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What's a State Fair without some junk food? In this shot I'm checking out the fill flash on the D80 to counteract the bright sunny back-lighting which ended up being cropped out. There's been a lot of talk about exposure problems with the D80, but then I rarely use Matrix metering.The other experimenting with this shot is trying the smaller apertures on the Nikon 85mm f/1.4D. Wide open is great, but when I tried a shot with it stopped down to f16 I didn't like the results.
The challenge for this week is: do a Zentangle® without using existing patterns or tangleations. And, what are your experiences while doing so?
This ZIA is drawn on 8.5″ x 8.5″ white card stock with a Micron .01 Pen. I colored it with fine-line pens and Prismacolor pencils. I used graphite pencil to shade.
I normally list the names of the tangles, but since I made them up, they have no names. I started with the border and then drew the string. I will say that the pink chain-links in the lower right corner are a pattern I haven’t seen on the internet (although there are other chain-like and Celtic patterns to draw). This particular design was taught to me by my late husband when we were teenagers, and I have been drawing it for years (too many to state.) At some point, I may do a step-out (step by step instructions) for it and name it, but for today, it came to mind so I used it. The pink design (center left) is a series of embellished letter “p‘s.” (you may have to flip it around to discern the letter p.) The other designs (or tangles) are just ideas that came to mind, so I drew them. I did practice a couple of them on scrap paper before committing to the card stock, mostly to discern the space I would need.
If you would like to read further thoughts on this Challenge go to my blog at: ronniesz.wordpress.com/
Thanks for viewing. I appreciate and look forward to your comments.
Without going into details, I've been doing a bit of professional untying and retying this week. It's been a bit stressful but feels like it's all sorted now and I can look forward to a restful long weekend away with Claire and some old friends.
42nd Capital Pride Parade in the 1400 block of P Street, NW, Washington DC Saturday evening, 10 June 2017 by Elvert Barnes Photography
During NO JUSTICE NO PRIDE PARADE SHUT-DOWN @ 15th and P
www.huffingtonpost.com/entry/no-pride-no-justice-capital-...
Follow CAPITAL PRIDE DC at www.facebook.com/CapitalPrideDC
Elvert Barnes 42nd DC GAY PRIDE 2017 at elvertbarnes.com/DCGayPride2017.html
Elvert Barnes WITHOUT APOLOGIES at elvertbarnes.com/withoutapologies.html
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The Lucky 3 UE Eurotour
3 Man crew
My 3rd time and
3 Countries - Luxembourg, France and Belgium
A heap of locations, 1541 KMs driving, a late night rainy steep infiltration to a famous urbex haunt and a day mostly spent driving and walking to some wrong coordinates.
Full set here:
www.flickr.com/photos/timster1973/sets/72157633420917013/...
Previous Eurotours:
www.flickr.com/photos/timster1973/sets/72157632759059815/
www.flickr.com/photos/timster1973/sets/72157631939892302/
Also on Facebook:
PGB Photographer & Creative - © 2022 Philip Romeyn - Phillostar Gone Ballistic 2021 - Photo may not be edited from its original form. Commercial use is prohibited without contacting me.
This image may not be used in any way without prior permission
© All rights reserved 2015
Mississauga, Ontario, Canada
Toronto Pearson International Airport CYYZ
Twitter: @TomPodolec
The former Kettleness railway station, an isolated halt on the mostly abandoned Whitby (West Cliff) to Loftus line. A short section linking Boulby and Loftus remains in situ to serve a potash mine. Hugging the coast for 10 miles between Whitby and Staithes, it was regarded as one of the most scenic routes in the country. Kettleness station, serving a mere handful of cottages and farms, was located on a cliff, high above the North Sea.
The single-track line, with passing loops at five stations (including Kettleness), was built between 1871 and 1883, initially by the Whitby, Redcar & Middlesbrough Union Railway. When, four years into construction, the North Eastern Railway leased the line, it found much of the work unsatisfactory therefore did it again. The first trains ran in December 1883, the last (mostly summer weekend traffic) in May 1958. Justifying closure, British Railways cited the £58,000 cost of maintenance required on four viaducts, including fragile, non-standard trestle structures at Sandsend and Staithes.
Together with Kettleness, the distinctive red-brick station buildings at Whitby (West Cliff), Sandsend and Staithes survive. Kettleness is used as a scout activity centre. The one-mile stretch from Sandsend to Sandsend Tunnel can be walked because it is a right of way.
Concordia research base during the long night, four months without sunlight.
The French–Italian Concordia station's programme of research includes glaciology, human biology and the atmosphere.
ESA uses the base to prepare for future long-duration missions beyond Earth.
During the winter, Concordia is under almost total darkness, with an average temperature of –51°C and a record low of –85°C. It is an ideal place to study the effects on small, multicultural teams isolated for long periods in an extreme, hostile environment.
Credits: IPEV/PNRA-A. Litterio
With the rain falling harder, it was a bit of a route march to Holborn and my next church, the stunning St Sepulchre, which was also open.
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St Sepulchre-without-Newgate, also known as the Church of the Holy Sepulchre (Holborn), is an Anglican church in the City of London. It is located on Holborn Viaduct, almost opposite the Old Bailey. In medieval times it stood just outside ("without") the now-demolished old city wall, near the Newgate. It has been a living of St John's College, Oxford, since 1622.
The original Saxon church on the site was dedicated to St Edmund the King and Martyr. During the Crusades in the 12th century the church was renamed St Edmund and the Holy Sepulchre, in reference to the Church of the Holy Sepulchre in Jerusalem. The name eventually became contracted to St Sepulchre.
The church is today the largest parish church in the City. It was completely rebuilt in the 15th century but was gutted by the Great Fire of London in 1666,[1] which left only the outer walls, the tower and the porch standing[2] -. Modified in the 18th century, the church underwent extensive restoration in 1878. It narrowly avoided destruction in the Second World War, although the 18th-century watch-house in its churchyard (erected to deter grave-robbers) was completely destroyed and had to be rebuilt.
The interior of the church is a wide, roomy space with a coffered ceiling[3] installed in 1834. The Vicars' old residence has recently been renovated into a modern living quarter.
During the reign of Mary I in 1555, St Sepulchre's vicar, John Rogers, was burned as a heretic.
St Sepulchre is named in the nursery rhyme Oranges and Lemons as the "bells of Old Bailey". Traditionally, the great bell would be rung to mark the execution of a prisoner at the nearby gallows at Newgate. The clerk of St Sepulchre's was also responsible for ringing a handbell outside the condemned man's cell in Newgate Prison to inform him of his impending execution. This handbell, known as the Execution Bell, now resides in a glass case to the south of the nave.
The church has been the official musicians' church for many years and is associated with many famous musicians. Its north aisle (formerly a chapel dedicated to Stephen Harding) is dedicated as the Musicians' Chapel, with four windows commemorating John Ireland, the singer Dame Nellie Melba, Walter Carroll and the conductor Sir Henry Wood respectively.[4] Wood, who "at the age of fourteen, learned to play the organ" at this church [1] and later became its organist, also has his ashes buried in this church.
The south aisle of the church holds the regimental chapel of the Royal Fusiliers (City of London Regiment), and its gardens are a memorial garden to that regiment.[5] The west end of the north aisle has various memorials connected with the City of London Rifles (the 6th Battalion London Regiment). The church was designated a Grade I listed building on 4 January 1950.
en.wikipedia.org/wiki/St_Sepulchre-without-Newgate
The Early History of St. Sepulchre's—Its Destruction in 1666—The Exterior and Interior—The Early Popularity of the Church—Interments here—Roger Ascham, the Author of the "Schoolmaster"—Captain John Smith, and his Romantic Adventures—Saved by an Indian Girl— St. Sepulchre's Churchyard—Accommodation for a Murderess—The Martyr Rogers—An Odd Circumstance—Good Company for the Dead—A Leap from the Tower—A Warning Bell and a Last Admonition—Nosegays for the Condemned—The Route to the Gallows-tree— The Deeds of the Charitable—The "Saracen's Head"—Description by Dickens—Giltspur Street—Giltspur Street Compter—A Disreputable Condition—Pie Corner—Hosier Lane—A Spurious Relic—The Conduit on Snow Hill—A Ladies' Charity School—Turnagain Lane—Poor Betty!—A Schoolmistress Censured—Skinner Street—Unpropitious Fortune—William Godwin—An Original Married Life.
Many interesting associations—Principally, however, connected with the annals of crime and the execution of the laws of England—belong to the Church of St. Sepulchre, or St. 'Pulchre. This sacred edifice—anciently known as St. Sepulchre's in the Bailey, or by Chamberlain Gate (now Newgate)—stands at the eastern end of the slight acclivity of Snow Hill, and between Smithfield and the Old Bailey. The genuine materials for its early history are scanty enough. It was probably founded about the commencement of the twelfth century, but of the exact date and circumstances of its origin there is no record whatever. Its name is derived from the Holy Sepulchre of our Saviour at Jerusalem, to the memory of which it was first dedicated.
The earliest authentic notice of the church, according to Maitland, is of the year 1178, at which date it was given by Roger, Bishop of Sarum, to the Prior and Canons of St. Bartholomew. These held the right of advowson until the dissolution of monasteries by Henry VIII., and from that time until 1610 it remained in the hands of the Crown. James I., however, then granted "the rectory and its appurtenances, with the advowson of the vicarage," to Francis Phillips and others. The next stage in its history is that the rectory was purchased by the parishioners, to be held in fee-farm of the Crown, and the advowson was obtained by the President and Fellows of St. John the Baptist College, at Oxford.
The church was rebuilt about the middle of the fifteenth century, when one of the Popham family, who had been Chancellor of Normandy and Treasurer of the King's Household, with distinguished liberality erected a handsome chapel on the south side of the choir, and the very beautiful porch still remaining at the south-west corner of the building. "His image," Stow says, "fair graven in stone, was fixed over the said porch."
The dreadful fire of 1666 almost destroyed St. Sepulchre's, but the parishioners set energetically to work, and it was "rebuilt and beautified both within and without." The general reparation was under the direction of Sir Christopher Wren, and nothing but the walls of the old building, and these not entirely, were suffered to remain. The work was done rapidly, and the whole was completed within four years.
"The tower," says Mr. Godwin, "retained its original aspect, and the body of the church, after its restoration, presented a series of windows between buttresses, with pointed heads filled with tracery, crowned by a string-course and battlements. In this form it remained till the year 1790, when it appears the whole fabric was found to be in a state of great decay, and it was resolved to repair it throughout. Accordingly the walls of the church were cased with Portland stone, and all the windows were taken out and replaced by others with plain semi-circular heads, as now seen—certainly agreeing but badly with the tower and porch of the building, but according with the then prevailing spirit of economy. The battlements, too, were taken down, and a plain stone parapet was substituted, so that at this time (with the exception of the roof, which was wagon-headed, and presented on the outside an unsightly swell, visible above the parapet) the church assumed its present appearance." The ungainly roof was removed, and an entirely new one erected, about 1836.
At each corner of the tower—"one of the most ancient," says the author of "Londinium Redivivum," "in the outline of the circuit of London" —there are spires, and on the spires there are weathercocks. These have been made use of by Howell to point a moral: "Unreasonable people," says he, "are as hard to reconcile as the vanes of St. Sepulchre's tower, which never look all four upon one point of the heavens." Nothing can be said with certainty as to the date of the tower, but it is not without the bounds of probability that it formed part of the original building. The belfry is reached by a small winding staircase in the south-west angle, and a similar staircase in an opposite angle leads to the summit. The spires at the corners, and some of the tower windows, have very recently undergone several alterations, which have added much to the picturesqueness and beauty of the church.
The chief entrance to St. Sepulchre's is by a porch of singular beauty, projecting from the south side of the tower, at the western end of the church. The groining of the ceiling of this porch, it has been pointed out, takes an almost unique form; the ribs are carved in bold relief, and the bosses at the intersections represent angels' heads, shields, roses, &c., in great variety.
Coming now to the interior of the church, we find it divided into three aisles, by two ranges of Tuscan columns. The aisles are of unequal widths, that in the centre being the widest, that to the south the narrowest. Semi-circular arches connect the columns on either side, springing directly from their capitals, without the interposition of an entablature, and support a large dental cornice, extending round the church. The ceiling of the middle aisle is divided into seven compartments, by horizontal bands, the middle compartment being formed into a small dome.
The aisles have groined ceilings, ornamented at the angles with doves, &c., and beneath every division of the groining are small windows, to admit light to the galleries. Over each of the aisles there is a gallery, very clumsily introduced, which dates from the time when the church was built by Wren, and extends the whole length, excepting at the chancel. The front of the gallery, which is of oak, is described by Mr. Godwin as carved into scrolls, branches, &c., in the centre panel, on either side, with the initials "C. R.," enriched with carvings of laurel, which have, however, he says, "but little merit."
At the east end of the church there are three semicircular-headed windows. Beneath the centre one is a large Corinthian altar-piece of oak, displaying columns, entablatures, &c., elaborately carved and gilded.
The length of the church, exclusive of the ambulatory, is said to be 126 feet, the breadth 68 feet, and the height of the tower 140 feet.
A singularly ugly sounding-board, extending over the preacher, used to stand at the back of the pulpit, at the east end of the church. It was in the shape of a large parabolic reflector, about twelve feet in diameter, and was composed of ribs of mahogany.
At the west end of the church there is a large organ, said to be the oldest and one of the finest in London. It was built in 1677, and has been greatly enlarged. Its reed-stops (hautboy, clarinet, &c.) are supposed to be unrivalled. In Newcourt's time the church was taken notice of as "remarkable for possessing an exceedingly fine organ, and the playing is thought so beautiful, that large congregations are attracted, though some of the parishioners object to the mode of performing divine service."
On the north side of the church, Mr. Godwin mentions, is a large apartment known as "St. Stephen's Chapel." This building evidently formed a somewhat important part of the old church, and was probably appropriated to the votaries of the saint whose name it bears.
Between the exterior and the interior of the church there is little harmony. "For example," says Mr. Godwin, "the columns which form the south aisle face, in some instances, the centre of the large windows which occur in the external wall of the church, and in others the centre of the piers, indifferently." This discordance may likely enough have arisen from the fact that when the church was rebuilt, or rather restored, after the Great Fire, the works were done without much attention from Sir Christopher Wren.
St. Sepulchre's appears to have enjoyed considerable popularity from the earliest period of its history, if one is to judge from the various sums left by well-disposed persons for the support of certain fraternities founded in the church—namely, those of St. Katherine, St. Michael, St. Anne, and Our Lady—and by others, for the maintenance of chantry priests to celebrate masses at stated intervals for the good of their souls. One of the fraternities just named—that of St. Katherine— originated, according to Stow, in the devotion of some poor persons in the parish, and was in honour of the conception of the Virgin Mary. They met in the church on the day of the Conception, and there had the mass of the day, and offered to the same, and provided a certain chaplain daily to celebrate divine service, and to set up wax lights before the image belonging to the fraternity, on all festival days.
The most famous of all who have been interred in St. Sepulchre's is Roger Ascham, the author of the "Schoolmaster," and the instructor of Queen Elizabeth in Greek and Latin. This learned old worthy was born in 1515, near Northallerton, in Yorkshire. He was educated at Cambridge University, and in time rose to be the university orator, being notably zealous in promoting what was then a novelty in England—the study of the Greek language. To divert himself after the fatigue of severe study, he used to devote himself to archery. This drew down upon him the censure of the all-work-and-no-play school; and in defence of himself, Ascham, in 1545, published "Toxophilus," a treatise on his favourite sport. This book is even yet well worthy of perusal, for its enthusiasm, and for its curious descriptions of the personal appearance and manners of the principal persons whom the author had seen and conversed with. Henry VIII. rewarded him with a pension of £10 per annum, a considerable sum in those days. In 1548, Ascham, on the death of William Grindall, who had been his pupil, was appointed instructor in the learned languages to Lady Elizabeth, afterwards the good Queen Bess. At the end of two years he had some dispute with, or took a disgust at, Lady Elizabeth's attendants, resigned his situation, and returned to his college. Soon after this he was employed as secretary to the English ambassador at the court of Charles V. of Germany, and remained abroad till the death of Edward VI. During his absence he had been appointed Latin secretary to King Edward. Strangely enough, though Queen Mary and her ministers were Papists, and Ascham a Protestant, he was retained in his office of Latin secretary, his pension was increased to £20, and he was allowed to retain his fellowship and his situation as university orator. In 1554 he married a lady of good family, by whom he had a considerable fortune, and of whom, in writing to a friend, he gives, as might perhaps be expected, an excellent character. On the accession of Queen Elizabeth, in 1558, she not only required his services as Latin secretary, but as her instructor in Greek, and he resided at Court during the remainder of his life. He died in consequence of his endeavours to complete a Latin poem which he intended to present to the queen on the New Year's Day of 1569. He breathed his last two days before 1568 ran out, and was interred, according to his own directions, in the most private manner, in St. Sepulchre's Church, his funeral sermon being preached by Dr. Andrew Nowell, Dean of St. Paul's. He was universally lamented; and even the queen herself not only showed great concern, but was pleased to say that she would rather have lost ten thousand pounds than her tutor Ascham, which, from that somewhat closehanded sovereign, was truly an expression of high regard.
