apex structure and the outer dome. Wren was said to have been hauled up to the rafters in a basket during the building of its later stages to inspect progress.
The nave has three small chapels in the two adjoining aisles – All Souls and St Dunstan's in the north aisle and the Chapel of the Order of St Michael and St George in the south aisle. The main space of the cathedral is centred under the Dome; it rises 108.4 metres from the cathedral floor and holds three circular galleries – the internal Whispering Gallery, the external Stone Gallery, and the external Golden Gallery.
The Whispering Gallery runs around the interior of the Dome and is 99 feet (30.2 m) above the cathedral floor. It is reached by 259 steps from ground level. It gets its name because a whisper against its wall at any point is audible to a listener with an ear held to the wall at any other point around the gallery. This works only for whispered speech - normal voiced speech is not focused in this way.
The base of the inner dome is 173 feet (53.4 m) above the floor. The top of the inner dome is about 65 m above the floor, making this the height of the enclosed space. The cathedral is some 574 feet (175 m) in length (including the portico of the Great West Door), of which 223 feet (68 m) is the nave and 167 feet (51 m) is the choir. The width of the nave is 121 feet (37 m) and across the transepts is 246 feet (75 m).[12] The cathedral is thus slightly shorter but somewhat wider than Old St Paul's.
The quire extends to the east of the dome and holds the stalls for the clergy and the choir and the organ. To the north and south of the dome are the transepts of the North Choir and the South Choir.
Details of the towers at the west end (illustration, left) and their dark voids are boldly scaled, in order to read well from the street below and from a distance, for the towers have always stood out in the urban skyline. They are composed of two complementary elements, a central cylinder rising through the tiers in a series of stacked drums, and paired Corinthian columns at the corners, with buttresses above them, which serve to unify the drum shape with the square block plinth containing the clock. The main entablature breaks forward over the paired columns to express both elements, tying them together in a single horizontal band. The cap, like a bell-shaped miniature dome, supports a gilded finial, a pinecone supported on four scrolling angled brackets, the topmost expression of the consistent theme. The north-west tower contains 13 bells hung for change ringing while the south-west contains four, including Great Paul, at 16½ tons[13] - the largest bell in the British Isles, cast in 1881, and Great Tom (the hour bell), recast twice, after being moved from the old Palace of Westminster.
This cathedral has survived despite being targeted during the Blitz - it was struck by bombs on 10 October 1940 and 17 April 1941. On 12 September 1940 a time-delayed bomb that had struck the cathedral was successfully defused and removed by a Bomb Disposal detachment of Royal Engineers under the command of Temporary Lieutenant Robert Davies. Had this bomb detonated, it would have totally destroyed the Cathedral, as it left a 100-foot (30 m) crater when it was later remotely detonated in a secure location.[14] As a result of this action, Davies was awarded the George Cross, along with Sapper George Cameron Wylie.[15]. On 29 December 1940 the cathedral had another close call when an incendiary bomb became lodged in the lead shell of the dome but fell outwards onto the Stone Gallery and was put out before it could ignite the dome timbers.
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tapestries. fabric. weavings...from the hands of people from other times and places. rich colors...from the earth. when I hold them to me I can 'feel' somehow the lives of the people who wove them...who've worn them...and our lives are connected in some quiet way.
HFF! Happy Fence Friday, this is St. Margaret's Anglican Church in Toronto. On National Aboriginal Day - June 21, I will be joining fellow parishioners of Anglican churches and Cathedrals, who will be honouring 1181 indigenous women and girls missing or killed across Canada between 1980 and 2012. www.flickr.com/gp/29482098@N04/6xF33k
Thanks for visiting and enjoy your day:)
Today it's official. The Cactus has left the stage.Time to look back at a short 14 months of ownership. In all it's a fairly comfortable ride with its strength and weakness.
My Cactus was fitted with the highest trim level (shine) which meant it had sat nav, 16" Square gris rims, rear parking sensors and camera, privacy glass in the rear and things as daylight sensor with automatic lights and a rain sensor.
The engine was a 82 hp 3 cylinder engine with a 5-speed automated manual gearbox. This is not your traditional automatic gearbox but a manual gearbox that has been transformed into an automatic one.
The interior was in black and blue fabric to match the Blue Lagoon outside of the car. This is, in my opinion, one of the most fun colors for the C4 Cactus. In the beginning, My girlfriend and I where in doubt between Hello Yellow and Blue Lagoon.
The Cactus is really comfortable to drive. It knows how to filter out most of the bumps in city trafic. Because it's not that big (4157mm long, 1729mm wide and 1450 mm high) it's easy to manouvre in small city streets. Because it's fairly light (just 950 kg) it doesn't need a huge engine, making the 82 horsepower enough in daily traffic.
