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Combo pack of large (1024px * 1024px) (740px * 740px) seamless Grainy Whitewashed & Worn textures in .jpg format as well as a corresponding Photoshop tileable pattern (.pat) set. Visit here to download the full set: webtreats.mysitemyway.com/grainy-whitewashed-worn-seamles...
I am a Suffolk, or Norfolk, boy. Depends on how you define where I was born or where I lived. Anyway, my point is that despite living in East Anglia I thought I knew the area, and yet, Polstead is a place, until Simon presented me of churches to visit, I had not previously heard of. I suppose that is true of most of us, thanks to the efforts of my friends and contacts here on Flickr I am learning more about my home area every day. And on the rare occasions I go back, I try to see as much of it as I can.
Dedham Vale is most famous for John Constable, and why not, because on a bright and golden September morning it is a perfect place for some photography. It really was such a golden day, I should have taken more shots of the landscape, clearly. But I was here for the churches. And churches I visited.
Take Polstead, a wonderfully picturesque village, with the main part of the village climbing up the side of the shallow valley with the church set on the other side of the valley among trees the other side of the pond.
Its called a pond, but it really is a small lake. I did take shots of that, which I will put up at some point.
I drove the few miles from Stoke by Nayland, and as there were just four roads out of the village, my thought was that by driving along one I would find the church. And surely the church would be up on the highest point? I drove through the wonderful village, noting the shop and signs for a tea shoppe, but I could not see it. I drove up one road through the village to a farm beyond.
No luck, I turn round a head into the village and out again on another lane.
Also, no church.
That left the main road which I turned off at the pond to go up into the village, it must have been further along that road. And it was.
Back on the lower road I saw a sign pointing up a hill to where the church could be found. There was more than ample parking, so I park near the church gate, and I spied the church beyond.
There were wonderful views over the valley to the hill where Stoke church was, and at the edge of the churchyard was the largest village war memorial I had ever seen.
The entrance to the church was through a smaller door on the south side of the church, and the sight that greeted me was glorious, whitewashed walls, with wonderful brick Norman arches. A glorious combination.
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The 15th century wealth of South Suffolk almost completely rebuilt many of its churches, and in the triangle of Clare, Lavenham and Stoke by Nayland are some of the best examples of Perpendicular architecture in England. How strange then to find, right in the middle of this area, a maverick, a church quite unlike any other in the county. A beautiful, ancient place that speaks of more distant days than parvenu Perpendicular can possibly do.
Is this the most beautiful setting of any medieval church in East Anglia? Perhaps only Dalham is more sensational. That St Mary is unusual is immediately apparent, for this is the only medieval stone spire in all Suffolk. Medieval spires of any kind are unusual in the county; the only full-sized one is at neighbouring Hadleigh, and there are reconstructed medieval ones at Bramford and Rattlesden. The stone spires of Woolpit and St Mary le Tower, Ipswich, may be grand; but they are, of course, modern inventions.
Polstead churchyard is also clearly ancient, set high and back from the village pond and street. In the churchyard are the remains of the so-called Gospel Oak, attributed with an age of 1300 years, and believed to have been planted by St Cedd, or at least his missionaries. There's no evidence for this, of course, or even for it being that age; although oaks have to come from somewhere, and there may have been an earlier one on the spot. The most beautiful view is to the east, where surprisingly large hills climb to Nayland. Here stands Polstead's war memorial, one of the largest church war memorials in England, remembering the Polstead men who did not come back.
This is an interesting village. As well as the pond, there is an ancient pub, and most famously a murder, for here it was that William Corder slew Maria Marten, and buried her in the red barn, before pretending to elope with her. It makes Polstead the only parish in East Anglia which has had a Tom Waits song written about it. More than 10,000 people witnessed Corder's execution on the market hill in Bury; the account of his trial, bound in his skin, can be seen at the Moyses Hall museum there.
