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I had an old Thonet chair without legs and also had a big blue pot. I just fitted them together and painted the original flower pattern on the seat. Now I have a cool new chair. I really like it.
Thonet chair with blue pot leg by Lakbear.
Please take a look my other diy stools and chairs ideas:
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www.flickr.com/photos/lakbearrr/sets/72157651833705599
www.flickr.com/photos/lakbearrr/sets/72157649955855821
www.flickr.com/photos/lakbearrr/sets/72157649651933117
Please, don't hesitate to contact me here for more info: szentantal@gmail.com
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The Barbican Estate is a residential estate built during the 1960s and the 1970s in the City of London, in an area once devastated by World War II bombings and today densely populated by financial institutions. It contains, or is adjacent to, the Barbican Arts Centre, the Museum of London, the Guildhall School of Music and Drama, the Barbican public library, the City of London School for Girls and a YMCA, forming the Barbican Complex. The complex is a prominent example of British brutalist architecture and is Grade II listed as a whole[1] with the exception of the late Milton Court. Milton Court once contained a fire station, medical facilities and some flats and was demolished to allow the construction of a new apartment complex which also contains additional facilities for the Guildhall School of Music and Drama.
St Giles-without-Cripplegate is a Church of England church in the City of London, located within the modern Barbican complex.When built it stood without (that is, outside) the city wall, near the Cripplegate. The church is dedicated to St Giles, patron saint of beggars and cripples. It is one of the few medieval churches left in the City of London, having survived the Great Fire of 1666.
There was a Saxon church on the site in the 11th century but by 1090 it had been replaced by a Norman one. In 1394 it was rebuilt in the perpendicular gothic style. The stone tower was added in 1682.
The church has been badly damaged by fire on three occasions: In 1545, in 1897 and during an air raid of the Blitz of the Second World War on the night of 24 August 1940. German bombs completely gutted the church but it was restored using the plans of the reconstruction of 1545. A new ring of twelve bells was cast by Mears and Stainbank in 1954, and this was augmented with a sharp second bell cast in 2006 by the Whitechapel Bell Foundry.
The church was designated a Grade I listed building on 4 January 1950.
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© All rights reserved 2016
Oshawa, Ontario, Canada
Oshawa Municipal Airport CYOO
N2A
Goodyear Blimp
Semi Rigid Airship
Wingfoot Two
Twitter: @TomPodolec
So, I have to admit, I was WAY more excited about seeing the inside of Maple Leaf Gardens (which, somewhat disappointingly, has not been altered at all since it closed) than I was about seeing this piece. My expectations were met - the piece was interesting (see the description below), but it could easily have been set up in any building in town and gotten the same (if not better and more intimate) result.
Without Persons, 2008
Luis Jacob - Toronto, Canada
Multimedia Installation
"Without Persons" is a multi-media installation centered around two computer-generated male and female voices speaking about being-in-the-city and being-with-others. Accompanying the audio are two video screens which will abstractly and resonantly illustrate the spoken text. The artificial voices speak in an earnest manner about being with others in society -- voices that seem to belong to the concerned but disembodied surrogate-parents of an uncannily absent child.
As audience members, it is within us that is produced the primal scene of conception and birth, the emergence of our budding consciousness, and our entry into a well-managed existence. The eagerness to communicate expressed by these caring, parental voices contrasts poignantly with the inhuman aura of artificial speech.
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photographer | Bernard Egger фотография • collections • sets
classic sports cars ☆ vintage motorcycles | Oldtimer Grand Prix
Mille Miglia | Ennstal-Classic ☆ motor sport | legends & passion
event | 2010 Oldtimer Grand Prix Schwanenstadt AT
📷 | side car :: rumoto image #
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Oldtimer Grand Prix, Schwanenstadt, Aich, Pitzenberg, MSV Schwanenstadt, road racing, road races, Straßenrennen, Hausruckring, Grand Prix, LCR, sidecar race, Seitenwagen, Beiwagen, Kneeler,
sidecar legends, Klaus Enders, Werner Schwärzel, Siegfried Schauzu, Wolfgang Kalauch, Heinz Luthringshauser, Rolf Steinhausen, Rolf Biland, Kurt Waltisperg, Klaus Klaffenböck, Klaffi, Christian Parzer, George O'Dell, Jock Taylor, Alain Michel, Egbert Streuer, Steve Webster, Darren Dixon, Paul Güdel, Steve Abbott, Tim Reeves, Tristan Reeves, Pekka Päivärinta, Adolf Hänni, Ben Birchall, Tom Birchall, Josef Moser, Michael Grabmüller, Gerhard Hauzenberger, Wolfgang Stropek, Helmut Wechselberger, Моторспорт,
A 365 picture without me for once.
Press L.
Today I didn't have time to take a photo before the sunset. I was stuck at school listening to a teacher rambling about theater in the past, quite boring since I already studied it in normal history of art lessons.
Homework
-Latin: translate 14 sentences
-English: correct the test
-Geometry: study + exercises
-Science: none.
About the english test, it didn't go as well as I thought it would. But I must admit that my teacher was unfair because she marked some things wrong although they were correct. Oh well...
Ps: my cousin wrote everything while I spoke to her :) my cousin is happy :)
cousin says: Hi Flickr!!!!
THANKS Jessica and Karen for my first testimonials ever!!!! I love you. If you don't know them yet, well, you haven't visited Flickr entirely. They are lovely and beautiful girls who inspire me each day :D <3
The Enterprise is without a doubt the strangest ship in the Territorial Fleet. While most designs used by the TN are homegrown small- to mid-sized, highly adaptable vessels capable of rapid deployment to fill a multitude of roles, the Enterprise is gigantic, slow, and decidedly not of Republic (or even human) origin. Found adrift and unpowered, the origins of this former derelict are unknown. Carbon-dating places it around 5000 years old, and while the titanium alloy used in its construction is not exotic, its sheer cost boggles the mind. The elements used to power it's engines are extremely rare and also costly, perphaps another reason why the Republic never attempted to build a copy.
The Enterprise is by far the largest ship in the Territorial Navy, more than four times the tonnage of a Claymore-class cruiser. To call the Enterprise slow is slightly misleading. Its FTL seems to be slower than standard Slingshot drives, and its sublight speed is likewise unimpressive. However, the Enterprise uses a unique singularity drive which allows it to make miniature FTL jumps inside of a solar system.
While the technology has been succesfully reverse-engineered, it is too large and expensive to practically fit aboard any vessel. A modified, less powerful version was eventually created and is used as the -Cuttthoat-class's F-Zero drive.
The Enterprise offers a unique capability for the Territorial Navy. It is the only battleship-sized vessel in the Fleet, with enough hangar space to house multiple space wings, fulfilling the role of a sort of super-carrier. Unlike other Republic ships, all its weapons are energy-based, mostly lasers with a smattering of plasma. Its shield are extremely weak, only strong enough to deflect astral debris, but its armour is immensely strong, able to shrug off devastating amounts of firepower.
The Enterprise has multiple sections that can detach themselves from the main hull, exposing additional hangers for rapid deployments. It is suspected that these had other uses for its original creators, but none can tell exactly what. The Enterprise is not attached to any Territorial Fleet Group, instead serving as the flagship of its own Enterprise Task Force, which may serve on its own or be attached to a fleet as needs require.
Service aboard the Enterprise is seen as a tremendous honour, and the ship is beloved thoughout the Holy Terran Republic. It has a reputation for good luck. When attacked by a Concordat attack group in 2388, the "Big E" was heavily damaged, and destruction seemed imminent as a Concordat battleship closed in on the wounded ship.
It was at this moment that laser battery #1 fired a burst straight through the enemy's core, annihilating it. Later, the shot was calculated to require more than 200% the maximum energy capacity of the charge banks. Even more strangely, post-battle investigation revealed that all power conduits to the turret had been severed before the shot was taken. None of the gunnery officers could testify to having taken the shot.
There are numerous eyewitness accounts of "ghostly figures" see throughout the ship. Sometimes they are credited with saving a crewman from a scenario where certain death seems the only possible outcome. It is no wonder that the highly superstitious Territorials believe that the spirits of the Marines who died securing the ship return occasionally to protect them. Some believe it is the ghosts of the original creators of the ship.
Morale aboard the Enterprise is consistently among the highest in the entire fleet. Its current commander is Captain Desjani, who serves under Admiral Geary, who is in overall command of the Enterpise Task Force.
Average number of yearly missions undertaken by ship class:
Rapier-class: 31
Claymore-class: 22
Taffy-class: 156
RTS Enterpise: 40
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without my explicit permission. © All rights reserved, don't use without permission. - Todos los derechos reservados, no usar sin permiso.
the teleidoscope 2012 theme #3 - movie star
1 - the concept
movie star - a star who plays leading roles in the cinema
I figured the best way to show i was the star was showing the movie poster. And since i'm coming up with the movie why not surround myself with some of my favorites :-D
2- the poster
i started with the idea to go for a Drew Struzan look, since i got back to drawing regularly but i soon figured out that: a) it would take me lot's of time to get the look right b)my painting would be slow and messy. So move on to the next best thing: a photomontage and inspired by Tim Bradstreet's work , i took the composition directly from one of his Hellblazer comic covers. I decided to pay him tribute and his gritty style, fitting of the tone of the movie :-)
3- the movie
named "the hanged man" as in the tarot card. in the Tarot deck symbolism "the hanged man" is not a victim - he has gone to his fate happily and smiles out at us. He is serene and content - it is his tormentors who will ultimately suffer. And that's the concept of the movie; it's a revenge story, the bloody kind that Tarantino's good at. Lots of guns, martial arts and public space destruction.
Story by Helder Silva - Screenplay and dialogues by Quentin Tarantino - Music by Hans Zimmer and Trent Reznor (yeah i know tarantino likes to choose his oldies but this would work) - Action Choreography by Jackie Chan Stunt Team - Produced by Helder Silva - Directed by Quentin Tarantino
and i would love this in the soundtrack: nine inch nails - gave up
...without light, air conditioning, cozy red velvet sofa, dvd, pc, microwave, internet, washing machine, espresso machine. Incredible but it is true, all the enviroment is completely organic, that is soil, rocks, trees, water, plants and animals. Could we manage nowdays without all so called "civilized items"? Someone was there on Christmas eve with his dreams and hopes a long time ago.
Wishing you all my dear friends Happy Christmas!
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XXXII. The Life without Passion
THEY that have power to hurt, and will do none,
That do not do the thing they most do show,
Who, moving others, are themselves as stone,
Unmovèd, cold, and to temptation slow,—
They rightly do inherit heaven's graces,
And husband nature's riches from expense;
They are the lords and owners of their faces,
Others, but stewards of their excellence.
The summer's flower is to the summer sweet,
Though to itself it only live and die;
But if that flower with base infection meet,
The basest weed outbraves his dignity:
For sweetest things turn sourest by their deeds;
Lilies that fester smell far worse than weeds.
-- W. Shakespeare
Graffiti (plural; singular graffiti or graffito, the latter rarely used except in archeology) is art that is written, painted or drawn on a wall or other surface, usually without permission and within public view. Graffiti ranges from simple written words to elaborate wall paintings, and has existed since ancient times, with examples dating back to ancient Egypt, ancient Greece, and the Roman Empire (see also mural).