The ride height gives it a bit of a tough look, this also means that it can be used outside the normal roads. I've taken it into fields and dirt roads a couple of times and never got stuck or missed power.
In a car with a color this bright you never go through traffic unnoticed. Especially (young) kids seem to love this car. More then once I heared children telling their mum or dad how nice they thought this car is.
Regardless of the small outside dimensions it really is a spacious and practical car. With 1.87 meters I'm no giant but not small either. Still I could take place behind myself quite easily. With 358 liters the boot of the car also was large enough. With the rear seats down it even had 1170 liters of luggage space.
Then the downsides. Because of al the weight reduction they left out some soundproofing. This means that it is a bit noisy on higher speed. At motorway speeds (+/- 120 km/h) it's also a bit thirsty. You can definitly tell the tiny engine has to work hard to take it up to speed and keep it there.
Also the overal quality is what one might expect with a cheap family car. That being said, the dashboard is covered with grat material which looks and feels very nice. It's the door panels where you find plastic of the hard, cheap kind (that also scratches quite easy)
The gearbox is in my opinion the biggest downside of this car. If I where to do it all over I'd go for the manual gearbox. This robotised manual gearbox is just too slow in its respons. Also it sometimes choses to shift back or up in the worst possible moment. For instance it could go back to first gear just when you saw a small opening on a road you want to enter. meaning you had to wait a few seconds untill there was a connection between the engine and the wheels, just enough time for your opening to disappear.
It did prove to be reliable. In 31.000 kilometers the only thing outside normal maintenance was a worn out stability rod so nothing shocking there.
Finally a short summary:
+Great design, in and outside
+It does have the Fun factor
+Great drivability in the city and even offroad
+Practical
+Good fuel economy in the city
+High quality dashboard
-Noisy at speed
-Not economical at speed
-Terrible gearbox
-Cheap feel of some interior parts
Mood changes and inconsistency are the major weaknesses of human nature
03062011_IMG_5516 | self @ my garage
Strobist :
- Elinchrom D-Lite2it w/Rotalux Deep Octa 70cm @3/5 power above camera/in front of me
- Lastolite Tri Grip Reflector - Silver-side, near me under the frame
- Triggered by Elinchrom Skyport Universal Speed Set
Lens Canon EF50mm f/1.4 USM | ISO 100 | 1/125s @ f/8,0 | manfrotto's tripod
"The ultimate weakness of violence
is that it is a descending spiral, begetting the very thing it seeks
to destroy. Instead of diminishing evil, it multiplies
it. Through violence you may murder the liar, but you
cannot murder the lie, nor establish the truth.
Through violence you murder the hater, but you do not
murder hate. In fact, violence merely increases
hate...Returning violence for violence multiples
violence, adding deeper darkness to a night already
devoid of stars. Darkness cannot drive out darkness;
only light can do that. Hate cannot drive out
hate: Only love can do that."
-Martin Luther King, Jr.
The Herr Rug
Lois Herr resides on Lancaster Avenue. From examining and doing research on her rug, I believe it is considered an “Old Crystal” style rug. This style was developed by the trader, J. B. Moore, shortly after he purchased rights to the Crystal Trading Post in 1896. Moore quickly identified weakness in area weavings and had the weavers bring him raw wool which he then sent to eastern mills for machine cleaning. When returned, the processed wool could be spun and woven more evenly. In 1903 and again in 1911, Moore published mail-ordered catalogs outlining grades of wool, classes of rugs and prices. Moore’s greatest achievement was perhaps the Persian type designs and elements he had his weavers make. His distinctive styles included a bordered rug with natural wool tones of black, brown, and white, coupled with carded blends of gray, tan, and beige. These were used in combinations with commercial dyes of red and blue. He credits himself with developing the “Storm Pattern Rug” and his basic patterns led to the regional style rug called the “Two Grey Hills”.
On a 2018 trip to the Southwest, Vicki and I stopped in Gallup, New Mexico. There I consulted with Billy Malone, trader and owner of . Billy concurred this rug is indeed an “Old Crystal” style rug, probably woven around 1920.
An author of several books on various topics, including her family’s history, Lois provided, first detailed information regarding her Navajo rug and then entries from the mother’s period diary.
“In 1923, Kathryn Nisley (my mother) and Rebecca Hassler (her grandmother) took off on a train trip across the country. On the way east, their train stopped for meals at Fred Harvey Houses in Arizona, New Mexico, and Texas. These locations also served at the time as prime locations for travelers to see and buy Indian jewelry, rugs, and other native works.
