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LondonLife – Archbishops' tomb discovered under Lambeth church…
The remains of several archbishops of Canterbury are believed to have been found beneath a former parish church in Lambeth. Workers were carrying out renovation works at the deconsecrated St Mary-at-Lambeth, removing flagstone, when they found a hitherto unknown crypt containing some 20 lead coffins one of which had a small gold archbishops' mitre resting on top of it. Among those whose coffins have been identified are those of Archbishop Richard Bancroft (in office 1604-1610), who played an important role in the creation of the King James Bible, and Archbishop John Moore (1783-1805) as well as Moore's wife Catherine and that of John Bettesworth, Dean of Arches, Judge of the Archbishop Prerogative court. It is also believed that archbishops Frederick Cornwallis (1768-1783), Matthew Hutton (1757-1758) and Thomas Tenison (1694-1715) were buried in the tomb under the church's chancel. The church, which is located beside the River Thames adjacent to Lambeth Palace – London home of the archbishops of Canterbury, originally dates from the 11th century and was deconsecrated in the 1960s. The burial place of John Tradescant (c1570-1638), described as the first "great gardener" in British history, it was subsequently transformed into what is now known as the Garden Museum, the world's first museum of garden history. The museum closed in 2015 for a £7.5 million redevelopment project and is expected to reopen in late May. PICTURE: Top – the lead coffins with metallic bishop's mitre; a still taken from video posted on the Garden Museum website/Right – St Mary-at-Lambeth (right side of image).
Posted in Churches, Gardens, Lambeth, LondonLife, Museums, News, Stuart, The Thames | Tagged Archbishop of Canterbury, Garden Museum, John Tradescant, Lambeth, LondonLife, St Mary-at-Lambeth | Leave a Comment »
Lost London – Canterbury Music Hall, Lambeth
Described by the Theatres Trust as a "key building" in music hall history, the Canterbury Music Hall was first erected in Westminster Bridge Road in 1852 on the site of an old skittles alley which had been attached to the Canterbury Tavern.
It was the tavern owner, Charles Morton, who erected the building which he apparently paid for out of the profits he made on selling drink while offering the entertainment for free.
Morton built upon the "song and supper room" tradition by employing a resident group of singers and such was its popularity that only a couple of years after the doors to the first hall opened, Morton was able to build a second, much larger music hall on the same site complete with a grand staircase, supper room and art gallery as well as seating for some 1,500 people.
Among stars to perform there was French acrobat Charles Blondin, who apparently made his way across the hall on a tightrope tied between the balconies.
In 1867 William Holland took a lease from Morton and the programmes then began to move away from the light music and ballads it was known for toward a more varied program with comedy prevailing. The art gallery was converted into a bar and a proscenium stage may have been added at this time.
RE Villiers took over management in 1876 and the building was again largely rebuilt – this time as a three tier theatre with a sliding roof. The venue hosted regular ballet performances and these proved popular with royalty – the Prince of Wales (later King Edward VII) was said to be a regular patron. The interior was again remodelled, this time with an Indian theme, in 1890.
The decline of the popularity of music halls saw it start to show films from 1914 and eventually to become a dedicated cinema. It survived until it was destroyed during a World War II bombing raid in 1942.
PICTURE: A print showing the hall after its 1856 rebuild (via Wikipedia)
Posted in Edward VII, Lambeth, Lost London, Music heritage, Twentieth century, Victorian, World War II | Tagged Canterbury Hall, Canterbury Music Hall, Charles Blondin, Charles Morton, King Edward VII, Lambeth, Lost London, Westminster Bridge Road | 1 Comment »
This Week in London – MC Escher at Dulwich; West Africa's literary history at the British Library; and, two new war-related exhibitions…
• The first major UK retrospective of the work of 20th century Dutch artist Maurits Cornelis (MC) Escher opened at Dulwich Picture Gallery in London's south yesterday following its run at the Scottish National Gallery of Art. The Amazing World of MC Escher showcases more than 100 works – including original drawings, prints, lithographs, and woodcuts – as well as previously unseen archive material from the collection of Gemeentenmuseum Den Haag in The Netherlands. Arranged chronologically, highlights include 1934's Still Life with Mirror – perhaps the first time the artist used surreal illusion, well-known 1948 lithograph Drawing Hands, the almost four metre long 1939-40 woodcut Metamorphosis II, the 1943 lithograph Reptiles and two of his most celebrated works, Ascending and Descending (1960) and Waterfall (1961). Runs until 17th January and is accompanied by a series of special events. Admission charge applies. For more, see www.dulwichpicturegallery.org.uk. PICTURE: M.C. Escher, Hand with Reflecting Sphere (Self-Portait in Spherical Mirror), January 1935, Collection Gemeentemuseum Den Haag, The Hague, The Netherlands/All M.C. Escher works © 2015 The M.C. Escher Company-The Netherlands. All rights reserved. http://www.mcescher.com.
• West Africa's literary history comes under examination in a new exhibition opening at the British Library at St Pancras on Friday. West Africa: Word, Symbol, Song features more than 200 manuscripts, books, sound and film recordings, artworks, masks and textiles taken from the library's African collections and elsewhere. It explores how key figures – from Nobel Prize winning Nigerian author Professor Wole Soyinka through to human rights activist Fela Kuti, the creator of Afrobeat, and a generation of enslaved 18th century West Africans who agitated for the abolition of the slave trade – used words to both build society and fight injustice. Key items on show include a 1989 letter Kuti wrote to the president of Nigeria, General Ibrahim Babangida, in which he agitated for political change, a pair of atumpan 'talking drums' similar to those still used in Ghana, a carnival costume newly designed by Brixton-based artist Ray Mahabir, and letters, texts and life accounts written by the most famous 18th century British writer of African heritage, Olaudah Equiano, enslaved and freed scholar Ayuba Suleiman Diallo, and Phillis Wheatley, who, enslaved as a child, went on to write Romantic poetry. The exhibition, which will be accompanied by a major series of talks, events and performances, runs until 16th February. Admission charge applies. For more, see www.bl.uk/west-africa-exhibition.
• Two new war related exhibitions opened in London this week. Opened on Monday at the City of London's Guildhall Library, Talbot House – An Oasis in a World Gone Crazy, recounts the story of army chaplains Philip 'Tubby' Clayton and Neville Talbot and their creation of an Everyman's Club – where countless soldiers spent time away from the fighting – in a house in the Belgian town of Poperinge, a few miles from the frontline at Ypres. The exhibition, created to celebrate the centenary of the house's creation in 1915, features items from Talbot House, the memoirs of 'Tubby' and part of the hut where he wrote them after fleeing the Germans. Runs until 8th January and the exhibition also features two ticketed events. Entry to the exhibition is free. For more, follow this link. Meanwhile, Lee Miller: A Woman's War opens at the Imperial War Museum in Lambeth today, displaying 150 photographs depicting women' experiences during World War II. The four part exhibition looks at women before the war, in wartime Britain, in wartime Europe and after the war. Runs until 24th April. Admission charge applies. For more, see www.iwm.org.uk.
Send all items for inclusion to exploringlondon@gmail.com.
Posted in City, Galleries, Lambeth, Museums, News, South London, St Pancras, Twentieth century, World War I, World War I Centenary, World War II | Tagged British Library, Dulwich Picture Gallery, Guildhall Library, Imperial War Museum, Lambeth, Lee Miller: A Womans War, Talbot House - An Oasis in a World Gone Crazy, The Amazing World of MC Escher, West Africa: Word Symbol Song | Leave a Comment »
What's in a name?…Waterloo…
Given the recent commemorations surrounding the bicentenary of the Battle of Waterloo (including a re-enactment of the arrival of news of Wellington's victory in London where it was delivered to the Prince Regent), we thought it only fitting to take a look at the use of the name in London.
The name Waterloo, which now refers to a district in Lambeth centred on Waterloo Station, was first used to designate the bridge which crosses the Thames here.
Opened in 1817 as a toll bridge, the John Rennie-designed structure was known as Strand Bridge during its construction but renamed Waterloo at its opening two years after the battle. (Rennie's bridge was later demolished and rebuilt in the 20th century – the current bridge is pictured above).
The name was also used to designate Waterloo Road and in the early 1820s was given to the church St John's Waterloo (now St John's and St Andrew's at Waterloo) located on the road.
In 1848, Waterloo Station opened and it was after this that the surrounding district, known in past ages for its swampiness (hence streets like Lower Marsh), generally became known as Waterloo.
Landmarks in the Waterloo district include the historic Old Vic Theatre, which opened in 1818, and the Young Vic Theatre as well as the Lower Marsh Market.
On 3rd July, Waterloo will host the Waterloo Carnival with a picnic on Waterloo Millennium Green and a procession (for more on that, see www.waterlooquarter.org/news/come-and-support-this-years-waterloo-carnival) while the month-long Waterloo Food Festival kicks on on 1st July. For more on events in Waterloo commemorating bicentenary, see www.wearewaterloo.co.uk/waterloo200/.
Posted in 200th anniversary of the Battle of Waterloo, Duke of Wellington, Lambeth, Regency, The Thames, Victorian, Waterloo, What's in a name? | Tagged Battle of Waterloo, Duke of Wellington, John Rennie, Lambeth, Lower Marsh, Old Vic Theatre, River Thames, St Johns and St Andrews at Waterloo, St Johns Waterloo, Strand Bridge, Waterloo, Waterloo Bridge, Waterloo Carnival, Waterloo Food Festival, Waterloo Road, Waterloo Station, Young Vic Theatre | 6 Comments »
10 sites from London at the time of the Magna Carta – 5. Lambeth Palace…
The London residence of the Archbishop of Canterbury, Lambeth Palace was first acquired by the archbishopric in around the year 1200 with Archbishop Stephen Langdon – an important figure in the whole Magna Carta saga – believed to be the first to have lived there.
The complex built in the early 13th century included a chapel, a great hall, a 'great chamber' where the archbishop would receive guests, and private apartments for Archbishop Langdon, who was appointed to the archbishopric in 1207 and remained in the post until his death in 1228 (his appointment was a major point of contention between King John and Pope Innocent III and a key factor in the dispute which led to the creation of the Magna Carta).
Not much remains of the original palace but the sections that do include the originally free-standing Langdon's Chapel (although now much altered and connected to the rest of the complex) and the crypt beneath it (described as one of the best preserved medieval stone vaults in London it is now a chapel but was originally used for the storage of wine and beer).
They are both believed to have been completed in about 1220 with the other buildings now present added later over the centuries.
These include the formidable red brick gatehouse that fronts the complex today – known as Morton's Tower, it is named after Archbishop Cardinal John Morton and dates from 1490 – while the Guard Room, which has its origins in the archbishop's 'great chamber', dates from the 14th century and the infamous Lollard's Tower – used as a prison in the 17th century – from the 15th century.
The Great Hall – now used as a library, first established in 1610 – was rebuilt in the mid 17th century although it is believed to stand on the site of that first used by Langdon (we'll deal more with the later history of Lambeth Palace in a later post).
WHERE: Lambeth Palace, corner of Lambeth Palace Road and Lambeth Road (nearest tube stations are Westminster, Waterloo, Vauxhall, and Lambeth North); WHEN: Guided tours (90 minutes) only – check website for details; COST: £12 a person plus £2.95 booking fee (under 17s are free); WEBSITE: www.archbishopofcanterbury.org/pages/about-lambeth-palace.html.
Posted in 10 sites from London at the time of the Magna Carta, John, Lambeth, Magna Carta 800th anniversary, Medieval, Norman, Palaces, Uncategorized | Tagged Archbishop Cardinal John Morton, Archbishop Stephen Langdon, Guard Room, King John, Lambeth, Lambeth Palace, Lambeth Palace Library, Langdon's Chapel, Lollard's Tower, Magna Carta, Morton's Tower, Pope Innocent III | Leave a Comment »
This Week in London – Dunkirk Little Ships at Royal Docks a highlight of 'Museums at Night'; the Magna Carta in stitches; and Peter Kennard's works on show…
• More than 20 Dunkirk Little Ships will gather at London's Royal Docks this weekend ahead of their Return to Dunkirk journey marking the 75th anniversary of the Dunkirk evacuations. The event, which is part of the UK's annual festival of late openings Museums at Night, will see the ships parade around Royal Victoria Dock on Saturday night with the Silver Queen offering twilight trips and the chance to step on board some of the other ships (the Little Ships will continue with their own festival on Sunday commencing with a church service by the quayside at 11am). Other events being offered in London as part of Museums at Night include 'Dickens After Dark' in which the Charles Dickens Museum will open its doors to visitors for night of Victorian entertainment on Friday night and a night of music featuring the Royal College of Music at Fulham Palace (also on Friday night). Among the other London properties taking part are the Handel House Museum, Benjamin Franklin House, the Wellcome Collection, Museum of the Order of St John, and the National Archives in Kew. For a full list of events, check out http://museumsatnight.org.uk
• Meanwhile, Dulwich Picture Gallery in south London is holding its first weekend culture festival, MayFest: Men of Mystery, as part of Museums at Night. On Friday and Saturday nights, there will be tours of the gallery's new exhibition featuring the work of artist Eric Ravilious followed by outdoor cinema screenings of Alfred Hitchcock's Rear Window and The 39 Steps as well as free swing dance lessons, street foods and a pop-up vintage shop which will help people get the vintage look. Visitors are being encouraged to dress up in styles of the 1930s and 1940s with a prizes awarded to those with the "best vintage style". The gallery will also be inviting visitors to take part in a mass installation drop-in workshop held in the gallery's grounds over the weekend and Saturday morning will see special events for children. For more, see www.dulwichpicturegallery.org.uk/whats-on/.
• A major new work by acclaimed artist Cornelia Parker goes on display in the entrance hall of the British Library in King's Cross tomorrow to mark the 800th anniversary of the Magna Carta. The almost 13 metre long Magna Carta (An Embroidery) replicates the entire Wikipedia entry on the Magna Carta as it was on the 799th anniversary of the document and was created by many people ranging from prisoners and lawyers to artists and barons. It accompanies the library's exhibition Magna Carta: Law, Liberty, Legacy. Entry to see the artwork is free. For more, see www.bl.uk/cornelia-parker.
• The works of Peter Kennard, described as "Britain's most important political artist", are on display in a new exhibition which opens at the Imperial War Museum in London today. Peter Kennard: Unofficial War Artist is the first major retrospective exhibition of his work and features more than 200 artworks and other items drawn from his 50 year career including an art installation, Boardroom, created especially for the display. Works on show include his iconic transposition of Constable's painting Haywain which he showed carrying cruise missiles about to be deployed in Greenham Common, the Decoration paintings created in 2004 in response to the Iraq War of 2003, his seminal STOP paintings which reference events of the late 1960s such as the 'Prague Spring' and anti-Vietnam war protests and his 1997 installation Reading Room. The free exhibition runs at the Lambeth institution until 30th May next year. For more, see www.iwm.org.uk/london.
