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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

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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 Cirneco dell'Etna is a small breed of dog originally from Sicily. This hound was historically used to hunt rabbits and can work for hours without food or water.The breed also has a keen sense of smell and is primarily built for endurance over harsh terrain such as that of Mount Etna. It is the smallest of the Mediterranean island hunting hounds, the others being the Pharaoh Hounds and Ibizan Hounds.Today they are increasingly kept for the sport of conformation showing and as pets, due to their low coat maintenance and friendly nature, although as an active hound they do need regular exercise. A Cirneco should measure from 43-51 cm (17-20in) and weigh between 10–12 kg (22-26lb). As with other breeds, those from hunting stock can lie outside these ranges.

The Cirneco dell'Etna is a small hound-type dog used in Sicily for rabbit hunting. It is found all over the Italian island and particularly in the area surrounding the active volcano, Mount Etna,where the dogs hunt on terrain formed by volcanic lava. Its presence in Sicily is noteworthy as one of the few ancient breeds that have undergone very little manipulation by man. Instead, the breed has been rigorously selected by nature for its ability to work for hours. The dog we have today is an extremely hardy breed. Affectionate and friendly, it is considered easier to train than some of its sighthound cousins. The Cirneco has been in Sicily for thousands of years. Most authors agree that the origins of the hound-type dog lie among ancient Egyptian prick-eared dogs. Bas-reliefs discovered along the Nile and dated around 4000 B.C. depict what could be the Cirneco today. Most probably, the Phoenicians spread these prick-eared, hound-type dogs as they sailed along their trade routes between Northern Africa and the Mediterranean coasts. Ancient records of hounds with upright ears and a pointed muzzle are found in many countries in that part of the world. The most vivid proof of the presence of the Cirneco dell’Etna in Sicily for at least the past 2500 years is the many coins minted between the 5th and 3rd centuries B.C. depicting exemplars of the breed. In particular, the Cirneco dell’Etna is used on coins minted at Segesta, with about 150 variations. In 400 B.C., Dionysus was said to have built a temple dedicated to the God Adranos on the south-western slope of the volcano, just outside the city of Adrano. Many dogs were bred there and legend claims that a thousand Cirnechi guarded the temple.The Cirneco was rarely seen and little known outside Sicily until 1932. Now Cirnechi have also been exported to many European countries where their elegant conformation has helped make them a success in the show ring and many have become FCI International Show Champions. The dog's affectionate temperament and adaptability make it an excellent family companion.

El cirneco del Etna es una raza de perro oriunda de Sicilia. Este tipo de lebrel de pequeño tamaño forma parte de un conjunto de razas caninas del Mediterráneo cuyo origen se encuentra en Egipto, y entre las que se encuentra el podenco Ibicenco. Se trata de un perro adaptado a terrenos difíciles, apto para la caza de conejos y liebres.Los machos miden entre 46 y 50 cm, y pesan de 10 a 12 kg, y las hembras miden entre 42 y 46 cm, pesando de 8 a 10 kg. La cabeza es alargada y estrecha y el hocico afilado y puntiagudo, con un stop muy poco pronunciado. La trufa es de color marrón claro, y los ojos, pequeños, pueden ser ocre claro, ámbar o grises. Las orejas, erguidas, son triangulares y puntiagudas, y están implantadas altas. El lomo es recto y largo, y el pecho no demasiado amplio, con la musculatura pectoral poco desarrollada, al contrario que las patas, fuertes y con una musculatura bien desarrollada. La cola, implantada baja, es gruesa y de diámetro uniforme. El manto, de color tostado o tostado y blanco, tiene un pelaje corto y espeso en la cabeza, orejas y patas y liso y semilargo en el tronco y la cola.Su nombre puede proceder del de la antigua ciudad de Cirene, donde Aristóteles, en De natura animalium, dice haber visto un perro cuya descripción coincide con la de este.Aunque parece claro que la raza es autóctona de Sicilia, es posible que fuese anterior a la civilización egipcia, y que hubiese sido llevado al norte de África por los fenicios. Esta hipótesis se vería confirmada por la existencia de una estatuilla hallada cerca de Siracusa, datada alrededor del 4000 a.c.Se encuentran representaciones del cirneco en monedas sicilianas del siglo Vl al siglo III a.c., y parece que se le tenía en gran consideración, como demuestra el hecho de que en una de las monedas halladas en la antigua ciudad siciliana de Segesta se le represente junto a una divinidad fenicia con facciones humanas. Desde entonces las características de la raza han permanecido prácticamente inalteradas, gracias en gran medida a los campesinos, que conservaron su pureza criándolo por su utilidad para cazar en las pendientes del Etna, de lava solidificada y difícilmente accesibles.

Der Cirneco dell’ Etna ist eine von der FCI anerkannte italienische Hunderasse, die von der Insel Sizilien stammt (FCI-Gruppe 5, Sektion 7, Standard Nr. 199).Frühere Studien gingen davon aus, dass der Cirneco dell'Etna von Jagdhunden abstammt, die zur Pharaonenzeit im Niltal gezüchtet wurden. Der Cirneco dell'Etna sei dann mit den Phöniziern nach Sizilien gekommen. Neueste Untersuchungen unterstützen allerdings eine andere Theorie: Der Cineco dell'Etna stammt ursprünglich aus Sizilien und lebte an den Abhängen des Ätna. Münzen und Gravuren aus der römischen Epoche belegen, dass Hunde dieses Typs bereits vor Christi Geburt auf Sizilien vorkamen.

Der Cirneco dell'Etna ist mittelgroß (bis zu 50 cm und bis zu 12 kg schwer), quadratisch gebaut, schlank, aber dennoch widerstandsfähig und robust. Das Fell ist kurz, sehr glatt und fest. Dabei ist das Fell auf dem Rumpf und der Rute ungefähr 3 cm lang. Die Fellfarbe ist falbfarben, von intensiv bis verwaschen, wie isabell-sandfarben. Weiße oder gescheckte Exemplare können vorkommen; in der Regel weist der Cirneco dell'Etna jedoch nur geringe weiße Abzeichen auf.Die Ohren sind auffällig groß und stehend typisch wie auch bei den Podencos.Der Cirneco dell'Etna wird zur Jagd auf Wildkaninchen verwendet. Sein Verbreitungsgebiet umfasst vor allem die Region um den Ätna, an dessen Abhängen er die Kaninchen im Gebüsch und Geröll aufstöbert. Er treibt die Kaninchen aus ihren Verstecken hervor, so dass die Jäger zum Schuss kommen können.

Le Cirneco de l'Etna (Cirneco dell’Etna) est un chien originaire de Sicile. La Fédération cynologique internationale l'a répertorié dans le groupe 5, section 7, standard n° 199.

Cirneco de l'Etna.....Chien de type lévrier bien qu'il soit classé dans le groupe 5. Chien adapté aux terrains difficiles qui chasse le lapin sauvage.Chien de nationalité italienne primitif qui descendrait des chiens de l’époque des Pharaons. Mais il pourrait s’agir d’une race autochtone d’origine sicilienne.

O cirneco do Etna (em italiano: Cirneco dell’Etna) é uma raça quase desconhecida fora da Itália, já que permaneceu isolada na Sicília por praticamente 2 000 anos. Em 1939 foi reconhecida como raça. Comum aos cães de raças antigas, estes têm dificuldade de adaptação ao mundo urbano, pois precisam de constante atividade e são difíceis de adestrar, embora sejam vistos como animais muito fiéis. Podendo pesar até 12 kg, tem como peculiaridade as grandes orelhas largas e eretas, o longo pescoço e a cabeça estreita.

Сицилийская борзая или Чирнеко дель Этна — порода собак. Происходит с Сицилии. Изначально выращивалась для охоты на зайца. Классические исследования собачьих пород, распространенных в Средиземноморском регионе, пришли к заключению, что Чирнеко Дель Этна происходят от античных охотничьих собак, выведенных в долине Нила в эпоху фараонов, собак, получивших достигших Сицилии благодаря Финикийцам. Но согласно последним исследованиям получила одобрения теория, согласно которой эта порода имеет непосредственно сицилийское происхождение, зародившись в окрестностях Этны. Монеты и гравюры доказывают, что Чирнеки существовали в этом регионе за много веков до нашей эр Собака примитивного типа, элегантного и утонченного сложения, среднего размера, не громоздкая, сильная и крепкая. По морфологическому сложению — собака удлиненных линий, легкого сложения; квадратного формата; шерсть тонкая.

Охотничья собака, выведенная для охоты на кролика по сложной местности; обладает большим темпераментом, но в то же время мягкая и привязчивая.