Family lore is that Rebecca bought a Navaho rug and along the way back shipped it home. The rug went from their farm to my grandmother’s home in Progress when her parents left the farm and moved in with her. That’s where I first saw the rug. Eventually the rug would move with me to Mt. Gretna. Ultimately it landed in the hands of Don Kensinger in exchange for his artwork – the Stone Trees that adorn my cottage property.”
What follows are several entries from Lois’ mother’s 1923 diary describing days on the train and meals at the Harvey Houses.”
“Wed, Aug 1
We had to get off the train for breakfast at Seligman, Arizona. We know now what a Fred Harvey dining room is like. After we were on the way again, a doctor from Winslow, Arizona, who had the berth opposed to ours, asked me to play my violin. If his girl would have lived, she would have been a violinist, too. So, I played almost all the selections I had along. We changed trains at Williams for the Grand Canyon at noon. Arrived at the canyon at 4 something. Arranged ourselves in a little white frame cottage in the Bright Angel Campground for $2.50, then took the Rim Ride. Grandma was disgusted because the driver went so fast. We were given a cold drink and tea cakes at the Hermit’s Rest and stopped at interesting points along the edge of the canyon on the way back. After dinner, we visited the Hopi House and the El Tovar Hotel, where we heard a fine illustrated lecture about the Grand Canyon and had an elegant afternoon tea. Found out the Grand Canyon became a National Park three years ago.
THURS, AUG 2
I was too sleepy this morning to get up for the sunrise. How can I travel so far and then miss it? After breakfast we walked to the station. I had to carry both suitcases because the boy had already gone. So, Grandma was “riled” again. We changed cars at Williams and are now on the way to Kansas City. It is 6:11. We will stop at 7 in Gallup, New Mexico for dinner. We had lunch with us, so we’re going to get only ice cream and coffee. This ride has been hot, but it’s getting cooler now.
Will be good to see Joe and Florence Stober again. We’ve covered a lot of miles since we were with them. This is such a big country.
FRI, AUG 3
What a shock – The conductor came through giving the news that President Harding died last evening at 7:30. That is the main subject of conversation today. Apparently, there’s some speculation about what caused his death. He had been on a cross-country trip too – his “Voyage of Understanding.” Our trip is a voyage of understanding for me – understanding my family, relationships, and the sheer size of our country.
We stopped at Clovis, New Mexico, for breakfast. I couldn’t do anything but sleep the rest of the morning until we got off for lunch in Amarillo, Texas. The remainder of the day we tasted dust and felt heat.
In Missouri Grandma plans to see all the Stobers. Doesn’t talk much about her family normally. I gather from what she said today that she was very close to her mother, being the oldest child. When her mother Elizabeth died and her father married Susanna Yeager, the young housekeeper, Grandma left home in a huff and lived with her Aunt Rose Hocker until she married Grandpa years later. Some of the Stobers we’ll see are her brothers and sisters, but some are the children of her father’s second wife. I’m making her tell me the names and writing them down at dinner.
We had a fine dinner at a Fred Harvey place again and Grandma set out for me the people we’ll see in Missouri. Her brothers George, Joe, and her youngest sister Jennie came out west with their father and his second wife’s children Will, Harry, and Cora. Grandma had never yet met Harry, and she looked forward to seeing him. Will died young and Cora married and moved to Nevada. We’ll be spending time with George, Joe, Jennie and Harry and their families.
SAT, AUG 4
Was awake in time to see the sun rise – and would have seen it if the train hadn’t turned directly towards it. Put on the last clean piece (almost) of clothing. Reached Kansas City at 7:30. Red Cap escorted us to the Missouri Pacific Sedalia train at once. That jerky train that stopped at every fence corner. Grandma can thank me for the newspaper she had to read. Pages and pages about Harding and Coolidge. Grandma always paid attention to politics and so have others in the family. Uncle Doc was on the Harrisburg City Council and even ran for Mayor. Every year Grandma goes out registering voters, especially women now that we won the right to vote.
Lois’s rug measures and has a weft count of per inch. The black, white, gray, and tan colors are from natural dyes, while the red is aniline dyed. The hooks or frets, commonly found in Oriental and Persian rugs, were elements that J. B. Moore encouraged his weavers incorporate in their rugs, as he thought such features were appealing to Anglo customers.