Graffiti is a controversial subject. In most countries, marking or painting property without permission is considered by property owners and civic authorities as defacement and vandalism, which is a punishable crime, citing the use of graffiti by street gangs to mark territory or to serve as an indicator of gang-related activities. Graffiti has become visualized as a growing urban "problem" for many cities in industrialized nations, spreading from the New York City subway system and Philadelphia in the early 1970s to the rest of the United States and Europe and other world regions
"Graffiti" (usually both singular and plural) and the rare singular form "graffito" are from the Italian word graffiato ("scratched"). The term "graffiti" is used in art history for works of art produced by scratching a design into a surface. A related term is "sgraffito", which involves scratching through one layer of pigment to reveal another beneath it. This technique was primarily used by potters who would glaze their wares and then scratch a design into them. In ancient times graffiti were carved on walls with a sharp object, although sometimes chalk or coal were used. The word originates from Greek γράφειν—graphein—meaning "to write".
The term graffiti originally referred to the inscriptions, figure drawings, and such, found on the walls of ancient sepulchres or ruins, as in the Catacombs of Rome or at Pompeii. Historically, these writings were not considered vanadlism, which today is considered part of the definition of graffiti.
The only known source of the Safaitic language, an ancient form of Arabic, is from graffiti: inscriptions scratched on to the surface of rocks and boulders in the predominantly basalt desert of southern Syria, eastern Jordan and northern Saudi Arabia. Safaitic dates from the first century BC to the fourth century AD.
Some of the oldest cave paintings in the world are 40,000 year old ones found in Australia. The oldest written graffiti was found in ancient Rome around 2500 years ago. Most graffiti from the time was boasts about sexual experiences Graffiti in Ancient Rome was a form of communication, and was not considered vandalism.
Ancient tourists visiting the 5th-century citadel at Sigiriya in Sri Lanka write their names and commentary over the "mirror wall", adding up to over 1800 individual graffiti produced there between the 6th and 18th centuries. Most of the graffiti refer to the frescoes of semi-nude females found there. One reads:
Wet with cool dew drops
fragrant with perfume from the flowers
came the gentle breeze
jasmine and water lily
dance in the spring sunshine
side-long glances
of the golden-hued ladies
stab into my thoughts
heaven itself cannot take my mind
as it has been captivated by one lass
among the five hundred I have seen here.
Among the ancient political graffiti examples were Arab satirist poems. Yazid al-Himyari, an Umayyad Arab and Persian poet, was most known for writing his political poetry on the walls between Sajistan and Basra, manifesting a strong hatred towards the Umayyad regime and its walis, and people used to read and circulate them very widely.
Graffiti, known as Tacherons, were frequently scratched on Romanesque Scandinavian church walls. When Renaissance artists such as Pinturicchio, Raphael, Michelangelo, Ghirlandaio, or Filippino Lippi descended into the ruins of Nero's Domus Aurea, they carved or painted their names and returned to initiate the grottesche style of decoration.
There are also examples of graffiti occurring in American history, such as Independence Rock, a national landmark along the Oregon Trail.
Later, French soldiers carved their names on monuments during the Napoleonic campaign of Egypt in the 1790s. Lord Byron's survives on one of the columns of the Temple of Poseidon at Cape Sounion in Attica, Greece.
The oldest known example of graffiti "monikers" found on traincars created by hobos and railworkers since the late 1800s. The Bozo Texino monikers were documented by filmmaker Bill Daniel in his 2005 film, Who is Bozo Texino?.
In World War II, an inscription on a wall at the fortress of Verdun was seen as an illustration of the US response twice in a generation to the wrongs of the Old World:
During World War II and for decades after, the phrase "Kilroy was here" with an accompanying illustration was widespread throughout the world, due to its use by American troops and ultimately filtering into American popular culture. Shortly after the death of Charlie Parker (nicknamed "Yardbird" or "Bird"), graffiti began appearing around New York with the words "Bird Lives".
Modern graffiti art has its origins with young people in 1960s and 70s in New York City and Philadelphia. Tags were the first form of stylised contemporary graffiti. Eventually, throw-ups and pieces evolved with the desire to create larger art. Writers used spray paint and other kind of materials to leave tags or to create images on the sides subway trains. and eventually moved into the city after the NYC metro began to buy new trains and paint over graffiti.
While the art had many advocates and appreciators—including the cultural critic Norman Mailer—others, including New York City mayor Ed Koch, considered it to be defacement of public property, and saw it as a form of public blight. The ‘taggers’ called what they did ‘writing’—though an important 1974 essay by Mailer referred to it using the term ‘graffiti.’
Contemporary graffiti style has been heavily influenced by hip hop culture and the myriad international styles derived from Philadelphia and New York City Subway graffiti; however, there are many other traditions of notable graffiti in the twentieth century. Graffiti have long appeared on building walls, in latrines, railroad boxcars, subways, and bridges.
An early graffito outside of New York or Philadelphia was the inscription in London reading "Clapton is God" in reference to the guitarist Eric Clapton. Creating the cult of the guitar hero, the phrase was spray-painted by an admirer on a wall in an Islington, north London in the autumn of 1967. The graffito was captured in a photograph, in which a dog is urinating on the wall.
Films like Style Wars in the 80s depicting famous writers such as Skeme, Dondi, MinOne, and ZEPHYR reinforced graffiti's role within New York's emerging hip-hop culture. Although many officers of the New York City Police Department found this film to be controversial, Style Wars is still recognized as the most prolific film representation of what was going on within the young hip hop culture of the early 1980s. Fab 5 Freddy and Futura 2000 took hip hop graffiti to Paris and London as part of the New York City Rap Tour in 1983
Commercialization and entrance into mainstream pop culture
Main article: Commercial graffiti
With the popularity and legitimization of graffiti has come a level of commercialization. In 2001, computer giant IBM launched an advertising campaign in Chicago and San Francisco which involved people spray painting on sidewalks a peace symbol, a heart, and a penguin (Linux mascot), to represent "Peace, Love, and Linux." IBM paid Chicago and San Francisco collectively US$120,000 for punitive damages and clean-up costs.
In 2005, a similar ad campaign was launched by Sony and executed by its advertising agency in New York, Chicago, Atlanta, Philadelphia, Los Angeles, and Miami, to market its handheld PSP gaming system. In this campaign, taking notice of the legal problems of the IBM campaign, Sony paid building owners for the rights to paint on their buildings "a collection of dizzy-eyed urban kids playing with the PSP as if it were a skateboard, a paddle, or a rocking horse".
Tristan Manco wrote that Brazil "boasts a unique and particularly rich, graffiti scene ... [earning] it an international reputation as the place to go for artistic inspiration". Graffiti "flourishes in every conceivable space in Brazil's cities". Artistic parallels "are often drawn between the energy of São Paulo today and 1970s New York". The "sprawling metropolis", of São Paulo has "become the new shrine to graffiti"; Manco alludes to "poverty and unemployment ... [and] the epic struggles and conditions of the country's marginalised peoples", and to "Brazil's chronic poverty", as the main engines that "have fuelled a vibrant graffiti culture". In world terms, Brazil has "one of the most uneven distributions of income. Laws and taxes change frequently". Such factors, Manco argues, contribute to a very fluid society, riven with those economic divisions and social tensions that underpin and feed the "folkloric vandalism and an urban sport for the disenfranchised", that is South American graffiti art.
Prominent Brazilian writers include Os Gêmeos, Boleta, Nunca, Nina, Speto, Tikka, and T.Freak. Their artistic success and involvement in commercial design ventures has highlighted divisions within the Brazilian graffiti community between adherents of the cruder transgressive form of pichação and the more conventionally artistic values of the practitioners of grafite.
Graffiti in the Middle East has emerged slowly, with taggers operating in Egypt, Lebanon, the Gulf countries like Bahrain or the United Arab Emirates, Israel, and in Iran. The major Iranian newspaper Hamshahri has published two articles on illegal writers in the city with photographic coverage of Iranian artist A1one's works on Tehran walls. Tokyo-based design magazine, PingMag, has interviewed A1one and featured photographs of his work. The Israeli West Bank barrier has become a site for graffiti, reminiscent in this sense of the Berlin Wall. Many writers in Israel come from other places around the globe, such as JUIF from Los Angeles and DEVIONE from London. The religious reference "נ נח נחמ נחמן מאומן" ("Na Nach Nachma Nachman Meuman") is commonly seen in graffiti around Israel.
Graffiti has played an important role within the street art scene in the Middle East and North Africa (MENA), especially following the events of the Arab Spring of 2011 or the Sudanese Revolution of 2018/19. Graffiti is a tool of expression in the context of conflict in the region, allowing people to raise their voices politically and socially. Famous street artist Banksy has had an important effect in the street art scene in the MENA area, especially in Palestine where some of his works are located in the West Bank barrier and Bethlehem.
There are also a large number of graffiti influences in Southeast Asian countries that mostly come from modern Western culture, such as Malaysia, where graffiti have long been a common sight in Malaysia's capital city, Kuala Lumpur. Since 2010, the country has begun hosting a street festival to encourage all generations and people from all walks of life to enjoy and encourage Malaysian street culture.
The modern-day graffitists can be found with an arsenal of various materials that allow for a successful production of a piece. This includes such techniques as scribing. However, spray paint in aerosol cans is the number one medium for graffiti. From this commodity comes different styles, technique, and abilities to form master works of graffiti. Spray paint can be found at hardware and art stores and comes in virtually every color.
Stencil graffiti is created by cutting out shapes and designs in a stiff material (such as cardboard or subject folders) to form an overall design or image. The stencil is then placed on the "canvas" gently and with quick, easy strokes of the aerosol can, the image begins to appear on the intended surface.
Some of the first examples were created in 1981 by artists Blek le Rat in Paris, in 1982 by Jef Aerosol in Tours (France); by 1985 stencils had appeared in other cities including New York City, Sydney, and Melbourne, where they were documented by American photographer Charles Gatewood and Australian photographer Rennie Ellis
Tagging is the practice of someone spray-painting "their name, initial or logo onto a public surface" in a handstyle unique to the writer. Tags were the first form of modern graffiti.
Modern graffiti art often incorporates additional arts and technologies. For example, Graffiti Research Lab has encouraged the use of projected images and magnetic light-emitting diodes (throwies) as new media for graffitists. yarnbombing is another recent form of graffiti. Yarnbombers occasionally target previous graffiti for modification, which had been avoided among the majority of graffitists.
Theories on the use of graffiti by avant-garde artists have a history dating back at least to the Asger Jorn, who in 1962 painting declared in a graffiti-like gesture "the avant-garde won't give up"
Many contemporary analysts and even art critics have begun to see artistic value in some graffiti and to recognize it as a form of public art. According to many art researchers, particularly in the Netherlands and in Los Angeles, that type of public art is, in fact an effective tool of social emancipation or, in the achievement of a political goal
In times of conflict, such murals have offered a means of communication and self-expression for members of these socially, ethnically, or racially divided communities, and have proven themselves as effective tools in establishing dialog and thus, of addressing cleavages in the long run. The Berlin Wall was also extensively covered by graffiti reflecting social pressures relating to the oppressive Soviet rule over the GDR.