Ascham, like most men, had his little weaknesses. He had too great a propensity to dice and cock-fighting. Bishop Nicholson would try to convince us that this is an unfounded calumny, but, as it is mentioned by Camden, and other contemporary writers, it seems impossible to deny it. He died, from all accounts, in indifferent circumstances. "Whether," says Dr. Johnson, referring to this, "Ascham was poor by his own fault, or the fault of others, cannot now be decided; but it is certain that many have been rich with less merit. His philological learning would have gained him honour in any country; and among us it may justly call for that reverence which all nations owe to those who first rouse them from ignorance, and kindle among them the light of literature." His most valuable work, "The Schoolmaster," was published by his widow. The nature of this celebrated performance may be gathered from the title: "The Schoolmaster; or a plain and perfite way of teaching children to understand, write, and speak the Latin tongue. … And commodious also for all such as have forgot the Latin tongue, and would by themselves, without a schoolmaster, in short time, and with small pains, recover a sufficient habilitie to understand, write, and speak Latin: by Roger Ascham, ann. 1570. At London, printed by John Daye, dwelling over Aldersgate," a printer, by the way, already mentioned by us a few chapters back (see page 208), as having printed several noted works of the sixteenth century.
Dr. Johnson remarks that the instruction recommended in "The Schoolmaster" is perhaps the best ever given for the study of languages.
Here also lies buried Captain John Smith, a conspicuous soldier of fortune, whose romantic adventures and daring exploits have rarely been surpassed. He died on the 21st of June, 1631. This valiant captain was born at Willoughby, in the county of Lincoln, and helped by his doings to enliven the reigns of Elizabeth and James I. He had a share in the wars of Hungary in 1602, and in three single combats overcame three Turks, and cut off their heads. For this, and other equally brave deeds, Sigismund, Duke of Transylvania, gave him his picture set in gold, with a pension of three hundred ducats; and allowed him to bear three Turks' heads proper as his shield of arms. He afterwards went to America, where he had the misfortune to fall into the hands of the Indians. He escaped from them, however, at last, and resumed his brilliant career by hazarding his life in naval engagements with pirates and Spanish men-of-war. The most important act of his life was the share he had in civilising the natives of New England, and reducing that province to obedience to Great Britain. In connection with his tomb in St. Sepulchre's, he is mentioned by Stow, in his "Survey," as "some time Governor of Virginia and Admiral of New England."
Certainly the most interesting events of his chequered career were his capture by the Indians, and the saving of his life by the Indian girl Pocahontas, a story of adventure that charms as often as it is told. Bancroft, the historian of the United States, relates how, during the early settlement of Virginia, Smith left the infant colony on an exploring expedition, and not only ascended the river Chickahominy, but struck into the interior. His companions disobeyed his instructions, and being surprised by the Indians, were put to death. Smith preserved his own life by calmness and self-possession. Displaying a pocket-compass, he amused the savages by an explanation of its power, and increased their admiration of his superior genius by imparting to them some vague conceptions of the form of the earth, and the nature of the planetary system. To the Indians, who retained him as their prisoner, his captivity was a more strange event than anything of which the traditions of their tribes preserved the memory. He was allowed to send a letter to the fort at Jamestown, and the savage wonder was increased, for he seemed by some magic to endow the paper with the gift of intelligence. It was evident that their captive was a being of a high order, and then the question arose, Was his nature beneficent, or was he to be dreaded as a dangerous enemy? Their minds were bewildered, and the decision of his fate was referred to the chief Powhatan, and before Powhatan Smith was brought. "The fears of the feeble aborigines," says Bancroft, "were about to prevail, and his immediate death, already repeatedly threatened and repeatedly delayed, would have been inevitable, but for the timely intercession of Pocahontas, a girl twelve years old, the daughter of Powhatan, whose confiding fondness Smith had easily won, and who firmly clung to his neck, as his head was bowed down to receive the stroke of the tomahawks. His fearlessness, and her entreaties, persuaded the council to spare the agreeable stranger, who could make hatchets for her father, and rattles and strings of beads for herself, the favourite child. The barbarians, whose decision had long been held in suspense by the mysterious awe which Smith had inspired, now resolved to receive him as a friend, and to make him a partner of their councils. They tempted him to join their bands, and lend assistance in an attack upon the white men at Jamestown; and when his decision of character succeeded in changing the current of their thoughts, they dismissed him with mutual promises of friendship and benevolence. Thus the captivity of Smith did itself become a benefit to the colony; for he had not only observed with care the country between the James and the Potomac, and had gained some knowledge of the language and manners of the natives, but he now established a peaceful intercourse between the English and the tribes of Powhatan."
On the monument erected to Smith in St. Sepulchre's Church, the following quaint lines were formerly inscribed:—
"Here lies one conquered that hath conquered kings,
Subdued large territories, and done things
Which to the world impossible would seem,
But that the truth is held in more esteem.
Shall I report his former service done,
In honour of his God, and Christendom?
How that he did divide, from pagans three,
Their heads and lives, types of his chivalry?—
For which great service, in that climate done,
Brave Sigismundus, King of Hungarion,
Did give him, as a coat of arms, to wear
These conquered heads, got by his sword and spear.
Or shall I tell of his adventures since
Done in Virginia, that large continent?
How that he subdued kings unto his yoke,
And made those heathens flee, as wind doth smoke;
And made their land, being so large a station,
An habitation for our Christian nation,
Where God is glorified, their wants supplied;
Which else for necessaries, must have died.
But what avails his conquests, now he lies
Interred in earth, a prey to worms and flies?
Oh! may his soul in sweet Elysium sleep,
Until the Keeper, that all souls doth keep,
Return to judgment; and that after thence
With angels he may have his recompense."
Sir Robert Peake, the engraver, also found a last resting-place here. He is known as the master of William Faithorne—the famous English engraver of the seventeenth century—and governor of Basing House for the king during the Civil War under Charles I. He died in 1667. Here also was interred the body of Dr. Bell, grandfather of the originator of a well-known system of education.
"The churchyard of St. Sepulchre's," we learn from Maitland, "at one time extended so far into the street on the south side of the church, as to render the passage-way dangerously narrow. In 1760 the churchyard was, in consequence, levelled, and thrown open to the public. But this led to much inconvenience, and it was re-enclosed in 1802."
Sarah Malcolm, the murderess, was buried in the churchyard of St. Sepulchre's in 1733. This coldhearted and keen-eyed monster in human form has had her story told by us already. The parishioners seem, on this occasion, to have had no such scruples as had been exhibited by their predecessors a hundred and fifty years previous at the burial of Awfield, a traitor. We shall see presently that in those more remote days they were desirous of having at least respectable company for their deceased relatives and friends in the churchyard.
"For a long period," says Mr. Godwin (1838), "the church was surrounded by low mean buildings, by which its general appearance was hidden; but these having been cleared away, and the neighbourhood made considerably more open, St. Sepulchre's now forms a somewhat pleasing object, notwithstanding that the tower and a part of the porch are so entirely dissimilar in style to the remainder of the building." And since Godwin's writing the surroundings of the church have been so improved that perhaps few buildings in the metropolis stand more prominently before the public eye.
In the glorious roll of martyrs who have suffered at the stake for their religious principles, a vicar of St. Sepulchre's, the Reverend John Rogers, occupies a conspicuous place. He was the first who was burned in the reign of the Bloody Mary. This eminent person had at one time been chaplain to the English merchants at Antwerp, and while residing in that city had aided Tindal and Coverdale in their great work of translating the Bible. He married a German lady of good position, by whom he had a large family, and was enabled, by means of her relations, to reside in peace and safety in Germany. It appeared to be his duty, however, to return to England, and there publicly profess and advocate his religious convictions, even at the risk of death. He crossed the sea; he took his place in the pulpit at St. Paul's Cross; he preached a fearless and animated sermon, reminding his astonished audience of the pure and wholesome doctrine which had been promulgated from that pulpit in the days of the good King Edward, and solemnly warning them against the pestilent idolatry and superstition of these new times. It was his last sermon. He was apprehended, tried, condemned, and burned at Smithfield. We described, when speaking of Smithfield, the manner in which he met his fate.
Connected with the martyrdom of Rogers an odd circumstance is quoted in the "Churches of London." It is stated that when the bishops had resolved to put to death Joan Bocher, a friend came to Rogers and earnestly entreated his influence that the poor woman's life might be spared, and other means taken to prevent the spread of her heterodox doctrines. Rogers, however, contended that she should be executed; and his friend then begged him to choose some other kind of death, which should be more agreeable to the gentleness and mercy prescribed in the gospel. "No," replied Rogers, "burning alive is not a cruel death, but easy enough." His friend hearing these words, expressive of so little regard for the sufferings of a fellow-creature, answered him with great vehemence, at the same time striking Rogers' hand, "Well, it may perhaps so happen that you yourself shall have your hands full of this mild burning." There is no record of Rogers among the papers belonging to St. Sepulchre's, but this may easily be accounted for by the fact that at the Great Fire of 1666 nearly all the registers and archives were destroyed.
A noteworthy incident in the history of St. Sepulchre's was connected with the execution, in 1585, of Awfield, for "sparcinge abrood certen lewed, sedicious, and traytorous bookes." "When he was executed," says Fleetwood, the Recorder, in a letter to Lord Burleigh, July 7th of that year, "his body was brought unto St. Pulcher's to be buryed, but the parishioners would not suffer a traytor's corpse to be laid in the earth where their parents, wives, children, kindred, masters, and old neighbours did rest; and so his carcass was returned to the burial-ground near Tyburn, and there I leave it."
Another event in the history of the church is a tale of suicide. On the 10th of April, 1600, a man named William Dorrington threw himself from the roof of the tower, leaving there a prayer for forgiveness.
We come now to speak of the connection of St. Sepulchre's with the neighbouring prison of Newgate. Being the nearest church to the prison, that connection naturally was intimate. Its clock served to give the time to the hangman when there was an execution in the Old Bailey, and many a poor wretch's last moments must it have regulated.
On the right-hand side of the altar a board with a list of charitable donations and gifts used to contain the following item:—"1605. Mr. Robert Dowe gave, for ringing the greatest bell in this church on the day the condemned prisoners are executed, and for other services, for ever, concerning such condemned prisoners, for which services the sexton is paid £16s. 8d.—£50.
It was formerly the practice for the clerk or bellman of St. Sepulchre's to go under Newgate, on the night preceding the execution of a criminal, ring his bell, and repeat the following wholesome advice:—
"All you that in the condemned hold do lie,
Prepare you, for to-morrow you shall die;
Watch all, and pray, the hour is drawing near
That you before the Almighty must appear;
Examine well yourselves, in time repent,
That you may not to eternal flames be sent.
And when St. Sepulchre's bell to-morrow tolls,
The Lord above have mercy on your souls.
Past twelve o'clock!"
This practice is explained by a passage in Munday's edition of Stow, in which it is told that a Mr. John Dowe, citizen and merchant taylor of London, gave £50 to the parish church of St. Sepulchre's, under the following conditions:—After the several sessions of London, on the night before the execution of such as were condemned to death, the clerk of the church was to go in the night-time, and also early in the morning, to the window of the prison in which they were lying. He was there to ring "certain tolls with a hand-bell" appointed for the purpose, and was afterwards, in a most Christian manner, to put them in mind of their present condition and approaching end, and to exhort them to be prepared, as they ought to be, to die. When they were in the cart, and brought before the walls of the church, the clerk was to stand there ready with the same bell, and, after certain tolls, rehearse a prayer, desiring all the people there present to pray for the unfortunate criminals. The beadle, also, of Merchant Taylors' Hall was allowed an "honest stipend" to see that this ceremony was regularly performed.
The affecting admonition—"affectingly good," Pennant calls it—addressed to the prisoners in Newgate, on the night before execution, ran as follows:—
"You prisoners that are within,
Who, for wickedness and sin,
after many mercies shown you, are now appointed to die to-morrow in the forenoon; give ear and understand that, to-morrow morning, the greatest bell of St. Sepulchre's shall toll for you, in form and manner of a passing-bell, as used to be tolled for those that are at the point of death; to the end that all godly people, hearing that bell, and knowing it is for your going to your deaths, may be stirred up heartily to pray to God to bestow his grace and mercy upon you, whilst you live. I beseech you, for Jesus Christ's sake, to keep this night in watching and prayer, to the salvation of your own souls while there is yet time and place for mercy; as knowing to-morrow you must appear before the judgment-seat of your Creator, there to give an account of all things done in this life, and to suffer eternal torments for your sins committed against Him, unless, upon your hearty and unfeigned repentance, you find mercy through the merits, death, and passion of your only Mediator and Advocate, Jesus Christ, who now sits at the right hand of God, to make intercession for as many of you as penitently return to Him."
And the following was the admonition to condemned criminals, as they were passing by St. Sepulchre's Church wall to execution:—" All good people, pray heartily unto God for these poor sinners, who are now going to their death, for whom this great bell doth toll.
"You that are condemned to die, repent with lamentable tears; ask mercy of the Lord, for the salvation of your own souls, through the [merits, death, and passion of Jesus Christ, who now sits at the right hand of God, to make intercession for as many of you as penitently return unto Him.
"Lord have mercy upon you;
Christ have mercy upon you.
Lord have mercy upon you;
Christ have mercy upon you."
The charitable Mr. Dowe, who took such interest in the last moments of the occupants of the condemned cell, was buried in the church of St. Botolph, Aldgate.
Another curious custom observed at St. Sepulchre's was the presentation of a nosegay to every criminal on his way to execution at Tyburn. No doubt the practice had its origin in some kindly feeling for the poor unfortunates who were so soon to bid farewell to all the beauties of earth. One of the last who received a nosegay from the steps of St. Sepulchre's was "Sixteen-string Jack," alias John Rann, who was hanged, in 1774, for robbing the Rev. Dr. Bell of his watch and eighteen pence in money, in Gunnersbury Lane, on the road to Brentford. Sixteen-string Jack wore the flowers in his button-hole as he rode dolefully to the gallows. This was witnessed by John Thomas Smith, who thus describes the scene in his admirable anecdotebook, "Nollekens and his Times:"—" I remember well, when I was in my eighth year, Mr. Nollekens calling at my father's house, in Great Portland Street, and taking us to Oxford Street, to see the notorious Jack Rann, commonly called Sixteenstring Jack, go to Tyburn to be hanged. … The criminal was dressed in a pea-green coat, with an immense nosegay in the button-hole, which had been presented to him at St. Sepulchre's steps; and his nankeen small-clothes, we were told, were tied at each knee with sixteen strings. After he had passed, and Mr. Nollekens was leading me home by the hand, I recollect his stooping down to me and observing, in a low tone of voice, 'Tom, now, my little man, if my father-in-law, Mr. Justice Welch, had been high constable, we could have walked by the side of the cart all the way to Tyburn.'"
When criminals were conveyed from Newgate to Tyburn, the cart passed up Giltspur Street, and through Smithfield, to Cow Lane. Skinner Street had not then been built, and the Crooked Lane which turned down by St. Sepulchre's, as well as Ozier Lane, did not afford sufficient width to admit of the cavalcade passing by either of them, with convenience, to Holborn Hill, or "the Heavy Hill," as it used to be called. The procession seems at no time to have had much of the solemn element about it. "The heroes of the day were often," says a popular writer, "on good terms with the mob, and jokes were exchanged between the men who were going to be hanged and the men who deserved to be."
"On St. Paul's Day," says Mr. Timbs (1868), "service is performed in St. Sepulchre's, in accordance with the will of Mr. Paul Jervis, who, in 1717, devised certain land in trust that a sermon should be preached in the church upon every Paul's Day upon the excellence of the liturgy o the Church of England; the preacher to receive 40s. for such sermon. Various sums are also bequeathed to the curate, the clerk, the treasurer, and masters of the parochial schools. To the poor of the parish he bequeathed 20s. a-piece to ten of the poorest householders within that part of the parish of St. Sepulchre commonly called Smithfield quarter, £4 to the treasurer of St. Bartholomew's Hospital, and 6s. 8d. yearly to the clerk, who shall attend to receive the same. The residue of the yearly rents and profits is to be distributed unto and amongst such poor people of the parish of St. Sepulchre's, London, who shall attend the service and sermon. At the close of the service the vestry-clerk reads aloud an extract from the will, and then proceeds to the distribution of the money. In the evening the vicar, churchwardens, and common councilmen of the precinct dine together."
In 1749, a Mr. Drinkwater made a praiseworthy bequest. He left the parish of St. Sepulchre £500 to be lent in sums of £25 to industrious young tradesmen. No interest was to be charged, and the money was to be lent for four years.