For a rug reported to be 100 years old it is in good condition with minimal damage and fading. An “old Crystal rug” is a desirable weaving in any collection. The account shared by Lois and the additional provenance of the purchaser’s diary entries increases the rugs significance and value
Mirit Ben Nun: Shortness of breath
'Shortness of breath' is not only a sign of physical weakness, it is a metaphor for a mental state of strong desire that knows no repletion; more and more, an unbearable glut, without repose. Mirit Ben Nun's type of work on the other hand requires an abundance of patience. This is a Sisyphean work (requiring hard labor) of marking lines and dots, filling every empty millimeter with brilliant blots. Therefore we are facing a paradox or a logical conflict. A patient and effortful work that stems from an urgent need to cover and fill, to adorn and coat. Her craft of layering reaches a state of a continuous ceremonial ritual.
This ritual digests every object into itself - useful or discarded -- available and ordinary or rare and exceptional -- they submit and devote to the overlay work. Mirit BN gathers scrap off the streets -- cardboard rolls of fabric, assortments of wooden boards and pieces, plates and planks -- and constructs a new link, her own syntax, which she alone is fully responsible for. The new combination -- a type of a sculptural construction -- goes through a process of patching by the act of painting.
In fact Mirit regards her three dimensional objects as a platform for painting, with a uniform continuity, even if it has obstacles, mounds and valleys. These objects beg her to paint, to lay down colors, to set in motion an intricate weave of abstract patterns that at times finds itself wandering the contours of human images and sometimes -- not. In those cases what is left is the monotonous activity of running the patterns, inch by inch, till their absolute coverage, till a short and passing instant of respite and than on again to a new onset.
Next to this assembly of garbage and it's recycling into 'painted sculptures' Mirit offers a surprising reunion between her illustrated objects and so called cheap African sculpture; popular artifacts or articles that are classified in the standard culture as 'primitive'.
This combination emphasizes the difference between her individualistic performance and the collective creation which is translated into cultural clichés. The wood carved image creates a moment of peace within the crowded bustle; an introverted image, without repetitiveness and reverberation. This meeting of strangers testifies that Mirit' work could not be labeled under the ´outsiders art´ category. She is a one woman school who is compelled to do the art work she picked out to perform. Therefore she isn't creating ´an image´ such as the carved wooden statues, but she produces breathless ´emotional jam' whose highest values are color, motion, beauty and plenitude. May it never lack, neither diluted, nor dull for even an instant
Tali Tamir
August 2010
The Postcard
A postcard published by The London View Co. Ltd. that was posted in Hastings on Saturday the 12th. September 1908 to:
Miss Brent,
29, Guildford Street,
Brighton.
The pencilled message on the divided back of the card was as follows:
"Dear Cissie,
Arrived here at 10 o'clock
and have a very comfortable
room.
Mother sends her love to
Mrs. Brent, and hopes you
enjoy yourself.
The weather is lovely here.
With love,
Daisy".
Hastings
Hastings is a large seaside town in East Sussex on the south coast, 24 miles (39 km) east of the county town of Lewes, and 53 mi (85 km) south east of London.
The town gives its name to the Battle of Hastings.
In the 19th. century, Hastings was a popular seaside resort, as the railway allowed tourists and visitors to reach the town.
Today, Hastings is a fishing port with the UK's largest beach-based fishing fleet. The fleet has been based on the same beach, below the cliffs, for at least 400, and possibly up to 600, years. Its longevity is attributed to the prolific fishing ground of Rye Bay nearby.
The town had a population of 92,855 in 2018.
Hastings in Pre-History
Evidence of prehistoric settlements has been found at the town site, including flint arrowheads and Bronze Age artefacts.
Iron Age forts have been excavated on both the East and West Hills. The settlement was already based on the port when the Romans arrived in Britain for the first time in 55 BC. They began to exploit the iron (Wealden rocks provide a plentiful supply of the ore), and shipped it out by boat.
Iron was worked locally at Beauport Park, to the north of the town. It employed up to a thousand men, and is thought to have been the third-largest mine in the Roman Empire.
With the departure of the Romans, the town suffered setbacks. The Beauport site was abandoned, and the town suffered attacks from nature and early adversaries.
The Sussex coast has always suffered from occasional violent storms, and with the additional hazard of longshore drift (the eastward movement of shingle along the coast), the coastline has been frequently changing. The original Roman port is probably now under the sea.
Medieval Hastings
The Battle of Hastings heralded the start of the Norman Conquest. The battle was fought on the 14th. October 1066, although it actually took place 8 miles (13 km) to the north at Senlac Hill, and William had landed on the coast between Hastings and Eastbourne at Pevensey.
Muslim scholar Muhammad al-Idrisi, writing circa 1153, described Hastings as:
"A town of large extent and many inhabitants,
flourishing and handsome, having markets,
workpeople and rich merchants".