Cirneco dell’etna on italialainen koirarotu. Se on vinttikoiran tyyppinen pystykorvainen, alkukantainen ja harvinainen rotu. Cirneco dell’etnan tarkka alkuperä jää hämärän peittoon, mutta se on hyvin vanha rotu ja muuttunut vuosisatojen saatossa vain vähän. Rotu on saanut olla melko rauhassa, ja vasta viime vuosina sen jalostukseen on puututtu.Rotu on nykyisin lähinnä seura- ja harrastekoira. Italiassa sitä käytetään yhä villikaniinien metsästykseen. Cirneco on nopea koira, ja ketteränä se pystyy vaihtamaan suuntaa nopeasti esimerkiksi metsästyksen aikana. Cirneco käyttää metsästäessään kuuloaan, näköään ja hajuaistiaan.Cirneco dell’etna on luonteeltaan temperamenttinen, eloisa, ystävällinen, iloinen ja leikkisä koira. Cirnecon leikkisyys säilyy yleensä vanhoihin päiviin asti. Cirneco on myös hyvin läheisyyttä rakastava koira, ja sen lempipaikka onkin yleensä kainalossa sohvalla tai peiton alla omistajansa vieressä. Cirneco kiintyy voimakkaasti perheeseensä ja tulee yleensä hyvin toimeen ystävällisenä ja lempeänä koirana kaikenikäisten ihmisten kanssa. Miellyttämisenhalua cirnecolla ei ole kovin paljon, joten ilman hyvää motivointikeinoa se ei välttämättä aina tottele ainakaan ensimmäisellä käskyllä. Cirnecolla on kuitenkin miellyttämisenhalua enemmän kuin yleensä vinttikoirilla. Cirneco tarvitsee johdonmukaisen ja määrätietoisen peruskasvatuksen.

Cirneco dell’etna on ikivanha rotu, jonka juuret johtavat 1000-luvulle ennen ajanlaskun alkua. Joidenkin mielestä se polveutuu Egyptin viimeisten dynastioiden faaraoiden koirista ja niistä koirista, joita foinikialaiset kauppiaat toivat Italiaan. Tutkimukset antavat aiheen olettaa, että se olisi Sisilian alkuperäisrotu. Cirneconnäköisiä korkokuvia on löydetty faaraoiden haudoista, mm. Luxorista ja Ben-Hassanista. Sisiliasta on myös löydetty 45 cm korkea luuranko, joka muistuttaa cirnecoa suuresti. Luuranko on paikallistettu vuoteen 1400 eaa. Nykyisin kyseinen luuranko on nähtävissä Pigorini-museossa Roomassa. Myös vanhoista Sisiliasta löytyneistä kolikoista on löydetty cirnecoa esittäviä koiran kuvia.

Il cirneco dell'Etna è un cane appartenente ad una razza molto antica, che ha subito poche manipolazioni nel corso dei secoli.Le origini del cirneco risalgono al 1000 a.C. Si dice che questa razza derivi dai cani dei Faraoni egiziani delle ultime dinastie e da cani importati in Sicilia dai commercianti fenici. Successivi studi hanno indicato che molto probabilmente il Cirneco è una razza autoctona siciliana.Il cirneco dell'Etna appartiene alla classe dei cani da caccia di tipo primitivo; è un animale molto veloce e per questo viene utilizzato soprattutto nella caccia al coniglio selvatico e alla lepre.Si presenta con una figura molto snella, con gambe lunghe, orecchie dritte e con un corpo muscoloso ma nello stesso tempo molto elegante. Ha un fiuto eccezionale ed è agilissimo nel cambiare direzione durante l'inseguimento della preda. Da notare che, sebbene l'aspetto del cirneco ricordi quello dei levrieri, non caccia a vista ma usa l'olfatto, come un cane da cerca; secondo la classificazione della Federazione Cinologica Internazionale (F.C.I.), tutti i cani appartenenti alla razza dei "levrieri" appartengono al 10º gruppo, mentre il cirneco è inserito nel 5º Gruppo, quello delle razze di tipo primitivo.Generalmente raggiunge l'altezza di 46-50 cm al garrese negli esemplari maschi, mentre le femmine misurano dai 42 ai 46. Il peso del maschio si aggira intorno ai 10-12 kg, mentre le femmine raggiungono gli 8-10. La lunghezza del tronco è in media uguale all'altezza al garrese: il cirneco ha dunque una costruzione quadrata. È strutturato da una massa muscolare che comprende l'80% del corpo. Si presenta snello e, se nutrito in modo adeguato, mantiene una linea elegante e slanciata.Cane velocissimo e molto agile, è capace di raggiungere persino i 40/45 km/h nella corsa.I colori del mantello del cirneco dell'Etna vanno dal sabbia dorato al cervo scuro; non necessariamente devono essere presenti macchie bianche, ma possono essercene su tutto il corpo; sebbene molto rari, ne esistono colorati di bianco arancio (come nel setter inglese) e di bianco puro (pur non essendo propriamente albino). Il colore riconosciuto dagli standard di razza è il fulvo più o meno intenso, isabella e sabbia, con lista bianca in fronte, al petto, piedi bianchi, punta della coda bianca e ventre bianco.Dotato di grande intelligenza, è generalmente indipendente e solitario. Generalmente diffidente con gli estranei, si affeziona ad un solo padrone. Si può dire che abbia le sue simpatie e antipatie a pelle: con alcuni individui non socializza e alla loro vista abbaia; con altri inizialmente si mostra aggressivo ma poi socializza e con altri ancora prova un feeling immediato e socializza subito. È un cane che per il padrone darebbe tutto se stesso.Se correttamente socializzato da cucciolo, evidenzia un carattere molto disponibile e gioioso e privo di diffidenze anche verso le persone appena conosciute.Se cresce in un ambiente familiare, dove ha ricevuto tutti gli stimoli nei confronti dell'ambiente esterno, ama essere portato a spasso e incontrare altri cani e persone, anche se sconosciuti. Se lasciato libero, soprattutto in luoghi di campagna, cambia visibilmente espressione; tutti i muscoli si tendono, ama ispezionare l'ambiente circostante e, anche se all'inizio sembra indipendente, in realtà sa sempre dove si trova il suo padrone e puntualmente ritorna sotto la sua attenzione. Prima di liberare un cirneco in un luogo aperto occorre aver rafforzato un rapporto sereno e di fiducia. Il cirneco è un cane primitivo e rispetto ad altri animali domestici, molto spesso è un soggetto che porta rancore se trattato male, non dimentica facilmente uno sgarbo subito, non sopporta di essere rimproverato con eccessiva durezza.La vita media di questo cane è molto elevata, quindici anni circa, ma esistono esemplari che vivono anche venti anni.

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Con 5 album e oltre 60 milioni di dischi venduti hanno scritto la storia del rock. I Simple Minds arrivano dal vivo in Italia con un nuovo disco e tutti i loro più grandi successi per un’unica data evento del loro Big Music Tour, il 21 novembre al Mediolanum Forum di Assago.

Dopo il trionfo dei concerti estivi in tutta la penisola, la band di Glasgow arriva con un nuovissimo album ed un nuovissimo tour; uno show durante il quale sarà possibile gustare tutti i loro più grandi successi, vecchi e nuovi.

Nati sul finire degli anni ’70 ed esplosi a livello mondiale negli anni ’80, gli scozzesi Simple Minds hanno scritto alcune tra le migliori pagine della musica anni ’80 diventando, dopo l’uscita del capolavoro New Gold Dream, vero e proprio inno new wave, uno tra i gruppi più popolari dell’epoca. Scopritori di suoni, innovatori e rivoluzionari, tra avant-garde ed art-rock, pop ed ambient, i Simple Minds hanno raggiunto numerose volte le vette delle album charts con dischi come Life In A Day, Real To Real Cacophony, New Gold Dream (81, 82, 83, 84), Sons And Fascination/Sister Fellings Calling, Empire And Dance.

Album considerati pietre miliari della storia del rock, e contenuti in uno speciale box-set pubblicato nel 2012. Questi cinque dischi hanno avuto un impressionante impatto sulla scena musicale dell’epoca, incrociando per primi la new-wave con accenni di elettronica, e continuando ad influenzare negli anni band come Manic Street Preachers, Primal Scream, The Killers fino ai più recenti The Horrors, a dimostrazione di quanto siano ancora forti gli echi dei primi cinque lavori targati Simple Minds.

Jim Kerr - Voce

Charlie Burchill - Chitarra

Mel Gaynor - Batteria

Andy Gillespie - Tastiere

Ged Grimes - Basso

Catherine Anne Davies - cori

The Starting Line, December 17th 2021, Franklin Music Hall. Philadelphia PA.