St Mary has an unusual nave roof. Back in the 1980s, essentail repairs had to be carried out economically. Aluminium was chosen, and is a striking sight from a distance on a sunny day. Beneath it, you can see that the Perpendicular age did not completely avoid St Mary, but most details are Decorated, a sign of an early 14th century rebuilding, when faith was still shot through with mystery, and the cold theological rationalism of the 15th century had not yet built tall clerestories to let in the light. You go round to the south side to get in, and because of this many people miss the roundels and fragments of glass set in the windows of the north porch: continental pieces depict Judas betraying Christ with a kiss, the three Magi adoring the infant Jesus, and a pretty St Dorothy, surely part of the same set as the roundels at South Elmham All Saints in the north of the county. There is more old glass inside, but those fragments, in the south side of the chancel, are plainly local, of the Norwich School of the late 15th Century. One depicts a bishop who may be St Leger, and another is a sheep, a fine companion to those in the field to the east of the church.
You step inside to a beautiful space, touched with a patina of age. The most striking aspect of the interior is the colour, the combination between white walls and the red brick of the arcade arches. These bricks bear close examination. They date from the original construction of the arcades, about the year 1200, and yet they are clearly not reused Roman bricks. So, we have here what may be the oldest surviving English bricks still in use for their original purpose - bricks of a similar age can be found at the Hall at nearby Little Wenham, and across the county border at Coggleshall Abbey in Essex.
The arcades predate the aisles, as we have seen, and the little clerestory is hidden by the aisle roofs. This is strange, and also strange is that one of the arcades has been replaced, that to the west end of the south aisle, as though work began, but was not completed. It doesn't take much imagination to suggest that the Black Death of 1348-50 may have finished off (quite literally) the work here. The Norman arcades interlock and shift as we move around the church, opening up new vistas and elevations. There is much to see; an extraordinary brick octagonal font, for instance, which might be any age, but is set on a 13th century base. Sam Mortlock was uncharacteristically uncharitable about the modern fibreglass cover, but I rather like it. On the walls, two consecration crosses sit surprisingly close together, and another wall painting shows a figure, perhaps a bishop. A brass in the north wall of the chancel shows a priest dressed for the Mass - another rare survival. Also in the chancel, a good set of Laudian communion rails.
At the west end of the nave there is a large opening above the tower arch. This might be dismissed as a sanctus bell window, but I think it might be an entrance to the tower itself, that a ladder could be drawn up, as at Thorington. Step through the arch, and turn east, and you see that this, like Westhall, was originally a Norman church with a west entrance; the archway is clearly an exterior doorway, with three bands of heavy chevrons. Above the chancel arch there is a triple window that would have provided a backlight to the rood. Just to the south of the chancel arch, set at an angle, is the memorial to Jacob and Benjamin Brand. The Brands lived at Polstead Hall which you can still see to the west of the church. It is said that the little boy Benjamin was killed in a fall from one of the upper storey windows.
Before leaving Polstead, don't miss the heartbreaking modern memorial just to the east of the churchyard gate. In Memoriam, it is headed, and beneath it the inscription is to Alexander James Sowman aged 32, and his wife Jane aged 29, of this village, both of whom died in 1907 leaving their children Ellen 10 years, Annie 9 years, Alexander 6 years, Ivy 4 years, Rosa 4 months. At the bottom, the inscription concludes Erected by Anthea, the only Grand-daughter.
This is an outstandingly lovely church, full of interest, and not simply because of anything in particular that it contains, but because of itself as a whole piece. Just the way it should be.
Simon Knott, May 2009
Slated for demolition, this house has been painted from the roof tiles to the ground floor. It seems the leaf avoided "the treatment".
This modern inglenook feature fireplace looks great with the installation of our whitewashed whole logs. Thanks to a happy customer for this image.
The fortified town of Linares de Mora has an urbanism, barely modified, typical of a walled late medieval town with homogeneous dwellings, in which there are interesting examples of medieval constructions (castle, walls, wall portals, ...) and Baroque (Parish Church of the Immaculate Conception), as well as notable houses and other more popular ones, unified all this through a regular urban layout and with the chromatic tones of the whitewashed buildings and with reddish Arabic tile roofs.