Next to St. Sepulchre's, on Snow Hill, used to stand the famous old inn of the "Saracen's Head." It was only swept away within the last few years by the ruthless army of City improvers: a view of it in course of demolition was given on page 439. It was one of the oldest of the London inns which bore the "Saracen's Head" for a sign. One of Dick Tarlton's jests makes mention of the "Saracen's Head" without Newgate, and Stow, describing this neighbourhood, speaks particularly of "a fair large inn for receipt of travellers" that "hath to sign the 'Saracen's Head.'" The courtyard had, to the last, many of the characteristics of an old English inn; there were galleries all round leading to the bedrooms, and a spacious gateway through which the dusty mail-coaches used to rumble, the tired passengers creeping forth "thanking their stars in having escaped the highwaymen and the holes and sloughs of the road." Into that courtyard how many have come on their first arrival in London with hearts beating high with hope, some of whom have risen to be aldermen and sit in state as lord mayor, whilst others have gone the way of the idle apprentice and come to a sad end at Tyburn! It was at this inn that Nicholas Nickleby and his uncle waited upon the Yorkshire schoolmaster Squeers, of Dotheboys Hall. Mr. Dickens describes the tavern as it existed in the last days of mail-coaching, when it was a most important place for arrivals and departures in London:—
"Next to the jail, and by consequence near to Smithfield also, and the Compter and the bustle and noise of the City, and just on that particular part of Snow Hill where omnibus horses going eastwards seriously think of falling down on purpose, and where horses in hackney cabriolets going westwards not unfrequently fall by accident, is the coach-yard of the 'Saracen's Head' inn, its portals guarded by two Saracen's heads and shoulders, which it was once the pride and glory of the choice spirits of this metropolis to pull down at night, but which have for some time remained in undisturbed tranquillity, possibly because this species of humour is now confined to St. James's parish, where doorknockers are preferred as being more portable, and bell-wires esteemed as convenient tooth-picks. Whether this be the reason or not, there they are, frowning upon you from each side of the gateway; and the inn itself, garnished with another Saracen's head, frowns upon you from the top of the yard; while from the door of the hind-boot of all the red coaches that are standing therein, there glares a small Saracen's head with a twin expression to the large Saracen's head below, so that the general appearance of the pile is of the Saracenic order."
To explain the use of the Saracen's head as an inn sign various reasons have been given. "When our countrymen," says Selden, "came home from fighting with the Saracens and were beaten by them, they pictured them with huge, big, terrible faces (as you still see the 'Saracen's Head' is), when in truth they were like other men. But this they did to save their own credit." Or the sign may have been adopted by those who had visited the Holy Land either as pilgrims or to fight the Saracens. Others, again, hold that it was first set up in compliment to the mother of Thomas à Becket, who was the daughter of a Saracen. However this may be, it is certain that the use of the sign in former days was very general.
Running past the east end of St. Sepulchre's, from Newgate into West Smithfield, is Giltspur Street, anciently called Knightriders Street. This interesting thoroughfare derives its name from the knights with their gilt spurs having been accustomed to ride this way to the jousts and tournaments which in days of old were held in Smithfield.
In this street was Giltspur Street Compter, a debtors' prison and house of correction appertaining to the sheriffs of London and Middlesex. It stood over against St. Sepulchre's Church, and was removed hither from the east side of Wood Street, Cheapside, in 1791. At the time of its removal it was used as a place of imprisonment for debtors, but the yearly increasing demands upon the contracted space caused that department to be given up, and City debtors were sent to Whitecross Street. The architect was Dance, to whom we are also indebted for the grim pile of Newgate. The Compter was a dirty and appropriately convictlooking edifice. It was pulled down in 1855. Mr. Hepworth Dixon gave an interesting account of this City House of Correction, not long before its demolition, in his "London Prisons" (1850). "Entering," he says, "at the door facing St. Sepulchre's, the visitor suddenly finds himself in a low dark passage, leading into the offices of the gaol, and branching off into other passages, darker, closer, more replete with noxious smells, than even those of Newgate. This is the fitting prelude to what follows. The prison, it must be noticed, is divided into two principal divisions, the House of Correction and the Compter. The front in Giltspur Street, and the side nearest to Newgate Street, is called the Compter. In its wards are placed detenues of various kinds—remands, committals from the police-courts, and generally persons waiting for trial, and consequently still unconvicted. The other department, the House of Correction, occupies the back portion of the premises, abutting on Christ's Hospital. Curious it is to consider how thin a wall divides these widely-separate worlds! And sorrowful it is to think what a difference of destiny awaits the children—destiny inexorable, though often unearned in either case—who, on the one side of it or the other, receive an eleemosynary education! The collegian and the criminal! Who shall say how much mere accident— circumstances over which the child has little power —determines to a life of usefulness or mischief? From the yards of Giltspur Street prison almost the only objects visible, outside of the gaol itself, are the towers of Christ's Hospital; the only sounds audible, the shouts of the scholars at their play. The balls of the hospital boys often fall within the yards of the prison. Whether these sights and sounds ever cause the criminal to pause and reflect upon the courses of his life, we will not say, but the stranger visiting the place will be very apt to think for him. …
"In the department of the prison called the House of Correction, minor offenders within the City of London are imprisoned. No transports are sent hither, nor is any person whose sentence is above three years in length." This able writer then goes on to tell of the many crying evils connected with the institution—the want of air, the over-crowded state of the rooms, the absence of proper cellular accommodation, and the vicious intercourse carried on amongst the prisoners. The entire gaol, when he wrote, only contained thirty-six separate sleeping-rooms. Now by the highest prison calculation—and this, be it noted, proceeds on the assumption that three persons can sleep in small, miserable, unventilated cells, which are built for only one, and are too confined for that, being only about one-half the size of the model cell for one at Pentonville—it was only capable of accommodating 203 prisoners, yet by the returns issued at Michaelmas, 1850, it contained 246!
A large section of the prison used to be devoted to female delinquents, but lately it was almost entirely given up to male offenders.
"The House of Correction, and the Compter portion of the establishment," says Mr. Dixon, "are kept quite distinct, but it would be difficult to award the palm of empire in their respective facilities for demoralisation. We think the Compter rather the worse of the two. You are shown into a room, about the size of an apartment in an ordinary dwelling-house, which will be found crowded with from thirty to forty persons, young and old, and in their ordinary costume; the low thief in his filth and rags, and the member of the swell-mob with his bright buttons, flash finery, and false jewels. Here you notice the boy who has just been guilty of his first offence, and committed for trial, learning with a greedy mind a thousand criminal arts, and listening with the precocious instinct of guilty passions to stories and conversations the most depraved and disgusting. You regard him with a mixture of pity and loathing, for he knows that the eyes of his peers are upon him, and he stares at you with a familiar impudence, and exhibits a devil-may-care countenance, such as is only to be met with in the juvenile offender. Here, too, may be seen the young clerk, taken up on suspicion—perhaps innocent—who avoids you with a shy look of pain and uneasiness: what a hell must this prison be to him! How frightful it is to think of a person really untainted with crime, compelled to herd for ten or twenty days with these abandoned wretches!
"On the other, the House of Correction side of the gaol, similar rooms will be found, full of prisoners communicating with each other, laughing and shouting without hindrance. All this is so little in accordance with existing notions of prison discipline, that one is continually fancying these disgraceful scenes cannot be in the capital of England, and in the year of grace 1850. Very few of the prisoners attend school or receive any instruction; neither is any kind of employment afforded them, except oakum-picking, and the still more disgusting labour of the treadmill. When at work, an officer is in attendance to prevent disorderly conduct; but his presence is of no avail as a protection to the less depraved. Conversation still goes on; and every facility is afforded for making acquaintances, and for mutual contamination."
After having long been branded by intelligent inspectors as a disgrace to the metropolis, Giltspur Street Compter was condemned, closed in 1854, and subsequently taken down.
Nearly opposite what used to be the site of the Compter, and adjoining Cock Lane, is the spot called Pie Corner, near which terminated the Great Fire of 1666. The fire commenced at Pudding Lane, it will be remembered, so it was singularly appropriate that it should terminate at Pie Corner. Under the date of 4th September, 1666, Pepys, in his "Diary," records that "W. Hewer this day went to see how his mother did, and comes home late, telling us how he hath been forced to remove her to Islington, her house in Pye Corner being burned; so that the fire is got so far that way." The figure of a fat naked boy stands over a public house at the corner of the lane; it used to have the following warning inscription attached:— "This boy is in memory put up of the late fire of London, occasioned by the sin of gluttony, 1666." According to Stow, Pie Corner derived its name from the sign of a well-frequented hostelry, which anciently stood on the spot. Strype makes honourable mention of Pie Corner, as "noted chiefly for cooks' shops and pigs dressed there during Bartholomew Fair." Our old writers have many references—and not all, by the way, in the best taste—to its cookstalls and dressed pork. Shadwell, for instance, in the Woman Captain (1680) speaks of "meat dressed at Pie Corner by greasy scullions;" and Ben Jonson writes in the Alchemist (1612)—
"I shall put you in mind, sir, at Pie Corner,
Taking your meal of steam in from cooks' stalls."
And in "The Great Boobee" ("Roxburgh Ballads"):
"Next day I through Pie Corner passed;
The roast meat on the stall
Invited me to take a taste;
My money was but small."
But Pie Corner seems to have been noted for more than eatables. A ballad from Tom D'Urfey's "Pills to Purge Melancholy," describing Bartholomew Fair, eleven years before the Fire of London, says:—
"At Pie-Corner end, mark well my good friend,
'Tis a very fine dirty place;
Where there's more arrows and bows. …
Than was handled at Chivy Chase."
We have already given a view of Pie Corner in our chapter on Smithfield, page 361.
Hosier Lane, running from Cow Lane to Smithfield, and almost parallel to Cock Lane, is described by "R. B.," in Strype, as a place not over-well built or inhabited. The houses were all old timber erections. Some of these—those standing at the south corner of the lane—were in the beginning of this century depicted by Mr. J. T. Smith, in his "Ancient Topography of London." He describes them as probably of the reign of James I. The rooms were small, with low, unornamented ceilings; the timber, oak, profusely used; the gables were plain, and the walls lath and plaster. They were taken down in 1809.
In the corner house, in Mr. Smith's time, there was a barber whose name was Catchpole; at least, so it was written over the door. He was rather an odd fellow, and possessed, according to his own account, a famous relic of antiquity. He would gravely show his customers a short-bladed instrument, as the identical dagger with which Walworth killed Wat Tyler.
Hosier Lane, like Pie Corner, used to be a great resort during the time of Bartholomew Fair, "all the houses," it is said in Strype, "generally being made public for tippling."
We return now from our excursion to the north of St. Sepulchre's, and continue our rambles to the west, and before speaking of what is, let us refer to what has been.
Turnagain Lane is not far from this. "Near unto this Seacoal Lane," remarks Stow, "in the turning towards Holborn Conduit, is Turnagain Lane, or rather, as in a record of the 5th of Edward III., Windagain Lane, for that it goeth down west to Fleet Dyke, from whence men must turn again the same way they came, but there it stopped." There used to be a proverb, "He must take him a house in Turnagain Lane."
A conduit formerly stood on Snow Hill, a little below the church. It is described as a building with four equal sides, ornamented with four columns and pediment, surmounted by a pyramid, on which stood a lamb—a rebus on the name of Lamb, from whose conduit in Red Lion Street the water came. There had been a conduit there, however, before Lamb's day, which was towards the close of the sixteenth century.
At No. 37, King Street, Snow Hill, there used to be a ladies' charity school, which was established in 1702, and remained in the parish 145 years. Dr. Johnson and Mrs. Thrale were subscribers to this school, and Johnson drew from it his story of Betty Broom, in "The Idler." The world of domestic service, in Betty's days, seems to have been pretty much as now. Betty was a poor girl, bred in the country at a charity-school, maintained by the contributions of wealthy neighbours. The patronesses visited the school from time to time, to see how the pupils got on, and everything went well, till "at last, the chief of the subscribers having passed a winter in London, came down full of an opinion new and strange to the whole country. She held it little less than criminal to teach poor girls to read and write. They who are born to poverty, she said, are born to ignorance, and will work the harder the less they know. She told her friends that London was in confusion by the insolence of servants; that scarcely a girl could be got for all-work, since education had made such numbers of fine ladies, that nobody would now accept a lower title than that of a waiting-maid, or something that might qualify her to wear laced shoes and long ruffles, and to sit at work in the parlour window. But she was resolved, for her part, to spoil no more girls. Those who were to live by their hands should neither read nor write out of her pocket. The world was bad enough already, and she would have no part in making it worse.
"She was for a long time warmly opposed; but she persevered in her notions, and withdrew her subscription. Few listen, without a desire of conviction, to those who advise them to spare their money. Her example and her arguments gained ground daily; and in less than a year the whole parish was convinced that the nation would be ruined if the children of the poor were taught to read and write." So the school was dissolved, and Betty with the rest was turned adrift into the wide and cold world; and her adventures there any one may read in "The Idler" for himself.
There is an entry in the school minutes of 1763, to the effect that the ladies of the committee censured the schoolmistress for listening to the story of the Cock Lane ghost, and "desired her to keep her belief in the article to herself."
Skinner Street—now one of the names of the past—which ran by the south side of St. Sepulchre's, and formed the connecting link between Newgate Street and Holborn, received its name from Alderman Skinner, through whose exertions, about 1802, it was principally built. The following account of Skinner Street is from the picturesque pen of Mr. William Harvey ("Aleph"), whose long familiarity with the places he describes renders doubly valuable his many contributions to the history of London scenes and people:—"As a building speculation," he says, writing in 1863, "it was a failure. When the buildings were ready for occupation, tall and substantial as they really were, the high rents frightened intending shopkeepers. Tenants were not to be had; and in order to get over the money difficulty, a lottery, sanctioned by Parliament, was commenced. Lotteries were then common tricks of finance, and nobody wondered at the new venture; but even the most desperate fortune-hunters were slow to invest their capital, and the tickets hung sadly on hand. The day for the drawing was postponed several times, and when it came, there was little or no excitement on the subject, and whoever rejoiced in becoming a house-owner on such easy terms, the original projectors and builders were understood to have suffered considerably. The winners found the property in a very unfinished condition. Few of the dwellings were habitable, and as funds were often wanting, a majority of the houses remained empty, and the shops unopened. After two or three years things began to improve; the vast many-storeyed house which then covered the site of Commercial Place was converted into a warehousing depôt; a capital house opposite the 'Saracen's Head' was taken by a hosier of the name of Theobald, who, opening his shop with the determination of selling the best hosiery, and nothing else, was able to convince the citizens that his hose was first-rate, and, desiring only a living profit, succeeded, after thirty years of unwearied industry, in accumulating a large fortune. Theobald was possessed of literary tastes, and at the sale of Sir Walter Scott's manuscripts was a liberal purchaser. He also collected a library of exceedingly choice books, and when aristocratic customers purchased stockings of him, was soon able to interest them in matters of far higher interest…
"The most remarkable shop—but it was on the left-hand side, at a corner house—was that established for the sale of children's books. It boasted an immense extent of window-front, extending from the entrance into Snow Hill, and towards Fleet Market. Many a time have I lingered with loving eyes over those fascinating story-books, so rich in gaily-coloured prints; such careful editions of the marvellous old histories, 'Puss in Boots,' 'Cock Robin,' 'Cinderella,' and the like. Fortunately the front was kept low, so as exactly to suit the capacity of a childish admirer. . . . . But Skinner Street did not prosper much, and never could compete with even the dullest portions of Holborn. I have spoken of some reputable shops; but you know the proverb, 'One swallow will not make a summer,' and it was a declining neighbourhood almost before it could be called new. In 1810 the commercial depôt, which had been erected at a cost of £25,000, and was the chief prize in the lottery, was destroyed by fire, never to be rebuilt—a heavy blow and discouragement to Skinner Street, from which it never rallied. Perhaps the periodical hanging-days exercised an unfavourable influence, collecting, as they frequently did, all the thieves and vagabonds of London. I never sympathised with Pepys or Charles Fox in their passion for public executions, and made it a point to avoid those ghastly sights; but early of a Monday morning, when I had just reached the end of Giltspur Street, a miserable wretch had just been turned off from the platform of the debtors' door, and I was made the unwilling witness of his last struggles. That scene haunted me for months, and I often used to ask myself, 'Who that could help it would live in Skinner Street?' The next unpropitious event in these parts was the unexpected closing of the child's library. What could it mean? Such a well-to-do establishment shut up? Yes, the whole army of shutters looked blankly on the inquirer, and forbade even a single glance at 'Sinbad' or 'Robinson Crusoe.' It would soon be re-opened, we naturally thought; but the shutters never came down again. The whole house was deserted; not even a messenger in bankruptcy, or an ancient Charley, was found to regard the playful double knocks of the neighbouring juveniles. Gradually the glass of all the windows got broken in, a heavy cloud of black dust, solidifying into inches thick, gathered on sills and doors and brickwork, till the whole frontage grew as gloomy as Giant Despair's Castle. Not long after, the adjoining houses shared the same fate, and they remained from year to year without the slightest sign of life—absolute scarecrows, darkening with their uncomfortable shadows the busy streets. Within half a mile, in Stamford Street, Blackfriars, there are (1863) seven houses in a similar predicament— window-glass demolished, doors cracked from top to bottom, spiders' webs hanging from every projecting sill or parapet. What can it mean? The loss in the article of rents alone must be over £1,000 annually. If the real owners are at feud with imaginary owners, surely the property might be rendered valuable, and the proceeds invested. Even the lawyers can derive no profit from such hopeless abandonment. I am told the whole mischief arose out of a Chancery suit. Can it be the famous 'Jarndyce v. Jarndyce' case? And have all the heirs starved each other out? If so, what hinders our lady the Queen from taking possession? Any change would be an improvement, for these dead houses make the streets they cumber as dispiriting and comfortless as graveyards. Busy fancy will sometimes people them, and fill the dreary rooms with strange guests. Do the victims of guilt congregate in these dark dens? Do wretches 'unfriended by the world or the world's law,' seek refuge in these deserted nooks, mourning in the silence of despair over their former lives, and anticipating the future in unappeasable agony? Such things have been—the silence and desolation of these doomed dwellings make them the more suitable for such tenants."