Posted in 800th anniversary of the Magna Carta, City, Events, Galleries, Kew, King's Cross, Lambeth, Museums, News | Tagged Alfred Hitchcock, Benjamin Franklin House, British Library, Charles Dickens Museum, Cornelia Parker, Dickens After Dark, Dulwich Picture Gallery, Dunkirk Little Ships, Eric Ravilious, Fulham Palace, Handel House Museum, Imperial War Museum, Kew, King's Cross, Lambeth, Magna Carta, Magna Carta (An Embroidery), MayFest: Men of Mystery, Museum of the Order of St John, Peter Kennard, Peter Kennard: Unofficial War Artist, Royal Victoria Dock, the National Archives, the Wellcome Collection | Leave a Comment »
This Week in London – Greek sculpture at the British Museum; Hew Locke at HMS Belfast; an interactive high seas adventure at the National Maritime Museum; and, coral reefs at the Natural History Museum…
• The ancient Greek "preoccupation with the human form" is the subject of a new exhibition which opens at the British Museum in Bloomsbury today. Defining beauty: The body in ancient Greek art features about 150 objects dating from the prehistoric to the age of Alexander the Great. Highlights include a newly discovered bronze sculpture of a new athlete scraping his body with a metal tool after exercise before bathing, six Parthenon sculptures from the museum's collection including a sculpture by Phidias of the river god Ilissos, and copies of Greek originals including the Towny Discobolus (discus-thrower – pictured) – a Roman copy of Myron's lost original – and Georg Romér's reconstruction of Polykleitos' Doryphoros (spear-bearer) . Runs until 5th July. Admission charge applies. For more, see www.britishmuseum.org/definingbeauty. PICTURE: © The Trustees of the British Museum.
• London-based contemporary artist Hew Locke has transformed an entire deck of the HMS Belfast in a major new work, ironically titled work, The Tourists. The installation – which is on show until 7th September – depicts imaginative events in which the crew of the ship are preparing to arrive at Trinidad in time for Carnival in 1962 (the ship's last international journey – to Trinidad – actually arrived three months after the celebration). Free with general admission charge. For more see www.iwm.org.uk/visits/hms-belfast. Meanwhile, the Imperial War Museum in Lambeth is hosting a free exhibition of Locke's work in which he explores the idea of naval power through a series of ship sculptures. This free exhibition can be seen until 4th May. For more, see www.iwm.org.uk/visits/iwm-london.
• Families are invited to take part in a new interactive experience on the "high seas of maritime history" which launches at the National Maritime Museum in Greenwich on Saturday. The museum has joined with Punchdrunk Enrichment to take six to 12 year-olds and their families on an adventure, Against Captain's Orders: A Journey into the Uncharted. Visitors don life jackets as they become part of the crew of the HMS Adventure and take on various seafaring roles as they navigate their way through the exhibition. Admission charge applies. Runs until 31st August. For more, see www.rmg.co.uk/againstcaptainsorders.
• See a real coral reef and take a virtual dive in new exhibition at the Natural History Museum in South Kensington. Coral Reefs: Secret Cities of the Sea – which opens tomorrow on World Oceans Day – also features more than 200 specimens including coral, fish and fossils. These include examples collected by Charles Darwin on the voyage of the HMS Beagle in the 1830s, giant Turbinate coral and creatures ranging from the venomous blue-ringed octopus to tiny sponge crabs. For more see www.nhm.ac.uk.
Send items for inclusion to exploringlondon@gmail.com.
Posted in Bloomsbury, Galleries, Greenwich, Historic ships, Lambeth, Museums, News, Roman, South Kensington | Tagged Against Captain's Orders: A Journey into the Uncharted, Alexander the Great, Bloomsbury, British Museum, Coral Reefs: Secret Cities of the Sea, Defining beauty: The body in ancient Greek art, Georg Romér, Greenwich, Hew Locke, HMS Belfast, Imperial War Museum, Lambeth, National Maritime Museum, Natural History Museum, Parthenon, Phidias Ilissos, Polykleitos Doryphoros, South Kensington, The Tourists, Towny Discobolus | Leave a Comment »
This Week in London – War fashions; the "inventor" of Impressionism; looking a Gift Horse in the mouth; and, having a look at the Queen's House…
• A new exhibition exploring how fashion survived and even flourished during World War II has opened at the Imperial War Museum in Lambeth to mark the 70th anniversary of the war's end. Fashion on the Ration brings together more than 300 exhibits including clothes and accessories like the 'respirator carrier handbag', photographs and films as well as official documents from the period, letters and interviews. The exhibition is divided into six parts which examine in detail everything from the uniforms worn during the period to clothes rationing (introduced in 1941) and how the end of the war impacted fashion. Runs until 31st August. Admission charge applies. For more, see www.iwm.org.uk.
• The UK's first major exhibition devoted to Paul Durand-Ruel, the man who "invented Impressionism", has opened at the National Gallery off Trafalgar Square this week. Inventing Impressionism features around 85 works including some of Impressionism's greatest masterpieces, a number of which have never been seen in the UK before. The majority of the works were traded by Durand-Ruel (1831-1922) who is noted for having discovered and supported Impressionist painters like Monet, Pisarro, Degas and Renoir. Durand-Ruel purchased an astonishing 12,000 pictures between 1891 and 1922, including more than 1,000 Monets, about 1,500 Renoirs, more than 400 Degas', some 800 Pissarros and close to 200 Manets. The images on display include a series of rarely-seen portraits of the dealer and his family by Renoir which are being exhibited in the UK for the first time as well as five paintings from Manet's 'Poplars' series and all three of Renoir's famous 'Dances', not seen in the country together since 1985. The exhibition finishes with a reference to an exhibition Durand-Ruel organised in London in 1905. Held at the Grafton Galleries, it presented 315 paintings. Admission charge applies. Runs until 31st May. For more, see www.nationalgallery.org.uk.
• Gift Horse, New York-based German artist Hans Haacke's sculpture of a skeletal riderless horse, will be unveiled on the Fourth Plinth in Trafalgar Square today. The horse, derived from an etching by English painter George Stubbs – whose works are in the nearby National Gallery, features an electronic ribbon tied to the horse's front leg showing a live ticker of the London Stock Exchange. The statue, described as a 'wry comment' on the equestrian statue of King William IV which was originally to occupy the plinth, is the 10th to occupy the plinth since the first commission – Marc Quinn's sculpture Alison Lapper Pregnant – was unveiled in 2005.
• Contemporary artist Dryden Goodwin's first feature-length film is on show as part of a new exhibition, Unseen: The Lives of Looking, at the Queen's House in Greenwich. Continuing Goodwin's investigations into portraiture, the newly commissioned film focuses on three individuals who have a "compelling" relationship to looking – eye surgeon Sir Peng Tee Khaw, planetary explorer Professor Sanjeev Gupta and human rights lawyer Rosa Curling. Alongside the screening is a series of drawings made by Goodwin after observing the three individuals as well as tools and papers related to each of their trades and a series of objects connected three leading observers related to the history of the Royal Museums Greenwich sites – John Flamsteed, first Astronomer Royal, Edward Maunder, who observed Mars from the Royal Observatory Greenwich, and the artist Willem van de Velde the Elder who made detailed drawings of naval battles in preparation for producing paintings in his studio at the Queen's House. Runs until 26th July. Admission is free. For more, see www.rmg.co.uk.
Posted in Galleries, Greenwich, Lambeth, Museums, News, Trafalgar Square, Twentieth century, William IV, World War II | Tagged Alison Lapper Pregnant, Degas, Dryden Goodwin, Edward Maunder, Fashion on the Ration, Fourth plinth, George Stubbs, Gift Horse, Greenwich, Hans Haacke, Imperial War Museum, John Flamsteed, King William IV, Lambeth, London Stock Exchange, Marc Quinn, Monet, National Gallery, Paul Durand-Ruel, Pisarro, Queen's House, Renoir, Royal Observatory Greenwich, Trafalgar Square, Unseen: The Lives of Looking, Willem van de Velde the Elder, World War II | Leave a Comment »
What's in a name?…Lambeth…
The origins of the Thames-side district Lambeth's name are not as obscure as it might at first seem.
First recorded in the 11th century, the second part of the name – which apparently is related to/a derivative of the word 'hithe' or 'hythe' – means a riverside landing place while the first part of the name is exactly what it seems – 'lamb'. Hence, Lambeth was a riverside landing or shipping place for lambs and cattle.
There has apparently been a suggestion in the past that the word 'lamb' actually derived from an Old English word meaning muddy place, hence the meaning was 'muddy landing place'. That theory, however, is now generally discounted.
Lambeth these days is still somewhat in the shadow of the much more famous Westminster river bank opposite but among its attractions is the Imperial War Museum (located in the former Bethlem Hospital, see our earlier post here), Lambeth Palace (pictured above) – London residence of the Archbishop of Canterbury, and, of course, the promenade of Albert Embankment (sitting opposite Victoria Embankment).
The headquarters of MI6 is also located here in a 1994 building designed by Terry Farrell (among its claims to fame is its appearance in the opening scenes of the James Bond film, The World Is Not Enough).
Lambeth – the name is also that of the borough in which the district is located – was formerly home to the Vauxhall Pleasure Gardens which closed in the mid 19th century (see our earlier post here).
Posted in Lambeth, Palaces, The Thames, Westminster, What's in a name? | Tagged Albert Embankment, Bethlem Hospital, Imperial War Museum, Lambeth, Lambeth Palace, MI6 Building, Terry Farrell, Thames, Vauxhall Pleasure Gardens, Victoria Embankment, Westminster, Wha's in a name? | Leave a Comment »
This Week in London – Hampton Court Palace turns 500; celebrating the influence of Rubens; and, remembering the liberation of Auschwitz…
• Hampton Court Palace turns 500 this year and the palace is conducting a programme of events in celebration of the landmark anniversary. Sadly, the first in a series of events – a night in which Historic Royal Palace's chief curator Lucy Worsley, inspired by the recent BBC Two programme Britain's Tudor Treasure: A Night at Hampton Court, will explore one of the greatest nights in Hampton Court's history, the christening of King Henry VIII's longed for son, Edward (later King Edward VI) – is already sold out but there are a range of further events planned (we'll try and keep you informed as they come up through the year). In the meantime, HRP have announced that a rare 16th century hat which is rumoured to have once belonged to King Henry VIII is to return to the palace later this year after undergoing restoration. The story goes that the hat, which will become the oldest item of dress in the palace's collection by almost a century, was caught by Nicholas Bristowe, the king's Clerk of the Wardrobe, when Henry threw it in the air on hearing of the French surrender of Boulogne in 1544. Treasured by the Bristowe's descendants, it has now been acquired by HRP and is expected to go on show in a future exhibition. We'll be looking at the hat in more detail in a future post. For more on the palace, see www.hrp.org.uk/HamptonCourtPalace/. PICTURE: HRP/Newsteam
• The first major exhibition in the UK to examine the influence of Peter Paul Rubens on the history of art opens at the Royal Academy of Arts on Piccadilly on Saturday. Rubens and His Legacy: Van Dyck to Cezanne brings together more than 160 works by Rubens and artists who were inspired by him both during his lifetime and later including everyone from Van Dyck, Watteau, Turner and Delacroix to Manet, Cezanne, Renoir, Klimt and Picasso. The exhibition is organised around six themes: poetry, elegance, power, lust, compassion and violence. Runs until 10th April in the Main Galleries. For more, see www.royalacademy.co.uk.
• The 70th anniversary of the liberation of Auschwitz will be marked at Westminster Abbey with a special service at 6.30pm on 1st February. At least 1.1 million prisoners died at the camp, located in south-west Poland, around 90 per cent of them Jewish. It was liberated on 27th January, 1945 by the Red Army. Tickets are free but need to be booked. Follow this link to book. Meanwhile, the Imperial War Museum London in Lambeth has invited people to mark Holocaust Memorial Day – 27th January – with a visit to the free Holocaust Exhibition which has a 13 metre long model depicting the arrival of a deportation train from Hungary at the Auschwitz-Birkenau camp in 1944, accompanied by testimonies from 18 survivors. Recommended for children aged 14 and above. For more, see www.iwm.org.uk/visits/iwm-london.
Posted in Edward VI, Galleries, Hampton Court Palace, Henry VIII, Lambeth, Museums, Piccadilly, Tudor, West London | Tagged Britain's Tudor Treasure: A Night at Hampton Court, Hampton Court Palace, Hampton Court Palace 500th anniversary, Holocaust Exhibition, Holocaust Memorial Day, Imperial War Museum London, King Edward VI, King Henry VIII, Lambeth, liberation of Auschwitz, Lucy Worsley, Nicholas Bristowe, Peter Paul Rubens, Piccadilly, Royal Academy of Arts, Rubens and His Legacy: Van Dyck to Cezanne, Westminster Abbey | Leave a Comment »
Treasures of London – A fragment of the Berlin Wall…
This Sunday marks 25 years since the fall of the Berlin Wall so we decided it was a fitting time to mention the fragment of the wall which accompanies the bronze statue of former US President Ronald Reagan in Grosvenor Square, Mayfair.
The remnant of the wall, recorded as taken from the "east side", can be seen through a window in a bronze plaque which commemorates the role President Reagan played in the coming down of the wall.
The plaque also features quotes from President Reagan – including the famous line from his 1987 Brandenburg Gate speech, "Mr Gorbachev, open this gate. Mr Gorbachev, tear down this wall" – and other figures including former UK PM Margaret Thatcher and Mikhail Gorbachev as well as information about the wall itself.
In a dedication to the president, it further reads: "Ronald Reagan, the 40th President of the United States of America, was a principled fighter for freedom. With a clear vision and will, he gave hope to the oppressed and shamed the oppressors. His contribution to world history in the 20th century, culminated in his determined intervention to end the Cold War. President Reagan has left a lasting legacy as a campaigner for global peace."
The memorial was unveiled on 4th July, 2011, outside the US Embassy by the Ronald Reagan Presidential Foundation, to mark the 100th birthday of the former president. Among those present at the unveiling of the statue were then Foreign Minister William Hague and former US Secretary of State Condoleezza Rice.
There are also larger sections of the wall outside the Imperial War Museum in Lambeth and in the National Army Museum in Chelsea (closed for redevelopment until 2016).
For more on London's monuments, check out Andrew Kershman's aptly named London's Monuments .
Posted in Chelsea, Gardens, Lambeth, Mayfair, Monuments/memorials/gateways, Museums, Treasures of London, Twentieth century | Tagged Berlin wall fragment, Chelsea, Cold War, Condoleezza Rice, Grosvenor Square, Imperial War Museum, Lambeth, London monuments, Margaret Thatcher, Mayfair, Mikhail Gorbachev, National Army Museum, President Ronald Reagan, Ronald Reagan Presidential Foundation, US embassy, William Hague | Leave a Comment »
This Week in London – Giovanni Batista Moroni at the RA; German history on show; and, Afghanistan at the IWM…
• The works of 16th century artist Giovanni Battista Moroni go on show at the Royal Academy of Arts this week. The exhibition will feature more than 40 works including portraiture as well as his lesser-known religious paintings. They include a number of altarpieces from the churches of Bergamo in northern Italy as well as portraits including Portrait of a Lady (c1556-60), A Knight with a Jousting Helmet (c1556), and The Tailor (1565-1570) – the first known portrait of a man depicted undertaking manual labour. The exhibition in The Sackler Wing, off Piccadilly, runs until 25th January. Admission charge applies. For more, see www.royalacademy.org.uk. PICTURED: A Gentleman in Adoration before the Baptism of Christ, (c.1555-60) (Gerolamo and Roberta Etro).