This was the first concert I got to shoot with the Nikon Z9. The lighting at this venue is not very good, as you can see, there was not a lot of front light. Without a front "white wash" or "spot lights", your images will be all over the place.

Without the spot or white wash, you have to bump your ISO higher than normal, and work the files a lot more in post.

With all of that being said, I still love the files I get from a Nikon. The cameras SUPER QUICK when it comes to taking photos. I shot it only in 20 FPS mode as you can't get RAW files at 30 FPS. Plus, you don't exactly need 30 FPS in this situation. (i wont be using 30 because it's JPEG).

In therms of Auto Focus, the focusing boxes were all over the dam place due to the lack of light in the face. It might find the eye in some situations, then jump to something else because there wasn't a lot of light.

Stephen was at the show shooting with the Canon R3 and ran into the same problem with the face detect and eye af bouncing all over the place.

What I can say, is the Nikon glass all the way around is slower focusing then Canon and Sony. Especially the 1.8 lenses, they are not as quick as I would like. The 70-200 is better, but in my experience using all flagship systems, the Nikon lags behind with focus speed. With that being said, it's lightyears ahead of the Z6 and Z7 and I could use it without an issue. I think I would on occasion miss some images that the Sony or Canon wouldn't miss, but it would be fine.

In terms of Banding, I did run into some issues caused by flickering LED lights. This is normal for all stacked sensor cameras from the a9 to a1 to Z9 and R3. The Canon and Sony's offer you variable shutter speeds to try and match the flickering. The issue there, when you have multiple types of LED lights, there's no way to match all of them. As a last resort the a1 and R3 also have a shutter and the Z9 does not. Stephen switched the shutter on and if he was above 1/400th of a second, even with the mechanical shutter, he still saw some banding. I felt the Z9 with Flickr mode on and off (it does not have variable shutter speed) did a very nice job. There's only so much you can do with these LED lights and I think the Nikon handled it really well. This was just a crap lighting situation that really pushes all cameras to the extreme.

This is just one concert setting, I shot with MUCH BETTER lighting the next night and got some great images, I will share those another time.

Another issue I ran in to, it's hard to know when you're taking photos when you can't hear the digital shutter noise. Theres white lines that show up around the outsides of the frames, but it's mostly out of my field of view. So it's hard to know when you're shooting unless you take your eyes away from the subjects, which I don't want to do. In fact, I handed the camera to my friend Richie to give it a shot, he took 350 images in 3 minutes because he said "there's no indication i'm taking photos". Canon puts a box more in the middle of the frame so you know when you're shooting.

It's been a while since i've uploaded all the FULL RES edited jpegs for people to see, but it was time to do it again.

I will have a lot more to say about the Z9 as I continue to use it. The good news is, i've shot two concerts, birds flying and a basketball game so far. Is it perfect....no, is it horrible, far from it. It has it's quirks, it needs some tweaks and I will pass my findings back to Nikon and everyone else who's interested.

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Use without permission is ILLEGAL.

(Halloween color scheme, much? ;P)

Hm. Worked on this instead of my duet entry yesterday. Hopefully little edits I've been doing in the past two days will inspire me to work on it. .___.

The sim's name is Blake. Why? Dunno. He's pretty old. All I did was change is face a bit and changed his hair. The original idea was for everything to be like, purple but the hair recolor I did, didn't match the outfit. So I just went with orange. :B

Awh, for once flickr didn't resize my photo to 1024 x ###. I wonder why...because there is a size limit for nonpro account members. AH, WELL NOT GOING TO QUESTION IT, ANYMOREEe. 8D So, for once in a long time I'm saying all size it!

I think, I had something else to say...but I forget. Pooey. D:

Let's hope my next upload is my duet r2 entry. Or the collab Phyll and I are going to do? :]

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)

www.british-history.ac.uk/survey-kent/vol9/pp291-299

PGB Photographer & Creative - © Philip Romeyn - Phillostar Gone Ballistic 2021 - Photo may not be edited from its original form. Commercial use is prohibited without contacting me.

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.

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

es.wikipedia.org/wiki/Col%c3%b3n_salvadore%c3%b1o

JA618A Boeing 767-381ER delivered in 2011.

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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.

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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

The shadow of a smile

The 65th emotion of a potential 64 to capture

:-)

www.youtube.com/watch?v=npQMU7wnQ_g&feature=related

The shadow of your smile - covered by Marvin Gaye

g

Montreal

stand there and look into my eyes

and tell me that all we had were lies

show me that you don't care

and i'll stay here if you prefer

yes i'll leave you without a word

without a word.

and you can tell the world that you're tired

but your excuses, they won't work

'cause i'll know that you're lying.

i'm sorry for spamming you guys with self portraits. i don't like how i look here, or on yesterday's photo, i mostly don't post photos (especially portraits) if i'm not satisfied with them but this is real me, at the moment, and that's why i love this photo. there are some moments you just can't control your expression, it can be a huge smile or just the anger in your eyes. i'm learning to be comfortable with all the emotions on my face, like i've learned to hide them whenever i want - i don't like to pretend though, but sometimes you just have to do it by saying "of course i'm fine" with a cheesy smile on your face.

so i'm here, doing what i want to do, watching myself changing every day mostly through my photos, not knowing that it's for better or worse... i'm breathing. but it doesn't mean that i'm living.

ps. thanks so much to those who commented on my blog posts. <3 it's great to know you read them.

One Day Without Shoes is a worldwide day to bring global awareness to children's health and education by going without shoes. Initiated by TOMS shoes.Copyright: Lindsey Drury

You cannot use this picture without my permission. If you want to use this picture, please ask me first, it´s very simple. If you want this picture for anti-captivity purposes, then, don´t waste your time trying to convince me because I won´t give you authorization. If I let you use my content, you need to give me FULL credits (DFN it´s ok).

If I see this picture posted in another social media without credits and used for complaining about captivity, then I´ll report you and block you.

“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

———

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

———

"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

———

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

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

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...

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

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

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

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

March break wouldn't be complete without...

75:366

to concentrate without making that face. :)

Purple fringed leather jacket: thrifted at Le Léopard

Worn-as-headband necklace: same.

High-waisted blue jeans: JNY Jeans

Boots: Cable

Glasses: Yves-Saint-Laurent

Worn to go to LGBTI community center and preview of The Ballad of Genesis and Lady Jaye!

Beautiful movie, BTW.

More on my blog

Without my Glasses.

I have come away without the pictures from the final day, so you will have to make do with some more shots from Shibuya.

Outside it was a glorious day, and felt like summer on the inside of the ceiling to floor plate glass windows. Phew, its gonna be a scorcher! And what better way to spend the day than with our very own private tour guide>

What better indeed.

We met Maki at nine, and after some introductions, it was decided to go to Tokyo Station to exchange our vouchers for rail passes, thus making the rest of the travelling on the holibob possible. It also allowed us to be shown how to use the Metro, swiping our cards and looking at the map to plan a route. Handily, all lines have letter prefixes, and each station is numbered, so we were staying near K19, and to find our way back, get to the K line and go to the end, and Bob's you Aunt's live in lover. As it were.

I was in heaven, I have been dreaming of travelling on the Tokyo Subway, but I was doing it for real, and snapping. All.The.Time.

We arrived at Tokyo Station after a change onto one of the overground lines. Man, it was already hot, but Maki pointed out the profusion of vending machines. Everywhere, and for 110 Yet you can buy a half litre of cool h2o.

She lead us through various parts of the station to the rail tour office, we all filled out a lengthy form, then we were given our pass which gave us unlimited train travel for two whole weeks.

That done and the fact the Imperial Gardens were nearby, that is where we walked to next, through a maze of modern glass skyscrapers, over half empty 6 lane roads, and to the entrance to the gardens. Once upon a time it was the residence of the Emperor, he still have a thridd of it or something, but the rest is a public garden, which is littered with historic buildings, defenceive walls and the remains of castles and storehouses and the like.

Did I mention it was hot? It was hot.

But the gardens were sensational, and gave us an understanding of the different prefectures in Japan, as all were represented. Also there was green tea plants and bamboo. And on the wing I saw three different species of swallowtail butterfly, but I had left my macro in the hotel, so made do with watching them flit about.

We take a time out to have some water from a vending area before completing the tour round the gardens, before walking to Tokyo Station again, but this time getting a bus to the commercial area for a walk round the public fish market.

It was hotter.

It seems all tourists in Tokyo, and a good proportion of its residents also had the same idea, as it was like Venice on a very busy day.

And it was hot.

The sights and smells were fabulous, but the lanes were narrow and chocked with people, all walking at different paces, some eating, some drinking and some walking with their family. We were trying to keep pace with Maki.