Hastings and the Sea
By the end of the Saxon period, the port of Hastings had moved eastward to near the present town centre in the Priory Stream valley, whose entrance was protected by the White Rock headland (since demolished).
It was to be a short stay: Danish attacks and huge floods in 1011 and 1014 motivated the townspeople to relocate to the New Burgh.
In the Middle Ages Hastings became one of the Cinque Ports.
Much of the town and half of Hastings Castle was washed away in the South England flood of February 1287.
During a naval campaign of 1339, and again in 1377, the town was raided and burnt by the French, and seems then to have gone into a decline. As a port, Hastings' days were finished.
Hastings had suffered over the years from the lack of a natural harbour. Attempts were made to build a stone harbour during the reign of Elizabeth I, but the foundations were destroyed by the sea in terrible storms. Accordingly the town's fishing boats are still stored on, and launched from, the beach.
Hastings was then just a small fishing settlement, but it was soon discovered that the new taxes on luxury goods could be made profitable by smuggling; the town was ideally located for that purpose.
Near the castle ruins, on the West Hill, are St. Clement's Caves, partly natural, but mainly excavated by hand by smugglers from the soft sandstone.
Their trade came to an end with the period following the Napoleonic Wars, for the town became one of the most fashionable resorts in Britain, brought about by the so-called health-giving properties of seawater, as well as the local springs and Roman baths.
The double decker promenade that runs from Hastings Pier beyond Marine Court, with a break at Warrior Square, was built by the borough engineer Sidney Little.
The building of Pelham Crescent necessitated cutting away of the Castle Hill cliffs. Once that move away from the old town had begun, it led to the further expansion along the coast, eventually linking up with the new St. Leonards.
Judges Postcards
Between 1902 and 1919, Fred Judge FRPS photographed many of the town's events and disasters. These included storms, the first tram, the visit of the Lord Mayor of London, Hastings Marathon Race, and the pier fire of 1917.
Many of these images were produced as picture postcards by the firm he founded which is now known as Judges Postcards.
Hastings' Bathing Pool
In the 1930's, an Olympic-sized bathing pool was erected. Regarded in its day as one of the best open-air swimming and diving complexes in Europe, it later became a holiday camp before closing in 1986. It was demolished, but the area is still known by locals as "The Old Bathing Pool".
Hastings' Sunshine
Hastings, tied with Eastbourne, recorded the highest duration of sunshine of any month anywhere in the United Kingdom - 384 hours - in 1911.
A new record temperature of 34.7 °C (94.5 °F) was recorded for the town on the 19th. July 2022.
St. Leonards
The original part St. Leonards was bought by James Burton and laid out by his son, the architect Decimus Burton, in the early 19th. century as a new town: a place of elegant houses designed for the well-off.
It also included a central public garden, a hotel, an archery, assembly rooms and a church. Today's St. Leonards has extended well beyond that original design, although the original town still exists within it.
Priory Meadow Shopping Centre
Hastings' main shopping centre is the Priory Meadow Shopping Centre. It was built on the site of the old Central Recreation Ground which had played host to some Sussex CCC first-class fixtures, and famous cricketers such as Dr. W. G. Grace and Sir Don Bradman.
The Central Recreation Ground was one of England's oldest, most scenic and most famous cricket grounds. The first match was played there in 1864, and the last in 1989, after which the site was redeveloped into the shopping centre. The centre houses 56 stores, and covers around 420,000 square feet.
Marine Court
On the seafront at St. Leonards is Marine Court, a 1938 block of flats in the Art Deco style that was originally called 'The Ship' due to its style being based upon the ocean liner RMS Queen Mary.
Marine Court can be seen from 20 miles (32 km) away on a clear day from Eastbourne.
The Memorial
An important former landmark was the Memorial, a clock tower commemorating Albert the Prince Consort which stood for many years at the traffic junction in the town centre, but was demolished following an arson attack in the 1970's.
The Hastings Miniature Railway
The Hastings Miniature Railway operates along the beach from Rock-a-Nore to Marine Parade, and has provided tourist transport since 1948. The railway was considerably restored and re-opened in 2010.
Hastings' Tram Network
Hastings had a network of trams from 1905 to 1929. The trams ran as far as Bexhill, and were worked by overhead electric wires.
Notable People
Many notable figures were born, raised, or lived in Hastings, including computer scientist Alan Turing, poet Fiona Pitt-Kethley, actress Gwen Watford, comedian Jo Brand and Madness singer Suggs.
Additionally :
-- John Logie Baird lived in Hastings in the 1920's where he carried out experiments that led to the transmission of the first television image.
-- Robert Tressell wrote 'The Ragged-Trousered Philanthropists' in Hastings between 1906 and 1910.