• This year marks 25 years since the fall of the Berlin Wall and the birth of modern Germany so it's a fitting time for the British Museum in Bloomsbury to host an exhibition looking at Germany's tumultuous history. Germany: memories of a nation features 200 objects reflecting themes ranging from 'empire and nation' to 'arts and achievement' and 'crisis and memory' spanning a period from the 15th century to today. They include Tischbein's iconic portrait Goethe in der Campagna, an early edition of Grimm's fairy tales, a home-made banner from demonstrations in late 1989 and Ernst Barlach's bronze figure Der Schwebende, designed as a World War I memorial for Gustrow Cathedral. The exhibition, sponsored by Betsy and Jack Ryan, runs until 25th January. Admission charge applies. For more, see www.britishmuseum.org.
• Britain's 13 year involvement in Afghanistan is the subject of a new display at the Imperial War Museum London in Lambeth. Opening today, War Story: Afghanistan 2014 features new objects, photographs, film and video interviews and looks at the experiences of the Afghan national security forces and UK government and NGO workers as well as those of British troops. Objects, all collected between 2012 and this year, include a beadwork lamp made by Afghan prisoners in training workshops aimed at developing skills prior to their release and an Afghan dress and trousers. The display is part of the War Story project which started in 2009. Runs until 6th September next year. For more, see www.iwm.org.uk.
Posted in Bloomsbury, Galleries, Historic Homes, Lambeth, Museums, News, Piccadilly, Twentieth century | Tagged Bloomsbury, British Museum, Fall of Berlin Wall, Germany: memories of a nation, Giovanni Battista Moroni, Imperial War Museum London, Lambeth, National Trust, Piccadilly, Royal Academy of Arts, War Story: Afghanistan 2014 | Leave a Comment »
This Week in London – First World War galleries open at IWM; London's WWI memorials the focus of new exhibition; and, London celebrates the Festival of Archaeology…
• New galleries dedicated to exploring the history of World War I will open – along with the rest of the refurbished building – at the Imperial War Museum in Lambeth on Saturday. The First World War Galleries span 14 areas displaying everything from shell fragments and lucky charms carried by soldiers to weapons and uniforms, diaries and letters, photographs, art and film. Interactive displays include 'Life at the Front' featuring a recreated trench with a Sopwith Camel plane and Mark V tank, and 'Feeding the Front' featuring an interactive table of more than four metres long which looks how troops were kept fed. There are also reflective areas in which visitors are encouraged to reflect on some of the most difficult aspects of war. The museum – which features a dramatic new atrium – is also launching the largest exhibition and first major retrospective of British World War I art for almost 100 years. Truth and Memory includes works by some of the UK's most important artists. Entry to both is free with Truth and Memory running until 8th March. For more, see www.iwm.org.uk.
• London's memorials to those who died in World War I are the focus of a new exhibition which opened at Wellington Arch near Hyde Park Corner yesterday. The English Heritage exhibition, which has a particular focus on the six memorials cared for by English Heritage but also looks at other memorials, will include designs, statuettes and photographs of the memorials including the Cenotaph in Whitehall. Also featured in We Will Remember Them: London's Great War Memorials are official documents – including a note of condolence and medals certificates – received by the family of author and broadcaster Jeremy Paxman on the death of his great uncle Private Charles Dickson, who died at Gallipoli in 1915. Runs until 30th November. Admission charge applies. For more see www.english-heritage.org.uk/daysout/properties/wellington-arch/. Meanwhile, coinciding with the opening of the exhibition has been news that five of London's key war memorials – including the Edith Cavell Memorial in St Martin's Place and the Royal Artillery Memorial at Hyde Park Corner – have had their heritage listing upgraded.
• In case you missed it, the 24th annual Festival of Archaeology kicked off last weekend and features a range of events across London. Highlights include the chance again to go 'mudlarking' on the Thames river bank below the Tower of London and have your finds assessed by archaeologists (this Saturday and Sunday from 11am to 4pm), guided 90 minute walks around Islington and Highbury this weekend with a particular focus on the 1940s, and a look behind the scenes at the London Metropolitan Archives (2pm to 5pm today). The festival continues until 27th July. Check the website for a full program of events – www.archaeologyfestival.org.uk.
Posted in City, Highbury, Hyde Park Corner, Islington, Lambeth, Monuments/memorials/gateways, Museums, News, The Thames, Tower of London, Twentieth century, World War I | Tagged Cenotaph, Edith Cavell Memorial, Festival of Archaeology, Hyde Park Corner, Imperial War Museum, Islington and Highbury, Lambeth, London Metropolitan Archives, Royal Artillery Memorial, Thames, Tower of London, Truth and Memory, war memorials, We Will Remember Them: London's Great War Memorials, Wellington Arch, Whitehall, World War I | Leave a Comment »
Famous Londoners – William Blake…
Poet. Painter. Visionary? William Blake failed to find great success in his lifetime and died in relative obscurity but is now known internationally for his controversial and innovative works in the written word and visual arts.
Blake was born on 28th November, 1757, at 28 Broad Street in Soho, the third son of hosier James Blake and his wife Catherine (he was christened at St James's Piccadilly). Little is known of his early life although accounts suggest he had some spiritual experiences – including a vision of a tree full of angels – as a young boy and also showed an interest in the visual arts at an early age.
About the age of 10, he started attending Henry Par's drawing school before, at the age of 14, becoming an apprentice to James Basire, engraver to the Royal Society and Society of Antiquaries. Among his early assignments was to make drawings of the monuments and paintings at Westminster Abbey – interestingly, Blake's earliest extant drawings are of the opening of King Edward I's coffin on 2nd May, 1774.
In 1779, his apprenticeship completed, Blake enrolled as a student at the Royal Academy of Arts and at the same time, made his living as a copy engraver. His clients included the radical bookseller Joseph Johnson through whom he became introduced to people like Joseph Priestley. He also began producing original works on historical themes apparently with the aim of forging a career in the painting of history.
In 1782, Blake married Catherine Sophia Boucher and they took up life together at a property near Leicester Square, later moving to Lambeth. They were to have no children.
Experimenting with new methods of engraving, in 1788, he published the first of what he was to call his "illuminated books" – All Religions are One, and There is no Natural Religion – with his first illuminated book of poetry, Songs of Innocence, coming a year later (its sequel Songs of Experience was published in 1794). In 1789, he published The Book of Thel, combining his new method of engraving with "prophetic" verse.
Later works in prose and poetry – created while Blake was still working as an engraver – continued to explore his increasingly radical views on religion and politics. They included The Marriage of Heaven and Hell published in 1790, The French Revolution in 1791, America: A Prophecy in 1793 and Visions of the Daughters of Albion the same year.
In 1800, Blake moved to Felpham, West Sussex, thanks to his friendship with one William Hayley who engaged his skills on several projects. It was while living here that Blake began work on his epic poems Milton (printed in 1810-11) and Jerusalem (completed in 1820).
Following an incident in 1803 in which Blake removed a drunk soldier from his garden, Blake was charged with high treason but acquitted after a trial at Chichester.
Having meanwhile moved back to London, in 1809 Blake made a last effort to gain the public's attention with his work and held an exhibition of his paintings and watercolours at his family home in Broad Street (now home of his eldest brother James). But the exhibition did not elevate his profile as he may have hoped and during his last years, Blake increasingly sank into obscurity amid tightening finances and, although he continued to produce poetry, paintings and engravings, he found it hard to find work.
Blake died on 12th August, 1827, at his home at 3 Fountain Court on the Strand and was buried in an unmarked grave at Bunhill Fields. The stone which now stands there (pictured above) was added later.
It was during the Victorian-era that Blake's work made its way into the hands of a larger audience than it ever had while he was alive, thanks to Blake enthusiasts like his first biographer Alexander Gilchrist and people associated with the Romantic movement.
His work continued to gain attention into the 20th century (in particular around the centenary of his death in 1927) and by mid-century had become what Robert N Essick says in Blake's entry in the Oxford Dictionary of National Biography, "one of the cultural icons of the English-speaking world". Interest in Blake and his works has continued both in the UK and around the world.
A new room dedicated to showing Blake's works opened at Tate Britain in May.
Posted in Edward I, Monuments/memorials/gateways, People, Piccadilly, Soho, Westminster | Tagged 28 Broad Street, 3 Fountain Court, All Religions are One, America: A Prophecy, Bunhill Fields, Catherine Boucher, Felpham, For Children: the Gates of Paradise, Henry Par, James Basire, Jerusalem, Joseph Johnson, Joseph Priestley, King Edward I, Lambeth, Leicester Square, Mary Wollstonecraft, Milton, Romantic Movement, Royal Academy of Arts, Soho, Songs of Experience, Songs of Innocence, St James's Piccadilly, Strand, The Book of Thel, The French Revolution, The Marriage of Heaven and Hell, There is no Natural Religion, Visions of the Daughters of Albion, Westminster Abbey, William Blake, William Hayley | Leave a Comment »
10 of London's greatest Victorian projects – 6. Victoria and Albert Embankments…
We've already mentioned these two riverside embankments as part of our previous piece on Sir Joseph Bazalgette's revolutionary sewer system. But so important are they to the shape of central London today – not to mention a great place to take a stroll – that we thought they're also worth a mention in their own right.
As mentioned, the Victoria and Albert Embankments (the latter is pictured right) – named, of course, for Queen Victoria and her by then late consort, Prince Albert, who had died in 1861 (see our previous post What's in a name?…Victoria Embankment) – were located on opposite sides of the River Thames and involved reclaiming a considerable amount of the river so new sewers could be laid.
Construction of Victoria Embankment – which was also seen as a way to relieve traffic congestion in the central London area – started in the mid 1860s and was complete by 1870. Running along the north and western banks of the Thames between Westminster and Blackfriars bridges, its creation involved the demolition of many riverside buildings as a new walk and roadway were constructed behind a wall.
Numerous monuments have since been located along this promenade – they include the Battle of Britain Monument, RAF Memorial and the mis-named Cleopatra's Needle (see our earlier post to find out why) – as well as a number of permanently berthed ships including the HQS Wellington – the base of the Honorable Company of Master Mariners – and the HMS President.
The walkway also features original decorative lamps – interestingly, Victoria Embankment was the first roadway in London to be permanently lit by electric-powered lighting (from 1878).
The parks, collectively known as Victoria Embankment Gardens, contain numerous statues and monuments (including one to Bazalgette himself – it's located close to the intersection with Northumberland Avenue) as well as a bandstand. They also contain the remains of York Watergate – once fronting on to the river, it shows how much land was reclaimed for the project (you can also visit the riverside entrance to Somerset House to gain a feel for where the river once was – look through the glass floor and you'll see the old riverbank below).
Albert Embankment, meanwhile, runs between Vauxhall and Westminster Bridges on the eastern side of the river. Constructed around the same time as Victoria Embankment, it was designed to prevent flooding of the low-lying areas of Vauxhall and Kennington and to help in Bazalgette's sewage system plan (although it apparently doesn't have the same large sewers as can be found on the other side of the river).
Sadly, the demolition did see the centre of what was once the village of Lambeth removed to make way for the new promenade and roadway. But like Victoria Embankment, Albert Embankment features delightfully decorative lamps along the riverfront promenade and is a great place for a walk in any weather.
Posted in 10 of London's greatest Victorian projects, Blackfriars, City, Gardens, Joseph Bazalgette, Kennington, Lambeth, Monuments/memorials/gateways, Prince Albert, Temple, The Thames, Vauxhall, Victoria, Victorian, West London, Westminster | Tagged Albert Embankment, Blackfriars Bridge, Company of Master Mariners, HMS President, HQS Wellington, Joseph Bazalgette, Kennington, Lambeth, Northumberland Avenue, Prince Albert, Queen Victoria, Somerset House, Vauxhall, Vauxhall Bridge, Victoria Embankment, Victoria Embankment Gardens, Westminster Bridge, York Watergate | Leave a Comment »
Where is it?…#50
The latest in the series in which we ask you to identify where in London this picture was taken and what it's of. If you think you can identify this picture, leave a comment below. We'll reveal the answer early next week. Good luck!
Well done to Martine Poupaux, this is indeed the dome on top of the Imperial War Museum in Lambeth Road, London. The museum, which was formally established by an Act of Parliament in 1920, was initially based in the Crystal Palace and then from 1924 to 1935 in two galleries adjoining the former Imperial Institute, South Kensington. It reopened at its current home in 1936 at a ceremony attended by King George VI. The building was formerly the central portion of Bethlem Royal Hospital, or 'Bedlam', which have moved to the site in 1815 (the dome wasn't part of the original building – it was added later). We'll be exploring more this history in upcoming posts. For more on the Imperial War Museum, see www.iwm.org.uk/visits/iwm-london.
Posted in George VI, Lambeth, Museums, South Kensington, Victorian, Where is It? | Tagged Bethlem, Bethlem Royal Hospital, Imperial Institute, Imperial War Museum, King George VI, Lambeth, Lambeth Road, South Kensington | 1 Comment »
King James I's London – 8. The New World
It was during the reign of King James I that the first permanent English settlement was made in what was then called the New World (and is now better known as the United States of America).
Named Jamestown (after the King) and located on Jamestown Island, it was the capital of the new Virginia Colony and was founded by the London Company.
The 'discovery' and settlement of the New World impacted London itself in various ways – here we look at a couple of related sites in London…
First up is Blackwall in East London, from where three small merchant ships of the Virginia Company of London sailed in 1606 under orders from King James I to bring back gold from the New World. The site is now marked by the First Settlers Monument, first unveiled in 1928 and then restored in 1999.
Among those who was on board the ships is Captain John Smith (he of Pocahontas fame) – a statue of him can be found in Bow Churchyard in the City (pictured right, it's a replica of an original in Richmond, Virginia). Captain Smith was buried in St Sepulchre-without-Newgate, where there is a window commemorating him.
Next we turn to the former, now non-existent, property of John Tradescant and his son, also John Tradescant. Gardeners to the rich and famous and avid collectors of all sorts of artefacts, they are noted for having founded "The Ark" – a house in Lambeth, in they showed off a collection of curiosities that they had gathered on his trips (both were were widely travelled).
These included objects presented to by American colonists including John the Elder's friend Captain John Smith and those collected by personally by John the Younger (he made several trips to the New World). Among them was the mantle of Powhattan, the father of Pocahontas.
The pair's name lives on in Tradescant Road in Lambeth (it marks one side of the Tradescant estate). They are both buried at St Mary-at-Lambeth which now houses the Garden Museum.
Posted in Churches, City, Gardens, James I, Museums | Tagged Blackwall, Bow Churchyard, Captain John Smith, East London, First Settlers Monument, Garden Museum, Jamestown, Jamestown Island, John Tradescant, Lambeth, London Company, Pocahontas, Powhattan, St Mary-at-Lambeth, St Sepulchre-without-Newgate, The Ark, Virginia | Leave a Comment »