After an hour of walking and loking, and it being half one, it was decided that it was lunchtime. Over the main road bordering the market was a swish sushi place, who had tables att eh counter, so we could watch our food being prepared. Only I wasn't hungry, so made do with some rice and simple sushi whilst Jools and Jen had a set meal. I drtank some ice cool beer.

I had another.

After that we walked through the commercial area to the Tokyo version of Harrods to look at their food halls. None of us are big shoppers really, and we did it as Maki made it sound like a great thing, and some of the displays were wonderful for sure.

Finally she took us to the trendy area, really, so we ccould look round the best souvenir shop in the city. We looked round, bout some stuff, and then said to Maki that we had enough confidence to use the metro, and as we were by Shibuya, where I wanted to snap in the evening, we would bid her farewell one hour early, and we would look for a coffee shop.

After looking in a coule, we found a place in a rooftop place, in the shade, but it was still warm, so we order ice coffee and take the weight off our feet, which after a day's travelling, maybe a seven hour forced march round Tokyo in 30 degree heat wasn't the best thing. But we had survived, but our legs and feet we making some complaints.

We took a Metro to Shibuya, and then went looking for the famous crossing, but we were an hour early, so maybe we should find something to eat. There was flashing neon lights everywhere, and it was all a bit confusing to be honest. Then Jen says there's a place to eat on the top floor of the mega camera store near us.

So we take the lift to the top floor, and are shown to a booth overlooking the street below, and shown how to use the tablet to order food and drinks. Some of it was even in English, which was nice. We order some nibbles and drinks, and pressed send. Twenty minutes later the food arrived, but no drinks, we called the waiter and sent him to fetch beers. And all was good, in fact we mellowed out and enjoyed looking out as the light faded and the neon shone brighter.

We went downstairs and I went looking for the crossing, a six-way pedestrian crossing that is iconic, I took a place looking towards the brightest lights and snapped away. It was a scene you can only imagine, I switched to the wide angle and slowed the shutter speed down and snapped some more. There was still some light in the sky, so the shots were pretty darn perfect, even I says so myself.

Happy with my shots, and the fact our legs and feet were screaming, we made our way back to the Metro then back to the hotel and back to the rooftop bar. It was a heck of a day, and we had achieved so much. And found our way back with no trouble either.

We played cards on the roof, with the Sky Tree shining a mile away, looking wonderful, and so we decided that we would go there the next evening.

Cheers

This was the best I could do without trespassing and was taken from Neptune Close, however this was the only shot I did here, as shortly after I took it a member of Depot Staff noticed me and then Politely called out to me to Leave the Area, and I also noticed that the Security Camera in the picture now seems to "Follow" anybody who walks along the pavement on the Depot side of the road, and I was also warned by staff from a business across the street, that "Bus Spotters" have apparently been sneaking into ASD's Yard Again...

So yeah I don't know if this is actually true but thought it should be mentioned.

And be sure to check by my other acount: www.flickr.com/photos_user.gne?path=&nsid=77145939%40..., to see what else I saw 2 Weeks Ago!

Shooting 29/10/2010 Claudio Falconi-Actor and Singer with "The Grannies"

Shot and editing: by me

And no car show would be complete without the beauty that is Rolls Royce's best selling car, the Silver Shadow. Saving the best till last I give you the car that took Rolls Royce out of the hands of the aristocracy and placed it into the hands of the people, a tradition that has continued ever since. Once rock-stars, pop-stars, TV presenters and alike were seen driving around in a car that was once the exclusive pride and joy of the established gentry, it was then and there that the Class System had truly disintegrated. The Victorian-era divisions of society were well and truly dead.

In 1965 it was apparent that the nearly 10 year old Silver Cloud was starting to look its age, and as time continued to crawl on the aristocratic look of the Rolls Royce was no longer its biggest selling point. Prior to the 1960's society was clearly defined, with what was known as the 'Glass Ceiling' through which none of the lower classes could rise up through the ranks. It was very easy for the Upper Class and Aristocracy to lose their titles and come down, but even if you were a Lower Class person who'd made it rich, you'd still be socially unacceptable due to your background. However, after World War I the emergence of the new Middle Class was starting to bend the rules, and as time went on the ways in which money could be obtained started to become easier thanks to stage and screen. After World War II the influence of the new generation distorted the lines of society even more with the appearance of the Beatles and Elvis Presley, people from low backgrounds who had managed to get a free ticket to the top due to their fame in the music industry. Of course when someone gets money, the first thing they want to do is spend it on luxury items, and nothing back then was more luxury than owning a Rolls Royce.

However, when the Cloud was designed society was still very much in the same Victorian ideal as before, and so its aristocratic look was about as hip and with-it as a China Cabinet in a Discotheque. In order to survive, Rolls Royce was going to have to adapt, so in 1965 they launched the Silver Shadow, a car that was designed for the new money, and the first Roller to be brought to the masses. What made it so appealing was a case of many things.

For starters, it was the first Rolls Royce to be a 'Driver's' car. Previous models had always been built with chauffeur driven passengers in mind, but the Shadow with upgraded suspension, an updated Rolls Royce V8 engine and the same general driving feel of a regular car (if not better with innovative power steering), made it ideal for the 'posers' of the upmarket realm. Secondly, the car was the first to be built with a monocoque, where the body and chassis are part of the same structure. Previously, Rolls Royce would provide the owner with a chassis, and then it was up to the owner what body would be put on it, with a variety of coachbuilders available to do the job including H.J Muliner Park Ward, Hoopers of London and James Young. The advent of the monocoque meant that potential buyers didn't have to go through the rigmarole of buying a chassis and then having a body constructed for it at extra cost.

As mentioned though, reception was something of a mixed bag, whilst motoring press and many people gave it critical acclaim for its revolutionary design, the usual Rolls Royce customer base saw it as something of a mongrel, appealing to the lowest common denominator rather than holding up the traditional standard that the Double R was famed for. But just because it was built for the masses didn't make it any less a car, each individual Shadow cost £7,000 new, weighed 2.2 tonnes and took 3 months to build. The interior was compiled of 12 square feet of wood, and three cows had to sacrifice themselves to create the leather hides that line the seats. Soft and springy Wilton Carpets made up the floor and power from Rolls Royce's astounding V8 engine could whisk the car to about 100mph, but why would you want a sporty Rolls Royce anyway? *Cough* Rolls Royce Wraith *Cough*

After launch the Silver Shadow was whipped up by pretty much anyone and everyone who wanted to show off their wealth, with a total of 25,000 examples being built during its 15 year production life, making it the most numerous Rolls Royce ever built. The Silver Shadow also formed the basis of several other designs, including the convertible Rolls Royce Silver Shadow 2-Door Saloon which later became the Corniche in 1971, the Bentley T-Series which was exactly the same only with Bentley badge and grille, and the controversial Rolls Royce Camargue of 1975 which was designed by Pininfarina.

For a time the Shadow was on top of the world, but things started to crumble fast in the 1970's. New American legislation meant that the car had to conform at the cost of its class, with the chrome bumpers being replaced by composite or rubber, and the ditch lights being slumped underneath on a rather unsightly chin-spoiler. In 1977 this revised car was launched as the Silver Shadow II, which I consider to be but a shadow of its former self due to the fact that this was when Rolls Royce started to become downplayed and underwhelming. Indeed the best intentions were in mind with safety, but without the chrome to adorn its lovely body, the Shadow was merely a husk.

This was added to by the fuel crisis of the mid-1970's, which made motoring a very expensive practice, especially if you ran a Shadow. Shadow's are incredible gas guzzlers at less than 20MPG, and refilling one will set you back in today's money about £80. At the same time it was considered socially unacceptable to be seen driving around in one of these after such a blow, almost as if you were driving a giant middle-finger down the street to everyone else who couldn't afford to drive. Because of this, owners turned to more subtle cars such as Mercedes so as not to fall victim to vindictive passers by. With sales starting to drop, Rolls Royce had to see off the Silver Shadow as soon as possible. After nearly 10 years of development, 1980 saw the launch of the much more angular and somewhat mundane Silver Spirit/Spur range, and with that now on the go the shadows grew long for the Silver Shadow, which was killed off the same year. Spiritually however, the design of the 60's lived on in the Corniche, which was to be built for another 15 years before that too was ended in 1995.

In some ways the Shadow became a failure of its own success, with Rolls Royce building far too many cars for the market that intended to buy them, with the result that the 2nd hand market became saturated with nearly new cars that fell into some disreputable company. Throughout the 1980's the Shadow was noted for being the ride of sleazy salesmen, gang lords and Members of Parliament (pure evil!). Additionally, many Shadows were bought cheap simply for the way they made the owner look.