The image of the town is marked by two elements: the remains of its castle (13th century), located at the highest point of the rock, and by its parish church (18th century), a masterpiece of Teruel Baroque, equipped with a bell tower . On the southern and eastern slopes of the rocky settlement, and adopting the shape of an L, in which the church occupies its angle, an articulated area of dwellings develops in each of the arms of the L, in four parallel and staggered paths (due to its adaptation to topography). In this regular layout, the absence of open spaces and the homogeneity of its urban fabric are made up of buildings between dividing walls - common wall to two houses - of three heights and double façade - as they are located in streets at different levels - stand out, in which the presence of abundant openings and balconies in its main facades is evident. The wall that ran round the entire population had its portals at the west ends, now disappeared, and northeast, in which three portals have been preserved at different heights,: the Portal de Abajo, the main access to the site, the Portal de Enmedio, and the Portal Alto, which gives access to the Hospital District, the most popular and rural area of the whole complex, developed around the Old Hospital and hermitage of Santa Lucía.
Translated from Wikipedia by Google and edited by me.
Traditional whitewashed stone and rammed earth buildings with orange, yellow and grey stripes in Chongar village, Mustang, Annapurna Circuit Trek, Nepal
One of the buildings in downtown Peoria that is empty. The nice thing about this one is that the windows were boarded up to prevent vandalism and the whole structure was painted white. It certainly looks better than many of the other buildings in that area.
Santorini was another Greek Island I visited after Hydra. Santorini, Greece was one of the most magical places I had ever seen. I definitely counted myself lucky to be able to have a taste of this beautiful island. Beautiful whitewashed churches can be found throughout the island.
The kit and its assembly:
A remake of an inspiration. This build is a follow-up, and a further interpretation of another modeler’s idea, comrade harps from whatifmodelers.com, who came up with a Moldovan Bf 109E and a respective background story some time ago. After all, the Russian Liberation Army (ROA) also operated German aircraft like the Bf 109G, so the idea was not as weird as it might seem at first. I liked the idea of an overlooked Moldovan operator very much, and my first build within this fictional framework was a Heller Bf 109 F trop (a horrible kit, BTW).
This time I wanted to tackle an early Fw 190 A fighter, and also finish it in winter camouflage. The kit I used is the Academy Fw 190 A-6/8 model. It is certainly not the most detailed and up-to-date model of the aircraft, but it is a solid model, goes together well and is IMHO a priceworthy offering.
Building-wise, I did not change much about the kit, it was built OOB with some minor mods. The pitot, OOB mounted close to the wing tip for an A-8 version, had to be relocated towards a mid-wing position for an earlier A-6 variant. As an extra I lowered the flaps and cut away the lower sections from the wheel covers; this was a common practice on Fw 190s operated at the Eastern front during wintertime, because snow would clog up between the wheels and the covers, freeze and eventually make the aircraft inoperable.
As another extra I used the WB 151 gun packs which come with the kit – resulting in the massive firepower of eight(!) 20mm cannon, plus a pair of machine guns that would operationally fire tracer bullets, so that the pilot knew when he could unleash the cannons! The optional tropical sand filters came with the kit, too.
Painting and markings:
To a certain degree quite conservative, since this was supposed to be a former Luftwaffe aircraft, transferred to the Moldovan air force from the Mediterranean TO. As such I gave the aircraft a standard Luftwaffe camouflage with RLM 74/75/76 (using a mix of Modelmaster enamels). As a side note, this does not speak against the aircraft’s potential former use in North Africa – many Fw 190s operated there did not carry any desert camouflage at all.