If Bail Organa's wife is a Queen, shouldn't he be the King of Aldeeran?
No, he wouldn't be a king as that would place him in a higher ranking position over his wife. If they followed the same kind of system as the British monarchy the he would be a prince. But, since no mention is ever made of him being a prince, than I guess that they don't follow the same system as Britain.
He might have a duel title. Or it could be like Naboo where he is elected and so is she.
It's probably an elected position. Think about how very peaceful Alderaan was. No weapons. Very democratic in their government. Also, Alderaan University was, like, THE COLLEGE in the Star Wars universe. Many academics studied there. I think it was like Nabooian government, and Brea held an elected position. Bail was kinda like her prince/co-inhabitor guy. Come to that, if Kneesaa suceeded Chirpa as Chief of Bright Tree village, and she married Wicket, wouldn't Wicket be a prince or at least a very high ranking Ewok? Man...I need to find a royal girlfriend and marry her. "Prince Kevin" or even "Kevin who is married to our Queen" has a nice ring to it.
What an odd subject for this site - but I think I can shed some light on the subject... Bail is indeed a prince, and his formal title is 'Prince Bail Prestor Organa, First Chairman and Viceroy of Alderaan'. Apparently the book 'Star Wars Chronicles: The Prequels' cites his proper title of prince. Oddly enough, he is the head of the Royal Family of Alderaan, yet his wifes title seems to outrank him. As a matter of fact though, its the opposite - Queen Breha Organa was once Breha Antilles, until she married Bail and was given the title of Queen.