Many artists involved with graffiti are also concerned with the similar activity of stenciling. Essentially, this entails stenciling a print of one or more colors using spray-paint. Recognized while exhibiting and publishing several of her coloured stencils and paintings portraying the Sri Lankan Civil War and urban Britain in the early 2000s, graffitists Mathangi Arulpragasam, aka M.I.A., has also become known for integrating her imagery of political violence into her music videos for singles "Galang" and "Bucky Done Gun", and her cover art. Stickers of her artwork also often appear around places such as London in Brick Lane, stuck to lamp posts and street signs, she having become a muse for other graffitists and painters worldwide in cities including Seville.
Graffitist believes that art should be on display for everyone in the public eye or in plain sight, not hidden away in a museum or a gallery. Art should color the streets, not the inside of some building. Graffiti is a form of art that cannot be owned or bought. It does not last forever, it is temporary, yet one of a kind. It is a form of self promotion for the artist that can be displayed anywhere form sidewalks, roofs, subways, building wall, etc. Art to them is for everyone and should be showed to everyone for free.
Graffiti is a way of communicating and a way of expressing what one feels in the moment. It is both art and a functional thing that can warn people of something or inform people of something. However, graffiti is to some people a form of art, but to some a form of vandalism. And many graffitists choose to protect their identities and remain anonymous or to hinder prosecution.
With the commercialization of graffiti (and hip hop in general), in most cases, even with legally painted "graffiti" art, graffitists tend to choose anonymity. This may be attributed to various reasons or a combination of reasons. Graffiti still remains the one of four hip hop elements that is not considered "performance art" despite the image of the "singing and dancing star" that sells hip hop culture to the mainstream. Being a graphic form of art, it might also be said that many graffitists still fall in the category of the introverted archetypal artist.
Banksy is one of the world's most notorious and popular street artists who continues to remain faceless in today's society. He is known for his political, anti-war stencil art mainly in Bristol, England, but his work may be seen anywhere from Los Angeles to Palestine. In the UK, Banksy is the most recognizable icon for this cultural artistic movement and keeps his identity a secret to avoid arrest. Much of Banksy's artwork may be seen around the streets of London and surrounding suburbs, although he has painted pictures throughout the world, including the Middle East, where he has painted on Israel's controversial West Bank barrier with satirical images of life on the other side. One depicted a hole in the wall with an idyllic beach, while another shows a mountain landscape on the other side. A number of exhibitions also have taken place since 2000, and recent works of art have fetched vast sums of money. Banksy's art is a prime example of the classic controversy: vandalism vs. art. Art supporters endorse his work distributed in urban areas as pieces of art and some councils, such as Bristol and Islington, have officially protected them, while officials of other areas have deemed his work to be vandalism and have removed it.
Pixnit is another artist who chooses to keep her identity from the general public. Her work focuses on beauty and design aspects of graffiti as opposed to Banksy's anti-government shock value. Her paintings are often of flower designs above shops and stores in her local urban area of Cambridge, Massachusetts. Some store owners endorse her work and encourage others to do similar work as well. "One of the pieces was left up above Steve's Kitchen, because it looks pretty awesome"- Erin Scott, the manager of New England Comics in Allston, Massachusetts.
Graffiti artists may become offended if photographs of their art are published in a commercial context without their permission. In March 2020, the Finnish graffiti artist Psyke expressed his displeasure at the newspaper Ilta-Sanomat publishing a photograph of a Peugeot 208 in an article about new cars, with his graffiti prominently shown on the background. The artist claims he does not want his art being used in commercial context, not even if he were to receive compensation.
Territorial graffiti marks urban neighborhoods with tags and logos to differentiate certain groups from others. These images are meant to show outsiders a stern look at whose turf is whose. The subject matter of gang-related graffiti consists of cryptic symbols and initials strictly fashioned with unique calligraphies. Gang members use graffiti to designate membership throughout the gang, to differentiate rivals and associates and, most commonly, to mark borders which are both territorial and ideological.
Graffiti has been used as a means of advertising both legally and illegally. Bronx-based TATS CRU has made a name for themselves doing legal advertising campaigns for companies such as Coca-Cola, McDonald's, Toyota, and MTV. In the UK, Covent Garden's Boxfresh used stencil images of a Zapatista revolutionary in the hopes that cross referencing would promote their store.
Smirnoff hired artists to use reverse graffiti (the use of high pressure hoses to clean dirty surfaces to leave a clean image in the surrounding dirt) to increase awareness of their product.
Graffiti often has a reputation as part of a subculture that rebels against authority, although the considerations of the practitioners often diverge and can relate to a wide range of attitudes. It can express a political practice and can form just one tool in an array of resistance techniques. One early example includes the anarcho-punk band Crass, who conducted a campaign of stenciling anti-war, anarchist, feminist, and anti-consumerist messages throughout the London Underground system during the late 1970s and early 1980s. In Amsterdam graffiti was a major part of the punk scene. The city was covered with names such as "De Zoot", "Vendex", and "Dr Rat". To document the graffiti a punk magazine was started that was called Gallery Anus. So when hip hop came to Europe in the early 1980s there was already a vibrant graffiti culture.
The student protests and general strike of May 1968 saw Paris bedecked in revolutionary, anarchistic, and situationist slogans such as L'ennui est contre-révolutionnaire ("Boredom is counterrevolutionary") and Lisez moins, vivez plus ("Read less, live more"). While not exhaustive, the graffiti gave a sense of the 'millenarian' and rebellious spirit, tempered with a good deal of verbal wit, of the strikers.
I think graffiti writing is a way of defining what our generation is like. Excuse the French, we're not a bunch of p---- artists. Traditionally artists have been considered soft and mellow people, a little bit kooky. Maybe we're a little bit more like pirates that way. We defend our territory, whatever space we steal to paint on, we defend it fiercely.
The developments of graffiti art which took place in art galleries and colleges as well as "on the street" or "underground", contributed to the resurfacing in the 1990s of a far more overtly politicized art form in the subvertising, culture jamming, or tactical media movements. These movements or styles tend to classify the artists by their relationship to their social and economic contexts, since, in most countries, graffiti art remains illegal in many forms except when using non-permanent paint. Since the 1990s with the rise of Street Art, a growing number of artists are switching to non-permanent paints and non-traditional forms of painting.
Contemporary practitioners, accordingly, have varied and often conflicting practices. Some individuals, such as Alexander Brener, have used the medium to politicize other art forms, and have used the prison sentences enforced on them as a means of further protest. The practices of anonymous groups and individuals also vary widely, and practitioners by no means always agree with each other's practices. For example, the anti-capitalist art group the Space Hijackers did a piece in 2004 about the contradiction between the capitalistic elements of Banksy and his use of political imagery.
Berlin human rights activist Irmela Mensah-Schramm has received global media attention and numerous awards for her 35-year campaign of effacing neo-Nazi and other right-wing extremist graffiti throughout Germany, often by altering hate speech in humorous ways.
In Serbian capital, Belgrade, the graffiti depicting a uniformed former general of Serb army and war criminal, convicted at ICTY for war crimes and crimes against humanity, including genocide and ethnic cleansing in Bosnian War, Ratko Mladić, appeared in a military salute alongside the words "General, thank to your mother". Aleks Eror, Berlin-based journalist, explains how "veneration of historical and wartime figures" through street art is not a new phenomenon in the region of former Yugoslavia, and that "in most cases is firmly focused on the future, rather than retelling the past". Eror is not only analyst pointing to danger of such an expressions for the region's future. In a long expose on the subject of Bosnian genocide denial, at Balkan Diskurs magazine and multimedia platform website, Kristina Gadže and Taylor Whitsell referred to these experiences as a young generations' "cultural heritage", in which young are being exposed to celebration and affirmation of war-criminals as part of their "formal education" and "inheritance".
There are numerous examples of genocide denial through celebration and affirmation of war criminals throughout the region of Western Balkans inhabited by Serbs using this form of artistic expression. Several more of these graffiti are found in Serbian capital, and many more across Serbia and Bosnian and Herzegovinian administrative entity, Republika Srpska, which is the ethnic Serbian majority enclave. Critics point that Serbia as a state, is willing to defend the mural of convicted war criminal, and have no intention to react on cases of genocide denial, noting that Interior Minister of Serbia, Aleksandar Vulin decision to ban any gathering with an intent to remove the mural, with the deployment of riot police, sends the message of "tacit endorsement". Consequently, on 9 November 2021, Serbian heavy police in riot gear, with graffiti creators and their supporters, blocked the access to the mural to prevent human rights groups and other activists to paint over it and mark the International Day Against Fascism and Antisemitism in that way, and even arrested two civic activist for throwing eggs at the graffiti.
Graffiti may also be used as an offensive expression. This form of graffiti may be difficult to identify, as it is mostly removed by the local authority (as councils which have adopted strategies of criminalization also strive to remove graffiti quickly). Therefore, existing racist graffiti is mostly more subtle and at first sight, not easily recognized as "racist". It can then be understood only if one knows the relevant "local code" (social, historical, political, temporal, and spatial), which is seen as heteroglot and thus a 'unique set of conditions' in a cultural context.
A spatial code for example, could be that there is a certain youth group in an area that is engaging heavily in racist activities. So, for residents (knowing the local code), a graffiti containing only the name or abbreviation of this gang already is a racist expression, reminding the offended people of their gang activities. Also a graffiti is in most cases, the herald of more serious criminal activity to come. A person who does not know these gang activities would not be able to recognize the meaning of this graffiti. Also if a tag of this youth group or gang is placed on a building occupied by asylum seekers, for example, its racist character is even stronger.
By making the graffiti less explicit (as adapted to social and legal constraints), these drawings are less likely to be removed, but do not lose their threatening and offensive character.
Elsewhere, activists in Russia have used painted caricatures of local officials with their mouths as potholes, to show their anger about the poor state of the roads. In Manchester, England, a graffitists painted obscene images around potholes, which often resulted in them being repaired within 48 hours.
In the early 1980s, the first art galleries to show graffitists to the public were Fashion Moda in the Bronx, Now Gallery and Fun Gallery, both in the East Village, Manhattan.
A 2006 exhibition at the Brooklyn Museum displayed graffiti as an art form that began in New York's outer boroughs and reached great heights in the early 1980s with the work of Crash, Lee, Daze, Keith Haring, and Jean-Michel Basquiat. It displayed 22 works by New York graffitists, including Crash, Daze, and Lady Pink. In an article about the exhibition in the magazine Time Out, curator Charlotta Kotik said that she hoped the exhibition would cause viewers to rethink their assumptions about graffiti.
From the 1970s onwards, Burhan Doğançay photographed urban walls all over the world; these he then archived for use as sources of inspiration for his painterly works. The project today known as "Walls of the World" grew beyond even his own expectations and comprises about 30,000 individual images. It spans a period of 40 years across five continents and 114 countries. In 1982, photographs from this project comprised a one-man exhibition titled "Les murs murmurent, ils crient, ils chantent ..." (The walls whisper, shout and sing ...) at the Centre Georges Pompidou in Paris.
In Australia, art historians have judged some local graffiti of sufficient creative merit to rank them firmly within the arts. Oxford University Press's art history text Australian Painting 1788–2000 concludes with a long discussion of graffiti's key place within contemporary visual culture, including the work of several Australian practitioners.
Between March and April 2009, 150 artists exhibited 300 pieces of graffiti at the Grand Palais in Paris.
Spray paint has many negative environmental effects. The paint contains toxic chemicals, and the can uses volatile hydrocarbon gases to spray the paint onto a surface.