If you were intending to use your cheapy Shadow to plunder yourself some girls and didn't have the attraction of money to back you up, you'd be out of luck and soon out of cash, because the bills required to run a hand-built luxury car would very quickly be walking through the door, both in terms of fuel and maintenance. Critical failures are rare and these cars are very reliable (although Jeremy Clarkson would have you think otherwise), but when they do happen, it would probably be cheaper to buy yourself another car. The worst problem you could face is a failure of the hydraulics that controlled the rear suspension, the steering and the brakes, which would render the car inoperable if something were to go awry.

Frequent maintenance of a Shadow however (every 4 to 6 months) will probably even out at about £100, which when you consider the £10,000 or more you'd be paying to replace the hydraulic system, is a small sacrifice. Rust is another problem, especially for early Shadows. The Chrome sills and guttering on the roof are especially prone, although the most critical problem is rust on the chassis, which if left can compromise the whole car and essentially write it off. A bit of a buying tip, if the car's body looks good, be sure to check underneath because you may see some costly rust gremlins down there that could ruin your investment.

Another place the Shadow has found itself is in the world of movies. Of course any film that has an upper-crust theme or feel to it would have to include a Rolls, but since 2nd hand Shadows could be picked up for a song you could easily put them in your movie. Sadly, most movies that feature Shadows are ones which feature them being destroyed.

So why do I love Shadows so much? Basically because it's a mixture of all things you'd want in a car. It has a spacious, luxury interior, it has a world beating design dripping with chrome and adorned with the finest hood ornament, and because it's dimensions aren't that far off a normal car, it can easily be used as an everyday machine unlike the Silver Cloud which is simply too big for everyday use. The Shadow is also a very personable sort of machine, if I was to own one I would treat it like a pet, and probably name it Sally (old girlfriend of mine).

Today, Shadows are by no means rare and the ones you'll find on the road are probably the best. Most of the poorer 2nd Hand ones rusted away and died back in the 1980's and 90's (or were blown up in movies, or put in swimming pools), which means that the survivors are largely under the ownership of avid enthusiasts who cherish their cars. You can find Shadows for next to nothing, with some examples going for as little as £4,000, but you'd have to be very desperate to get one of those as they'd probably be in very bad condition. Minters however can go for about £15,000 to £20,000, which when compared to some of the other cars of comparative size and quality such as the BMW's and Mercs of this world, is not a bad deal.

james turrell within without 2010 (a skyspace)

australian national gallery, canberra, australian capital territory, australia

Everything I want I have 🌹

Fashion Credits:

Alexa is a 'Wild at Heart' Lilith rerooted by Elizabeth OOAK Dolls, on a 'Poppy Parker' body

Top - ?

Jeans - Clear-Lan

Boots - IT

All images ©Urim Krasniqi. All rights reserved. No form of reproduction including copying, saving, printing. All images on this page are copyrighted by Urim Krasniqi and may not be legally to use them without prior written permission. Using them without the written permission is illegal and punishable by law. For information regarding commercial or personal uses, please contact me at urim.krasniqi@gmail.com

مقعد بلا قاعد

Tomb of of the Unett famiiy without any inscription c1660 - Possibly Francis Unett 1612- 1656 & wife Sara Nicholetts 1659 whose wall monument is nearby, now over the 19c doorway to the vestry on the same wall www.flickr.com/gp/52219527@N00/Q1mT32 At some point the tomb has been made to fit round and above the altar steps., the younger daughters standing on higher ground flic.kr/p/2ibqGVf . Was the tomb more to the west originally under the wall monument ??

Francis, High Sheriff of the County, was the only son & heir William Unett 1590-1624 & 2nd wife Anne 1636 daughter of Ambrose Elton of Ledbury by Anne flic.kr/p/2gkayro daughter of Edward Aston and Ann flic.kr/p/2cwvejC daughter of Thomas Lucy and Joyce Acton at Charlecote flic.kr/p/2bdc3LZ (Anne was the grand daughter of Anthony Elton & Alice Scudamore)

A wall memorial to them nearby is inscribed "Here llyeth ye body of Francis Unett esq, ye sonne of William Unett esq , who married Sara Nicholetts daughter of William Nicholetts of Hopton Sollars esq by whome hee had issue 8 sonnes Francis, Richard, John, William, Nicholetts, Thomas & Thomas & Edward & 3 daughters Sara, Anna & Rebecca . Hee departed ys life on ye 5 day of June Anno Dom 1656 aged 44 .................. Allso here lyeth the body of Sara the wife of Francis Unett esq who departed ys life in the true faith of Christ April the 15th Anno Dom 1659 " www.flickr.com/gp/52219527@N00/xUP259

Children

1. Francis

2.Richard

3.John m Frances co-heiress daughter of Henry Lingen 1662 of Sutton & Stoke Edith by Alice daughter of Sir Walter Pye of the Mynde & Much Dewchurch www.flickr.com/gp/52219527@N00/5D26SH by Joan www.flickr.com/gp/52219527@N00/fiJJ99 3rd daughter of William Rudhall & Margaret Croft of Ross on Wye www.flickr.com/gp/52219527@N00/TorJbR (Frances was heiress of Sutton Freen & Freens Court)

4. William

5. Nicholetts

6. Thomas (died young)

7. Thomas

8. Edward

1. Sarah

2. Anne

3. Rebecca

They lived at the Birch End in the village

His mother Anne m2 1624 Thomas Cocks 1599 - 1649 son of Richard Cocks 1623 of Eastnor www.flickr.com/gp/52219527@N00/891947 having 2 sons Rev Thomas Cocks 1724 & Charles Cocks m Mary daughter of John Summers

The Unett famiy gained Castle Frome by the marriage in 1432 of John Unett with heiress Elizabeth Brace grand daughter of lord of the manor Sir William Devereux a descendant of the Lacy lords of the manor

(They are also said to be his father William Unett of 1624 and 2nd wife Anne Elton, however William & Anne are reported to have been remembered by "3 slabs near the south wall of the nave , two inscribed and one with a shield-of-arms". Allowing for 3 sons (now missing on the east end of the tomb balancing those on the west end) , the number of children matches those of Francis & Sarah, also the costumes are more mid 17c and the wall inscription to them is very near this tomb making room for the 12c window above and chancel south door ) - Church of St. Michael , Castle Frome, Herefordshire

...without.

Peeking out... adorable sweater by FELTLAND

PGB Photographer & Creative - © 2023 Philip Romeyn - Phillostar Gone Ballistic 2021 - Photo may not be edited from its original form. Commercial use is prohibited without contacting me.

..when I think of how many shows I slept through!

what can I say, beautiful sunrise this morning. Got up at 4.30 am, looked out the front door, clouds looked thick. Checked again an hour later thought it might be worth a shot. Arrived with 5 mins to spare!

out at Manly, Brisbane this morning, next to the river

guess without cheating too much and you'll win: bragging rights. I'm normally good with cars, but for the life of me, I couldn't tell you what this is...(maybe i'm not so good after-all).. :D

@ Moron, Cuba

© All Rights Reserved - No Usage Allowed in Any Form Without the Written Consent of Connie Lemperle/ lemperleconnie or the Cincinnati Zoo & Botanical Garden

Link to Cincinnati Zoo..............Bonobo - Baby female named Maddy

www.cincinnatizoo.org/

Also called the pygmy chimp, the bonobo is slightly smaller than the common chimpanzee. Sharing more than 98% of its DNA with humans, the bonobo is our closest living relative. Like humans, bonobos live in family groups and are highly intelligent. They often stand upright on two feet as we do. Bonobos are capable of making and using tools, a characteristic that once distinguished humans from other animals.

Like other non-human apes, bonobos have longer arms than legs to make traveling in the trees easier.

Bonobos create and maintain social bonds through sexual behavior.

Breaking and folding branches, bonobos make nests in the trees to sleep in at night.

Bonobos suffer from the bushmeat trade, the poaching and selling of wildlife as meat.

Fact File

Pronunciation: buh-NOH-boh

Height: 2.3 to 2.8 ft

Weight: 68 to 86 lbs

Lifespan: Up to 40 yrs

Habitat: Tropical rainforest

Diet: Fruit, seeds, leaves, flowers, fungi, eggs, and small animals

Status: Species at Risk (IUCN—Endangered )

Note__________________________________________________________________________

I will be on and off Flickr a lot today. I can't sit for long still at my computer so I have to take breaks. I wish you all a very nice and secure friday. I will be going to the zoo tomorrow morning so I won't be visiting you all until later in the day so have a nice weekend too. Hugs!