Have you ever gone on a vacation and brought home t-shirts? Have you ever been at school and had a gazillion different t-shirts stashed in your closet and didn't know what to do with them? How about just some of your favorite sports teams or just cute sayings? Or your Mom and Dad's t-shirts after they are gone. You ask yourself "what do I do with them now?" Well, putting those favorite pictures, sayings or whatever into a quilt will give you lasting memories to cuddle up in.
I quilt them anyway you would like but the most popular way is between strips of fabric and corner blocks.
The following sizes are based on a 12" t-shirt block.
If a smaller quilt, such as a wall hanging, table runner or the like is desired, of course the price will be less and will be determined by the difficulty, size of quilt and time involved. Call for pricing.
The fronts need to be at least 16" square and the picture should not be more than 14" square for the standard T-shirt quilt .
If the pictures are of various sizes, such as some are 10" x 10" or 14" x 14" and the rest are 12" x 12" then the quilt becomes a variable quilt . (click on left side of this screen for the variable quilt screen). Call for pricing.
Each side of a shirt, pocket or design counts as one shirt, for example, to use the pocket on the front and a picture on the back, are two shirts.
"U of U vs. BYU"


text:
Irisol Gonzalez
Machismo Series
Irisol González is a fine artist and muralist living and working in Charlotte, North Carolina. She immigrated from Costa Rica with her family at age 10. Having earned degrees in Psychology and Political Science from Appalachian State University, she uses that background to pose moral questions through the symbolism in her art.
She has traveled to Mexico and Central America to study Latin American culture and its roots in the Hispanic identity that currently exists in the United States. In her work, she explores the sentiments and physical experience of being a brown female immigrant functioning in today's American political atmosphere.
Irisol has exhibited her work at Mint Museum Randolph, Mint Museum Uptown, CAM Raleigh and Goodyear Arts. She was an Inaugural ASC Emerging Creator Fellowship Recipient in 2020, completed a Fellowship with the League of Creative Interventionists in 2021, and a residency at McColl Center in 2022.
She is currently working to earn her Masters in Fine Arts at Yale University.
"Irisol brings color, conversation, perspective, and love to walls all over the city." - Tim Miner, Charlotte is Creative
© 2021 Irisol Gonzalez