A street is nothing without a mystery, so a mystery let these old tumble-down houses remain, whilst we go on to tell that, in front of No. 58, the sailor Cashman was hung in 1817, as we have already mentioned, for plundering a gunsmith's shop there. William Godwin, the author of "Caleb Williams," kept a bookseller's shop for several years in Skinner Street, at No. 41, and published school-books in the name of Edward Baldwin. On the wall there was a stone carving of Æsop reciting one of his fables to children.
The most noteworthy event of the life of Godwin was his marriage with the celebrated Mary Wollstonecraft, authoress of a "Vindication of the Rights of Women," whose congenial mind, in politics and morals, he ardently admired. Godwin's account of the way in which they got on together is worth reading:—"Ours," he writes, "was not an idle happiness, a paradise of selfish and transitory pleasures. It is, perhaps, scarcely necessary to mention, that influenced by ideas I had long entertained, I engaged an apartment about twenty doors from our house, in the Polygon, Somers Town, which I designed for the purpose of my study and literary occupations. Trifles, however, will be interesting to some readers, when they relate to the last period of the life of such a person as Mary. I will add, therefore, that we were both of us of opinion, that it was possible for two persons to be too uniformly in each other's society. Influenced by that opinion, it was my practice to repair to the apartment I have mentioned as soon as I rose, and frequently not to make my appearance in the Polygon till the hour of dinner. We agreed in condemning the notion, prevalent in many situations in life, that a man and his wife cannot visit in mixed society but in company with each other, and we rather sought occasions of deviating from than of complying with this rule. By this means, though, for the most part, we spent the latter half of each day in one another's society, yet we were in no danger of satiety. We seemed to combine, in a considerable degree, the novelty and lively sensation of a visit with the more delicious and heartfelt pleasure of a domestic life."
This philosophic union, to Godwin's inexpressible affliction, did not last more than eighteen months, at the end of which time Mrs. Godwin died, leaving an only daughter, who in the course of time became the second wife of the poet Shelley, and was the author of the wild and extraordinary tale of "Frankenstein."
Without a doubt, the sweetest soul I've ever known.
She was having fun playing with the babies on Saturday, and gone last night (Sunday) around midnight. Pericardial effusion (the sac aroud her heaart filled with blood) most likely caused by a tumor in her heart. Fucking cancer claimed another victim.
The doctors and staff at the vet hospital were wonderful and did all that could be done for her, including making the late night call so we could be with her. She did not suffer. She passed peacefully.
I don't know if there is a heaven or hell, but I hope there is a rainbow bridge.
Without any digital camera.
Sans appareil photo numérique.
Ohne Digitalkamera.
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Zhe155 china girl stencil on the streetz of Sao Paulo/Brasil thankz 2 my friend urbanhearts, streetart without borders project....
Lock down photo.
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For Grom and his family
God bless the little angel and all of you.
It is time for me to go, mother; I am going.
When in the paling darkness of the lonely dawn you stretch out your arms for your baby in the bed, I shall say, "Baby is not there!"--mother, I am going.
I shall become a delicate draught of air and caress you; and I shall be ripples in the water when you bathe, and kiss you and kiss you again.
In the gusty night when the rain patters on the leaves you will hear my whisper in your bed, and my laughter will flash with the lightning through the open window into your room.
If you lie awake, thinking of your baby till late into the night, I shall sing to you from the stars, "Sleep mother, sleep."
On the straying moonbeams I shall steal over your bed, and lie upon your bosom while you sleep.
I shall become a dream, and through the little opening of your eyelids I shall slip into the depths of your sleep; and when you wake up and look round startled, like a twinkling firefly I shall flit out into the darkness.
When, on the great festival of puja, the neighbours' children come and play about the house, I shall melt into the music of the flute and throb in your heart all day.
Dear auntie will come with puja-presents and will ask, "Where is our baby, sister? Mother, you will tell her softly, "He is in the pupils of my eyes, he is in my body and in my soul....
From one of the beautiful old cemeteries in Alexandria, Egypt.
Alexandria’s Chatby quarter boasts a necropolis dating back to the late Ptolemaic and early Roman periods, in addition to the more recent Jewish, Muslim, Anglican, Copt Orthodox, Greek Orthodox, Armenian Orthodox, Syrian Catholic, Armenian Catholic, Protestant, and Latin Catholic cemeteries, as well as cemeteries for Free Thinkers.
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Portuguese
O Tribunal de Contas da União (TCU) é instituição brasileira prevista na Constituição Federal para exercer a fiscalização contábil, financeira, orçamentária, operacional e patrimonial da União e das entidades da administração direta e administração indireta, quanto à legalidade, à legitimidade e à economicidade e a fiscalização da aplicação das subvenções e da renúncia de receitas. Auxilia o Congresso Nacional no planejamento fiscal e orçamentário anual. Tanto pessoa física quanto pessoa jurídica, seja de direito público ou direito privado, que utilize, arrecade, guarde, gerencie ou administre dinheiros, bens e valores públicos ou pelos quais a União responda, ou que, em nome desta, assuma obrigações de natureza pecuniária tem o dever de prestar contas ao TCU. Conforme o art. 71 da Constituição Federal o Tribunal de Contas da União é uma instituição com autonomia administrativa, financeira e orçamentária. O tribunal não está ligado diretamente a nenhum poder, o que faz com que seja um órgão independente. Sua independência é comparada à do Ministério Público, um órgão que não está ligado a nenhum poder e exerce sua função constitucional.
English
The Tribunal de Contas da União (Federal Court of Accounts, often referred to as TCU) is the Brazilian federal accountability office. It is an arm of the Legislative Branch of the Brazilian government, to assist Congress in its Constitutional incumbency to exercise external audit over the Executive Branch. Its members, called ministers, are appointed by the National Congress and the President of Brazil. The TCU employs a highly qualified body of civil servants to prevent, investigate and sanction corruption and malpractice of public funds, with national jurisdiction.
The Tribunal was created in 1891, although its origins are traced back to the Royal Treasury (Erário Régio), established in 1808 by King John VI. It is, therefore, one of the world's earlier institutions charged with national government accountability. Today, the TCU cooperates with the Comptroller-General of the Union (CGU), which centralizes federal executive internal audit. The Tribunal's work is scrutinized by the Public Ministry.
In 1959 it hosted III INCOSAI, the third triennial convention of the International Organization of Supreme Audit Institutions.
The work executed by the TCU in 2011 produced savings of 14 billion reais (USD 7.44 billion) to the Brazilian taxpayer. For each real spent by the court to avert corruption and wasteful spending, 10.5 reais were saved.
Wikipedia
Place : Bosila Bridge.
Camera : D90.
Date : 28 Nov, 2010.
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Opening-act dei Duran Duran, il 12 giugno 2016, nell’ambito del Street Music Art all’Assago Summer Arena a Milano, le Bloom Twins.
Bloom Twins are a Ukrainian-born English pop music group made up of twin sisters Anna and Sonia Kuprienko. They refer to the style of their music as "dark pop." The girls released their first digital single in June 2013 and are currently producing an EP due in the fourth quarter of 2014.
Sister act Bloom Twins merge several genres, adding flute, harmonica, piano and electronica to a diverse vocal style to create something new, fresh and unique.
After uploading their debut track ‘Fahrenheit’ to You Tube in 2013, Bloom Twins made a double impact on both music and fashion, opening the door to numerous profile pieces in magazines such as Paradigm, Vogue and ID. Soon after, a support slot for Eels at O2 Academy in Liverpool was followed by Iggy’s artist of the week at MTV. 2014 saw numerous releases and videos bringing more attention. Following the release of “Get up, Stand up” the Bloom Twins were featured on BBC NewsNight with Jeremy Paxman and graced pages of broadsheet newspapers such as The Sunday Times, The Guardian, The Daily Mail as well appeared on Simon Lederman's show on BBC Radio London 94.9, Gary Crowley’s and on BBC Introducing.
A period out of the country halted momentum before they made a breakthrough appearance in Unicef’s Imagine campaign alongside Katy Perry and Will.i.am among other heavyweights of music and media.
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Portuguese
Luziânia é um município brasileiro do estado de Goiás.
É a quinta maior cidade do estado com 174.546 habitantes 3 , ficando atrás apenas da capital Goiânia, e das cidades de Aparecida de Goiânia, Anápolis e Rio Verde.
É, no entanto, mais conhecida por ser integrante da região do entorno do Distrito Federal, devido a sua proximidade com a Capital Federal (58 km).
Seu nome é uma homenagem à santa padroeira do município, Luzia, a quem foi erguida um cruzeiro em 1746.
História
À procura de novas minas de ouro, o bandeirante Antônio Bueno de Azevedo partiu de Paracatu/MG. Em 13 de dezembro de 1746, enquanto descansava sentado às margens de um córrego, notou que no leito do rio havia pepitas de ouro. No dia seguinte ergueu festivamente um cruzeiro e dedicou as minas e o futuro povoado à Santa Luzia. As minas atraíram tanta gente que em menos de um ano o arraial contava com mais de 10.000 pessoas.
A primeira missa foi celebrada em 1746, pelo padre Luiz da Gama Mendonça e assistida por mais de 6.000 garimpeiros. Elevada à categoria de Comarca Eclesiástica em 6 de dezembro de 1758, seu primeiro vigário foi o padre Domingos Ramos.
Em abril de 1758 iniciou-se a construção de um rego, denominado Saia Velha, para facilitar a garimpagem. O rego tinha 42 quilômetros de extensão e foi feito em dois anos, por milhares de escravos negros.
O primeiro núcleo de povoamento já era chamado de Arraial de Santa Luzia em fins do século XVIII.
O arraial foi elevado à categoria de vila em 1 de abril de 1833 e à de cidade em 5 de outubro de 1867. Contudo, foi somente a partir de 31 de dezembro de 1943 que passou a se denominar "Luziânia".
Em Luziânia também foi executado o último homem livre do Brasil antes da abolição da pena de morte. José Pereira da Silva foi enforcado na chácara São Caetano na "Forca da Mangueira", então vila de Santa Luzia em 30 de outubro de 1861.
Demografia
Segundo o Censo de 2010 do IBGE a população de Luziânia é de 174.546 habitantes.
Localização
A cidade de Luziânia está localizada no estado de Goiás, região Centro-Oeste do Brasil. Fica a uma distância de 200 km de Goiânia e aproximadamente 60 km de Brasília. A mistura de modernidade e história é o que melhor define essa cidade.
A Igreja Nossa Senhora do Rosário, remanescente do século XVIII, guarda imagens de madeira daquela época e sinos de bronze. O Morro da Canastra, o Palácio das Andorinhas e a Cachoeira de Saia Velha são atrações do turismo ecológico de Luziânia.
O bandeirante Antônio Bueno de Azevedo, em 13 de dezembro de 1746, encontrou ouro onde seria o povoado de Santa Luzia. As minas ali existentes atraíram mais de 10.000 imigrantes.
O município de Luziânia, antes denominado Santa Luzia, originou-se da mineração. No século XVIII, essa atividade despertou o interesse de vários sertanistas, os quais tinham a intenção de desbravar as terras centrais do Brasil.
A primeira penetração no território deve-se ao paulista Antônio Bueno de Azevedo. Em fins de 1746, acompanhado de amigos e inúmeros escravos, partiu de Paracatu/MG, rumo noroeste, até alcançar o Rio São Bartolomeu, onde construiu roças e alguns ranchos. Três meses depois, seguiu viagem, rumo oeste, aportando em 1746, às margens do Rio Vermelho, nome decorrente da cor que adquiriu durante as atividades de extração de ouro, abundante em seu leito. Satisfeitos com os vales férteis e auríferos do planalto, ali mesmo acamparam, construíram as primeiras residências e erigiram a cruz, em nome de Santa Luzia, marco da povoação que nascia sob a proteção da Santa. A notícia da descoberta das minas de Santa Luzia atraiu contingentes de pessoas livres e escravas das mais longínquas regiões.
No final do século XVIII, a mineração começou a declinar e muitas famílias transferiram-se para a zona rural, dedicando-se à lavoura e à criação de gado. O arraial foi elevado à condição de vila em 1833 e, logo depois, à categoria de cidade em 1867. O atual nome, Luziânia, surgiu após o decreto-lei estadual nº 8305, de 31 de dezembro de 1943.
Desde sua fundação, no século XVIII, até 1960, data da inauguração de Brasília, Luziânia não obteve grandes marcos de forma geral. Entretanto, após ceder parte de seu grande território para a construção do que seria então a capital federal, Luziânia passou a ter um surto de desenvolvimento, beneficiada sobretudo pela BR-040 e BR-050, sendo a rodovia BR-040 a que oferece o acesso até Brasília. Com um crescimento populacional acelerado, foi necessário que se avaliasse a legislação do uso do solo do Distrito Federal, definindo previamente as áreas para expansão urbana, além da especulação imobiliária, o que acabou levando parte da população da nova capital brasileira a procurar alternativas de localização e moradia, tanto em Luziânia quanto em outras cidades do Entorno do Distrito Federal.
Economia
Em 2005, foi implantado em Luziânia, o Programa de Desenvolvimento Econômico de Arranjo Produtivo Local (APL) de Fruticultura. Neste município, o programa APL está promovendo assessoria técnica e tecnológica em 91 propriedades locais rurais e 120 pessoas participaram de cursos de informática básica, que faz parte de um trabalho de inclusão digital junto aos filhos dos agricultores.
Além disso, o programa APL promoveu um plano de desenvolvimento sustentável para Luziânia e região e um estudo de pré-viabilidade econômica da plataforma comercial de fruticultura para o município.Uma visita técnica com 33 produtores rurais ao APL de fruticultura irrigada de Juazeiro e Petrolina também foi realizada.
O programa APL é uma iniciativa do Ministério da Integração Nacional, em parceria com a Federação das Indústrias do Estado de Goiás, Senai e Instituto Euvaldo Lodi com apoio da Central de Associações de Produtores Rurais, Agência Rural, Sebrae, Secretaria de Planejamento e prefeitura de Luziânia. O projeto conta com recursos da ordem de R$ 330 mil, para atender 40 associações rurais que representam mais de 2 mil produtores rurais.
Wikipedia
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Without the benefit of a plow this day, the Escanaba & Lake Superior O&B turn prepares to depart Ontonagon, Michigan and head back south. The 1220 shows evidence of some drift busting done on the northbound trip from Channing earlier in the day.
December, 1996
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Without a doubt one of the real 'head turner's of yesterday's event was preserved 'All Leyland' PD1 GTB 903. New to Lytham St Annes Corporation in 1947, the bus couldn't have looked any better than than it did here as it departed Pleasure Beach' heading in the direction of it's former home ground.
After a morning of what can best be described as indifferent (ney, rubbish) weather, the sun finally made an appearance early afternoon.
Do not use photos without my consent . Non utilizzare la foto senza il mio consenso © Tutti i diritti riservati © All rights reserved
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IT Il Castello di Châtelard (chiamato localmente semplicemente "Châtelard") è un castello medievale valdostano. Si trova nella località Château del comune di La Salle, su un picco roccioso dal quale domina il paese e il fondovalle.
Fu edificato nella prima metà del XIII secolo da Rodolfo Grossi, allora vescovo di Aosta, e venne citato per la prima volta in un documento del 1248, dove è definito come una torre con edifici adiacenti. La sua funzione era probabilmente quella di controllare la strada che scendeva dal Piccolo San Bernardo, sbarrando la strada ad eventuali invasori.
È costituito da un alto donjon di forma circolare al quale era addossato un corpo di abitazione, circondati da un recinto murario di forma irregolare per adattarsi alla conformazione del terreno. Questo tipo di fortificazione a pianta circolare era caro a Pietro II di Savoia, di cui Rodolfo Grossi era consigliere, ma venne utilizzato solo per un breve periodo intorno alla metà del XIII secolo e poi sostituito dalla più famosa pianta quadrata, probabilmente per via delle minori difficoltà costruttive.
La torre è alta circa 18 metri, ha un diametro di poco più di 5 ed è ancora quasi intatta, mentre il resto del castello e la cinta muraria sono ormai ridotti allo stato di rudere. L'accesso ad essa era posto ad una decina di metri dal suolo, per renderne più difficile la conquista in caso di attacco.
Fonte Wikipedia.
EN Castle Châtelard (known locally as simply "Châtelard") is a medieval castle Valle d'Aosta. Château is located in the town of La Salle, on a rocky peak from which dominates the town and the valley floor.
It was built in the first half of the thirteenth century by Rodolfo Grossi, then bishop of Aosta, and was mentioned for the first time in a document dated 1248, which is defined as a tower with adjacent buildings. Its purpose was probably to check the road leading down from the Piccolo San Bernardo, barring the way for invaders.
It consists of a tall donjon circular which was placed against the body of a house, surrounded by a fence wall irregularly shaped to fit the terrain. This type of circular fortification was dear to Peter II of Savoy, of which Rodolfo Grossi was a counselor, but was used only for a short period around the mid-thirteenth century and was replaced by the most famous square, probably because of minor construction problems.
The tower is about 18 meters, has a diameter of about 5 and is still almost intact, while the rest of the castle and city walls are now reduced to a state of ruin. Access to it was placed about ten feet off the ground, to make it more difficult to conquer in case of attack.
Source Wikipedia.
Technical properties:
Fotocamera: Canon EOS 450D + Canon EF 24-105mm f/4 L IS USM
Esposizione0,003 sec (1/320)
Aperturef/6.3
Lente105 mm
ISO100
Exposure Bias0 EV
Flash: Off, Did not fire
shoot RAW
Photographed by © William Prandi
Foto scattata in Val d'Aosta,Italy.