Uncropped

P.S. Just want to add a big thank you to Nancy - Fromky - www.flickr.com/photos/fromky/ for writing a lovely testimonial for me.

© Copyright 2012 Francisco Aragão

© ALL RIGHTS RESERVED. Use without permission is illegal.

© TODOS OS DIREITOS RESERVADOS. Usar sem permissão é ilegal.

- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -

Universidade de Paris. Uma das mais antigas da Europa, a Universidade de Paris foi fundada ao redor de 1170, a partir da escola da catedral de Notre-Dame. Escolas semelhantes existiam junto às catedrais em toda França. Era o bispo que nomeava os professores e controlava o ensino por meio de seu Chanceler ou Secretário Geral do Bispado.

Quando o sempre crescente número de estudantes fez que a escola de Notre-Dame se tornasse insuficiente para abrigá-los, os professores particulares foram autorizados a abrir escolas ao redor da catedral. Estes mestres, para defender seus interesses e suas idéias, se reuniram e se associaram formando a sua "corporação", uma "Universitas", um modo de união à semelhança dos modernos sindicatos. Assim nasceu, por volta de 1.170, a Universidade de Paris.

Cada mestre, ou grupo de mestres, tinha sua própria escola; quando a corporação tinha que deliberar sobre algum assunto de interesse comum, eles em geral se reuniam em uma ou outra igreja. A organização dessas reuniões bem como a representação dos mestres perante a Igreja e o governo fez surgir o posto e a figura do Reitor. Os assuntos e as disciplinas e as necessidades práticas comuns a várias escolas terminaram por promover o agrupamento em escolas maiores, as faculdades.

No início do século XII, Abelardo, um dos grandes intelectuais da Idade Média, veio ensinar em Paris e sua fama atraiu milhares de estudantes para a Universidade, vindos de todos os países do mundo cristão. As escolas se expandiram para a outra margem do rio Sena, no monte Sainte Geniève, onde Abelardo ensinou. Lá se encontra ainda a famosa rue du Fouarre, no quartier Latin, onde os mestres da Faculdade das Artes tinham suas escolas; mais adiante encontra-se a igreja de Saint-Julien-le-Pauvre, onde muitas vezes se reuniu a velha corporação ou "Universidade" dos professores.

Com o apoio papal, a Universidade de Paris tornou-se o grande centro transalpino de ensino teológico cristão. Durante os anos 1220, as ordens mendicantes Dominicana e Franciscana dominaram o ensino na Universidade que, ao final do século XIII e durante o século XIV foi o maior centro de ensino de toda a cristandade, particularmente em Teologia. Entre seus professores mais famosos contam-se, além de Abelardo, Alexander de Hales, São Bonaventura, Santo Alberto Magno, e São Thomas de Aquino. A universidade ficou dividida em quatro faculdades: três "superiores" compreendendo a de Teologia, a de Direito Canônico, e a de Medicina, e uma "inferior", a Faculdade de Artes.

No decurso dos séculos XVI e XVII a universidade de Paris tornou-se um conglomerado de colégios, à semelhança das universidades inglesas. Os colégios foram inicialmente pensionatos de estudantes, aos quais se acrescentaram depois salas de aula onde os mestres vinham ensinar. Esta é a época em que os Jesuítas foram autorizados e abrir seus Colégios. Os padres da Sociedade de Jesus, hábeis e poderosos, atraíram os jovens para os seus colégios, esvaziando as universidades ou assumindo o seu controle.

Com a Revolução Francesa (1789-99) a universidade foi reorganizada para fins de aplicação do saber, deixando para traz o modelo jesuítico de debates teológicos e estudo de línguas mortas. Foram criadas escolas superiores especializadas e independentes. Surgiram, sucessivamente, o Museu de História Natural, a Escola politécnica, a Escola Normal, três escolas de Saúde e a escola de Línguas, e o ensino tornou-se secular, independente de doutrinas religiosas ou políticas, mas a faculdade de teologia somente foi fechada em 1886. Napoleão manteve as escolas criadas pelo governo revolucionário da Convenção.

Os principais prédios da universidade, apesar de não serem contíguos, têm por centro o edifício da Sorbonne. Esta, originária de uma escola fundada pelo teólogo Robert de Sorbon ao redor de 1257, foi o mais famoso colégio de Paris. Sua proximidade da faculdade de estudos teológicos, e o uso do seu auditório para grandes debates, fez o nome Sorbonne tornar-se a designação popular para a faculdade de teologia de Paris. Sua localização atual no Boulevard Saint-Michel, data de 1627 quando Richelieu a reconstruiu às suas custas. Desde o século XVI, devido a ser a faculdade mais importante, a Sorbonne acabou por ser considerada como o núcleo principal da Universidade. Sorbonne e Universidade de Paris passaram a ser sinônimos. Porém, os edifícios antigos da Sorbonne foram demolidos, com exceção da Igreja erguida por Richelieu e onde está seu túmulo, a qual foi incorporada à construção nova, que forma um retângulo de 21 000 metros quadrados, três vezes maior que a Sorbonne erguida pelo Cardeal. Alberga a faculdade de letras, e também a administração do distrito educacional com centro em Paris e os serviços administrativos da Universidade: gabinete do reitor, escritórios, o salão do conselho, e o grande anfiteatro para 3.000 pessoas.

Nos anos de 1960 a universidade de Paris, mediante uma política de tolerância acadêmica capaz de atrair o ingresso maciço de jovens estrangeiros vindos de países mais atrasados, tornou-se um centro mundial de difusão do socialismo, do marxismo, do comunismo, do anarquismo e do antiamericanismo, superando neste afã a própria Universidade Patrice Lumumba, que fora criada especificamente para esse fim em Moscou no início da mesma década. Resultou a própria França sofrer as conseqüências dessa política, quando suas estruturas se viram ameaçadas pelo levante estudantil de 1968, que também desencadeou uma onda de rebeldia estudantil ao redor do mundo. Nessa fase, o número de estudantes da Universidade havia subido a mais de 115.000.

Após a crise, o governo de direita procedeu a uma reforma geral profunda na organização do ensino superior francês, através do Ato de reforma da educação superior, do mesmo ano de 1968. Com base nesse ato, a partir de 1970 a Universidade de Paris passou a compreender uma série de 13 faculdades de altos estudos, autônomas e financiadas pelo Estado, localizadas principalmente em Paris (Paris I a XIII).

A faculdade ou universidade de Paris I inclui unidades de Economia, Direito, Línguas modernas, e Artes; Paris II, Direito, Tecnologia e Ciências econômicas; Paris III, Artes cênicas, e Língua e Civilização inglesa, latino americana e sul-asiáticas; Paris IV, Artes e Arqueologia, Língua e literatura latina, Musicologia, e Humanidades aplicadas; Paris V, Farmácia e Ciências biológicas; Paris VI, Matemática, Física, e Geociências; Paris VII, Medicina, Ciências físicas e biológicas, Inglês, e Estudos do Extremo Oriente; Paris VIII, Línguas Anglo-Arnericanas, Literatura e civilização francesa, inglesa e alemã, Sociologia, Artes, Economia política; Paris IX, Comércio e Economia aplicada, Informação comercial, e Matemática; Paris X (situada em Nanterre), Economia, História, Sociologia, e Línguas romances; Paris XI (em Sceaux), Matemática, Física, Química e Medicina; Paris XII (em Val-de-Marne), Medicina, Direito, e Letras; Paris XIII (em Saint-Denis), Tecnologia, Letras e Humanidades.

R.Q.Cobra

20/04/2003

(Previous KOM League Flash Reports are available on request)

Comment regarding SPAM. The vocabulary gets changed with each generation. You all know what I talking about without my having to illustrate how the meaning of words change. One of the greatest stories for which I don't recall all the details occurred during the opening of a large supermarket in Columbia, Mo. in the 1970's. One of the items they featured on sale was SPAM. A young reporter for either one of the two newspapers or television station covered the opening and was impressed with the large display of SPAM.

Being a good and inquisitive reporter he inquired as to the composition of the product. The store had a young assistant manager with a quick and inventive mind so he explained to the reporter that SPAM was the product of a very small animal found only in Nebraska. He went on to explain that like any other product it had years when it was abundant and other years when the little animal was scarce and the product was hard to buy. Since the product was obviously abundant that year he told the reporter that people should stock up on it.

Understand this was long before the internet and the reporter bought the story hook, line and sinker. The story was published or aired in Columbia and it was so popular with the mass audience that the reporter asked the assistant store manager for a follow-up interview. The next time around he even asked for a picture of a SPAM. The assistant manager went into great detail about the animal being nocturnal and that no one had ever photographed one.