redpajama_set_name: RedPajamaCommonCrawl


text:
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SUGAR GROVE is located in SMYTH county, Virginia at latitude 36.774278 and longitude -81.409842 with an elevation of 2588 feet. The population of SUGAR GROVE is 741 as of the year 2000. The most common zip code of SUGAR GROVE is 24375.


This was the mind-map process of what my capstone was going to have.
Sociocultural: The learners come from a lower income background. In the school they attend 74% receive free or reduced lunch. The total school population consists of 893 students of which 672 are Hispanic/Latino, 117 are white, 46 African American, and 58 are other. There are a lot of absences in the classroom and that translates to missing work and late assignments. The learners are motivated when the teacher incorporates concepts that they are familiar with or have prior knowledge about. The learners also get excited when they learn about new topics that they haven't learned before if they are presented along with images. The learners drive instruction because if they do not understand the lessons the teacher has to go back and try to re-teach it.
Informational/Technical:The current learners have a one to one Chromebook they can use during school hours. The learners also have access to the smart board that is used daily in the classroom. However, not all students have access to technology outside of the classroom. The designer will be using OCDE Project GLADⓇ strategies to empower the learners to achieve the goal of increasing comprehension in both languages. GLAD strategies will include CCD chart for new vocabulary, Chants imbedded with academic vocabulary, Pictorials for bringing literature and new vocabulary to life, Mind Maps so the learners can transfer the information over. In addition, the designer will introduce a new technology piece by having students use www.storyboardthat.com. This web site allows students to retell a story digitally. Students will be able to retell a story using digital images to get the main points across. Eventually the learners will be able to write a report supported by all the strategies used and thus improving their transliteracy and comprehension skills.
Teachers have to develop lessons with student's perspectives in mind; teachers must be the help or the facilitators. Dervin suggests that teachers keep their student's perspectives in mind when developing lessons. In Dervin's article,"Sense making The Mind's Eye" she states, "that human use of information and information systems needs to be studied from the perspective of the actor, not from the perspective of the observer". My students are the seekers, the curriculum is the gap, and the use is me, the teacher. I have to develop my lessons with my students perspectives in mind, not my own. I usually prepare my lessons by looking at the teacher edition and taking a look at the standards and where they have to be at the end of the lesson. I am now finding myself questioning why I am doing that. I am starting to understand that as the teacher I should facilitate my student's learning and have their questions guide my teaching. I need to provide the best learning environment and let them problem solve as a team. Let them know that if they don't get it right the first time it's ok, making mistakes is part of learning.
In addition Baggio states, "By using powerful visual images to impact the way people learn, you can increase the probability that the learner will learn. By positioning him or her in the learning zone, a place that takes into account where the learner is and what we know about learning, you will have created an environment that supports the individual's ability to learn" (Baggio p.9). What I took from this was that students need meaningful visuals so they can better connect to the material learned. Another key point I took from Baggio was the fact that prior knowledge is very important to help make connections and help make sense of new information. " Taking advantage of prior knowledge helps the visual system resolve this ambiguity" (Baggio pg 43). Again, the use of meaningful visuals that students can possibly make connections and activate prior knowledge.
When creating my logo I wanted to bring Dual Language Immersion into the design. I had a hard time coming up with a design. I first came up with an image of a person sitting and reading what could be a book or an electronic devise.
As my driving question evolved so did my logo. I wanted bilingual transliteracy to be the focus and so I found my logo. Using a brain and arrows that represent the information processed in English and Spanish. This logo represents just what I was looking for. Students way of processing information in both languages across multiple subject areas.
(Informational sub context) is the books we are reading, Baggio, Clark, Dervin. This is where I am getting information to build my action research and how to best support my students. The opportunity(technical sub context) is all the time we have in class to explore and research new technology that will ultimately help my teaching by helping my students achieve their learning goals. Finally my motives (Sociocultural sub context) are my students and getting them to achieve at grade level reading comprehension scores.