However, I wanted to present the aircraft in a temporary/worn winter camouflage on the upper surfaces with washable white paint, overpainted former Luftwaffe insignia and additional new Moldovan markings. I also wanted to visualize the short period of time between the aircraft’s arrival at the Russian Front from Northern Africa and its immediate employment in Moldovan hands, including tactical markings of the Axis forces in the Eastern TO from around late 1941 onwards. Sounds complicated – but it’s the logical translation of the made-up background, and I think that such a concept, literally telling a story, makes a what-if model more convincing than just putting some obscure markings on an off-the-rack kit.
After the original German scheme had been painted, the next step was to paint over the former German and African TO markings. I used a light olive green and a light blue tone, as if the machine had been modified in a Moldovan field workshop with Romanian paints (or whatever else) at hand. The new yellow ID markings (lower wing tips, engine front (both painted with Humbrol 69) and fuselage band (decal) were added at this stage, too. Then came a black ink wash, emphasizing the model's engraved panel lines.
Once dry and cleaned-up, the new Moldovan markings were added. They come from a Begemot MiG-29 sheet. The flag on the rudder was improvised with a mix of paint (blue and red) and a ~2.5mm yellow decal stripe. The tactical code, the red "26", comes from a Soviet lend-lease P-40.
But the Fw 190 was till not finished - now the whitewash was added. This was simply created with Humbrol 34 (Matt White) and a soft, flat brush, in streaks which were made from the back to the front. This creates an IMHO quite plausible look of the worn, washable paint, and in some areas (around the cockpit, on the wings) I thinned the whitewash layer down even more, simulating wear.
Once dry, the decals received a light tratement with sandpaper, in order to match their look to the worn surroundings, and exhaust stains and gun soot were added with grinded graphite. Some dry-brushing with light grey was done on some areas, too. The wheels and the landing gear received a layer of "snow cake", created with white tile grout.
Finally, the model received a coat of matt acrylic varnish and finishing touches like a wire antenna (made with heated black sprue material).
Six thousand logs have been Whitewashed by hand,ready for visual merchandising within a stylish High Street store - throughout the UK.
After Bridport we went about a mile down the road to West Bay. There is a harbour here, and a pebbled beach with a couple of piers (good for fishing).
Buildings near the pebbled beach (it is part of the Chesil Beach).
This is the Bridport Arms Hotel (near the pebbled beach).
Grade II listed.
1.
5191 WEST BAY
EAST OF WEST BAY ROAD
AND THE HARBOUR
Bridport Arms Hotel
SY 4690 10/193
IT GV
2.
C17 and C18, 2 blocks linked by modern hotel and garage extension. West side
whitewashed and partly plastered. East side hammer dressed stone. Thatched
roofs. 2 storeys. West side has casements with glazing bars, and 1 cased sash
with glazing bar. Most other openings modern. Interior: 1 C17 fireplace
with cambered bressummer.
No 11, The Fountain, Messrs Norman Goods Warehouse, No 13 (Clarence House), the
Methodist Church, the Bridport Arms Hotel, Ship Cottage, Gull House, The Dinghy
and Pier Terrace form a group.
Listing NGR: SY4628390354
From the car park.
The protest on the Liberty Square has started on February, 09 and is still on.
The monument that Fidesz government intends to build in the middle of the square is considered to be a rude and undisguised revision of history and an offense to memory of those who died in Holocaust. The Jewish community of Budapest is boycotting the commemoration of 70th anniversary of the Hungarian Holocaust which has place this year.
The statue depicts Hungary as Archangel Gabriel, completely powerless, being attacked by the German eagle. It will be very big - 7 meters tall, and the spread of the eagle’s wings will be 4.5 meters wide. This is an unacceptable interpretation of the facts and falsification of entire history.
Hungary was an ally of Germany, and it was a legitimate Hungarian government that handled the deportation of about 600,000 Hungarian citizens of Jewish and Roma origin. Not without reason, critics of the whole idea of the monument suspect that the Orbán government wants to shake off any responsibility for the Holocaust and to shift the blame entirely to Germany.
The government has stopped the construction of the monument before elections in May and promised to start a dialogue with citizens, but right after elections they have restarted the construction without consulting with Budapest community.