In the foregoing paragraphs I just made a huge blunder. I've told a story about which all the details aren't known. However, like most of everything else I write someone out there will probably recall it or can find the story on an old newspaper site. If no one can embellish on this story it still remains my favorite on the subject of SPAM.

A question: Does any reader recall a song from the heyday of Harry Caray, in St. Louis, entitled "The Harry Caray Polka?" If you know of a recording of it or know where the complete lyrics might be found I'd appreciate knowing about it. I will share it with one other person, the one who inquired about it.

The

KOM Flash Report

for

August 23, 2013

Store this URL somewhere to stay informed of KOM updates and photos. www.flickr.com/photos/60428361@N07/‎

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This is the first attempt since the Google Internet Gestapo (GIG) arrested me, a few weeks ago, for sending Flash Reports that they determined to be SPAM. Everyone from my era knows what that product was/is. It used to be eaten because we were poor and now people eat it to be chic.

Moving right ahead. For the last 18 days an attempt has been made to keep those with any interest in the KOM league news updated through this site. Flicker: KOM League Photostream

www.flickr.com/photos/60428361@N07/‎ Some readers, like Bill Clark, right here in Columbia, Missouri, can’t get that feature. So, Bill, this report is for you and I’m including the updates that appear on that site to kick off this report.

August 23, 2013

I'm not sure how many people even bother to check this site for updates. If you do and would like to see a brand new Flash Report with all the excitement those stories generate let me know. In fact, it will take about 25 people asking to see a new report for me to shake myself from the summer doldrums in order to do it. I've heard from a few folks with some pretty interesting tales and I'd put forth a little, not much, energy to do something that a few of you enjoy. Let me know. Otherwise, I'll keep picking tomatoes and placing them at the free tomato stand in my front yard. Just dial me up at j03.john@gmail.com if you want another thrill packed edition of the Flash Report.

August 22, 2013

Yesterday I was going through a list of former KOM leaguers with whom contact had been established over the years. For a number of years communication with Russ and Dody Oxford was conducted by e-mail.. Russ was the third baseman on the same team as the four fellows shown in the photo above. (That is the Flickr site photo)

Russ was born Russell Charles Oxford on October 20, 1931 in Sioux City, Iowa and I learned through some searching of obituaries recently that he passed away April 24, 2013 in Redmond, Washington.

Russ and Dorothy McInnes were married on June 21, 1951 at the Grace Episcopal Church in Carthage, MO. After the wedding many of his teammates formed an archway using baseball bats under which the newlyweds exited the church. The bridesmaid and best man at that wedding were Mr. and Mrs. Walter Koehler. Just one month later Walter was drafted and just over a year later he died while serving his country as a medical corpsman in Korea.

One thing Oxford accomplished that very few former Carthage players pulled off was getting away with a team uniform at the end of the season. He wore #7 which was a hand me down from the 1949 Chicago Cubs. Another thing Russ had was a birthday that was the same as a former KOM league shortstop. That former KOM league shortstop didn't wear #7 until he made it to the major leagues and it was later retired when the fellow retired from the New York Yankees.

One of the great trivia questions in the early days of the KOM league was to ask "Who played on the left side of a KOM league infield, wore #7 and was born October 20, 1931. Never once did anyone ever say the name "Russ Oxford." The only name that anyone knew who fit that description was "Mickey Mantle."

From whence did they come to play in the KOM league?

Many people assume, who weren't around 60 years ago, that Class D teams were heavily populated with players from the area in which the team was located. That was true if the team wasn't affiliated with a major league organization or a higher classification team. In a quick perusal of the database of KOM rosters there were 19 players each from Springfield, MO and Topeka, Kansas. Most of the Topeka lads wound up in the league by virtue of being signed by the Topeka, Kansas Owls. The Springfield boys were primarily signed by Tom Greenwade and shipped off to Independence, Kansas to "sink or swim."

Players from all over the country wound up in the KOM with 105 coming from the State of California and 27 of them from the City of Los Angeles. The Windy City, Chicago, sent 85 of their young men to the league basically because of the Cubs sponsoring teams at Iola in 1946-47, Carthage 1949-51 and Blackwell, OK in 1952. The City of St. Louis contributed 87 players to the league and that doesn't include the other cities in the metro area. Even the "Big Apple" had 16 of their youngsters go west to receive their version of culture shock. Omaha, Nebraska had 40 of their young men in KOM league uniforms and most of those played at Ponca City, OK in the Dodger organization. Bert Wells, of Larned, Kansas, the Dodger scout, was primarily responsible for that.

Should you have an interest in a certain city or town and wonder how many of their residents played in the KOM league send in that inquiry. Small towns such as Alba, MO sent a half dozen players to the KOM league and not all of them were named Boyer. And, as I've stated numerous times neither Cloyd Boyer nor his little brother, Cletis, were born in Alba. But, the "baseball chronicles" will always claim they did. Cloyd told me he long ago gave up on trying getting the record books changed on that matter. It's too late for Cletis who was born at Cossville and every baseball publication on earth will show his birth place as Cassville. One of those towns is in Barry County and the other in Jasper County, MO. It’s not too late to get Cloyd’s birthplace corrected while he is still around to know it. He was born in Duval Township located just north of Alba near what is Baseline Road. Look it up on any good Internet site or bad one for that matter.

August 19, 2013

No Flash Report updates have transpired in the last four days. I'm not planning any Flash Reports for the foreseeable future. No one is corresponding with me about what is on their mind and fortunately I don't have any deaths to report. I do know a couple of guys have had a rough time lately do to surgery and other age related problems but they don't come under the heading of "Urgent Messages." When those arrive I'll report on them. The two people I'm tracking right now, due to health problems, are; Don Keeter and Leonard Van de Hey. Keeter is in a Kansas City rehabilitation facility and Van de Hey is in a Wisconsin hospital following surgery. Word received today was that there will be more of the same for the former Carthage Cub from 1950-51.

August 12, 2013.

There won't be another Flash Report for a few days. If you have anything to submit for the next report feel free to do so by contacting me at j03.john@gmail.com Thanks for checking out this site. The traffic on this site has picked up significantly since the Flash Reports have become a feature.

For the latest interview with former KOM Leaguer, Bill Virdon, go to this site: Celebrate West Plains: Bill Virdon reflects on his career - KY3 News

m.ky3.com/display/6497/story/458e4da0908d50238e442ec6fee3...

The next report will have an update on what happened with regard to the guy offering to give me a Mickey Mantle baseball card and also more information on the late Roger Vander Weide's baseball career. His older brother Robert was "top dog" in the operation of the Orlando Magic when they entered the National Basketball Association.

August 15, 2013. The photos are viewed by a number of former KOM league ballplayers and their families. I learned, by posting these photos that Leonard Van de Hey, a member of the 1950-51 Carthage Cubs had surgery yesterday in Wisconsin. Also, a nice note was received from the daughter of the late Johnny LaPorta, Carthage Cubs 1949-50 that she enjoys the photos. Her mother, Angie, the greatest scorekeeper in the history of Carthage baseball, is residing in a nursing home in the Chicago area and still retains the memories of many of the KOM era.

In the next Flash Report an article will address the subject of radio stations that broadcast KOM League games. If you heard a game or games over KGLC in Miami, OK, KSEK Pittsburg, KS, KDMO Carthage, MO, KIND Independence, KS, KWON Bartlesville, OK or WBBZ in Ponca City and wish to share a memory I'd love to include it in the article. There were no games aired of Iola, Blackwell or Chanute home games since those towns didn't have a radio station until nearly a decade after the KOM League folded.

The voice of Miami baseball was Russ Martin. He was the pastor of the First Christian Church in Miami and was well known for the dramatic phrases and embellishment of games when they became a bit drab. For a while, Joe Pollock, former KOM speedster, with three different clubs, was his play by play color man.

Pittsburg Browns games were carried on KSEK radio. That station was on the Liberty network and carried a game of the day with Gordon McClendon and Lindsey Nelson doing most of the games. If you got bored you went to the top of the radio dial and got the Mutual Broadcasting Company game with Al Helfer doing the announcing on radio station WMBH in Joplin. In the evening that station carried the Joplin Miner games with Bill Grigsby doing the play by play. As a point of trivia the last KOM game broadcast was in 1998 with Grigsby doing most of the play by play and not so ably assisted by Yours truly. That was about as much fun as I ever had. By the way one of the announcers for Pittsburg was Thad Sandstrom who later headed up the WIBW radio and TV empire. If you want to know the fate of Mr. Sandstrom check that out on the Internet. The story is too long and gory to place here.