Volatile organic compound (VOC) leads to ground level ozone formation and most of graffiti related emissions are VOCs. A 2010 paper estimates 4,862 tons of VOCs were released in the United States in activities related to graffiti.
In China, Mao Zedong in the 1920s used revolutionary slogans and paintings in public places to galvanize the country's communist movement.
Based on different national conditions, many people believe that China's attitude towards Graffiti is fierce, but in fact, according to Lance Crayon in his film Spray Paint Beijing: Graffiti in the Capital of China, Graffiti is generally accepted in Beijing, with artists not seeing much police interference. Political and religiously sensitive graffiti, however, is not allowed.
In Hong Kong, Tsang Tsou Choi was known as the King of Kowloon for his calligraphy graffiti over many years, in which he claimed ownership of the area. Now some of his work is preserved officially.
In Taiwan, the government has made some concessions to graffitists. Since 2005 they have been allowed to freely display their work along some sections of riverside retaining walls in designated "Graffiti Zones". From 2007, Taipei's department of cultural affairs also began permitting graffiti on fences around major public construction sites. Department head Yong-ping Lee (李永萍) stated, "We will promote graffiti starting with the public sector, and then later in the private sector too. It's our goal to beautify the city with graffiti". The government later helped organize a graffiti contest in Ximending, a popular shopping district. graffitists caught working outside of these designated areas still face fines up to NT$6,000 under a department of environmental protection regulation. However, Taiwanese authorities can be relatively lenient, one veteran police officer stating anonymously, "Unless someone complains about vandalism, we won't get involved. We don't go after it proactively."
In 1993, after several expensive cars in Singapore were spray-painted, the police arrested a student from the Singapore American School, Michael P. Fay, questioned him, and subsequently charged him with vandalism. Fay pleaded guilty to vandalizing a car in addition to stealing road signs. Under the 1966 Vandalism Act of Singapore, originally passed to curb the spread of communist graffiti in Singapore, the court sentenced him to four months in jail, a fine of S$3,500 (US$2,233), and a caning. The New York Times ran several editorials and op-eds that condemned the punishment and called on the American public to flood the Singaporean embassy with protests. Although the Singapore government received many calls for clemency, Fay's caning took place in Singapore on 5 May 1994. Fay had originally received a sentence of six strokes of the cane, but the presiding president of Singapore, Ong Teng Cheong, agreed to reduce his caning sentence to four lashes.
In South Korea, Park Jung-soo was fined two million South Korean won by the Seoul Central District Court for spray-painting a rat on posters of the G-20 Summit a few days before the event in November 2011. Park alleged that the initial in "G-20" sounds like the Korean word for "rat", but Korean government prosecutors alleged that Park was making a derogatory statement about the president of South Korea, Lee Myung-bak, the host of the summit. This case led to public outcry and debate on the lack of government tolerance and in support of freedom of expression. The court ruled that the painting, "an ominous creature like a rat" amounts to "an organized criminal activity" and upheld the fine while denying the prosecution's request for imprisonment for Park.
In Europe, community cleaning squads have responded to graffiti, in some cases with reckless abandon, as when in 1992 in France a local Scout group, attempting to remove modern graffiti, damaged two prehistoric paintings of bison in the Cave of Mayrière supérieure near the French village of Bruniquel in Tarn-et-Garonne, earning them the 1992 Ig Nobel Prize in archeology.
In September 2006, the European Parliament directed the European Commission to create urban environment policies to prevent and eliminate dirt, litter, graffiti, animal excrement, and excessive noise from domestic and vehicular music systems in European cities, along with other concerns over urban life.
In Budapest, Hungary, both a city-backed movement called I Love Budapest and a special police division tackle the problem, including the provision of approved areas.
The Anti-social Behaviour Act 2003 became Britain's latest anti-graffiti legislation. In August 2004, the Keep Britain Tidy campaign issued a press release calling for zero tolerance of graffiti and supporting proposals such as issuing "on the spot" fines to graffiti offenders and banning the sale of aerosol paint to anyone under the age of 16. The press release also condemned the use of graffiti images in advertising and in music videos, arguing that real-world experience of graffiti stood far removed from its often-portrayed "cool" or "edgy'" image.
To back the campaign, 123 Members of Parliament (MPs) (including then Prime Minister Tony Blair), signed a charter which stated: "Graffiti is not art, it's crime. On behalf of my constituents, I will do all I can to rid our community of this problem."
In the UK, city councils have the power to take action against the owner of any property that has been defaced under the Anti-social Behaviour Act 2003 (as amended by the Clean Neighbourhoods and Environment Act 2005) or, in certain cases, the Highways Act. This is often used against owners of property that are complacent in allowing protective boards to be defaced so long as the property is not damaged.
In July 2008, a conspiracy charge was used to convict graffitists for the first time. After a three-month police surveillance operation, nine members of the DPM crew were convicted of conspiracy to commit criminal damage costing at least £1 million. Five of them received prison sentences, ranging from eighteen months to two years. The unprecedented scale of the investigation and the severity of the sentences rekindled public debate over whether graffiti should be considered art or crime.
Some councils, like those of Stroud and Loerrach, provide approved areas in the town where graffitists can showcase their talents, including underpasses, car parks, and walls that might otherwise prove a target for the "spray and run".
Graffiti Tunnel, University of Sydney at Camperdown (2009)
In an effort to reduce vandalism, many cities in Australia have designated walls or areas exclusively for use by graffitists. One early example is the "Graffiti Tunnel" located at the Camperdown Campus of the University of Sydney, which is available for use by any student at the university to tag, advertise, poster, and paint. Advocates of this idea suggest that this discourages petty vandalism yet encourages artists to take their time and produce great art, without worry of being caught or arrested for vandalism or trespassing.[108][109] Others disagree with this approach, arguing that the presence of legal graffiti walls does not demonstrably reduce illegal graffiti elsewhere. Some local government areas throughout Australia have introduced "anti-graffiti squads", who clean graffiti in the area, and such crews as BCW (Buffers Can't Win) have taken steps to keep one step ahead of local graffiti cleaners.
Many state governments have banned the sale or possession of spray paint to those under the age of 18 (age of majority). However, a number of local governments in Victoria have taken steps to recognize the cultural heritage value of some examples of graffiti, such as prominent political graffiti. Tough new graffiti laws have been introduced in Australia with fines of up to A$26,000 and two years in prison.
Melbourne is a prominent graffiti city of Australia with many of its lanes being tourist attractions, such as Hosier Lane in particular, a popular destination for photographers, wedding photography, and backdrops for corporate print advertising. The Lonely Planet travel guide cites Melbourne's street as a major attraction. All forms of graffiti, including sticker art, poster, stencil art, and wheatpasting, can be found in many places throughout the city. Prominent street art precincts include; Fitzroy, Collingwood, Northcote, Brunswick, St. Kilda, and the CBD, where stencil and sticker art is prominent. As one moves farther away from the city, mostly along suburban train lines, graffiti tags become more prominent. Many international artists such as Banksy have left their work in Melbourne and in early 2008 a perspex screen was installed to prevent a Banksy stencil art piece from being destroyed, it has survived since 2003 through the respect of local street artists avoiding posting over it, although it has recently had paint tipped over it.
In February 2008 Helen Clark, the New Zealand prime minister at that time, announced a government crackdown on tagging and other forms of graffiti vandalism, describing it as a destructive crime representing an invasion of public and private property. New legislation subsequently adopted included a ban on the sale of paint spray cans to persons under 18 and increases in maximum fines for the offence from NZ$200 to NZ$2,000 or extended community service. The issue of tagging become a widely debated one following an incident in Auckland during January 2008 in which a middle-aged property owner stabbed one of two teenage taggers to death and was subsequently convicted of manslaughter.
Graffiti databases have increased in the past decade because they allow vandalism incidents to be fully documented against an offender and help the police and prosecution charge and prosecute offenders for multiple counts of vandalism. They also provide law enforcement the ability to rapidly search for an offender's moniker or tag in a simple, effective, and comprehensive way. These systems can also help track costs of damage to a city to help allocate an anti-graffiti budget. The theory is that when an offender is caught putting up graffiti, they are not just charged with one count of vandalism; they can be held accountable for all the other damage for which they are responsible. This has two main benefits for law enforcement. One, it sends a signal to the offenders that their vandalism is being tracked. Two, a city can seek restitution from offenders for all the damage that they have committed, not merely a single incident. These systems give law enforcement personnel real-time, street-level intelligence that allows them not only to focus on the worst graffiti offenders and their damage, but also to monitor potential gang violence that is associated with the graffiti.
Many restrictions of civil gang injunctions are designed to help address and protect the physical environment and limit graffiti. Provisions of gang injunctions include things such as restricting the possession of marker pens, spray paint cans, or other sharp objects capable of defacing private or public property; spray painting, or marking with marker pens, scratching, applying stickers, or otherwise applying graffiti on any public or private property, including, but not limited to the street, alley, residences, block walls, and fences, vehicles or any other real or personal property. Some injunctions contain wording that restricts damaging or vandalizing both public and private property, including but not limited to any vehicle, light fixture, door, fence, wall, gate, window, building, street sign, utility box, telephone box, tree, or power pole.
To help address many of these issues, many local jurisdictions have set up graffiti abatement hotlines, where citizens can call in and report vandalism and have it removed. San Diego's hotline receives more than 5,000 calls per year, in addition to reporting the graffiti, callers can learn more about prevention. One of the complaints about these hotlines is the response time; there is often a lag time between a property owner calling about the graffiti and its removal. The length of delay should be a consideration for any jurisdiction planning on operating a hotline. Local jurisdictions must convince the callers that their complaint of vandalism will be a priority and cleaned off right away. If the jurisdiction does not have the resources to respond to complaints in a timely manner, the value of the hotline diminishes. Crews must be able to respond to individual service calls made to the graffiti hotline as well as focus on cleanup near schools, parks, and major intersections and transit routes to have the biggest impact. Some cities offer a reward for information leading to the arrest and prosecution of suspects for tagging or graffiti related vandalism. The amount of the reward is based on the information provided, and the action taken.
When police obtain search warrants in connection with a vandalism investigation, they are often seeking judicial approval to look for items such as cans of spray paint and nozzles from other kinds of aerosol sprays; etching tools, or other sharp or pointed objects, which could be used to etch or scratch glass and other hard surfaces; permanent marking pens, markers, or paint sticks; evidence of membership or affiliation with any gang or tagging crew; paraphernalia including any reference to "(tagger's name)"; any drawings, writing, objects, or graffiti depicting taggers' names, initials, logos, monikers, slogans, or any mention of tagging crew membership; and any newspaper clippings relating to graffiti crime.
A chimney without any access fixings is probably the hardest to errect ladders up, especially if it is a steel chimney! Brick and concrete chimneys you can dill and place a fixing where you want, but a steel chimney you have to throw a wire lashing around it to attach the ladders.
Hinxhill is a small village in the shadow of Wye down. I say a village, its a couple of houses and the Hinxhill Estate, which you can't see from the road.
St Mary has been a church I have wanted to see inside for many years, and I have never found it open. But for this Heritage weekend, I had high hopes.
And I wasn't disappointed.
St Mary has a very fine 17th century memorial on the wall, two nice figures on it, and as well as some nice Victorian glass, the light coming in at just gone four in the afternoon made photography perfect.