-- Gareth Barry, who holds the record number of appearances in the Premier League, was born in Hastings.
-- The author who worked as Grey Owl was born In Hastings and lived there for several years.
-- Harry H. Corbett (Steptoe & Son) lived in Hastings up until his death in 1982.
-- Anna Brassey, a collector and feminist pioneer of early photography, was based in Hastings until her death in 1887.
Anna Brassey
Baroness Anna "Annie" Brassey was born in London on the 7th. October 1839. Annie was an English traveller and writer. Her bestselling book 'A Voyage in the Sunbeam, our Home on the Ocean for Eleven Months' (1878) describes a voyage around the world.
Anna Brassey - The Early Years
Annie Brassey was born Anna Allnutt. As a child, she faced serious health problems. In his preface to Annie's book 'The Last Voyage', her husband recalled that she suffered from an inherited "weakness of the chest", apparently a form of chronic bronchitis.
As a young woman, she also suffered severe burns when she stood too close to a fireplace and her skirt caught fire. It took six months for her to recover from them.
Annie's Marriage to Lord Brassey
In 1860, she married the English Member of Parliament Thomas Brassey (knighted in 1881, becoming Earl Brassey in 1886), with whom she lived near his Hastings constituency. Thomas was born in 1836 and died in 1918.
The couple had five children together before they travelled aboard their luxury yacht Sunbeam. The yacht was said to have been named after their daughter - Lady Constance Alberta - who was nicknamed Sunbeam; she died of scarlet fever, aged four, on the 24th. January 1873.
The golden figurehead of the yacht depicting Constance is at the National Maritime Museum, Greenwich, London.
Annie's Travels and Publications
'A Voyage in the Sunbeam', describing their journey round the world in 1876–1877 with a complement of 43, including family, friends and crew, ran through many English editions, and was translated into at least five languages.
Her accounts of later voyages include 'Sunshine and Storm in the East' (1880); 'In the Trades, the Tropics, and the Roaring Forties' (1885); and 'The Last Voyage' (1889, published posthumously).
Annie had published privately earlier works including 'A Flight of the Meteor', detailing two cruises in the Mediterranean on their earlier yacht Meteor, and 'A Voyage in the Eothen', a description of their travels to Canada and the United States in 1872.
In July 1881, King Kalākaua of Hawaii, who had been greatly pleased with her description of his kingdom, was entertained at Normanhurst Castle, and invested Lady Brassey with the Royal Order of Kapiolani.
Annie was also involved with the publication of Colonel Henry Stuart-Wortley's 'Tahiti, a Series of Photographs' (1882).
The Death and Legacy of Lady Brassey
Lady Brassey's last voyage on the Sunbeam was to India and Australia, undertaken in November 1886 in order to improve her health. On the way to Mauritius, Annie died of malaria at the age of 47 on the 14th. September 1887, and was buried at sea.
At home in England, she had performed charitable work, largely for the St. John Ambulance Association. Her collection of ethnographic and natural history material was shown in a museum at her husband's London house until it was moved to Hastings Museum in 1919. There are also several photograph albums and other ephemera held at Hastings Library.
However, the vast majority of her photograph albums are now housed in the Huntington Library, San Marino, California. The collection of 70 albums, each containing 72 to 80 thick board pages, contains pre-eminent examples of historical travel.
The albums contain works by Annie and others she collected, including those of commercial photographers. Annie herself was an accomplished photographer. She joined the Royal Photographic Society in 1873 and remained a member until her death. She exhibited some of her work in its exhibitions in 1873 and 1886.
Lady Brassey was survived by four of her five children:
-- Thomas Brassey, 2nd Earl Brassey
-- Lady Mabelle Brassey
-- Muriel Sackville, Countess De La Warr
-- Marie Freeman-Thomas, Marchioness of Willingdon.
A Marriage Proposal by Winston Churchill
So what else happened on the day that Daisy posted the card?
Well, on the 12th. September 1908, after five months of meeting each other at social events, as well as frequent correspondence, Winston Churchill proposed to Clementine Hozier during a house party at Blenheim Palace, in a small summer house known as the Temple of Diana.
British postcard by Film Weekly. Photo: Fox. Lilian Harvey, Henry Travers and Lew Ayres in My Weakness (David Butler, 1933).
A wealthy young man (Ayres) bets his uncle (Travers) that he can transform a clumsy cleaning lady (Harvey) into a glamorous fashion plate, then marry her off to his bachelor cousin (Charles Butterworth).