Bill Platt, James DeStefano (aka Jim King), Fred Pralle and Keith Upson broadcast for Ponca City, Carthage, Bartlesville and Independence, respectively. The story of Upson is contained under the last photo on this Flickr site. He is shown with the 1948 Independence Yankees. There are some great tales about the last four guys mentioned but I'll hold off writing anything about them to see if anyone has read the material to this point.

I'm under pressure to keep this site moving along since g-mail loves me at about the same level socialism admires free enterprise and vice versa.

Okay, the foregoing is all that you missed if you don’t have access to Flickr or can access it and don’t.

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Here are a few other things that have transpired recently: And a few reasons why I still attempt to piece these reports into some type of order.

From a lady in Topeka, Kansas: “I enjoy reading these reports whether I know the person or not...............it’s in my blood, I guess and I appreciate all the work you do in writing these reports

From a lady in St. Louis, Missouri. “Dad was reading over my shoulder again! He has been gone so long but baseball was everything to him and (I) know he would really enjoy the reports.”

From a lady in Indianapolis, Indiana:

JOHN, THANKS AGAIN FOR ALL THE BEAUTIFUL PHOTOGRAPHY~~ESPECIALLY THE BIRDS, FLOWERS, AND CHARLIE.

CAN"T BELIEVE IT'S BEEN FIVE MONTHS SINCE KENNY PASSED ON. A VERY KIND AND CARING HUSBAND, EXCEPT WHEN ONE OF HIS PLAYERS MISSES AN EASY CATCH FOR THE WIN!”

Ed note: Kenny’s last name was Cox and played for the 1948 Carthage Cardinals and other teams in the Brooklyn Dodger organization later on.

From a gentleman in Shreveport, Louisiana:

You think you have troubles with Google. I've been out of internet for several days. My battle with A. T. & T. started 3 years ago and continues. Won't bore you with details. Dave wants you to know that Thursday he finished the batch of Flash Reports you sent. Said to tell you he read every word. And he'll be going back to them often over the years! Without the net, have accumulated a # of your photos. We'll set aside a time and

both go over together.

Ed note:

The reports the gentleman mentioned were actually every issue of the KOM League Remembered newsletter that was published between 1994 and 2010. Those arrived in Louisiana thanks to the kindness of Bob Mallon who had kept every copy sent him over the years.

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Baseball trivia--The youngest pitcher to win a Major League game in the 20th Century

Hi John--Here is a little interesting baseball trivia I know you'll enjoy reading. This is an old teammate of mine from 58 years ago. I just met him again for the first time at the Legion World Series last Friday in his hometown of Shelby, NC. This was the game my great-nephew Joe O'Donnell pitched. (Photo to follow in my next e-mail).

When we were teammates, I never knew about his accomplishments. He was just a class-act career minor-leaguer, and good teammate. We had a great time talking and remembering those good old days when the grass was real and batting helmets nonexistent! -Bill--Durham, NC

philadelphia.phillies.mlb.com/news/article.jsp?ymd=201211...

Ed note:

Not many baseball fans would know the name of the youngest pitcher to have won a game in the big leagues. The one previous to that was in 1890. Without looking how many of you can name the youngest pitcher to post a win? Here’s a hint if you immediately think of Joe Nuxhall you aren’t even in the running.

Note from a friend since my youth:

Upon finding the information on the death of Russell Oxford I sent a note to my long time friend, in Arizona, Corky Simpson. Cork is an award winning and Arizona Hall of Fame sportswriter. So, when I get a note from him I listen.

Johnny: I remember him well and I always thought he had a great baseball name: Russ Oxford. -- Didn't we shag balls in the outfield during batting practice one time? Or am I dreaming? I think we did. Boy, today the liability insurance on something like that would be more catastrophic than getting beaned on the head. Come to think of it, I believe a Carthage Cub, perhaps Rogers Hornsby's son, did get beaned on the head one time in lieu of catching the !#@%!! ball during an actual game. -- Corky

Ed reply:

They never let me shag balls during batting practice. Hornsby was in CF in the second game of a DH against Independence on or near August 20 of 1949. The Carthage pitcher was working on a 21 straight scoreless inning streak. With one out and a runner on first the Independence shortstop hit a fly ball to medium left center. The ball got above the light standards and Hornsby couldn't locate it and it landed on the side of his head. The hitter, Mickey Mantle, got an inside the park homer and Dr. Tom McNew came on the field to check out Hornsby. That same Carthage pitcher, George Erath, who had his scoreless hit streak snapped by the freak homer later ran a minor league club in North Carolina and gave Curt Flood his first chance in baseball. True story.

By the way Carthage teams have come up a lot in recent days. Len Van de Hey is having some health issues and his family has been in touch. I have even talked to one member of the family about his girlfriend when he was with Carthage. He went with Shirley S. She had four sisters. They were B., S., B., and another B. You probably remember some of those girls. There were three other Carthage girls who dated John Mudd, Walt Babcock and Don Biebel and followed them up to Sioux Falls, SD, the next year, and discovered the ball players had already found other girlfriends by the time they got there. (Only one player from the 1951 Carthage team married a girl from the area and she was from Avilla.)

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A new book about Carthage, MO

There is a new book in the Arcadia series coming out late this month and there will be a special event to honor that on August 30. The kick-off for that book will be August 30 at the Powers Museum which is located directly across the street from the old ballpark where the Carthage Pirates, Browns, Cardinals and Cubs played their games on and off from 1938-1951.

All of those who contributed to the book that chronicles the history of Carthage from 1950-1990 have been invited to attend a special evening together and since I did identify some old photos of former Carthage players an invitation was extended. The following was my reply. “Congratulations on the new book. Those 50 years of Carthage history was special to me, especially the first 20 years of it.

Only yesterday I was exchanging notes with a member of the 1951 Carthage Cub baseball team and I was doing some research on the young lady he dated that year. That young lady is now 81, if she's still living. She had four sisters and I'm about 99.999% sure I could find her or her descendants if I put any effort into the matter. The young lady who dated the ballplayer in 1951 married a young man in 1953 who had just come back from the Korean War. He had attained the rank of Sergeant in the Marine Corps. I noticed in checking the ancestry files yesterday that he died in 1972 at the young age of 40. That was the same age my dad was when he died in 1947 at McCune Brooks Hospital in Carthage.

My mind often wanders back to the days of my youth, in Carthage, and I relish the memories. Since the 1940 Federal Census has come out I sometimes go through the difference sections of the city and look for names I recognize from the past. It’s interesting to see where the parents of my classmates worked and even how old they were when their children were born. The people I looked upon as old were relatively young as I peruse the census data.

I would love to be in Carthage on the 30th but it is impossible these days to leave home. I still put out my baseball reports to a few hundred people and many of the recipients are former Carthaginians or former players loved the town. I'll mention the new book and hopefully some of the readers will order one.

Note from Powers Museum’s director:

Thanks for responding back. I will send you a list of the baseball photos we used. I will also see if another book by another author using some of our baseball photos got published as he thought. Those would be pre-KOM

Ed reply:

What you have are Carthage Pirate and Browns photos. However, there were a couple of 1946 Carthage Cardinals that somehow were in that lot. I imagine the other guy you are talking about is Jerry Hogan of Fayetteville, Ark. who has been trying to get his book about the Arkansas State and Arkansas-Missouri league published for some time. I hear from him nearly every day of my life. (Jerry get in touch with the museum if I have misrepresented anything.)

Reply from Powers Museum’s director:

Yes, so the book is NOT out yet I take it. I won't go looking for it then!

Here is who is in the book:

Pirates Joe Narieka

Browns trio of Roy Meyer, Joe Szuch & Frank Mancuso

Browns bat boy Raymond Baird

Cardinals William Buck

Cardinals LaVerne Etting

...and of course an image of the stadium.

The whole idea of the book was to feature selections from the many archival/artifact donations made to the museum since opening of the museum.

MICHELE HANSFORD

Director

Powers Museum, Carthage MO

Ed note:

Since many of the recipients of this report have Carthage connections you might wish to check out the book about Carthage. It is in the same format as all Arcadia publications. It will be around 128 pages with a lot of great photos and minimal verbiage. If any of you purchased “The KOM League Remembered” by that non-award winning author you’ll know what to expect regarding the 40 year history of Carthage from its glory years.

And, while I’m on the subject, if you wish to have the best pictorial book ever published about the KOM League I’m sure Arcadia would sell you one or more if you begged them. You can purchase them off the Internet and if you purchase them from Amazon.com I suspect that some where down the line it would result in eighty cents in royalties to Yours truly. It’s been a long time since I’ve seen a royalty check.

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Okay, I’m done:

I’ve dropped so many names and places in this report I’m bound to hear from someone for whom those references will spark some type of memory. If I don’t then this report has NO reason for existing.

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