One of those visits you remember for the lights, so a church well worth waiting for to visit.
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Remote and peaceful Hinxhill is the archetypal country church. Almost all dating from the 13th century, the narrow north aisle is a typical give way – designed to be used as a processional space without benches. The lovely lancet windows, with trefoil headed tops are small and low whilst the north chapel has one with a rere-arch, a sign of wealth in the latter 13th century. The odd chancel screen is dated to the 17th century and the woodwork of the pulpit is probably of that date too. The stained glass is Victorian and mostly by the Scottish firm of Ballantyne – a catalogue of changing fashion. The south chancel window of Christ weeping is particularly good. The fine Royal Arms is one of several in Kent by Marten of Tenterden and well worth a look. To the north of the chancel is a seventeenth century tomb with good effigies and skulls beneath – which legend says was walled up with plaster for two hundred years before being re displayed by the Victorians. In the vestry is a delightful piece of continental glass of probable seventeenth century date.
www.kentchurches.info/church.asp?p=Hinxhill
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HINXHILL,
USUALLY called Hinexsell, and in very antient times written Hengestelle, is the next parish eastward from Kennington. The manor of Bilsington claims over a great part of this parish.
HINXHILL is an obscure parish, but little known, and having very little traffic through it. The village consists of only four or five houses, one of which, is the principal farm-house of Sir John Honywood's estate here, and another the parsonage. It stands on high ground, with the church on the west side of it. The antient mansion stood close to the south-west corner of the church-yard, having a fine prospect over the adjoining country. The kitchen is all that remains of it now, being made use of as an oast and stowages for hops. Not far from the church, northward, are Great and Little Plumpton, the former was for some time the residence of the Andrew's, the latter of the Whitwick's. Below the hill from the village to the north and west, it is a deep and most unpleasant country, the soil a stiff clay, with much boggy ground, especially westward, where it is joined by the river Stour. About the village it it tolerable fertile land, but southward there is much sand, mixed with the quarry or rag stone.
A fair is held here yearly on the Saturday in Whitsun-week, for toys and pedlary.
In the year 1727, a species of subterraneous fire was taken notice of in the valley between Goodcheape in this parish and Wye. This fire began in a marshy field, on the side of a little brook, near the water, and continued to burn along its bank without spreading much for some days; afterwards it appeared on the other side, and extended itself for the space of some acres over the field, consuming all the earth where it burnt into red ashes, quite down to the springs, which in most places lay four feet and more deep. In the space of about six weeks it had consumed about three acres of ground, at which time it burnt in many places, and sent forth a great smoak and a strong smell very like that of a brick-kiln; but it never flamed, except when the earth was turned and stirred up. For some space where it was burnt the ground felt hot, though the grass seemed no more parched than might be reasonably expected from the dryness and heat of the season. In several places where the earth was turned up, it was found to be hot and wet near four feet deep, and much hotter about two feet deep than nearer the surface; and when this earth was exposed to the air, though it was very moist, and not hotter than might be easily borne by the hand, yet the heat of it increased so fast, that in a few minutes it was all over on fire, like phosphorus made with allum and flour. The soil of the field is of the same nature with that the turs is made of in Holland. The surface of it is always wet, except in extreme dry seasons; but this season it was somewhat more parched and harder than usual. It was difficult to carry any of this away, on account of its firing; one piece in particular firing in the pocket of one who was bringing it away, had almost burnt its way through before it was perceived. (fn. 1)
In the stone-quarry by Swatfield-bridge, at the southern boundary of this parish, as well as in many of the rag-stones about the adjoining parishes of Sevington and Willesborough, is found the ostracites stone, very large; and on a rag-stone at Lacton, in the latter parish, the flat shell of one measured eight inches diameter; and the late Mr. Thorpe, of Bexley, had two in his possession, very large and fair, with the convex parts entirely filled up with solid stone, which were given to his father, Dr. Thorpe, by the earl of Winchelsea.
ONE ÆTHELFERH, a servant of the abbot of St. Augustine's monastery, about the year 864, by will gave the land of Hengesteselle, which was a parish, as Thorne says in his Chronicle, contiguous to that of Willesborough northward, to that monastery; but Hugo de Montfort, in the time of the Conqueror, got possession of it, in spite of all the efforts of the monks to oppose it: and accordingly this estate seems to have been thus entered in the survey of Domesday as follows, among his possessions:
In Langebrige hundred, Gislebert holds of Hugo one yoke, which a certain Sochman held of king Edward. It is and was worth four shillings. There was nothing there nor is.
Of Etwelle, which Herbert the son of Ivo, holds without the division of Hugo, he himself holds fourteen acres of land within his division, and it is worth two shillings.
And still further in the same record, under the like title, is the following entry, which evidently relates to his possessions, part of, or at least adjoining to those before-mentioned:
In Langebrige hundred. In the same hundred, is one rood of land in Suestone, which one Sochman held of king Edward. There is now one borderer paying twelve pence. In the time of king Edward the Confessor it was worth thirty pence, and afterwards eighteen, now three shillings.
Robert de Montfort, grandson of Hugo above-mentioned, having afterwards incurred the displeasure of king Henry II. all his estates, and these among them, them, came into the king's hands, after which it appears that THE MANOR OF HINXHILL, with that of SWATFORD, alias SWATFIELD, was afterwards held by the family of Strabolgie, earls of Athol; but Alexander Baliol, lord of Chilham, became possessed of them at the latter end of king Henry III.'s reign, in right of Isabel his wife, widow of David de Strabolgie, earl of Athol, and held them, by the courtesy of England, during her life, she having been, on the death of her brother Richard de Dover, s.p. become entitled to them for her life, the inheritance of them belonging to John, earl of Athol, her son by her former husband, as heir to her brother before-mentioned. At length they descended down to David, earl of Athol, who died in the 49th year of king Edward III. leaving two daughters his coheirs, Elizabeth, the eldest, married to Sir Thomas Percy, a younger son of Henry, lord Percy, and Philippa to John Halsham, of Halsham, in Sussex; the latter of whom, by her father's will, became entitled to these manors. At length her grandson Sir Hugh Halsham, in the beginning of king Henry VI.'s reign, passed them away, in the 3d year of that reign, to Sir Robert Scott, lieutenant of the tower of London, brother of Sir William Scott, of Braborne, and afterwards of Scotts-hall, whose only daughter and heir Alice, marrying William Kempe, nephew to cardinal archbishop Kempe, he, in her right, became entitled to them; but his grandson Sir William Kempe, about the latter end of king Henry VIII.'s reign, alienated them to Browning; from which family, about the reign of queen Elizabeth, they were alienated to Robt. Edolph, esq. son of Robert Edolph, of Brenset, and brother of Simon Edolph, of St. Radigunds, who bore for his arms, Ermine, on a bend, sable, three cinquesoils, argent, (fn. 2) who afterwards resided at Hinshill court, as did his son Sir Robert Edolph, who kept his shrievalty here in the 6th year of king James I. but his son Robert Edolph, esq. dying s.p. in 1631, gave these manors of Hinxhill and Swatford, together with the court leet of the half hundred of Longbridge, by will to Cecilia his wife, for her life, or so long as she continued unmarried; but she afterwards remarrying Sir Francis Knolles, of Reading, forfeited her interest in them, upon which they came to Mr. Samuel Edolph, her former husband's next brother, who some years afterwards conveyed them to his brother in-law Mr. John Angel, of Surry, for the more effectual performance of his will; and he, sometime after the death of king Charles I. passed them away to Edward Choute, esq. of Bethersden, who afterwards resided at Hinxhill-court, as did his son Sir George Choute likewise, who was succeeded in them by his son George Choute, esq. who was created a baronet in 1684. He pulled down this mansion, and removed to Bethersden, where he died s.p. in 1721, (fn. 3) having devised these manors by will to Edward Austen, esq. of Tenterden, afterwards baronet, who sold them not long afterwards to Sir William Honywood, bart. of Evington, who died possessed of them in 1748, and his direct descendant Sir John Honywood, bart. of Evington, is the present possessor of these manors.
The courts baron for the manors of Hinxhill and Swatford, have been for some time disused; and the court leet for the half hundred of Longbridge has been for several years past held by the constable of it, solely for the appointment of a successor in his office, as will be further taken notice of hereafter.
WALTHAM is a place here, which was once accounted a manor, and antiently belonged to the family of Criol, from whom it went by marriage into that of Rokesle, and thence again in like manner to the family of Poynings, in which it continued till Sir Edward Poynings, governor of Dover castle, and lord warden, dying possessed of it anno 14 Henry VIII. 1522, not only without legitimate issue, but even without any collateral kindred, who could make claim to his estates, this manor, among others, escheated to the crown, whence it was immediately afterwards granted to Sir Richard Damsell, who not long after passed it away to Goldhill; as he did about the latter end of queen Elizabeth's reign, to Mr. Robert Edolph, of Hinxhillcourt; since which it has passed in like manner as the manor of Hinxhill before-described, down to Sir John Honywood, bart. who is the present possessor of it.
GOODCHEAPES, as it is now called, but more properly Godchepes, is an estate in the northern part of this parish, which for a series of many generations had owners of that surname, one of whom, Thomas Godchepe, as appears by the inquisition taken after his death, died possessed of it in the 31st year of king Edward I. and in his name and descendants it remained fixed until the latter end of king Henry VIII.'s reign, and then it came by the will of one of them, named also Thomas Godchepe, after the limitation of it, to several different persons, who were become extinct without issue, to the last person mentioned in remainder in the will, Mr. John Barrow. The circumstances of which bequest is thus related: Mr. John Barrow, being an attorney, was called upon to make the will of Thomas Godchepe, and by his direction inserted the names of eight persons, who were to succeed each other in the inheritance of this estate in tail, and being asked by Barrow, whom he should add more, he was answered by the testator, that as there had been a reciprocal friendship between them, he should place his own name next after them all; and they all deceasing in course of time s.p. this estate in the end devolved to him and his heirs. Circumstances similar to the above have happened in relation to other estates in this county, particularly to the Leeds abbey estate, by Sir Roger Meredith's will, who died in 1742, s.p. who having sent for Mr. Walter Hooper, an attorney, to make his will, after having devised his estates to several different persons successively in tail, seemed at a loss who to name next in the entail, when Mr. Hooper mentioned himself and his nephew; and all the prior remainders having ceased, they both successively enjoyed that estate by the will. (fn. 4) Mr. Barrow, who bore for his arms, Lozengy, or, and azure, a grissin, salient, ermine, resided afterwards here, and died in 1578, leaving two daughters his coheirs, whose eldest daughter and coheir Elizabeth, marrying Mr. Robert Edolph, the purchaser of Hinxhill-court as before-mentioned, he became entitled to it sometime about the latter end of queen Elizabeth's reign; since which it has passed in like succession of ownership as the manors of Hinxhill and Waltham before-mentioned, down to Sir John Honywood, bart. who is the present possessor of them.
Charities.
MARTHA WADE, by will in 1722, gave an annuity of forty shillings, out of lands in this parish and Wye, to the use of the poor not receiving alms, vested in the churchwardens and overseers.
The poor constantly relieved are about twelve, casually eight.
THIS PARISH is within the ECCLESIASTICAL JURIADICTION of the diocese of Canterbury, and deanry of Limne.