___________Grazie a tutti per le vostre visite ed i vostri commenti.________
____________Thanks to all for your visits and your comments.__________
St George, Stowlangtoft, Suffolk
Given that our parish churches almost without exception underwent restorations in the 19th Century, it should be obvious that when we enter a medieval church, we are encountering a Victorian vision of the medieval. Even when the actual furnishings and fittings are medieval, the whole piece is still a Victorian conception.
Inevitably, the question arises of what was there before the restoration and what wasn't. The obvious answer is that we must assume that nothing is as it first appears.
A prime example of a church that assumes a continuity that may not actually be the truth is here in the flat fields between Woolpit and Ixworth. This part of Suffolk can be rather bleak in winter, but in summer the churchyard here is verdant and golden, as beautiful a place as any in the county. The church is large, and yet unusually narrow. It sits on a mound that has been cut down on one side by the road. In the churchyard you'll find the well-known memorial to the art critic Peter Fuller and his unborn son, killed in a car crash in 1990.
In the churchyard wall there is what appears to be broken medieval window tracery, which is worth noticing, for hereby hangs a tale.
St George is one of the great Suffolk churches. Although it may externally appear a little severe, and is by no means as grand as Blythburgh, Long Melford and the rest, it is a treasure house of the medieval inside. Unusually for a church of its date, it was all rebuilt in one go, in the late 14th century, and the perpendicular windows are not yet full of the 'walls of glass' confidence that the subsequent century would see. The tracery appears to have been repaired, and possibly even renewed, which may explain the tracery in the churchyard wall. However, it doesn't take much to see that the tracery in the wall is not perpendicular at all, but decorated. So it may be that the broken tracery is from the original church that the late 14th century church replaced. But the wall itself isn't medieval, so where had it been all those years? Is it possible that the current window tracery is not medieval at all?
Stowlangtoft church featured in Simon Jenkins' book England's Thousand Best Churches, which sends plenty of visitors to its locked door, and may help stave off the inevitable for a while, for there is no real congregation here any more and the church is moribund. Regular services are held across the fields at Pakenham, and St George is now only used on special occasions. The key is kept across the road, where the very nice lady told me in February 2018 that the church is now headed for redundancy. It seems likely that care of it will be conveyed into the hands of the Churches Conservation Trust.
You step in through the chancel door (the lock here is very awkward, but do persevere) and if you are anything like me you will head straight down to the west end where you will find the font. Likethe window tracery, it asks some questions. Unusually, it features a Saint on seven of the panels, Christ being on the westwards face. Mortlock dates it to the early 14th century, and the Saints it shows are familiar cults from that time: St Margaret, St Catherine, St Peter and St Paul, and less commonly St George. The cult of St George was at its height in the early years of the 14th century. Mortlock describes the font as mutilated, and it certainly isn't looking its best. But I think there is more going on here than meets the eye. Fonts were plastered over in Elizabethan times, and only relief that stood proud of the plaster was mutilated. These are all shallow reliefs, and I do not think they have been mutilated at all. To my eye at least, this stonework appears weathered. I wonder if this font was removed from the church, probably in the mid-17th century, and served an outdoor purpose until it was returned in the 19th century.
The story of this church in the 19th century is well-documented. In 1832, as part of his grand tour of Suffolk, David Davy visited, and was pleased to find that the church was at last undergoing repair. The chancel had been roofless, and the nave used for services. A new Rectory was being built. Who was the catalyst behind all this? His name was Samuel Rickards, and he was Rector here for almost the middle forty years of the 19th century. Roy Tricker notes that he was a good friend of John Henry Newman, the future Cardinal, and they often corresponded on the subject of the pre-Reformation ordering of English churches. It is interesting to think how, at this seminal moment, Rickards might have informed the thought of the Oxford Movement. Sadly, when Newman became a Catholic, Rickards broke off all correspondence with him.
During the course of the 1840s and 1850s, Rickards transformed Stowlangtoft church. He got the great Ipswich woodcarver Henry Ringham in to restore, replicate and complete the marvellous set of bench ends - Ringham did the same thing at Woolpit, a few miles away. Ringham's work is so good that it is sometimes hard for the inexperienced eye to detect it. However, as at Woolpit, Ringham only copied animals here, and the weirder stuff is all medieval, and probably dates from the rebuilding of the church. The glory of Stowlangtoft's bench ends is partly the sheer quantity - there are perhaps 60 carvings - but also that there are several unique subjects.
The carvings appear to be part of the same group as Woolpit and Tostock - you will recognise the unicorn, the chained bear, the bull playing a harp, the bird with a man's head, from similar carvings elsewhere. And then hopefully that little alarm bell in your heard should start to go "Hmmmm....." because some of the carvings here are clearly not from the same group. It is hard to believe that the mermaid and the owl, for example, are from the same workshop, or even from the same decade. The benches themselves are no clue, as it was common practice in the 19th century to replace medieval bench ends on modern benches, or on medieval benches, or even on modern benches made out of medieval timber (as happened at Blythburgh). Could it be that Samuel Rickards found some of these bench ends elsewhere? Could he have been the kind of person to do a thing like that?
Well, yes he could. As Roy Tricker recalls, the medieval roof at the tractarian Thomas Mozley's church at Cholderton in Wiltshire is East Anglian. Rickards acquired it after finding it in storage in Ipswich docks. It presumably came from one of the Ipswich churches. In the ferment of the great 19th century restoration of our English churches, there was loads of medieval junk lying around, much of it going begging. But was Samuel Rickards the kind of person to counterfeit his church's medieval inheritance?
Well, yes he probably was. The faux-medieval roundels in the windows of the nave are clearly not medieval at all, but were in fact the work of the young Lucy Rickards, daughter of Samuel Rickards himself. Some are clearly to the young girl's design, and Pevsner notes that others are copied from medieval manuscript illustrations in the British Museum, although the Holy Kinship and Presentation in the Temple roundels at least are very close copies of the Flemish roundels of the same subjects in Nowton church on the other side of Bury St Edmunds.
Truly medieval is the vast St Christopher wall-painting still discernible on the north wall. It was probably one of the last to be painted. The bench ends are medieval, of course, as is the fine rood-screen dado, albeit repainted. There is even some medieval figure glass in the upper tracery of some of the windows, including St Agnes holding a lamb and four Old Testament prophets. The laughable stone pulpit is Rickard's commission, and the work of William White. What can Rickards have been thinking of? But we step through into the chancel, and suddenly the whole thing moves up a gear. For here are some things that are truly remarkable.
In a county famous for its woodwork, the furnishings of Stowlangtoft's chancel are breathtaking, even awe-inspiring. Behind the rood screen dado is Suffolk's most complete set of return stalls. Most striking are the figures that form finials to the stall ends. They are participants in the Mass, including two Priests, two servers and two acolytes. The figure of the Priest at a prayer desk must be one of the best medieval images in Suffolk, and Mortlock thought the stalls the finest in England.
The benches that face eastwards are misericords, and beneath them are wonderful things: angels, lions and wodewoses, evangelistic symbols and crowned heads. A hawk captures a hare, a dragon sticks out its tongue. Between the seats are weird oriental faces.
Now, you know what I am going to ask next. How much of this is from this church originally? It all appears medieval work, and there is no reason to believe it might not have been moved elsewhere in the church when the chancel was open to the elements. What evidence have we got?
Firstly, we should notice that the only other Suffolk church with such a large number of medieval misericords of this quality is just a mile away, at Norton. I don't ask you to see this as significant, merely to notice it in passing. Secondly, I am no carpenter, but it does look to me as though two sets of furnishings have been cobbled together; the stalls that back on to the screen appear to have been integrated into the larger structure of stalls and desks that front them and the north and south walls.
However, if you look closely at the figures of the two Deacons, you will see that they are bearing shields of the Ashfield and Peche families. The Ashfield arms also appear on the rood screen, and the Ashfields were the major donors when the church was rebuilt in the 14th century. So on balance I am inclined to think that the greater part of the stall structure was in this church originally from when it was rebuilt. And the misericords? Well, I don't know. But I think they have to be considered as part of the same set as those at Norton. In which case they may have come from the same church, which may have been this one, but may not have been. Almost certainly, the stalls at Norton did not come from Norton church, and folklore has it that they were originally in the quire of Bury Abbey.
Other remarkable things in St George include FE Howard's beautiful war memorial in the former north doorway, and in the opposite corner of the nave Hugh Easton's unexpectedly gorgeous St George, which serves the same purpose. He's not an artist I usually admire, but it is as good as his work at Elveden. Back up in the chancel is a delightful painted pipe organ which was apparently exhibited at, and acquired from, the Great Exhibition of 1851.
But St George at Stowlangtoft is, of course, most famous for the Flemish carvings that flank the rather heavy altarpiece. They were given to the church by Henry Wilson of Stowlangtoft Hall, who allegedly found them in an Ixworth junk shop. They show images from the crucifixion story, but are not Stations of the Cross as some guides suggest. They date from the 1480s, and were almost certainly the altarpiece of a French or Flemish monastery that was sacked during the French Revolution. The carvings were once brightly painted, and piled up in a block rather than spread out in a line. The niches, and crowning arches above them, are 19th century.
One cold winter's night in January 1977, a gang of thieves broke into this locked church and stole them. Nothing more was seen or heard of them until 1982, when they were discovered on display in an Amsterdam art gallery. Their journey had been a convoluted one. Taken to Holland, they were used as security for a loan which was defaulted upon. The new owner was then burgled, and the carvings were fenced to an Amsterdam junk dealer. They were bought from his shop, and taken to the museum, which immediately identified them as 15th century carvings. They put them on display, and a Dutch woman who had read about the Stowlangtoft theft recognised them.
The parish instituted legal proceedings to get them back. An injunction was taken out to stop the new owner removing them from the museum. The parish lost the case, leaving them with a monstrous legal bill, but the story has a happy ending. A Dutch businessman negotiated their purchase from the owner, paid off the legal bills, and returned the carvings to Stowlangtoft. Apparently this was all at vast cost, but the businessman gave the gift in thanks for Britain's liberation of Holland from the Nazis. No, thank you, sir.
Today, the carvings are fixed firmly in place and alarmed, so they won't be going walkabout again. But a little part of me wonders if they really should be here at all. Sure, they are medieval, but they weren't here originally, and they weren't even in England originally. Wouldn't it be better if they were displayed somewhere safer, where people could pay to see them, and provide some income for the maintenance of the church building? And then, whisper it, when St George is taken on by the CCT they might even be able to leave it open.
The final church this day, was one of my favourites, Nackington.
Nackington is a tiny village, more a a farm and a couple of cottages. And the church.
It is easy to miss Nackington, it is at the north end of Stone Street, and only a small white sign points down the lane, and you see it as you go speeding past. I know I do this every time, and I know that the church is there.
Only a few shots of the church here, as I have visited it on two previous occasions, but this time, Simon armed with Pevsner, pointed out the glass in two of the windows, amongst the oldest that can be found anywhere in the kingdom.
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The earliest visible remains are of a c.12th century rectangular nave, and also probably the chancel north wall. There are three surviving original plain round-headed windows (two on the north side, and one on the SW side of the nave), with external jambs and voussoirs of Caen stone. There also appears to be a blocked 12th century window in the west gable of the nave. Only the north-east quoin of the nave (also of Caenstone) is original. The main masonry is of coursed whole flints which was originally covered by a plaster face, externally as well as internally. The church was perhaps rebuilt (or erected for the first time) by St Gregory's Priory in Canterbury after they had acquired it early in the 12th century.
In the middle of the 13th century two lancets were inserted into the north wall of the chancel and a small tower was added to the west end of the nave (on the north side). A slightly larger lancet was also put into the west wall of the nave (the round-headed window in the gable wall above had been blocked by the S wall of the tower). New opposing doorways were also put into the north and south sides of the nave. The tower also has 13th century lancets in its N, S and W faces.
At perhaps a slightly later date in the 13th century, a large chapel was added to the south side of the chancel. It is connected with the nave by a wide 2-centred arch, and has a wide doorway from the churchyard on its north west side (this required the cutting away of much of the south east quoin of the nave). This chapel appears originally to have had two lancets on its south side (see Petries 1808 view from SW) and a further pair of lancets in its east wall. Hasted tells us that 'in the two east windows of this chancel (ie. the Milles family's 'South Chancel') are good remains of painted glass' (Hasted IX (1800), 297). This fine glass is now in the two north windows of the chancel, and despite restoration in 1935 is mainly of a 13th century date. There is apparently a double piscina in the south wall of the chapel, perhaps suggesting that the chapel originally contained two altars.
St Gregory's Priory acquired much land in Nackington in the 13th century (see Woodcock (ed) p.178, etc), but there is no mention of the new chapel.
The church seems to have suffered a lot from settlement problems (there are still various open cracks in the walls), and when the nave was given a new crown-post (2 bay) roof in the 15th century, large buttresses were added to the north and south sides of the west wall, as well as to the middle of the S nave wall (a new N porch may have acted also as a buttress). At some later stage the top of the west tower seems to have been take down (perhaps after becoming unstable). Two stone corbels in the north-east and south-east corners of the nave were perhaps inserted in the 15th century to support the rood beam.
In Archbishop Parker's Visitation of 1573, we hear that 'the parsonage house and chancel is like to fall downe'. (Also 'the parson is not Residente' - see Arch. Cant. 29 (1911), 275. This is also perhaps partly due to settlement. This was finally dealt with in a major mid 19th century restoration when the east walls of the chancel and south chapel (and the south wall of the south chapel) were completely rebuilt. A new two-light east window was created in the chancel, but no windows were put in the S chapel east wall. It was, however given a new 2-light S window (in 'Decorated' style). The north wall of the chancel was heightened in brick. The outer jambs and arch to the lancets were restored in Bathstone and a new roof was put on the chancel.
The south chapel contains burial vaults of the Milles family, and there are smaller vaults for the Faussetts in the chancel and Foxes (N side of nave).
At about the same time the west tower was given a new brick upper stage with a small spire on top. The tower contains one bell which was perhaps moved from a bell-cote in the nave roof above the N door (see rubbing marks on rere-arch of N door). Hasted says that the church had 'at the north-west corner a low wooden pointed turret, in which hangs one bell'. The tower contains an internal N->S tie-bar (on the west) and also a west altar and a 19th cent. font in the SE corner. The boiler room (with steps down) is immediately south of the tower. There is also an oil tank south of the nave.
The north porch was also completely rebuilt in the later 19th century. There is an iron tie from the porch west to the NW buttress, and a new vestry with lobby was built west of the south chapel. It has flint facing and a 'perp' 3-light W window. The SE nave window was also restored in Bathstone (bricks above) with a round-headed top at this time.
The chancel screen and panelling around the chancel walls was added in 1909 by W D Caroe and a pulpit was made in 1924. The earlier organ, recently restored is now at the NE corner of the nave. The panelling in the tower was also added by W D Caroe in 1909.
BUILDING MATERIALS (Incl. old plaster, paintings, glass, tiles etc.):
Flint rubble (with occasional Roman bricks) with Caen stone quoins, jambs etc, are used for the 12th and 13th century walls. The 15th century buttresses have large Ragstone quoins and chamfered plinth blocks, with later brick (? 18th century) repairs.
The rebuilt east and south (chapel) walls have coursed brick bands and heavy knapped flintwork, with Bathstone window jambs (also the new vestry).
There is some fine 13th century glass in the two N lancets of the chancel (restored by Caldewell in 1935), and traces of wall paintings on the N side of the nave (by the door).
EXCEPTIONAL MONUMENTS IN CHURCH
Good wall monuments in S E chapel to Christopher Milles (1742), Mary Milles (1781), Mary, Lady Sondes (1818) and Mary Milles (1822). Also fine leger slabs in the chancel and S chapel (to Rev. Bryan Fausset of 1776, etc). Three fragments of a medieval grave slab (with cross on top) in SW corner of S chapel (from churchyard)
CHURCHYARD AND ENVIRONS:
Apparent extent of burial: First mentioned for burial in will of 1488 (Test. Cant. (E Kent 1907), 228)
Exceptional monuments: A ? Medieval graveslab lies to the north of the chancel. Three frags of another medieval graveslab have now been moved into the S chapel.
www.kentarchaeology.org.uk/01/03/NAC.htm
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NACKINGTON,
CALLED in antient writings Natindon, and Natynton, lies the next parish south westward from Bridge. The greatest part of it is in the upper half hundred of Bridge, and a small district of the northern part of it in the hundered of Whitstaple. It has but one borough, viz. that of Nackington.