"If the training of our horse has reached the point where it an assume the degree of collection corresponding to its conformation, familiarizing it with the action of the bar bit will have no harmful effect.
If there are no compelling reasons for riding the horses fully bridled, it will always be better to recondition it on the snaffle.
One reason is that many faults of posture and contact with the bit manifested when riding with a curb bit will indicate how such reconditioning should be done.
Such reconditioning is feasible only because of the action of the jointed snaffle mouthpiece, as will be explained later.
This reconditioning is facilitated when the pressure exerted upon the horse's mouth by the rider's hands is not multiplied.
The rider is better able to test his aids, therefore, than when he uses the curb bit, whose lever action multiplies the force of the hands many times before it reaches the load (mouth).
At the outset, however, it will be well to retain the thicker snaffle bit employed up to now instead of the usual thin snaffle, even for the fully bridled horse.
Once the gymnastic training of the horse has achieved a very high level, so that its suppleness and impulsion ensure perfect collection, using the curb bit - especially with the snaffle released - will enable us to refine and perfect our reins aids still further, and establish a steady, elastic connection between the rider's hands and the horse's mouth, such as can be achieved only with the lever action of the curb.
Familiarizing the young horse with the curb bit will have to be done principally at the ordinary gaits, on long lines in the open air, with the curb bit completely inoperative at the start.
At these lively, long-striding gaits we will extend the horse and very gradually let it reach the bar bit, to which is attached a very long curb chain or none at all for the present.
After a few easy-going rides in the open air, with the horse becoming supple as a result of its vigorous strides in contact with the passive hands, the curb chain is attached so as to produce real lever action.
Then, the entire course of training described above, from the stage of suppleness onward, is repeated in the riding hall with the same free carriage.
Collecting aids are applied only when the young horse has trustingly accepted the unusual bridle and is positively in hand.
When this procedure is followed, all the faults described below (which arise only because the horse was not ready for the curb bit or defended itself against the constrain and pain that the new sharp bridling caused it by curling up, holding back and resisting) will be avoided.
If overhasty"familiarisation" with the curb bit has frightened the horse away from the bit, long and patient work will be required to repair the mistakes committed and to regain the forward advance, i.e. the vigorous strides and supple extension towards the bit. Here too the apparently shorter path is not the quickest way to reach our goal.
We think the best way of indicating the nature of the curb bridle and its action is to discuss some of the mistakes that can be observed everyday in the use of this bridle. Discussion of these mistakes and their consequences for gait and posture will automatically tell us how to avoid such difficulties in the training of our horse.
The action of a horse is refined and perfected by the use of the curb bit, owing to its more positive and steadier action upon the horse's lower jaw, which does not allow any incipient stiffness to be manifested. The horse must be prepared for this bit, however by work on the snaffle. But false gait and false contact with the bit are manifested much more clearly when we try to use a full bridle too soon than when we work the horse with a snaffle bit. Why?
The curb bit operates as a lever, which is intended to control the load (the evenly loaded horse in a state of acquired equilibrium) from the point at which this force is applied (the rings on the branches of the bit) through the neck, the spinal column, the pelvis, the haunches, and the hocks to the pastern joints.
This force can be transmitted down to the tips of the hoofs of the hind legs without hindrance, however, only if the horse is supple, i.e., if the transmission line is not interrupted, so that the force cannot escape upward, downward, to the side, or in front or be blocked anywhere.
For this first condition to be satisfied the horse must be extended to the reins and be evenly loaded, that is, its spinal column must be adapted to the straight or curved line that it is following at the time. Moreover it must always be ready to assume the additional longitudinal flexion required for collection, work at the gallop, and work on two tracks.
The second condition is satisfied if prior work with the snaffle has already established an equestrian balance that provides the horse with such posture that the lever force of the branch of the curb bit is not blocked in the region of the pelvis but passes onto the haunches, which have been rendered able to carry the load and to bend as a result of flexion work.
The horse is ready for the curb bit if the foregoing two conditions are satisfied, but they can be satisfied only if the horse moves forward resolutely and vigorously, in steady contact with the bit and positively obedient.
The horse is not ready for the bit, however, if it opposes the lever action by active or passive resistance.
This recalcitrance is always do to faulty preparation, if we except feelings of pain produced by poorly fitting, wrong mounted curb bits and curb chains and by the rider's generally defective seat and guidance.
This recalcitrance will be manifested in evasion, stiffness, or distortion of the lower jaw, the neck, and the back, produced by impure, stiff, or dragging action of the hindquarters, which is always the principal source of resistance in the other parts of the horse's body.
So if the horse is not one of the very, very rare specimens that combine perfect conformation and ideal harmony of weight and muscular force with a soul that wished nothing better than to comply with the rider's desires as soon as it has understood them, we will do well to fit a curb bit only after two or more years of training, provided that training began when the horse was four and a half years old.
If we do not obey this golden rule, and the reins are not in the hands of a real master but merely of someone who is self-appointed to that rank, premature use of the curb bit will merely achieve the contrary of what was intended.
The danger then arises that the gait, which was supposed to grow longer, more expressive, and nobler as a result of dressage, is lost.
Contact with the bit becomes unsure and unsteady. The horse is leaning on, over, or behind the bit, for it no longer reaches forward to the bit willingly through its neck and poll.
But if it does not do so, the rider's control of its hindquarters is imperilled and obedience with it.
The equestrian poise already achieved by work on the snaffle will be lost more and more, for once the hind legs no longer reach forward smoothly and fluently towards the centre of gravity, but oppose the lever action, staying behind or dragging sluggishly, the inadequately supported forehand will have to carry a greater share of the load.
Then it hampers the free extension of the forelegs in equestrian balance, and the horse falls upon its shoulders in an expressionless gait.
We often see groups of young riders, accompanied by an instructor, taking their first cross-country rides on bridle paths and through fields in the outskirts of large cities. This picture loses something of its charm when we notice that some of them are riding their deserving, experienced livery horses with curb bits. Most of these ladies and gentlemen are not ready for the curb bit.
A prerequisite for learning how to ride a horse with a bar bit (a solid mouthpiece, therefore called "bar" is a supple, soft, and independent balanced seat plus the ability not only to use aids as signals but to apply them effectively.
Once the good seat has produced soft and steady hands, real "glass-of-water-fists", as Monteton calls them, which absorb all the shocks imparted by the movement in the elbow and shoulder joints, the time may be ripe for beginning to ride with the curb bit.
We must, of course, be completely familiar with the nature, actions, and objectives of curb bits, which differ fundamentally from the snaffle.
We must be familiar with the fit and position of the different parts of a curb bit and with the infinite variety in sizes of bars, ports, curb grooves, mouth angles, and the like.
We must know that when we use a branched lever with the bar bearing on the lower jar of the tongue, which are directly connected to the entire nervous and muscular system, the horse feels many times the force applied by the rider's hands.
We should always bear in mind this fundamental difference between the action of the curb bit and the milder action of the snaffle, in which there is a one-to-one ratio between power and load.
The second fundamental difference follows from the fact that the curb mouthpiece is not jointed, but is fixed in position by the opposing curb chain and acts upon both sides of the lower jaw at once, even though it may be made to act somewhat more strongly upon one side than the other if necessary. In this manner it flexes the joints of both hind legs.
Much can be learned from observing a master rider in order to see what contact with the curb bit looks like. The feathering of the bar should indicate that its reins are in light contact as a result of the horse's reaching for the bit, relaxed, yet vigorous and trusting.
Knowledge alone is merely a preparatory step to the conscious acquisition of practical ability, however. This takes place only when we ourselves sit in the saddle on a well-made horse and learn correct contact with the curb bit that is fitted according to regulations, for theoretical knowledge is a far cry from horsemanship.
There will be always moments when the horse will try to escape even loading on all four legs and try to render the curb reins inoperative by bending its body.
That constitutes the best opportunity to learn in practice, under proper guidance, that uniform contact with the bit can be restored only by the corresponding reins of the bridoon, since the curb bit, with its solid mouthpiece, makes no provision for purely one-sided action.
Important though it is for every horse to have a curb bit that fits and is placed so as to act correctly, let us state in conclusion that faultless riding with a curb bit depends less upon the form of the bit than upon the direction of the skeleton, which prepares the horse for accepting the bit.
It is, however, just as true that when a well-made horse of good conformation has a curb bit that does not fit it individually, it cannot move as well as when it is properly bridled."