The church, which is dedicated to St. Mary, is a small building, consisting of two isles and two chancels, having a low spire steeple at the west end, in which are three bells. In the high chancel, on the north side, there is a handsome monument, well preserved, for Robert Edolph, esq. and Cicely Browne his wife, having their effigies kneeling on it. He died in 1631. In the south isle are memorials for Coveney, arms, On a bend, three trefoils slipt. The north isle is very narrow indeed; in it is a memorial for Kennet Backe, gent. captain of the train-bands, obt. 1687. On the south side, in the church-yard, are several memorials for the Wightwicks, and a very antient stone, coffinshaped, with a cross story on it. It appears by the parish register, that many of the Edolphs are buried in this church, from the year 1588, when Mr. Robt. Edolph, sen. gent. was buried in it, to the present century. Mr. John Barrow in 1578, Sir Edward Chute in 1634, and others of some note in life, appear likewise to have been buried in it, for whom there are not any memorials.
¶The church of Hinxhill was antiently appendant to the manor, and continued with it till Robert Edolph, esq. by will in 1631, gave the manor of Hinxhill to his wife Cecilie, for her life, or until she remarried, and the advowson and patronage of this church to her and her heirs for ever. By which means the advowson being separated from the manor, became an advowson in gross, and though it afterwards was possessed by the same owners as the manor, yet having been once separated it could never afterwards be appendant to it again. (fn. 5) She soon afterwards remarrying Sir Francis Knolles, forfeited her life-estate in the manor to her late husband's next heir and brother, Mr. Sam. Edolph, and some years afterwards alienated the reversion of the advowson, (for she appears to have presented to the Rectory in 1666) to him. Since which it has continued, in like succession of ownership with the manor of Hinxhill, and his other estates in this parish, to Angel, Choute, and Austen, and from the latter to Sir William Honywood, bart. whose descendant Sir John Honywood, bart. is the present owner and patron of this church.
This rectory is valued in the king's books at 7l. 16s. 8d. It is now a discharged living, of the clear yearly certified value of thirty-four pounds. In 1578 here were communicants seventy-one. In 1640 it was valued at sixty pounds, communicants seventy. There are ten acres of glebe.
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Jamaâ El Fna (en arabe : جامع الفناء, littéralement en français: assemblée des trépassés) est une place située à Marrakech à côté de la mosquée Koutoubia. Ce haut-lieu touristique attire sans cesse plus d'un million de visiteurs venus pour assister aux spectacles animés par les charmeurs de serpents, les dresseurs de singes, les conteurs, les musiciens et d’autres artistes populaires (jeux, dessin au henné, etc..) du début de soirée jusqu'à l'appel de la prière de l'aube. « L'espace culturel de la place Jemaa el-Fna » a été inscrit par l’UNESCO en 2001 en tant que patrimoine culturel immatériel de l'humanité. Elle se distingue aussi par des orateurs qui racontent des histoires ou vantent les mérites de produits magiques. Son nom de assemblée des trépassés vient du fait qu'elle servait autrefois à l'exposition, sur ordre du Sultan, des têtes des condamnés à mort qui venaient d'être exécutés. Certains jours, on pouvait ainsi compter jusqu'à quarante-cinq têtes. Elle est le théâtre d'une explosion meurtrière le 28 avril 2011. L’attentat, provoqué par une bombe actionnée à distance dont l'auteur présumé a été arrêté le 5 mai 2011, a fait 17 morts dont 8 français.
Jamaa el Fna (Arabic: ساحة جامع الفناء jâmiʻ al-fanâʼ) is a square and market place in Marrakesh's medina quarter (old city). The origin of its name is unclear: Jemaa means "congregational mosque" in Arabic, probably referring to a destroyed Almoravid mosque. "Fanâʼ" or "finâ'" can mean "death" or "a courtyard, space in front of a building." Thus, one meaning could be "The mosque or assembly of death," or "The Mosque at the End of the World". A more likely explanation is that it refers to a mosque with a distinctive courtyard or square in front of it. Marrakesh was founded by the Almoravids 1070-1072. After a destructive struggle, it was falling to the Almohads in 1147. Following this, Jamaa el Fna was renovated along with much of the city. The city walls were also extended by Abou Yacoub Youssef and particularly by Yacoub el Mansour 1147-1158. The surrounding mosque, palace, hospital, parade ground and gardens around the edges of the marketplace were also overhauled, and the Kasbah was fortified. Subsequently, with the fortunes of the city, Jamaa el Fna saw periods of decline and also renewal. The place remains the main square of Marrakesh, used by locals and tourists. During the day it is predominantly occupied by orange juice stalls, youths with chained Barbary apes, water sellers in colorful costumes with traditional leather water-bags and brass cups, and snake charmers who will pose for photographs for tourists. As the day progresses, the entertainment on offer changes: the snake charmers depart, and late in the day the square becomes more crowded, with Chleuh dancing-boys (it would be against custom for girls to provide such entertainment), story-tellers (telling their tales in Berber or Arabic, to an audience of appreciative locals), magicians, and peddlers of traditional medicines. As darkness falls, the square fills with dozens of food-stalls as the number of people on the square peaks. The square is edged along one side by the Marrakesh souk, a traditional North African market catering both for the common daily needs of the locals, and for the tourist trade. On other sides are hotels and gardens and cafe terraces offering an escape from the noise and confusion of the square. Narrow streets lead into the alleys of the medina quarter, the old city.
Once a bus station, the place was closed to vehicle traffic in the early 2000s. The authorities are well aware of its importance to the tourist trade, and a strong but discreet police presence ensures the safety of visitors.
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Morgenthal Frederics PURO Eyeglasses. Lens 39mm (with lens holder) D.B.L. 22mm
PURO is a unique, simple design eyeglasses. Titanium frame with acetate lens holder. The Ti frame comes in pewter, polished chrome, gummetal, bronze finish. Lens holder comes in White, Black, Brown, Tortoise and Horn. PURO are sold with or without lens holders with price difference. The acetate piece is not a decoration piece that mount on the Ti frame. The lens actually set in it instead of Ti frame itself. It is very cool looking and no need to worry that they will fell out. PURO is not perfectly round or oval.
As pretty as it is, I had THE WORSE experience EVER with PURO. It was purchased at Morgenthal Frederics at 59th Street in Time Warner Center building. Sale was helpful cuz I had intend of buying. At the time, I wasn't sure to go for acetate or not and was told the lens holder can be purchase separately if I change my mind. So I went for the Ti frame only. The frame was around $420 and another $400 for the lens. The $400 lens doesn't include all the coating and 4 times more than what I usually pay for. After owning it for 3 month, I found out that the frame is not perfect round or oval. The imperfect roundness bother my mind greatly. I thought the acetate lens holder would help to notice the frame shape so I thought I'll pay them a visit.
I went back to the store I bought it from and told the sales I would like to purchase the lens holder and would nice if they can insert it for me. It was different sales this time and he told me "NO, we don't sell them separately." I told them I was inform so and how can I get a lens holder? "Sir, you have to purchase a brand new frame with it." I told them the idea was ridiculous, cuz if the told me so the first place, I would made different choice. "Sir, we can't help you unless you buy a brand new frame." I left the store ANGRY and thought she don't know what she is talking about, let me went a different store and see what they say. Some one gotta make some sense right?!
I went to their store on the 63rd & Madison with the same request. Sales ask me where my frame originally from and call the Time Warner store to confirm. While he was on the phone, he was judging me through his eyes and told me "NO. They said you were just at Time Warner Store and they have told you everything you need to know. I am sorry". I was FURIOUS this time.
Still not giving it up, thanks god I got unlimited subway pass. I went to 74th Street & Madison store. I told them I went through 2 stores already if they wanna call and confirm, be my guest. I told them the whole story and what 2 stores were tell me and how I am furious before I enter this store and hoping they can give me a better answer. They respond. "We can give you the lens holder for free, but you have to buy a set of brand lens from us." (which was $400) I asked "why, optician can just re-shape it". They respond, "The lens is too thin, they will break." I told them, "why don't you sell me the lens holder, and I will ask my optician." They say, "sorry, we can't do that. Not unless you buy a set of brand new lens. What an unbelievable bunch of assholes!
At last I went to their last store in Manhattan located at W. Broadway in SoHo. I told spoke with the manager, told them the 3 stores responses. I let him decided if anything make any sense. "They might misunderstood with your request. You know what, I'll give the lens holder to you for free. We want our customer to be happy." Took me to go through all stores with anger. All, because their sales misinform their customer.
I took the lens holder to Abe, my optician in Chinatown. I ask him if he can reshape my current lens into the lens holder. Took Abe 5 min. and lens set in the holder. "the lens is made of plastic not glass, why they think it will break?" I took the frame back, scratch & Spot less, PERFECT. I ask Abe, "Can you check the lens quality and coating, how much you will charge to match it." Abe check it and responded, "$120, for you, I'll charge $100. This lens doesn't have all the coating you usually have on. $100 you got everything." I ask him if this lens is higher end, thinner, better in any other way? "No, it is the same thing we are using here. It is not better or special." I did not respond. I did not tell Abe about Morgenthal Frederics charge $400 dollars for them with less coating. They absolutely made me feel like a FOOL.
Everything above is 100% true. Morgenthal Frederics products no doubt are well made but people working for the company seem too money hungry. I told everyone what you guys have done so they can have 2nd thoughts before buying Morgenthal Frederics products. Morgenthal Frederics sure gave me the worse shopping experience. Now, whenever people search for Morgenthal Frederics online, my review will show up with it. I will NEVER buy another pair from you guys and I hope this review will HURT your company deeply.
Customers are the reasons why your company is still standing. Remember it well and treat them good. WORDS do spread. Reputation has to earn it by SERVICE.
I'd be lost without my bunny slippers. They go outside in the winter to shovel snow and in the summer to weed the garden. They have a special place in my house. In fact I have a pair that lives in Manti and a pair that lives in Salt Lake so I'm never far from a pair.
Along with Hinxhill, Thanington were the two longest term targets for photographing.
I first went to Thanington at none on Heritage Day, hoping it would be open. It was locked, but a sign indicated it would be open later.
Thing about Heritage Day is to minimise travel time, but to get to Hinxhill and Thanington, there was no choice that to have a 45 minute drive from Upchurch.
With Hinxhill being open and already in the bag, I arrived at Thanington, able to park outside thanks to the road having been resurfaced and the double yellow lines not having yet being painted.
Some churches are well worth the wait to see, like Hinxhill, and others are a disappointment. Thanington falls into the latter.
Heavily restored in the 19th century, and recently re-ordered, it left me cold. But the volunteer loved her church, and she showed me what was thought to be a carved head portrait on a column.
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Thanington is on the main A28, and St Nicholas set beside the road, though hides behind a huge Yew Tree.
I have been along this road many times, but the traffic is either too heavy, or too jammed to be able to stop. But one day earlier this month, I tried to see inside.
Sadly, it was locked, but then that is the fate of many urban churches, not just in Kent but all over.
So another one to add to the list come Heritage and Ride and Stride Weekend in September 2017.