In the first weeks of the protest the police tried to remove people forcefully.
The best known demonstrators who were taken away by police are Imre Mécs - a hero of the revolution of 1956 (he is a former member of parliament who was sentenced to death as a result of his participation in the 1956 revolution) and his wife Fruzsina Magyar, a well-known dramaturgist.
Many other famous Hungarians took part in the protest. On June 21th, the famous Hungarian musician and director Adam Fischer conducted the performance of the hymn of Europe - Beethoven's "Ode to Joy". He noted that initially Beethoven wrote it as the "Ode to Freedom", but the because of censorship of those times he had to call it "Ode to Joy". "Let's sing about joy, but think about freedom," - Adam Fischer said.
www.168ora.hu/itthon/oromodaval-tortenelemhamisitas-ellen...
Bartus László writes in the Amerikai Népszava (January 24, 2014):
"Orban, you have opened the gate to hell. You do not know which powers do you release in the country, with your Nazi eagle and Archangel Gabriel".
nepszava.com/2014/01/magyarorszag/orban-a-sajat-politikai...
Viktor Orbán government’s efforts to falsify history are proceeding full steam ahead.
One of the writings in front of the monument says: "This statue is your curse, Viktor."
this was on a trip to Cape Kiwanda, OR to do a one-on-one workshop w/ Chip Phillips. It was TOTALLY worth it! Highly recommended for anyone looking to step up their landscape skills.
The weather wasn't on our side for the weekend, but this one turned out alright the first morning.
A Big Read celebration in which life imitated art as 50 children and their parents painted a picket fence, in tribute to the famous whitewashing scene depicted in Chapter Two of The Adventures of Tom Sawyer. This event featured a dramatic reading presented by the Coterie Theatre.
The protest on the Liberty Square has started on February, 09 and is still on.
The monument that Fidesz government intends to build in the middle of the square is considered to be a rude and undisguised revision of history and an offense to memory of those who died in Holocaust. The Jewish community of Budapest is boycotting the commemoration of 70th anniversary of the Hungarian Holocaust which has place this year.
The statue depicts Hungary as Archangel Gabriel, completely powerless, being attacked by the German eagle. It will be very big - 7 meters tall, and the spread of the eagle’s wings will be 4.5 meters wide. This is an unacceptable interpretation of the facts and falsification of entire history.
Hungary was an ally of Germany, and it was a legitimate Hungarian government that handled the deportation of about 600,000 Hungarian citizens of Jewish and Roma origin. Not without reason, critics of the whole idea of the monument suspect that the Orbán government wants to shake off any responsibility for the Holocaust and to shift the blame entirely to Germany.
The government has stopped the construction of the monument before elections in May and promised to start a dialogue with citizens, but right after elections they have restarted the construction without consulting with Budapest community.
In the first weeks of the protest the police tried to remove people forcefully.
The best known demonstrators who were taken away by police are Imre Mécs - a hero of the revolution of 1956 (he is a former member of parliament who was sentenced to death as a result of his participation in the 1956 revolution) and his wife Fruzsina Magyar, a well-known dramaturgist.
Many other famous Hungarians took part in the protest. On June 21th, the famous Hungarian musician and director Adam Fischer conducted the performance of the hymn of Europe - Beethoven's "Ode to Joy". He noted that initially Beethoven wrote it as the "Ode to Freedom", but the because of censorship of those times he had to call it "Ode to Joy". "Let's sing about joy, but think about freedom," - Adam Fischer said.
www.168ora.hu/itthon/oromodaval-tortenelemhamisitas-ellen...
Bartus László writes in the Amerikai Népszava (January 24, 2014):
"Orban, you have opened the gate to hell. You do not know which powers do you release in the country, with your Nazi eagle and Archangel Gabriel".
nepszava.com/2014/01/magyarorszag/orban-a-sajat-politikai...
Viktor Orbán government’s efforts to falsify history are proceeding full steam ahead.
One of the writings in front of the monument says: "This statue is your curse, Viktor."