British born, German actress and singer Lilian Harvey (1906-1968) was Ufa's biggest star of the 1930s. With Willy Fritsch, she formed the 'Dream Team of the European Cinema'. Their best film was the immensely popular film operetta Der Kongress tanzt/The Congress Dances (Erik Charell, 1931).
I tear my heart open, I sow myself shut
My weakness is that I care too much
My scars remind me that the past is real
I tear my heart open just to feel
Drunk and I´m feeling down
And I just wanna be alone
I´m pissed cause you came around
Why don´t you just go home
Cause you channel all your pain
And I can´t help to fix myself
Your making me insane
All I can say is
I tried to help you once
A kiss will only vise
I saw you going down
But you never realized
That your drowning in the water
So I offered you my hand
Compassions in my nature
Tonight is our last dance
I´m drunk and I´m feeling down
And I just wanna be alone
You shouldn´t ever came around
Why don´t you just go home?
Cause your drowning in the water
And I tried to grab your hand
And I left my heart open
But you didn´t understand
But you didn´t understand
You fix yourself
I can´t help you fix yourself
But at least I can say I tried
I´m sorry but I gotta move on with my own life
I can´t help you fix yourself
But at least I can say I tried
I´m sorry but I gotta move on with my own life
Mirit Ben Nun: Shortness of breath
'Shortness of breath' is not only a sign of physical weakness, it is a metaphor for a mental state of strong desire that knows no repletion; more and more, an unbearable glut, without repose. Mirit Ben Nun's type of work on the other hand requires an abundance of patience. This is a Sisyphean work (requiring hard labor) of marking lines and dots, filling every empty millimeter with brilliant blots. Therefore we are facing a paradox or a logical conflict. A patient and effortful work that stems from an urgent need to cover and fill, to adorn and coat. Her craft of layering reaches a state of a continuous ceremonial ritual.
This ritual digests every object into itself - useful or discarded -- available and ordinary or rare and exceptional -- they submit and devote to the overlay work. Mirit BN gathers scrap off the streets -- cardboard rolls of fabric, assortments of wooden boards and pieces, plates and planks -- and constructs a new link, her own syntax, which she alone is fully responsible for. The new combination -- a type of a sculptural construction -- goes through a process of patching by the act of painting.
In fact Mirit regards her three dimensional objects as a platform for painting, with a uniform continuity, even if it has obstacles, mounds and valleys. These objects beg her to paint, to lay down colors, to set in motion an intricate weave of abstract patterns that at times finds itself wandering the contours of human images and sometimes -- not. In those cases what is left is the monotonous activity of running the patterns, inch by inch, till their absolute coverage, till a short and passing instant of respite and than on again to a new onset.
Next to this assembly of garbage and it's recycling into 'painted sculptures' Mirit offers a surprising reunion between her illustrated objects and so called cheap African sculpture; popular artifacts or articles that are classified in the standard culture as 'primitive'.
This combination emphasizes the difference between her individualistic performance and the collective creation which is translated into cultural clichés. The wood carved image creates a moment of peace within the crowded bustle; an introverted image, without repetitiveness and reverberation. This meeting of strangers testifies that Mirit' work could not be labeled under the ´outsiders art´ category. She is a one woman school who is compelled to do the art work she picked out to perform. Therefore she isn't creating ´an image´ such as the carved wooden statues, but she produces breathless ´emotional jam' whose highest values are color, motion, beauty and plenitude. May it never lack, neither diluted, nor dull for even an instant
Tali Tamir
August 2010
Charity is having patience with someone who has let us down. It is resisting the impulse to become offended easily. It is accepting weaknesses and shortcomings. It is accepting people as they truly are. It is looking beyond physical appearances to attributes that will not dim through time. It is resisting the impulse to categorize other.
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Weakness is a better teacher than strength. Weakness must learn to understand the obstacles that strength brushes aside.
Mason Cooley
Bherenda ভেরেন্ডা in Bangla (Ricinus communis), Eranda in Sanskrit is still a lowly weed. So looked down upon that the Bangla phrase “frying Bherenda” means “just killing time”. But not for long. As petroleum price goes through the roof due to speculation & politics, the humble Bherenda may soon become an aristocrat, if chemists can find an economically competitive way of extracting bio-diesel from its seeds. Meanwhile, Ayurwed (= science of longevity, ~ ancient Indian medicine) recommends it for external use in backache, sciatica, arthritis, nerve weakness, skin disorders, muscular pain and inflammation. Internal use for paralysis, arthritis, body ache, headache, abdominal pain, piles, liver and spleen disorders. In anticipation of its forthcoming emancipation by scientists, the poor Bherenda is now showing itself off opposite the Science City, Calcutta, 8.8.08.