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Low beside the road to Canterbury and outside (without) its walls, St Nicholas is a church that has seen many changes. An odd plan of nave with north tower, chancel and south nave chapel, it is built of local flints. Yew trees, the largest of which has an enormous round seat encompassing it, dominate the exterior. Inside the church has been recently re-ordered and the stone floor replaced by one of solid wood - a vast improvement. The pulpit and most of the nineteenth century stonework is by William Butterfield. In the nave are two gothic tablets to the Cooper family but apart from that there are few memorials to be seen. The east window of the south chapel has a fine piece of 20th century glass of The Good Shepherd contrasting with the earlier Mary and Elizabeth in its south windows. The plain arch into the tower shows the difference between medieval and later stonework and now leads to the church room added further down the slope and completely invisible from the south side of the church. The piscina is a wonderful piece of Victorian inventiveness with scrolly end stops and lobed inner arch whilst set into a recess in the east wall is a fascinating statue of St Nicholas the patron saint, with two children at his feet looking just as if they had stepped out of an Enid Blyton book! Delightful if somewhat bizarre.
www.kentchurches.info/church.asp?p=Thanington+Without
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HANINGTON lies about a mile from Canterbury, near the suburbs of Wincheap, part of the street of which, as well as St. Jacob's hospital at the entrance of it, are within the bounds of it; the river Stour runs through it, on the southern side is the church and courtlodge, beyond which and the Ashford road the hill rises on a poor flinty soil, among the coppice woods, as far as Iffens wood, a small part of which is within it. On the Ashford road stands the manor-house of Cockering, formerly possessed by a family of the same name, it has for some length of time belonged to the Honywoods, of Markshall, in Essex, and does now to Filmer Honywood, esq. of Marks-hall. A small distance higher on the hills, is New-house, formerly belonging to the Roberts's, of Harbledown, and thence by marriage to Robert Mead Wilmot, esq. who sold it to Sir Thomas Pym Hales, bart. as he did to Geo. Gipps, esq. the present owner of it. Between the above road and the church there are some very rich hop grounds. On the opposite, or northern side of the river, over which there is here a long wooden bridge for foot passengers only, and a ford, there is a large tract of meadows, and at the edge of them the manor and borough of Toniford. The ruins of the west front of the antient castellated mansion of it still remain, having four circular towers at equal distances, built of flint and ashlar stone. The gateway leading to it is still left, and the moat round it, very broad and deep, is still visible. Adjoining to the ruins is the modern house, built on the scite of the old one. The Kingsfords were for some generations resident here, as tenants of this estate. Above this the hill rises among much poor rough land. towards the woods.
THIS PLACE was antiently held of the archbishop, as part of his hundred and manor of Westgate, and in the reign of the Conqueror, as appears by domesday, it was held by Gosfridus Dapifer. (fn. 1) Some time after which THE MANOR OF THANINGTON appears to have been held by the eminent families of Valoyns and Septvans, of the archbishop; but in the next reign of king Richard II. it was held by Sir William Waleys, whose only daughter and heir Elizabeth carried it in marriage to Peter Halle, esq. of Herne, whose grandson Thomas died anno 1 Henry VII. unmarried, and was buried in Thanington church; upon which this manor came to his sister Joane, whose husband Thomas Atkins, in her right, became entitled to it. His son William Atkins, about the 17th year of king Henry VIII. alienated it, by fine and recovery, to John Hales, esq. of the Dungeon, in Canterbury, a baron of the exchequer, whose second son Thomas Hales, esq. by his fa ther's will, became possessed of this manor, where he afterwards resided. During which time his eldest brother Sir James Hales, late a justice of the common pleas, having been dismissed from his office on queen Mary's accession, retired to his nephew's seat here, where, in a fit of despondency, he drowned himself in the river near it, in 1555. (fn. 2) Thomas Hales died in 1583. His son Sir Charles Hales likewise resided here till he removed to Howlets, in Bekesborne, where his posterity remained till within these few years. At length his descendant Sir Philip Hales, bart. in 1775, passed it away by sale to George Gipps, esq. of Harbledowne, who is the present owner of it. A court baron is held for this manor.
TONIFORD, usually called Tunford, is a manor, situated within the borough of its own name, near the western bounds of this parish, and on that side of the river Stour next to Harbledowne. It was in early times both the property and residence of a family, who took their name from it, and bore for their arms, Gules, on a cross, argent, three fleurs de lis, sable. John de Toniford was possessed of it in the latter end of king Henry III.'s reign, and was a good benefactor to the hospital of Harbledowne. And his descendant, John de Toniford, resided here in king Edward III.'s reign, at the latter end of which he alienated it to Sir Thomas Fogge, whose son, of the same name, resided here, and died possessed of it anno 9 Henry IV. and was buried in the cathedral of Canterbury. From this family it afterwards passed into that of Browne, of Beechworth-castle, and in the 27th year of Henry VI. Sir Thomas Browne, of that place, comptroller and treasurer of the king's houshold, obtained a grant of liberty to embattle and impark, and to have free warren, &c. within this manor, among others. One of his descendants sold it to Colepeper, who again passed it away to Vane, from which name it was sold, in king Charles I.'s reign, to Capt. Thomas Collins, of Sittingborne, afterwards of Brightling, in Sussex, whose arms were Gules, on a bend, or, three martlets azure, within a bordure, ermine. In whose descendants it continued down to Mr. Henry Collins, of Chichester, who died possessed of it in king George II.'s reign, after whose death, it came to Thomas Lucksford, esq. of Chichester, whose widow Mrs. Hannah Lucksford dying in 1794, it came by devise at her decease, to William Wills, esq. of Ulcombe, who is the present possessor of it.
ST. JACOB'S, alias ST. JAMES'S HOSPITAL, which was situated at the further end of Wincheap-street, just without the bounds of the city of Canterbury, which extends close to the walls of it, was founded for leprous women, before the reign of king John. For in archbishop Hubert's time, who died in the 7th year of that reign, the prior and convent of Christ-church, in Canterbury, took this hospital into their custody and protection, and engaged themselves, that they would maintain three priests and one clerk for the service of religion, and twenty-five leprous women in this house, and supply them both, with all necessary provisions out of the profits of the church of Bredgar, and the other possessions of it, which church or parsonage king Henry III. afterwards confirmed to this hospital, in pure and perpetual alms. The revenues of it were valued anno 26 Henry VIII. at 53l. 16s. IId. in the whole, or 32l. 2s. 1¼d. clear annual income.
The members of it were exempted from the payment of tithes for their gardens and cattle; but there was a consideration in money, of eighteen pence per annum, in lieu of tithe, for the scite of the hospital, paid to the parson of Thanington.
This hospital escaped the dissolution of such foundations in king Henry VIII.'s reign, and continued till the 5th year of king Edward VI. when it was surren dered into the king's hands. The scite of it is now the property of Mr. Daniel Sankey, of Wincheap street, Canterbury. There are only the stone walls, which inclose an orchard, and the lower part of the front of the house, remaining of the antient buildings of it; the rest of the house, now called the hospital, being of a much more modern date.
There are no parochial charities. The poor constantly maintained are about fifteen, casually twenty-five.
THANINGTON is within the ECCLESIASTICAL JURISDICTION of the diocese of Canterbury, and deanry of of the same.
The church, which is dedicated to St. Nicholas, is but small, consisting of one isle, a high chancel, and another on the south side, having a small pointed turret on the middle of the north side, in which hang three bells. It is an antient building. In the isle is a memorial for Thomas Hale, obt. 15—, rest obliterated, and arms gone. Two memorials for the Kingsfords, of Tonford. In the high chancel is a gravestone, coffinshaped. A stone with the figure of a man in armour, and inscription in brass, for Thomas Halle, esq. obt. 1485; arms, Halle, barry, three escutcheons. Within the altar-rails, a memorial for Anne, wife of Sir Charles Hales, of Canterbury, daughter of Robert Honywood, esq. of Charing, obt. 1617. Another for Sir Charles Hales, obt. 1623, arms, Hales, a crescent for difference. Memorial for Millicent, wife of Henry See, gent. married first to Henry Blechenden, esq. of Aldington; secondly to Jerom Brett, esq. of Leedes; lastly to Thomas Rownyng, gent. obt. 1612. In the south wall is an arch, hollowed in the building, and a tomb underneath. At the end of the south chancel there was formerly an altar; the niche for holy water still remains. In the church-yard, near the south side of the chancel, are the remains of an antient tomb, singularly shaped, having a stone in the shape of a lozenge lying on the base of it. By two grooves in the side and other marks, it seems to have had much more belonging to it.
This church was part of the antient possessions of the priory of St. Gregory, founded by archbishop Lanfranc, and was by archbishop Hubert confirmed to it in king Richard I.'s reign. (fn. 3) In the 8th year of king Richard II. this church was become appropriated to that priory, when, on the taxation, it was valued at 11l. 6s. 8d. at which time there was a vicarage here, valued at four pounds, being one of those small benefices in this deanry not taxed to the tenth. After which, both church and advowson, remained part of the possessions of the priory till the dissolution of it in king Henry VIII.'s reign, when it came into the king's hands, and was soon afterwards granted, with the scite and other estates of the priory, in exchange, to the archbishop, part of whose revenues the appropriation of this church continues at this time. George Gipps, esq. of Harbledowne, is the present lessee under the archbishop, of this parsonage, among the other possessions of St. Gregory's priory.
In 1774 this parsonage consisted of a part of a messuage, called the vicarage-house, or Cockering-farm, with a stable, and two pieces of land, containing thirteen acres, with the tithes of corn, hay, seeds and pasture, of hops and wood, the church-yard, and a piece of hop-ground. Total value 128l. 10s. procurations to the archdeacon 5s. and to the archbishop at his visitations 6s. The vicarage-house consists of a lower and upper room, being the north-east end of Cockering-house, Mr. Honywood's, and easily distinguished from the rest of it. A like instance of such contiguity, I never have as yet met with.
Before the dissolution of the priory this church was served by a vicar; but from that time it has been esteemed only as a perpetual curacy, in the patronage of his grace the archbishop.
¶The antient stipend of the curate was eight pounds, but archbishop Juxon increased this stipend, among others, to forty pounds, to be paid by the lessee of the appropriation, at which sum the value of it is now certified. And it has been since further augmented by two hundred pounds from the governors of queen Anne's bounty, and the addition of two hundred pounds more from the same fund, on a distribution from the legacy of Mrs. Ursula Taylor, paid to it by Sir Philip Boteler, bart.
In 1588 here were eighty-eight communicants. In 1640 only forty.
Without the tedious stuffing about in airports it was 7½ hours to Singapore and a further 11 hours to Heathrow. You might suppose I'd be ready to crash. Arriving at 6am London time would be a serious dislocation of my body clock and a waste of time. Instead, hopping off the Heathrow Express to London Paddington I'm perfectly placed to trot down the stairs to Paddington Underground and recharge my Oyster Card before settling in for a rest on the roughly 3½hr trip from Paddington to Plymouth. This can be relaxation time before a quick explore and some orientation in somewhere I've never been.
Then and only then can I consider falling in a heap before mounting up again for Plymouth's hinterland tomorrow.
Coincidentally bits of London Paddington Station are attributable to the works of Isambard Kingdom Brunel. I'll leave here on the Great Western Railway including those delightful stretches hugging the coast precariously as a rising sea nibbles away at the track's future. I expect there'll be more said about the great man as my trip moves on and importantly get some sleep.