NACKINGTON lies about a mile north-east from Canterbury; the high road from which to Hythe and Romney Marsh leads through it; it is a pleasant healthy situation. The east and west sides of the parish are open uninclosed arable and hop-grounds, the eastern part behind Staplegate being mostly planted with them; and the western arable, in which is a large district of land, called from its size the Hundred-acres, formerly Haven field, the property of several different owners. The soil, through much inclined to chalk, is in general very fertile, and worth upon an average twenty shillings an acre, though there is much in it let for more. There is no village, but there are about eighteen houses interspersed throughout it; the church stands on a gentle rise, at a small distance eastward from the road, with the parsonage and the court-lodge of Sextries near it. Beyond Heppington the prospect changes to a barren dreary country, covered with slints, and enveloped among woods. Behind that seat ran the old Stonestreet way of the Romans, from their station Durovernum, or Canterbury, to that of Portus Lemanis, or Limne, only to be traced now over the arable lands, and through the woods, and a little higher up lies Iffins wood, formerly the scite of the manor of Ytching, as it was antiently spelt in king Henry the VIth.'s reign, a small part of which only is within this parish, close to the bounds of which are the vestigia of an antient camp, the outward trenches of which contain about eight acres, of which only two acres are level and connected, the rest being cut and intersected by roads, &c. There are numbers of different intrenchments throughout this large wood, and one vallum especially, which runs on to the Stone-street road. At the north corner of this camp are the remains of an oblong square building of stone, the length of it standing east and west. At the east end is a square rise against the wall, seemingly for an altar, and a hollow in the wall on one side. The foot or pedestal, of a seemingly gothic pillar, such as were made for churches, was some years ago found among the rubbish in it; so that if this ever was a prætorium of a Roman general, a chapel seems to have been erected on the scite of it, as was frequently the case, probably by the owners of the manor, and to have been deserted when this part of the country was depopulated by the contests between the houses of York and Lancaster.
Herba Paris, or One Berry, grows plentifully in Iffen wood, and Lamium Caunabino folio flore amplo luteo, labio purpureo; hemp-leaved dead nettle, with a party coloured flower, grows in this parish.
There are no parochial charities, but there are eight shillings per annum paid towards the repair of the church, out of lands called Willys's lands. The number of poor constantly relieved are about twenty-five, casually as many.
THERE ARE THREE MANORS in this parish, each of which is stiled in antient records, The MANOR OF NACKINGTON. Of these
The MANOR OF SEXTRIES, alias NACKINGTON, was part of the antient possessions of the monastery of St.Augustine, and was allotted to the use of their sacristie, whence it acquired the former of those names. This manor, in the year 1046, was demised to one Turstin, belonging to the abbot's houshold, and was afterwards sold and alienated from the monastery, which accounts for its not being mentioned in the survey of Domesday; but in king Edward I.'s reign, it appears by the roll of knights fees to have been again in the possession of the abbot and convent, for Natyndon is mentioned in it as the abbot's lordship. After which this manor of Natyndon, alias Sextries, continued in the possession of the abbot and convent till the dissolution of the abbey in the 30th year of Henry VIII. when it came into the king's hands, (fn. 1) who in his 32d year granted it in exchange to Thomas Colepeper, esq. senior, whose son Sir Alexander Colepeper, of Bedgbury, alienated it in the 21st year of Elizabeth to Sir James Hales, of the Dungeon, in Canterbury, whose grandson, of the same name, by deed inrolled anno 22 James I.sold it to John Smith, esq. of London, and he devised it by will to John Vaughan, esq. from which name it passed to Stephen Jermyn, esq. who conveyed it to Thomas Page, citizen and stationer of London, and he passed it away by sale to William Fox, of Nackington, whose son, of the same name, reconveyed it to Thomas Page, esq. of London, son of Thomas beforementioned, and he in 1763 sold it to Edward Jacob, esq. of Faversham, who died in 1788, and his widow now possesses it for her life, the inheritance being vested in their two younger sons, the Rev.Stephen Long Jacob, and Mr.John Jacob, who resides at it. There is no court held for it.
The MANOR OF STAPLEGATE, alias NACKINGTON, is situated in the northern part of this parish, in the hundred of Whitstaple, just without the bounds of the county of the city of Canterbury. It was formerly the seat of an eminent family of the same surname, who were owners not only of this place, but of lands in Bilsington, Romney Marsh, and in Thanet. (fn. 2) Edmund Staplegate died possessed of this manor anno 13 king Edward II. whose descendant Edmund Staplegate had that noted contest, as lord of Bilsington manor, with Richard, earl of Arundel, for the performance of the office of chief butler at king Richard II.'s coronation. (fn. 3) He died s.p. and was succeeded by his brother John Staplegate, in whole descendants this manor did not continue long; for in the reigns of Henry V. and VI. as appears by the antient court-rolls, it was in the name of Litchfield, one of whom, Roger Litchfield, in the 22d year of Edward IV. alienated it to William Haut, whose son Sir William Haut leaving two daughters his coheirs, Elizabeth, the eldest, entitled her husband Thomas Colepeper, esq. of Bedgbury, to it, and he in the Ist year of king Edward VI. alienated it to Philip Chowte, esq. who sold it in the 6th year of queen Elizabeth to Walter Waller, and he immediately afterwards passed it away to Sir Anthony Aucher, of Bishopsborne, who sold it to Sir James Hales, of the Dungeon, and he in the 22d year of king James I. conveyed it, with the manor of Sextries, alias Nackington, to John Smith, esq. of London. After which they both continued in the same line of ownership, down to Thomas Page, esq. who alienated this manor of Staplegate, alias Nackington, to Mr.Hopkins Fox, whose son Mr. William Fox died possessed of it in 1794, and left it to his eldest son William, who now possesses it. There is no court held for it.
HEPPINGTON is a manor and seat, at the south-west boundary of this parish, which in the reign of king Henry II. was possessed by a family of the name of Delce; for in the 29th year of it William de Delce accounted at the exchequer for the tenure of this land of Hevington; but this name was extinct here before the reign of Edward III in which it was come into the possession of William Talbot, whose heirs possessed it in the 20th year of that reign. The next owners of this manor were the Chich's, of the Dungeon, as appeared by a record of that time, at the beginning of king Henry IV.'s reign, it was become the property of Fogge, and Sir John Fogge, of Repton, by will anno 6 Henry VII. devised it to his son by his second wife, Sir Thomas Fogge, sergeant-porter of Calais, whose two daughters and coheirs, married to Oxenbridge and Scott, conveyed their moieties of it in 1558 and 1561, to Thomas Hales, esq. of Thanington, and he settled it on his eldest son William, by his second wife Alice, and their son William Hales, esq. together with his son William Hales, in 1640, conveyed the manor of Heppington, with the mansion and lands belonging to it, to Thomas Godfrey, esq. the younger, of Lid, who was knighted the year afterwards, and resided here, being the eldest son of Peter Godfrey, esq. of Lid. (fn. 4) He died in 1684, without surviving issue, leaving his wife lady Hester Godfrey surviving, who died in 1699, when this manor came by her settlement of it to her great nephew Henry Godfrey, esq. who was of Heppington, who leaving and only daughter and heir Mary, she carried it in marriage to Bryan Faussett, esq. of Rochester, who rebuilt this seat, bearing for his arms,Or, a lion rampant, sable, over all a bend, gobonated, argent and gules. He died in 1750, and was succeeded by his eldest son the Rev. Brian Faussett, rector of Horton Monks, and perpetual curate of Nackington, who died in 1776, having married Elizabeth, daughter of the Rev. Mr. Curtois, by whom he had two sons, Henry-Godfrey, of whom below, and Bryan, now of Sittingborne, gent. who married Dorothy, daughter of the Rev.John Smith, vicar of Borden, and a daughter Elizabeth, married to Mr. Wm. Bland, of Sittingborne. Henry Godfrey Faussett, esq. the eldest son, succeeded on his mother's death in 1787, to this manor; he married first Susan, daughter of Ri chard Sandys, esq. of Canterbury, by whom he had three sons and five daughters, she died in 1789; and he married secondly Sarah, daughter and heir of Fettiplace Nott, esq. of Marston-hall, in Warwickshire, late high steward of the city of Litchfield. He is the present possessor of this manor, and resides at Heppington.
NACKINGTON-HOUSE is a seat in this parish, which in the reign of king Charles I. was the residence of Capt. John Nutt, whose descendant Edward Nutt, esq. died possessed of it in 1708, without issue male, upon which it came by entail to his brother William Nutt, who sold it to Thomas Willys, esq. who in 1726 succeeded to the title of baronet on the death of Sir Thomas Willys, bart. of Fen-Ditton, in Cambridgeshire, s. p. their arms being, Parted per fess, gules and argent, three lions rampant, counterchanged, a bordure, ermine. He died next year, s. p. likewise, having devised this estate to trustees, who soon afterwards sold it to Christopher Milles, esq. of Canterbury, descended from ancestors who had resided at the parsonage at Herne, from the reign of James I. and bore for their arms, Ermine, a millrind, sable, on a chief, two marlions wings, or; one of whom was clerk of the robes to queen Anne, and king James and of king Charles's privy chamber. (fn. 5) Christopher Milles, esq. after his purchase of Nackington house, resided at it, and died in 1742, having married Mary, eldest daughter of Rich. Warner, esq. of Norfolk, by whom he had three sons and two daughters, Richard, of whom hereafter; Christopher, chief justice of Senegambia; John, late captain of an East-Indiaman; Mary, now unmarried; and Anne, married to Sir Edward Aftley, bart. of Norfolk. Richard Milles, esq. the eldest son, is of North Elmham, in Norfolk, he served as member for Canterbury in three successive parliaments, having married Mary, daughter of T. Tanner, D. D. prebendary of Canterbury, by whom he has an only daughter and heir Mary, married to the right hon. Lewis-Thomas, lord Sondes. He is the present owner of this seat, and at times resides at it.
THIS PARISH is within the ECCLESIASTICAL JURISDICTION of the diocese of Canterbury, and deanry of the same.
The church, which is dedicated to St. Mary, is but small, and consists of one isle and two chancels, having at the north-west corner a low wooden pointed turret, in which hangs one bell. This church is very small. It is kept very neat and in good repair. By the several narrow small circular windows it seems antient, built perhaps not long after the time of Lansranc. In the high chancel are several memorials for the Godfreys; a memorial for Bryan Faussett, esq. obt. 1750, and for his son the Rev. Bryan Faussett, obt. 1776; arms, Faussett, quartering Toke, Godfrey, and Brian, impaling azure, three pales, ermine, over all, a fess, chequy. In the south chancel, which belongs to the Milles family, are several memorials for the Wyllis's and the Nutt's; and memorials for the Pudners, who lie buried in a vault underneath; arms, Bendy, or, and gules, over all, a cross, argent, a label of three points for difference. Against the west wall are three elegant small monuments, of different coloured marbles; one for the RevBernard Astley, A. B. second son of Sir Edward Astley, bart. of Melton, in Norfolk, by Anne, daughter of Christopher Milles, esq. another for Christopher Milles, esq. of Nackington, obt. 1742, who married Mary, eldest daughter and coheir of Richard Warner, esq. of North Elmham, in Norfolk; and another for Mary, relict of Christopher Milles, esq. obt. 1781. In the two east windows of this chancel, are good remains of painted glass.
The CHURCH of Nackington belonged to the priory of St. Gregory, perhaps part of its original endowment by archbishop Lanfranc. It was very early appropriated to it, and was confirmed to it by archbishop Hubert about king Richard I.'s reign. After which this appropriation appears by the register of the priory, to have been esteemed as a manor, stiled
The MANOR OF NACKINGTON, alias The PARSONAGE, which continued part of the possessions of it till its suppression by king Henry VIII. when it came, with the advowson of the vicarage, into the king's hands, where they did not stay long, before they were granted, with the scite and other possessions of the priory, in exchange, to the archbishop, part of the revenues of whose see they continue at this time, George Gipps, esq. of Harbledown, being the present lessee of this parsonage. But the advowson of the vicarage, now esteemed as a perpetual curacy, his grace the archbishop reserves in his own hands.
The vicarage, or perpetual curacy, is not valued in the king's books. (fn. 6) Archbishop Juxon, in 1661, augmented the stipend of this curacy to twenty pounds per annum; and archbishop Sheldon, anno 28 Charles II. angmented it further to forty pounds per annum, which sum is paid yearly to the curate by the lessee of the parsonage. It is now of the yearly certified value of 62l. 18s. 10d. (fn. 7)
¶THERE IS A PORTION OF TITHES arising from a district of land in this parish, which was part of the antient possessions of the hospital of Eastbridge, and at the endowment of the vicarage of Cosmus Blean, was given to it, being then of the value of five marcs. This portion now belongs to that vicarage, and consists of the tithes of about one hundred and sixteen acres of land, let at the yearly rent of forty-two pounds. (fn. 8)
There were several contests between the priory of St. Gregory and St. Laurence hospital, concerning the tithes of Moland beside Heppington, viz. of eighty acres of land; besides which, the hospital possessed the tithes of fifty acres of land in Havefield. (fn. 9)
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Portuguese
A Igreja de Nossa Senhora do Rosário, a Matriz de Pirenópolis, é um templo católico, localizado na cidade de Pirenópolis, Goiás.
Para o povo goiano a Igreja de Nossa Senhora do Rosário é o maior centro da fé católica, e ainda daquelas que, pelo sincretismo, têm no local o ponto máximo da religião. É a mais tradicional igreja católica estado de Goiás, dedicada a Nossa Senhora do Rosário, padroeira dos pirenopolinos. A imagem de Nossa Senhora do Rosário veio para Pirenópolis em 1727, sendo a padroeira da cidade.
O Restauro de 1996 a 1999
Histórico
A construção
O Arraial das Minas de Nossa Senhora do Rosário, atual Pirenópolis, foi fundado em 7 de outubro de 1727, pelos mineradores que aqui se estabeleceram a fim de explorarem o potencial aurífero das margens do rio das Almas.
A construção da igreja que seria consagrada a Nossa Senhora do Rosário iniciou-se no ano de 1728, sendo construída por meio de um sistema misto em taipa de pilão, adobe, alvenaria de pedra e madeira.
Os primeiros registros relacionados à matriz foram feitos em 1732, com o primeiro batizado realizado na igreja e em 1734, quando foram iniciados os registros no Livro de Óbitos dos sepultamentos realizados na Matriz.
Igreja Matriz de Pirenópolis
Para chegar ao seu aspecto contemporâneo, a igreja passou por vários acréscimos e alterações. Em 1758 foi assentado o assoalho da capela-mor e, em 1761, foram construídos o retábulo e as quatro janelas da capela-mor, além das portas de acesso à sacristia e ao consistório. A “camarinha”, espaço localizado atrás da capela-mor, foi acrescentada em 1763, ano em que foi deliberado pela Irmandade do Santíssimo Sacramento a construção da segunda torre, provavelmente a torre esquerda (lado do nascente).
As pinturas do frontispício do altar-mor foram executadas em 1766, por Reginaldo Fragoso de Albuquerque. Para aumentar espaço da capela-mor, em 1769 o altar principal foi recuado. As duas estátuas de anjos com trombetas e o cortinado que compõem o arco do cruzeiro foram feitos em 1770, em entalhe de madeira. Em 1771 foi feita a refundição do sino original, pelo mestre Manuel José Pereira. Em 1803 foi instalado o sino, que foi refundido em 1939 (o mesmo que permaneceu até o momento do incêndio de 2002). O botânico inglês William John Burchel (1823) passou pela região e fez registros da igreja com as torres mais altas do que a configuração atual.
Em 1832 foram deliberados grandes reparos na Matriz, que na verdade só aconteceram em 1838, com o desabamento do telhado sobre a arcada do altar-mor, dando início assim à reforma conduzida pelo Comendador Joaquim Alves de Oliveira, quando a igreja passou a adquirir sua feição contemporânea.
Entre os anos de 1863 e 1864 foram executadas a ornamentação da igreja, a pintura do forro da capela-mor e da abóbada do trono, pelos artistas meiapontenses Inácio Pereira Leal e Antônio da Costa Nascimento, auxiliados pelo jovem Francisco Herculano de Pina.
O relógio de Matriz foi instalado na torre sineira em 1866 e foi substituído por outro de pêndulo, de fabricação alemã, em 1885. Em 1936 foi demolido o púlpito bicentenário.
A Igreja Matriz de Pirenópolis foi tombada como Patrimônio Histórico e Artístico Nacional no ano de 1941. No período entre os anos de 1973 e 1986 o SPHAN (atual IPHAN) realizou vários reparos no edifício.
Características
Em estilo colonial, a matriz tem os alicerces de cantaria (pedra) e as paredes feitas de taipa de pilão (barro socado). Apenas as paredes mais altas das torres são feitas de adobe (tijolo cozido ao sol). Na parte frontal, a taipa é reforçada por uma gaiola de madeira (aroeira), externa e internamente.
A igreja foi construída de forma que, a qualquer hora do dia, o sol ilumine a sua fachada. A torre do lado do nascente foi construída em 1763. Até essa época, só existia a torre onde se encontra o sino.
Elementos artísticos
Nossa Senhora do Rosário - Padroeira de Pirenópolis
Em talha de madeira com laminações em ouro, os cinco magníficos altares expressam a habilidade e paciência dos eméritos entalhadores e marceneiros meiapontenses do século XIX.
O altar-mor, construído em 1761, expressa a feição típica de um barroco singelo bem como o uso parcimonioso dos ornatos dourados. Integram-no um trono central, que exibe a imagem de Nossa Senhora do Rosário, e dois nichos laterais, à meia altura, ocupados por São Vicente de Paulo, à esquerda, e por São José, à direita.
As antigas estátuas da Igreja Matriz, em talha de madeira, são de origem portuguesa. Em 1773 já se encontravam nos altares laterais as imagens de Santo Antônio de Pádua, São Miguel e São Francisco de Paula.
Do lado do Evangelho, o retábulo colateral é dedicado exclusivamente ao Sagrado Coração de Jesus. No retábulo lateral, encontram-se o altar de Nossa Senhora das Dores e as imagens de São Francisco de Paula, Santo Antônio de Pádua e Santo Emídio.
Do lado da Epístola, o retábulo colateral exibe o altar de São Miguel, a imagem de Nossa Senhora da Penha e, sob o altar, a imagem do Senhor Morto. No retábulo lateral, estão o altar de Santa Ana e as imagens de São João Batista e São Gonçalo.