A moment of weakness / Lay Sedlakova / AAAD Prague / Fashion Design Studio / Kontrast / Photo: Pavel Hejny
Mirit Ben Nun: Shortness of breath
'Shortness of breath' is not only a sign of physical weakness, it is a metaphor for a mental state of strong desire that knows no repletion; more and more, an unbearable glut, without repose. Mirit Ben Nun's type of work on the other hand requires an abundance of patience. This is a Sisyphean work (requiring hard labor) of marking lines and dots, filling every empty millimeter with brilliant blots. Therefore we are facing a paradox or a logical conflict. A patient and effortful work that stems from an urgent need to cover and fill, to adorn and coat. Her craft of layering reaches a state of a continuous ceremonial ritual.
This ritual digests every object into itself - useful or discarded -- available and ordinary or rare and exceptional -- they submit and devote to the overlay work. Mirit BN gathers scrap off the streets -- cardboard rolls of fabric, assortments of wooden boards and pieces, plates and planks -- and constructs a new link, her own syntax, which she alone is fully responsible for. The new combination -- a type of a sculptural construction -- goes through a process of patching by the act of painting.
In fact Mirit regards her three dimensional objects as a platform for painting, with a uniform continuity, even if it has obstacles, mounds and valleys. These objects beg her to paint, to lay down colors, to set in motion an intricate weave of abstract patterns that at times finds itself wandering the contours of human images and sometimes -- not. In those cases what is left is the monotonous activity of running the patterns, inch by inch, till their absolute coverage, till a short and passing instant of respite and than on again to a new onset.
Next to this assembly of garbage and it's recycling into 'painted sculptures' Mirit offers a surprising reunion between her illustrated objects and so called cheap African sculpture; popular artifacts or articles that are classified in the standard culture as 'primitive'.
This combination emphasizes the difference between her individualistic performance and the collective creation which is translated into cultural clichés. The wood carved image creates a moment of peace within the crowded bustle; an introverted image, without repetitiveness and reverberation. This meeting of strangers testifies that Mirit' work could not be labeled under the ´outsiders art´ category. She is a one woman school who is compelled to do the art work she picked out to perform. Therefore she isn't creating ´an image´ such as the carved wooden statues, but she produces breathless ´emotional jam' whose highest values are color, motion, beauty and plenitude. May it never lack, neither diluted, nor dull for even an instant
Tali Tamir
August 2010
Mirit Ben Nun: Shortness of breath
'Shortness of breath' is not only a sign of physical weakness, it is a metaphor for a mental state of strong desire that knows no repletion; more and more, an unbearable glut, without repose. Mirit Ben Nun's type of work on the other hand requires an abundance of patience. This is a Sisyphean work (requiring hard labor) of marking lines and dots, filling every empty millimeter with brilliant blots. Therefore we are facing a paradox or a logical conflict. A patient and effortful work that stems from an urgent need to cover and fill, to adorn and coat. Her craft of layering reaches a state of a continuous ceremonial ritual.
This ritual digests every object into itself - useful or discarded -- available and ordinary or rare and exceptional -- they submit and devote to the overlay work. Mirit BN gathers scrap off the streets -- cardboard rolls of fabric, assortments of wooden boards and pieces, plates and planks -- and constructs a new link, her own syntax, which she alone is fully responsible for. The new combination -- a type of a sculptural construction -- goes through a process of patching by the act of painting.
In fact Mirit regards her three dimensional objects as a platform for painting, with a uniform continuity, even if it has obstacles, mounds and valleys. These objects beg her to paint, to lay down colors, to set in motion an intricate weave of abstract patterns that at times finds itself wandering the contours of human images and sometimes -- not. In those cases what is left is the monotonous activity of running the patterns, inch by inch, till their absolute coverage, till a short and passing instant of respite and than on again to a new onset.
Next to this assembly of garbage and it's recycling into 'painted sculptures' Mirit offers a surprising reunion between her illustrated objects and so called cheap African sculpture; popular artifacts or articles that are classified in the standard culture as 'primitive'.
This combination emphasizes the difference between her individualistic performance and the collective creation which is translated into cultural clichés. The wood carved image creates a moment of peace within the crowded bustle; an introverted image, without repetitiveness and reverberation. This meeting of strangers testifies that Mirit' work could not be labeled under the ´outsiders art´ category. She is a one woman school who is compelled to do the art work she picked out to perform. Therefore she isn't creating ´an image´ such as the carved wooden statues, but she produces breathless ´emotional jam' whose highest values are color, motion, beauty and plenitude. May it never lack, neither diluted, nor dull for even an instant
Tali Tamir
August 2010