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© All rights reserved 2008
Scarborough Bluffs
Toronto, Ontario, Canada
20080606_121948-0002
mittenimwald paste-up on the streets of shanghai.
www.flickr.com/photos/urbanhearts/
part of street art without borders.
thank you so much again and again eric!
Please do not use this image without my prior consent.
ESQ by Movado/ Quest Chronograph
39mm (with crown)/ Domed Crystal/ Swiss Quartz Movement/ White Dial/ Stainless Steel/ Black Leather Strap
Wait, an ESQ? Many watch enthusiast might snob over the the brand and feel disappointed in me with this purchase. The truth is, I am not ashamed by my choice. This watch was purchased right after colleague, Same day before my first interview. Newbie in adult world, dress with black suit, try to act like an adult then I realized I do not have a proper dress watch. Most of my watch choice are casual. I was unwilling to just wear any watch I own to go by.
The "go by" type of attitude in small things some times reflect on one's worth ethic. If I pay attention, my interviewer might pick on small details. I wasn't gonna take my chance. My interview was in the afternoon and I spend all morning trying to find one that would fit with my limited budget. This ESQ was my final decision. After all, it is still a watch brand unlike fashion labels such as Armani, DKNY. ESQ is under Movado and it priced I can afford. Strap it on right the way, my confidence gain just a little bit. I look proper and ready to tackle my first real life obstacle.
Did the interview go well? That is the point of my story. I was satisfied.
© 2012 Paul Newcombe. Don't use without permission.
Porter Brook, Near Fulwood, Sheffield, UK.
Situated on the periphery of the Eastern Edge of the Peak District, Porter Brook made a peaceful change from some of the busier locations. I've cycled/driven past many times but never taken a walk here.
Without my camera in hand for the day, had to last resort it with the iPhone 6S. Meanwhile, hanging out with my good friends having a couple drinks
No visit to Cambodia is complete without attending at least one traditional Khmer dance performance, often referred to as 'Apsara Dance' after one of the most popular Classical dance pieces. Traditional Khmer dance is better described as 'dance-drama' in that the dances are not merely dance but are also meant to convey a story or message. There are four main modern genres of traditional Khmer dance: 1) Classical Dance, also known as Court or Palatine Dance (lakhon preah reach troap or lakhon luong); 2) Shadow theater (sbeik thom and sbeik toot); 3) Lakhon Khol (all-male masked dance-drama.); 4) Folk Dance (Ceremonial and Theatrical).
As evidenced in part by the innumerable apsaras (celestial dancers) that adorn the walls of Angkorian and pre-Angkorian temples, dance has been part of Khmer culture for well more than a millennium, though there have been ruptures in the tradition over the centuries, making it impossible to precisely trace the source of the tradition. Much of traditional dance (especially Classical) is inspired by Angkorian-era art and themes, but the tradition has not been passed unbroken from the age of Angkor. Most traditional dances seen today were developed in the 18th through 20th centuries, beginning in earnest with a mid-19th century revival championed by King Ang Duong (reigned 1841-1869). Subsequent Kings and other Khmer Royals also strongly supported the arts and dance, most particularly Queen Sisowath Kossamak Nearireach (retired King Norodom Sihanouk's mother) in the mid-20th century, who not only fostered a resurgence in the study and development of Khmer traditional dance, but also helped move it out of the Palace and popularize it. Queen Sisowath Kossamak trained her grand daughter Princess Bopha Devi in the art of traditional dance from early childhood, who went on to become the face of Khmer traditional dance in the 1950s and 60s both in Cambodia and around the world. Many traditional dances that are seen in performances today were developed and refined between the 1940s and 1960s under the guidance and patronage of Queen Sisowath Kossamak at the Conservatory of Performing Arts and the Royal University of Fine Arts in Phnom Penh. Almost all of the Theatrical Folk dances that are presented in modern performances were developed during this period. Like so much of Cambodian art and culture, traditional dance was almost lost under the brutal repression of the Khmer Rouge regime of the late 1970s, only to be revived and reconstructed in the 1980s and 90s due, in large part, to the extraordinary efforts of Princess Bopha Devi.
Classical dance, including the famous 'Apsara dance,' has a grounded, subtle, even restrained, yet feather-light, ethereal appearance. Distinct in its ornate costuming, taut posture, arched back and feet, fingers flexed backwards, codified facial expressions, slow, close, deliberate but flowing movements, Classical dance is uniquely Khmer. It presents themes and stories inspired primarily by the Reamker (the Cambodian version of the Indian classic, the Ramayana) and the Age of Angkor.
Folk Dance come in two forms: ceremonial and theatrical. As a general rule, only Theatrical Folk Dance is presented in public performances, with Ceremonial Folk Dances reserved for particular rituals, celebrations and holidays. Theatrical Folk Dances such as the popular Good Harvest Dance and the romantic Fishing Dance are usually adaptations of dances found in the countryside or inspired by rural life and practices. Most of the Theatrical Folk Dances that are seen in performances today were developed at the Royal University of Fine Arts in Phnom Penh in the 1960s as part of an effort to preserve and perpetuate Khmer culture and arts.
Shadow theatre comes in two forms: Sbeik Thom (big puppets that are actually panels depicting certain characters from the story) and Sbeik Toot (small articulated puppets). The black leather puppets are held in front of a light source, either in front or behind a screen, creating a shadow or silhouette effect. Sbeik Thom is the more uniquely Cambodian, more formal of the two types, restricting itself to stories from the Reamker. The performance is accompanied by a pin peat orchestra and narration, and the puppeteers are silent, moving the panels with dance-like movements. Sbeik Toot has a far lighter feel, presenting popular stories of heroes, adventures, love and battles, with or without orchestra and with the puppeteers often doing the narration.
Lakhon Khol is all male masked theatre presenting exclusively stories from the Reamker.
Most dance performances in Siem Reap offer a mixture of Classical and Theatrical Folk dances. A few venues offer Shadow Theater. Many of the dance performances in Siem Reap consist of 4-6 individual dances, often opening with an Apsara Dance, followed by two other Classical dances and two or three Theatrical Folk dances. The Apsara Dance is a Classical dance inspired by the apsara carvings and sculptures of Angkor and developed in the late 1940s by Queen Sisowath Kossamak. Her grand daughter and protégé, Princess Bopha Devi, was the first star of the Apsara Dance. The central character of the dance, the apsara Mera, leads her coterie of apsaras through a flower garden where they partake of the beauty of the garden. The movements of the dance are distinctly Classical yet, as the dance was developed for theatrical presentation, it is shorter and a bit more relaxed and flowing than most Classical dances, making it both an excellent example of the movements, manner and spirit of Classical dance and at the same time particularly accessible to a modern audience unaccustomed to the style and stories of Khmer dance-drama.
Another extremely popular dance included in most traditional dance performances in Siem Reap is the Theatrical Folk Dance known as the 'Fishing Dance.' The Fishing Dance is a playful, energetic folk dance with a strong, easy-to-follow story line. It was developed in the 1960s at the Royal University of Fine Arts in Phnom Penh and was inspired by the developer's interpretation of certain rather idealized and stereotyped aspects aspects of rural life and young love. Clad in rural attire, a group of young men and women fish with rattan baskets and scoops, dividing their attention between work and flirtatious glances. Women are portrayed as hardworking, shy, demurring and coy, whereas the young men are strong, unrestrained, roguish and assertive. As the dance continues a couple is separated from the group allowing the flirtations between them to intensify, only to be spoiled by the male character playing a bit too rough, leading to her coy rejection. He pokes and plays trying to win her back, bringing only further rejection. Eventually he gently apologizes on bended knee and after some effort, draws a smile and her attention once again. Just as they move together, the group returns, startling the couple and evoking embarrassment as they both rush to their 'proper' roles once again. The men and women exit at opposite sides of the stage, leaving the couple almost alone, but under pressure of the groups, they separate, leaving in opposite directions, yet with index finger placed to mouth, hint of a secret promise to meet again. (In an interesting side note, placing one's index finger to the lips to denote quiet or secrecy is not, generally speaking, a gesture found in Cambodia, but is common in the West. Its employment in the dance probably indicates a certain amount of 'foreign influence' amongst the Cambodian choreographers when the dance was developed in the 1960s.)
Source: Canby Publications Co., Ltd.
© Copyright 2013 Francisco Aragão
© ALL RIGHTS RESERVED. Use without permission is illegal.
© TODOS OS DIREITOS RESERVADOS. Usar sem permissão é ilegal.
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"Em comemoração aos 350 anos de serviços postais no Brasil foi promovida, na noite da última quinta-feira (24), solenidade no Salão Social do Clube Naval de Brasília (DF), com a presença de diversas autoridades, entre elas os ministros das Comunicações, Paulo Bernardo, de Minas e Energia, Edison Lobão, e dos Direitos Humanos, Maria do Rosário.
Estiveram presentes ainda estrelas do esporte, como o ex-tenista Gustavo Kuerten, o jogador de futsal Manoel Tobias e o nadador Gustavo Borges. Os Carteiros Nota 10 das 28 Diretorias Regionais e centenas de empregados também participaram da festa.
Na ocasião, após pronunciamento do presidente dos Correios, Wagner Pinheiro, ocorreu o lançamento do selo “Correios 350 Anos: História, Pessoas e Ação” e foram apresentados os vídeos da Campanha #vamaislonge, que será trabalhada ao longo de todo o ano e tem como mote a superação de limites.
Os mais de 400 participantes da celebração foram recepcionados ao som da Orquestra Filarmônica de Brasília e tiveram a oportunidade de assistir a um show pirotécnico especial, com fogos sendo lançados de balsas flutuantes situadas no Lago Paranoá."
http://blog.correios.com.br/350anos/
© 2010 Paul L. Csizmadia All Rights Reserved No Use Allowed without Permission
The Coast Guard Cutter 'Apalachee' (WYT-71) enjoys a little morning sun on the Cuyahoga River in Cleveland, Ohio.
Apalachee was commissioned on 26 November 1943. She was the first of her class to enter service, and was assigned to Baltimore, where she served through 1984. She was used for law enforcement and search and rescue patrols, fire fighting and light icebreaking when needed.
From 11 to 12 June 1965 she assisted in fighting the fire aboard the Columbian motor vessel Ciudad de Nieva near Baltimore. On 13 February 1968 she assisted in fighting a fire on Pier 5 in Baltimore. On 4 June 1969 she assisted in fighting the fire aboard the motor vessel Provence Town, again near Baltimore.
She transferred to Portland, Maine on 17 September 1984 where she served until she was decommissioned on 11 April 1986.
The U.S. Coast Guard Tug Association brought the former Coast Guard Cutter Apalachee (WYTM-71) to Cleveland in June of 2009 to be restored and presented as a maritime and Coast Guard museum ship. The Apalachee is a 110-ft icebreaking tug and the sister ship to the USCGC Kaw, which hailed from Cleveland for many years; the latter having provided icebreaking services for, among many others, the steamship William G. Mather, a museum ship currently in Cleveland, for many years.
It is hoped that the Apalachee will become an important attraction to Cleveland’s Lakefront revitalization project. As a USCG museum, a platform for educational opportunities, and a working venue for organizations such as the Sea Scouts, Navy Sea Cadets, Coast Guard Auxiliary, Coast Guard and Navy reserves, the Apalachee will become an important destination in Cleveland’s already growing harbor front attractions.