O arco cruzeiro, emoldurado por um cortinado vermelho com franjas que imitam tecido, é ladeado por dois anjos que tocam trombetas e coroado por um medalhão com ornatos dourados.
O Restauro de 1996 a 1999
Entre os anos de 1996 e 1999 foi feita a restauração arquitetônica e artística da Matriz, com participação da Sociedade dos Amigos de Pirenópolis, sob orientação do IPHAN, através de recursos fornecidos pela Telebrás, via Lei do Mecenato.
O processo de restauro contou com engenheiros, arquitetos, restauradores, mestres de obra e operários que, ligados por uma saudável e profícua convivência, se empenharam no aperfeiçoamento constante das tarefas realizadas.
Além de melhorar o nível técnico-profissional, a absorção da mão-de-obra local contribuiu para gerar empregos e para reter recursos na própria cidade. Desde o primeiro momento, o canteiro de obra manteve-se aberto à visitação pública, com exposições didáticas, organizadas com o objetivo de esclarecer cada aspecto do processo de restauro. O registro diário das etapas de trabalho e a documentação fotográfica profissional realizada em períodos determinados, além de permitirem o acompanhamento completo das obras, geraram significativas imagens que passaram a integrar o acervo da Igreja Matriz.
Arquitetura
Os primeiros trabalhos concentraram-se na recuperação arquitetônica do edifício, já bastante danificado pela ação do tempo e dos predadores como cupins, abelhas, maribondo morcegos e pombos.
Taipa de pilão
Para consolidar a estrutura e neutralizar os efeitos da decadência da taipa de pilão, usou-se uma técnica de enxerto dos vazios com alvenaria de tijolos maciços travados entre si e engastados na própria taipa. Arame farpado, colocado entre os tijolos e presos à estrutura de madeira, contribuíram, em alguns casos, para garantir uma maior aderência.
Gaiolas de madeira
As gaiolas de madeira das fachadas principal e posterior passaram por uma revisão completa: peças deterioradas foram substituídas e cantoneiras metálicas introduzidas para possibilitar o reforço das junções estruturais.
Pintura do forro, perdida no incêndio de 2002
Por meio da remoção de várias camadas de reboco e repinturas nas paredes da capela mor, foi possível resgatar uma pintura parietal possivelmente datada de 1863. A pintura, um barrado azul ornamentados com flores, foi restaurada em um trecho e replicada no restante da capela devido à falta de referências originais.
Altar-mor
Após os trabalhos de recomposição de perdas, reintegração cromática, policromia e douramento, a pintura do frontispício do altar-mor, realizada originalmente em 1766 por Reginaldo Fragoso de Albuquerque, readquiriu a integridade e o colorido originais.
Forro
A restauração da pintura do forro da capela-mor, realizada originalmente entre 1863 e 1864 pelos pintores meiapontenses Inácio Pereira Leal, Antônio da Costa Nascimento, permitiu resgatar a belíssima rosácea central dedicada à Padroeira.
Arco cruzeiro
O arco cruzeiro, encimado por um medalhão, foi restaurado e todos os ornamentos em talha de madeira, inclusive as quatro colunas que emolduram o nicho central e o sacrário, readquiriram sua feição original.
A imagem de Nossa Senhora das Dores foi restaurada e assentada no retábulo lateral para que, por meio de sua imagem, se fizessem lembrados e venerados os sofrimentos de Maria.
A imagem da Padroeira Nossa Senhora do Rosário, trazida de Portugal no século XVIII, se fez renovada e voltou a ocupar o trono central do altar-mor da Matriz que lhe foi consagrada.
O Incêndio
Em 5 de setembro de 2002 a igreja sofreu um incêndio que consumiu o telhado e toda a parte interna do monumento. No mesmo ano iniciaram-se as obras de salvamento emergencial do edifício. O início das obras de restauração aconteceu em 2003 e, em 2004, foi aberta a exposição Canteiro Aberto.
A reconstrução
A reconstrução da Igreja Matriz iniciou em 2003, sendo reinaugurada em 30 de março de 2006.
O Canteiro Aberto, exposição montada no interior da Igreja Matriz Nossa Senhora do Rosário, permitiu que os moradores de Pirenópolis e visitantes pudessem acompanhar o processo de restauração, iniciado após o incêndio de setembro de 2002.
Aberta para a visitação no dia 29 de maio de 2004 e funcionando até 17 de Janeiro de 2006, a exposição recebeu um total de 35.000 visitantes de todas as regiões do Brasil e de outros países.
Através de painéis explicativos, visitas guiadas e da própria observação do edifício, foi promovido um interessante trabalho de educação patrimonial, onde os visitantes puderam interagir com o edifício, conhecendo seu valor histórico, religioso e social e participar do restauro através das críticas e sugestões.
O Canteiro Aberto sensibilizou e emocionou a muitos que o visitaram, com a beleza e grandiosidade do edifício atingido pelo incêndio, deixando em seus visitantes grandes expectativas para a conclusão do restauro.
O Renascimento de um Edifício
A Matriz, como uma fênix, ressurgiu literalmente das cinzas para ocupar o seu lugar no cenário e na paisagem da bucólica da cidade de Pirenópolis. Após o impacto do grave incêndio, que destruiu boa parte da Igreja, apenas três anos depois de uma meticulosa obra de restauração, ficou a questão: como a cidade enfrentaria a perda parcial de seu maior ícone arquitetônico e urbano? Com o futuro comprometido pela avaria de seu imponente símbolo incrustado no coração da cidade, sem dúvida tratava-se de uma obra que, mexendo com a mente e a alma de todos, causava controvérsias.
Houve os que duvidavam do sentido de se recuperar alguma coisa a partir do que chamavam de ruína. Outros insistiam que era importante preservar a integridade da própria ruína, sem nada acrescentar. Quando muito, diziam, dever-se-ia deixar a grama crescer e, eventualmente, utilizar o local para atividades culturais como shows etc.
Mas a que ruína se referiam? Para existir uma ruína, é necessário e indispensável decorrer algum tempo, ou seja, o arruinamento se dá, de forma progressiva, com o fluir do tempo. Com a Matriz, o que ocorreu foi um acidente grave, um violento incêndio que rapidamente consumiu boa parte da igreja, sem que houvesse sequer espaço para a ação do tempo.
De qualquer forma, o sinal para a restauração surgiu de uma decisão coletiva da comunidade pirenopolina.
A posição de consenso do Instituto do Patrimônio Histórico e Artístico Nacional (IPHAN) na defesa desse patrimônio nacional foi de apoiar a restauração e a reinserção do monumento na paisagem. As dúvidas ficaram por conta apenas da pertinência de uma ação integral ou parcial de recuperação, ou refazimento, dos elementos artísticos destruídos pelo fogo.
Isso posto, foi imediatamente implantada pelo IPHAN uma UTI – Unidade de Terapia da Igreja - que pretendia cuidar da Matriz como de um doente grave. Uma imensa cobertura metálica dava proteção às paredes de barro cru em taipa de pilão e, junto com os imprescindíveis escoramentos das aberturas de portas e janelas, preparava o monumento para o futuro e delicado "ato cirúrgico" de restauração.
Por intermédio da Sociedade dos Amigos de Pirenópolis (SOAP) foi então elaborado, pela Lei de Incentivo à Cultura e pela Lei Goyazes, um projeto que, após sua aprovação no Conselho Nacional de Cultura (MinC/PRONAC) e na Agência Goiana de Cultura Pedro Ludovico (AGEPEL), possibilitou a captação dos recursos que, vindos da Caixa Econômica Federal (CAIXA), das Centrais Elétricas de Goiás (CELG), do Banco Nacional de Desenvolvimento Econômico e Social (BNDES) e da Petrobras e com o apoio do Instituto Brasileiro do Meio Ambiente (IBAMA), permitiram dar início às obras.
Nascia assim o Canteiro Aberto, norteado desde logo pelos princípios de comunicação social e garantia da participação da comunidade no processo de restauro do templo. Tapumes transparentes e uma exposição no interior da Igreja tinham, entre outros objetivos, os de contribuir para a cicatrização paulatina das feridas deixadas pelo incêndio, a reinserção imediata do grande volume na paisagem da cidade e a sensibilização da sociedade após o impacto.
O acidente, ao despir todo o sistema construtivo, revelou a fortaleza daquelas verdadeiras muralhas de barro assentadas sobre cantaria de pedra que, a despeito dos 300 anos de história e das altíssimas temperaturas durante horas de fogo, se mantiveram em pé e firmes
Um canteiro digital foi providenciado para armazenar as imagens fotográficas disponibilizadas em um banco acessível pela internet, e foi dada seqüência a um meticuloso processo de documentação também em vídeo.
A riqueza das soluções criativas no canteiro de obras tais como: rabo de cavalo, adobe de pilão, andaime móvel e injeção de barro, dentre outras, deveu-se principalmente à harmoniosa convivência entre técnicos e operários. Sem subverter a imprescindível hierarquia de trabalho e levando em conta a qualidade da mão-de-obra local, a equipe aprendeu a pensar em conjunto - trocar idéias, amadurecê-las e tomar coletivamente as decisões.
O termo carapinas, empregado usualmente em Pirenópolis para denominar aqueles que se dedicam ao trabalho com madeiras, demonstra a herança portuguesa no trato com esse material. Remontando a períodos da história da colonização, a arte da madeira é ainda uma forte marca na cidade, tanto na arquitetura como no mobiliário produzido e comercializado para diversos lugares do país e do mundo. A presença no canteiro de alguns desses mestres carapinas possibilitou, em um período de pouco mais de dois anos, o aperfeiçoamento de uma série de aprendizes que, ao final, se capacitaram para o desempenho de diferentes tipos de tarefas, com alta competência técnica e operacional.
Com o respaldo de um denso referencial teórico, foram estudadas as soluções empregadas na Europa do pós-guerra: nos monumentos das duas Alemanhas; na reconstrução integral do centro urbano de Varsóvia pós-nazismo; na reconstrução, após um acidente, da Torre da Praça de São Marcos em Veneza. E estudamos o ocorrido em Dubrovnik, capital da antiga Iugoslávia, onde uma guerra étnico-religiosa destruiu a cidade patrimônio cultural da humanidade, levando em conta o compromisso das nações integrantes da UNESCO com a sua preservação de acordo com os princípios internacionais que regem o tema patrimônio da humanidade.
Afinal, a pergunta que não quis calar: no caso da Matriz de Pirenópolis houve um restauro ou uma reconstrução? Ao afirmar que se tratou de uma reinserção do volume na paisagem ou da reapropriação de um importantíssimo ícone simbólico e espiritual, temos a certeza de que estamos no campo e no domínio restrito do restauro. Por mais cuidadosa que seja sua conservação, um monumento não se mantém por toda a eternidade sem as inevitáveis ações de restauro e conservação das características que lhe conferem originalidade e legitimidade. Podem ser trocadas as portas desgastadas pelo tempo, a cobertura, seu tabuado, sua pintura, sem que isso signifique uma reconstrução.
Na Matriz, a ancestral taipa de pilão falou mais alto, resistiu às intempéries do tempo e à agressão do fogo e se recompôs para que o próprio tempo possa avaliar melhor sua trajetória.
E, se cada caso é um caso, na Matriz cabe reafirmar sua verdadeira restauração. Restauração de sua função simbólica, de sua função social e cultural, de sua importância arquitetônica e urbana, de sua centralidade espacial na cidade e de sua primazia na paisagem, de seu papel histórico e, sobretudo, de sua condição de obra de arte contextualizada no tempo e no espaço.
A Matriz de Pirenópolis encerra a história de um monumento que, a despeito das várias formas pelas quais se revelou ao longo do tempo, conservou sua essência primeira, mantendo sempre viva sua destinação original. Ora as torres foram altas e, por infortúnios do tempo, tiveram que ser rebaixadas... ora a capela-mor foi pequena, e teve que ser aumentada... ora o arco cruzeiro ruiu, e teve que ser restaurado, graças ao empenho do Comendador Joaquim Alves da Silva em sua memorável passagem pela cidade.
Mas a Matriz perpetuou-se como nasceu, simples, bela e verdadeira. Uma obra de arte que, inscrita em 1941 no livro de tombo do patrimônio histórico e artístico nacional, foi reconhecida como tal desde os tempos pioneiros do IPHAN. Uma menina que se tornou senhora, cercada dos cuidados que a memória nacional requer, uma obra de arte que merecia ser restaurada, jamais replicada.
Quanto aos elementos artísticos levados pelo incêndio, o tempo tratou de buscar no passado uma curiosa solução. A religiosidade brasileira fez edificar em Pirenópolis duas igrejas do Rosário: a dos brancos e a dos pretos. Estes últimos, impedidos de freqüentar a Matriz que haviam ajudado a erguer, viram-se obrigados a construir outra igreja para a mesma santa de devoção. E, por muitos anos, conviveram os dois edifícios com suas fachadas voltadas uma para a outra. Até que, por força de intervenções desastrosas que tentaram tornar o colonial em neogótico a exemplo do que ocorreu em outros tantos monumentos do Brasil afora, a igreja dos pretos veio a ruir, ficando o seu altar-mor preservado e guardado por mais de sessenta anos.
Com o acidente da Matriz, configurou-se uma situação inusitada - uma igreja sem altar-mor e um altar-mor sem igreja. Era chegada a hora de, unindo os homens de todas as cores e mesma fé, transplantar, para o doente já recuperado, um coração, a alma da Nossa Senhora do Rosário dos brancos, dos pretos e dos mestiços. A alma da Nossa Senhora do Rosário do povo brasileiro e pirenopolino.
As soluções adotadas para os elementos artísticos da igreja privilegiaram a simplicidade dos materiais e a autenticidade das técnicas construtivas, em harmonia com as conquistas tecnológicas do tempo histórico presente. Deixando a descoberto os relevos na taipa que outrora abrigavam os altares laterais, ou incorporando no altar-mor uma talha original da antiga igreja dos pretos da mesma santa de devoção, buscou-se reter no interior do edifício as marcas mais significativas e contundentes do passado vistas sob a luz do aqui e agora.
Por tudo isso, a intervenção restauradora não pode ser caracterizada como um restauro autoral, mas como um processo de restauro coletivo que procurou, por meio da consolidação do templo, o resgate da fé de um povo.
Agora só resta aguardar pacientemente o julgamento da história. O restauro de um monumento é feito do tempo do fazer, do tempo do admirar, do tempo do envelhecer e do tempo de se perpetuar e se lançar para o futuro.
Wikipedia
“REJOICE always, Pray without ceasing, GIVE THANKS IN ALL CIRCUMSTANCES for this is the Will of God in Christ Jesus.” 1 Thessalonians 5:16-18
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PSALM 13
R. With delight I REJOICE in the Lord…
Though I trusted in your mercy,
let my heart REJOICE in your salvation. R.
Let me sing of the Lord, “He has been good to me.” R.
———
"Let the hearts that seek the Lord REJOICE; turn to the Lord and His strength; constantly seek His face." Cf. Psalm 105
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"REJOICE when you share in the sufferings of Christ, that you may also REJOICE exultantly when His glory is revealed." Cf. 1 Peter 4:13
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JOY AND PEACE…
4 REJOICE in the Lord always. I shall say it again: REJOICE!
5 Your kindness should be known to all. The Lord is near.
6 Have no anxiety at all, but in everything, by prayer and petition, with thanksgiving, make your requests known to God.
7 Then the peace of God that surpasses all understanding will guard your hearts and minds in Christ Jesus.
~ Philippians 4
———
"I REJOICE heartily in the LORD, in my God is the #Joy of my soul..." Isaiah 61
———
Psalm 126:1-6
R. The Lord has done great things for us; we are filled with joy…
When the Lord brought back the captives of Zion, we were like men dreaming.
Then our mouth was filled with laughter, and our tongue with rejoicing. R.
Then they said among the nations,
“The Lord has done great things for them.”
The Lord has done great things for us; we are glad indeed. R.
Restore our fortunes, O Lord, like the torrents in the southern desert.
Those that sow in tears shall reap rejoicing. R.
Although they go forth weeping, carrying the seed to be sown,
They shall come back rejoicing,
carrying their sheaves. R.
PRAYER
“I REJOICE in You, Lord, and in Your loving plan for me and all Your children.” www.wau.org
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Filename - REJOICE - P2146430 Clouds 2 - paint 2014
Following the Son...
Blessings,
Sharon 🌻
God's Beauty In Nature is calling us into a deeper relationship with Him...
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Bloggers are welcome to use my artwork with, “Image from Art4TheGlryOfGod by Sharon under Creative Commons license”, and a link back to the images you use and please let me know in the comment section below, thank you...
Art4TheGlryOfGod Photography by Sharon
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Faith, Hope & Love in daily Art meditations...
X ~ www.twitter.com/Art4ThGlryOfGod
Flickr (complete portfolio) ~ www.Flickr.com/4ThGlryOfGod
Pixoto (awards) ~ www.pixoto.com/4thegloryofgod/awards
Music Videos (from my Art Photography) ~
www.youtube.com/user/4ThGlryOfGod
#prints available upon request
Even without him it's a special place, but I didn't stay more than a few minutes. Too many fond memories.
For now these are the only known colors for these wheel holders without holes.
There might be a transparent one, because those exist as regular wheel holders.
Red must be a test version as they never existed in sets.
White: M 15
Red: 08 9
Black: 139
Marbled black to white
L2 L4 L6 L8
Artestenciva and Alemao Stencil from Brazil
Doodledubz from UK
Pasted in Paris as part of street art without borders...
Photo by e-chan © 2007 All rights reserved - Downloading and using without permission is illegal.
Singaslaves :
From 248 000 in the early 90's to more than 750 000 nowadays, the foreign low-skilled (and very low-paid) workers are now a a vital element of the booming singaporean economy and a huge component of the population (18% of the 4.6 millions people living there) - although a lot of Singaporeans pretending not to be racist tend to say that the real singaporean population is 3.7 million (as if the foreign workers were not part of the population)...
Not so fun to be a foreign worker in the construction sites.
Of course, if you come from Sri Lanka, India or Bangladesh (or Myanmar, or Indonesia, etc), the pitiful 600 singapore dollars ( around 310 US dollars or 290 euros) salary you earn for the work is far more than the average wages you could earn in your native countries. Of course, you can buy a nice handphone or mp3, and maybe send a bit for the relatives you've left. So i guess i can understand when some of them i've talked to told me they were quite happy here.
But... They work like dogs, they are carried in lorries like cattle.
They are lonely. They are too poor to rent flats and in the miserable dormitories where they live, there is usually no comfort and very strict rules : no gathering, no drinking, no smoking, no guests, no talks after 10pm...
So some of them gather in the evening around HDB (public housing residences) void decks and eat, drink and talk, as they used to do in India or in their native countries. Of course, there are sometimes loud noises and other little troubles for the neighborhood, and i guess sometimes worse things.
Some residents seem to be very bothered by that - obviously more than when it's a rowdy ah bengs gang (local chinese singaporean bad boys) gathering or noisy mahjong players. In the newspapers, some residents say they created "vigilant groups" so as to catch foreign workers urinating or drinking around the HDBs. Some "not racist" madams say they are too afraid to go out when there are foreign workers around their residences because their smell is unbearable (!) an they feel "mentally violated" (!) by these poor guys. Some threw bags full of urine at foreign workers gathered under their windows... Classy.
The Prime Minister himself had to remind that foreign workers are human too and they are a necessary part of the economy, hence they deserve more tolerance and respect from the singaporean citizens - who by the way are very often descendents from migrant workers...
This picture has been used with permission by some, without permission by the cool blog misterbrwonshow.com (but i don' t mind), without permission by some other websites and blogs, misused by others, stolen and usurped by some. Which letter you don't understand in the word "COPYRIGHT" , huh ?
Power Figure (Girl Without a Face)
Height: 12", Width: 5.5", Depth: 4.75"
The figure is entirely handmade/handsculpted by me. Her body is cotton batting and fabric over steel wire, her hands/feet are sculpted in Epoxy-based Artist’s clay and her head is sculpted in PaperClay. She has been painted/aged with acrylics and acrylic mediums. Hard parts are finished with matte polymer varnish.
Additive material includes replica bones and teeth (human teeth and finger bones, sabertooth foot bone, squirrel skull), driftwood, fabric, fiber, vintage filigree beads, vintage watch parts in “Quick Fix” vial, rusted chain, faux bone and stone beads.
Power Figure (Girl Without a Face)
Handmade, OOAK art doll. 12 inches tall.
Mixed media including fabric and Paperclay.
Copyright © 2009, Shain Erin. All rights reserved.
james turrell within without 2010 (a skyspace)
australian national gallery, canberra, australian capital territory, australia
I saw this on Facebook (thanks, Nicole!) and decided to give it a try. It was a lot of fun:
24 images, no deleting. You fire it off you keep it.
1. One lens/one focal length. If you are using a zoom lens use the low end or the high end.
2. Your ISO will be 400.
3. All images will be either color or black and white. Choose your "film."
4. Black out your LCD. Turn it off or tape it.
5. You can't import your images till after noon your local time on Sunday the 4th.
6. No cropping.
7. WYSIWYG/SOOC.
I love the way this challenge made me take more care in composing my photos. Knowing I couldn't just dump these into Lightroom and crop or adjust them made me hyper-focused on composition. A few of them came out kind of cool. But I clearly need to figure out the exposure dial.
The image above was lightly processed. Here are my 24 images, SOOC.
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Francisco Aragão © 2009. All Rights Reserved.
Use without permission is illegal.
Attention please !
If you are interested in my photos, they are available for sale. Please contact me by email: aragaofrancisco@gmail.com. Do not use without permission.
Many images are available for license on Getty Images
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Cidade de "Nha Chica" - Sul de Minas.
Portuguese
Baependi é um município do estado de Minas Gerais, no Brasil. De acordo com o censo realizado pelo Instituto Brasileiro de Geografia e Estatística em 2010, sua população é de 18 292 habitantes.
Topônimo
"Baependi" é um palavra oriunda da língua tupi. Significa "água da coisa achatada", através da junção dos termos mba'e ("coisa"), peb ("achatado") e 'y ("água, rio").[7] Outra teoria diz que o nome provém do tupi mbaé-pindi, que significa "a clareira aberta".
História
De acordo com relatos sertanistas, a região sul-mineira ficou conhecida pelos europeus a partir de 1601. Até então, a região era habitada pelos índios puris.[8] A conquista europeia de Baependi aconteceu, no entanto, em fins do século XVII, por volta de 1692, quando os paulistas Antonio Delgado da Veiga, seu filho João da Veiga e o tio de Miguel Garcia Velho, o capitão Manoel Garcia Velho, partiram de Taubaté, em São Paulo, em busca de ouro. Transpondo a Serra da Mantiqueira, alcançaram um sítio que chamaram Maependi.
Cidade remanescente do chamado Ciclo do Ouro em Minas Gerais, Baependi se desenvolveu ao longo do caminho da Estrada Real - a primeira grande via de comunicação regular no Brasil -, que ligava a região das minas a Paraty, no Rio de Janeiro, porto de onde saía o ouro em direção à Europa.
O madeirense Tomé Rodrigues Nogueira do Ó (1715), capitão-mor e provedor dos quintos do Registro da Mantiqueira, foi um dos primeiros moradores do local. Foi considerado o fundador da cidade, por ter erguido as suas primeiras construções. A mineração foi, paulatinamente, substituída pela agricultura e pela criação de gado. Destacou-se a grande lavoura do tabaco, que fez de Baependi o centro produtor da Província de Minas Gerais e que representou importante fonte de riqueza até meados do século XIX.
Atualmente, a economia do município é baseada na agricultura, no comércio, no artesanato, na comercialização de pedras de quartzito e no turismo, já que a beleza natural é o forte da cidade, cercada de montanhas, matas, rios e inúmeras cachoeiras. O artesanato é uma importante atividade econômica em Baependi. As peças feitas em bambu, palha de milho e tronco de cafeeiro são distribuídas em grandes centros urbanos, como São Paulo, Rio de Janeiro, Belo Horizonte e capitais da Região Nordeste do Brasil.
English
Baependi is a Brazilian municipality located in the state of Minas Gerais. Its population as of 2006 is estimated to be 18,173 people living in an altitude of 893 meters. The area of the municipality is 751.748 km². The city belongs to the mesoregion of Sul e Sudoeste de Minas and to the microregion of São Lourenço. Coordinates: 21°57′S 44°53′W
History
According to some reports, mining occurred in the southern region from 1601. The conquest of Baependi happened, however, at the end of the seventeenth century, around 1692, when the São Paulo Delgado Antonio da Veiga, his son Joao da Veiga and uncle Miguel Garcia of the old master Manoel Garcia Velho, started from Taubaté, in search of gold. Crossing the Serra da Mantiqueira, they reached a site that called maependi (mbaé-pindi means "to open clearing" in Tupi-guarani).
City remainder of the so-called cycle of Gold in Minas Gerais, Baependi has developed along the path of Estrada Real - the first major means of regular communication in Brazil - which link the region of mines to Paraty (RJ), port from where the rising gold toward Europe.
The Madeiran Tome Rodrigues Nogueira of O (1715), Captain-mor and Ombudsman of Quintos the "registration of the Mantiqueira" was one of the first residents of the site and was considered the founder of the city for doing the first building. The mining was, gradually, replaced by agriculture and cattle breeding. It is a great crop of tobacco, which was the center of Baependi producer of the Province of Minas Gerais and represented major source of wealth until the mid-nineteenth century.
Currently, the municipality's economy is based on agriculture, trade in handicrafts, marketing of stones, quartzite and tourism, as is the strong natural beauty of the city, surrounded by mountains, forests, rivers and numerous waterfalls. The craft is an important economic activity in Baependi. The pieces made in bamboo, straw, corn and tree trunk of coffee are distributed in large urban centers such as São Paulo, Rio de Janeiro, Belo Horizonte, capital of northeast.
Religion
Baependi has had a parish church since 1723. The ceremony of the Holy Week in Baependi has continued for over 200 years, being one of the most traditional of Minas Gerais. The daily processions accompanied by banda music and choir, the representation of the Passion and Death of Jesus Christ, the corner of Veronica, the sound of bells and the sound of matracas, show the faith and tradition baependianas.
The temples, debruçados the slopes esguias, seem save the city and its inhabitants. The Shrine of N. Ms. of Conception, better known as Church of Nhá Chica, is the most visited by the faithful, which also delight with the architecture and the body of the Church N. Ms. of Montserrat (1754). The churches baependianas - the Mother, Our Lady of Good Death (1815) and Rosario (1820) - tombadas by and Artistic Heritage, represent assets of great value to a nation that considers Nhá Chica its highest spiritual heritage.
Wikipedia
Without a doubt one of the most enjoyable books I have ever read. Despite what the cover say it is not about hauntings at all but rather some of the more colourful characters who have called this province home through the years. Some far back in history, (well far back for Canadian history that is) and some I can remember. The author has written as if he is talking just to you so you actually feel you are there and witnessing each story first hand. Truly a good read.
PLEASE DO NOT INVITE / POR FAVOR NO INVITAR
©Copyright
All my photographic images are copyright. All rights are reserved. Do not use, copy or edit any of my photographs without my written permission.
If you want to use my photo private use, please contacme:
www.flickr.com/people/irmafloresavila/
________________________________
"Quiero dar las Gracias a morito36pa por su colaboración en proporcionar sus fotos para hacer posible esta pagina de enlace para agrupar las antiguos colones de El Salvador.
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Un Poco de la Historia del ColóN
El colón fue la unidad monetaria de El Salvador desde 1892 hasta 2001, año en que fue sustituido progresivamente por el Dólar estadounidense, aunque oficialmente no ha dejado de tener curso legal.[1]
El colón era emitido desde 1934 por el Banco Central de Reserva de El Salvador, organismo gubernamental encargado de la política monetaria del país. El colón se dividía en 100 centavos. En el momento de su desaparición circulaban monedas, de 1, 5, 10, 25 y 50 centavos de colón, y de 1 colón. En cuánto a papel moneda, circulaba billetes de 1, 2, 5, 10, 25, 50, 100 y 200 colones.
El 1 de octubre de 1892, el gobierno del presidente Carlos Ezeta, decidió que el peso salvadoreño se denominaría Colón, en homenaje al descubridor de América. El 19 de junio de 1934 se creó el Banco Central de Reserva como único organismo autorizado para emitir moneda en la nación. El 1 de enero de 2001, entró en vigencia la Ley de Integración Monetaria, promovida por el partido gobernante Alianza Republicana Nacionalista, que autorizaba la libre circulación del dólar estadounidense en el país, con un tipo de cambio fijo de 8,75 colones. En la práctica, la ley provocó que en pocos meses el Colón dejara de circular en el territorio salvadoreño. Los partidos de oposición, en especial el FMLN, han propuesto en varias ocasiones. abandonar el sistema dolarizado y emitir nuevamente la antigua moneda.[2]
La moneda antes y durante la colonia
EL CACAO
Desde que existe el comercio, las cosas han sido valoradas en términos de la unidad del objeto más apreciado localmente. En tal sentido, es lógico que los nativos del territorio salvadoreño antes de la llegada de los españoles, usasen el cacao como "moneda", puesto que el Chocolate era considerada la "bebida de los dioses".[3]
El uso del cacao como valor de cambio se remonta al auge de la civilización Maya, cuando la unidad monetaria era el Xontle, compuesta por cuatrocientas almendras de cacao.[4] La llegada de los conquistadores supuso la introducción de la moneda española, el Real. Pese al cambio, el cacao se siguió utilizando a razón de ciento sesenta almendras por un Real.[5] Todas las monedas utilizadas en América fueron acuñadas en España, hasta que en 1731, se fundó la Casa de la Moneda en Guatemala.[3]
EL MACACO
Las monedas más usadas durante la colonia fueron los Macacos. Consistían en piezas de plata de forma no definida, acuñadas en Perú o México; en su mayoría eran cortadas con tenazas y figuraban un grabado de las columnas de Hércules con la inscripción Plus Ultra. Su valor nominal era menos importante que su peso en metal, es decir, no tenían un valor absolutamente definido. Aun después de la independencia de los países centroamericanos, el macaco siguió en circulación, siendo oficializado el 9 de julio de 1856
MONEDA POSTERIOR A LA COLONIA
A mediados del siglo XIX, aparecieron las fichas de finca, las cuales eran monedas fabricadas de lata, en su mayoría de forma circular. Se les grababa el nombre de la finca y era la forma de pago a los empleados de la misma; la ficha solamente tenía valor en la tienda de finca que la emitía, por lo que se creaba una especie de monopolio.[6]
Durante la existencia de la Federación Centroamericana, el sistema monetario no cambió con respecto al colonial; se siguió usando el peso de plata como moneda principal, aunque con circulación de los macacos y de las fichas de finca.
Una vez disuelta la federación, el gobierno salvadoreño decretó la emisión de la primera moneda nacional; los reales, monedas de oro con una "R" grabada y los Escudos, monedas de plata con una "E" grabada.[3]
En 1883, bajo la presidencia del doctor Rafael Zaldívar, se decretó la Primera Ley Monetaria, adoptándose el "Peso" como unidad monetaria, descartándose el sistema español de división en 8 reales. La nueva ley ocupó como base el sistema métrico decimal, donde el peso equivalía a 10 reales.
Finalizando el siglo XIX, aparecieron los primeros billetes de banco. El nuevo papel-moneda pasó a jugar un rol importante como instrumento de cambio, como unidad de medida del valor de los bienes y como elemento de ahorro.
La emisión de los billetes estaba a cargo de bancos privados autorizados por el Gobierno. El primer banco emisor fue el Banco Internacional, fundado en 1880; a este banco se le otorgó de manera exclusiva la emisión de billetes, aunque después perdió la exclusividad ante las autorizaciones al Banco Occidental y al Banco Agrícola Comercial.
Bajo la presidencia de Carloz Ezeta, se inauguró la Casa de la Moneda el 28 de agosto de 1892; el 1 de octubre del mismo año, como homenaje a Cristobal Colón en el IV Centenario del Descubrimiento de América, la Asamblea Legislativa reformó la ley monetaria y cambió el nombre de a "Colón". El cambio con respecto al dólar estadounidense en ese momento era de 2 colones por un dólar.
En 1919 se volvió a reformar la Ley Monetaria, estipulando que las monedas desgastadas por el manejo diario serían retiradas de circulación y las piezas recortadas o perforadas no serían aceptadas en el curso legal. Mediante esa ley, quedó prohibido el uso de fichas, vales u homólogos en sustitución de la moneda oficial. Además, dio al Ministerio de Hacienda la facultad de controlar la circulación de la moneda.
Pese a la prosperidad económica relativa de los años 20, la depresión mundial de 1929, la caída internacional de los precios del café y la desregulación estatal del sistema monetario causaron una crisis económica nacional.
El problema principal era la carencia de una institución especializada que se dedicase a velar porque la moneda mantuviera su valor y a controlar la actividad bancaria; en tal sentido, el gobierno del general Maximiliano Hernández Martínez contrató a un experto ingles llamado Frederick Francis Joseph Powell, quien debía analizar y estructurar el cuerpo bancario salvadoreño.
En su informe final, recomendó que el sistema bancario debía organizarse en torno a un banco central que resguardase la moneda y su valor, así como emitir la unidad monetaria y controlar los créditos. Es así que por iniciativa de la presidencia de la república del 19 de junio de 1934, la Asamblea Legislativa aprobó la ley de creación del Banco Central de Reserva de El Salvador, institución cuyo objetivos se fijó en el control del volumen del crédito y la demanda de moneda circulante, así como se le confirió la facultad exclusiva de emitir especie monetaria.
Emisión de la primera familia de colones
El 31 de agosto de 1934, la nueva institución bancaria puso en circulación la primera familia de billetes en la historia salvadoreña. Emitió billetes de uno, cinco, diez, veinticinco y cien colones; añadiéndose en 1955 la denominación de dos colones y el de cincuenta colones en 1979. El diseño de los billetes fue cambiando paulatinamente y de manera individual; también se dejaron de emitir algunas denominaciones con el pasar del tiempo.
Las monedas emitidas en la primera familia fueron de uno, dos, tres, veinticinco y cincuenta centavos; agregándose luego la moneda de un colón. Al igual que con los billetes, algunas denominaciones fueron desapareciendo con el tiempo y las que quedaron, fueron siendo modificadas en su diseño y en su tamaño.
Segunda familia de colones
En 1997, el Banco Central de Reserva emitió una segunda familia de billetes, introduciendo la denominación de doscientos colones