On Saturday, June 20, we held our latest #SweetsCrawl, an occasional Ever In Transit reader meetup and sugar-fueled neighborhood walking tour. This time we explored all the best bakeries, pastry shops, and ice cream shops (there are SO many ice cream shops!) in Downtown Palo Alto, California.
We had an diverse group of #SweetsCrawl alums (from our past Bay Area events in San Francisco and Oakland) and a handful of new friends.
Two sweetscrawlers were born and raised in Palo Alto, but four people had never visited the city before! One sweetscrawler was brand new to Palo Alto, having recently relocated to take a job at Stanford University.
As usual we did a terrible job pacing ourselves and had to stop at a cafe mid-way to take a break before diving into part two. Our loving crew pooled together $95 to donate to the Second Harvest Food Bank of Santa Clara & San Mateo County.
I'm so grateful to everyone who came out and joined us for this delicious day!
Chantal Guillon Macarons – Colorful French macarons and a taste of Paris.
Timothy Adams Chocolates – lovely chocolate bonbons and DIY European-style sipping chocolates.
After stop 3 we already needed a break from the sweets so we stopped into Coupa Cafe, a local Venezuelan cafe for sandwiches and palate-cleansing iced tea.
Scoop Microcreamery – creative + fresh Nitrogen-frozen ice cream. The bacon waffle bowl was a hit!
Want to join our next #SweetsCrawl? Subscribe to EIT be the first to find out when & where it'll be!


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Q: Unity 3D vs. UDK 3 for iOS I have a couple ideas for some 3D games/apps and need to know which 3D engine to go with. I like the high-level approach of Unity and UDK. I have done some 2D games using cocos2d before, but I'm entirely new to the 3D world, which is why i think Unity or UDK are a good choice. I know about the differences in licensing, and i am more concerned with the learning curve instead of the licensing cost.
Plans:

*

*A 3D "side scroller" that goes forwards (up) instead of to the side. Third person space ship. This would primarily be for learning. Tilt to steer, tap to jump. Very simple graphics, vertex coloring would be enough.

*A 2.5D "side scroller" like the above one but with a car. This game would generate the levels randomly out of a couple prefab blocks of a certain length that fit together seamlessly.

*A 3D augmented reality display for pilots with a terrain mesh loaded from DEM data. Accelerometer and GPS access required.
Other important points:

*

*Must be able to tie in to In-App purchases.

*The more community content like tutorials and forums the better.

*Ability to add third party libraries like Flurry Analytics is a big plus! But i guess this isn't possible?

Which engine would you recommend for these projects, and why? Preferably, i'd like to pick one and stick with it.

A: You're going to have a way, way better time developing with Unity. UDK's got a fantastic, incredibly capable engine, but its tools don't have the ease-of-use of Unity's, its developer documentation leaves a lot to be desired, and the community hasn't been using it for long enough for there to be much help to be found there. Some quick Googling suggests you can write your own Objective-C plug-ins for Unity games, so in-app purchases and third-party libraries are definitely a possibility. I think Unity's your best bet.

A: What about cryengine? it free for non commercial use and also provides mono c#.
Check it out CryEngine

redpajama_set_name: RedPajamaStackExchange


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Abortionist's manslaughter trial underway in New York
When Kermit Gosnell went on trial for multiple infanticides and one maternal death, media coverage was initially abysmal. It took a massive public shaming campaign to bring reporters to the courtroom.
New York abortionist Robert Rho is now on trial for "only" one death. The victim, 30-year-old Jaime Morales, was killed during the commission of a late-term abortion. The media coverage this time around is worse than abysmal; it's practically non-existent. While there was some coverage of Rho's arrest in 2016, the only information we have about the trial comes from pro-life activist Lauren Handy, who has been observing the proceedings and giving her accounts to the Operation Rescue blog.
I certainly do not intend to criticize Lauren, who is a personal friend and is undoubtedly doing the best she can under the circumstances. But she is neither a professional journalist nor a lawyer, and she has not been able to attend every day of the trial. She shouldn't have to be the one doing this, and the public deserves more comprehensive coverage of this story.
With that caveat, here's what we've learned so far.
Rho is charged with reckless homicide in Jaime Morales' death, which occurred on July 9, 2016. Rho did notice the complications, but attempted to correct them himself and did not call an ambulance. Morales fainted and was still woozy when Rho sent her home. Morales passed out again in her sister's car; her sister took her to the hospital, but it was too late.
Rho has a long history with the Office of Professional Medical Conduct. OPMC officer Paula M. Breen was the prosecution's first witness. She testified that Rho had been under investigation since 2013 "for infractions involving sedation and office staff." (He also has been sued for malpractice three times and for sexual harassment twice.)
A key issue in the trial is to be the procedure that was used for the abortion. Morales was between 24 and 26 weeks pregnant. Such a late-term abortion typically takes place over several days, with laminaria (sanitary seaweed) being used to gradually dilate the cervix in the days leading up to surgery. The prosecution argued that Rho recklessly attempted to commit the abortion procedure in just one day, without laminaria. There was conflicting testimony on the question of whether or not laminaria were stocked at Rho's abortion facility.
The prosecution also presented testimony from an expert anesthesiologist, who opined that Morales' anesthesiology report had been forged, and from Planned Parenthood abortionist Steven Chasen, who testified that Rho's method of dilating Morales' cervix was improper.
In cross-examination, Rho's attorney has repeatedly raised Morales' alcohol consumption as a possible factor in her death.
Lauren also observed tensions between Rho and his attorney and overheard some of their conversations. Critically, Rho has plans to open a new abortion facility if the jury finds him not guilty (although he no longer has a license to practice medicine in New York, so it's unclear where he would go). This case will not only determine whether or not Jaime Morales receives justice, but could also determine whether or not Rho will go on to injure more women.
The prosecution rested its case on Friday. The trial continues today and is expected to last through May 3.
The maximum sentence for reckless homicide is 15 years. Rho's fate will be decided by a jury of eleven men and four women. Most of the jurors are people of color. We fervently hope they will provide #JusticeForJaime.
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Jia learned that even the most preposterous wish may be granted if you ask in the right way, and here he shares the secret of successful asking, how to pick targets, and how to tell when an initial no can be converted into something positive. But more important, he learned techniques for steeling himself against rejection and ways to develop his own confidence - a plan that can't be derailed by a single setback.
Filled with great stories and valuable insight, Rejection Proof is a fun and thoughtful examination of how to overcome fear and dare to live more boldly.
©2015 Jia Jiang (P)2015 Blackstone Audio, Inc.
This was such an enlightening little book. It goes beyond embracing fear, embracing rejection, and flows straight into embracing life: What a concept! You'll be tickled pink at how creative Jia Jiang gets in TRYING to find things to fail at. There's a positive joy in it.
The key thing is that it takes practice to be resilient, practice to find joy and confidence despite the outcome. I've read/listened to many, many (oh GOD: MANY!) self-development books on fear, and this is the only one that has humor in it. Don't get me wrong, he started off as somebody absolutely dedicated to not trying, to living his life for other people, but he blossomed in a truly magnificent way.
During each failure exercise, he analyzed and learned something new, and we can too. Personally, I have six rejection slips from agents, and the book got me thinking: What? Why so few?!? I have GOT to get out there and practice what this little book teaches.
It's a wonderful text, narrated well, and it cracked me up. Inspiring...!
This book demonstrates how changing one's perception of an obstacle can help overcome it.
If you have a friend who is struggling with unemployment or career change give this book to them. Action Cures Fear!
Rejection Proof was surprisingly enlightening! Along other things I discovered that overcoming fear and having fun are the keys to success!
This is by far the most inspiring book I've read in years. The content and narration are really excellent. I wish I could have read it earlier.
It delivers a good balance between storytelling and lessons learned. One should be able to practice most of the learnings.
This is an excellent book, not only for entrepreneurs, but for people who are looking to grow in areas that they are uncomfortable.
* Rejection is human. It's about what the rejector is thinking, feeling, and have going, not about you.
* Rejection is an opinion - some will say "no" and some will say "yes".
* Rejection has a number. Do it enough times, it may become a "yes." Ask why it's a "no" and modify the request.
* Be direct when making the request.
* Explain the reason for the request.
* Acknowledge doubts about your request.
* Select the right audience for the request.
* Don't assume you know the person and why that person should say "yes."
* Use rejections as lessons learned; what can you do differently to try to change a "no" to a "yes"?


Lenexa, Kansas based land-clearing attachment company, Sidney Attachments, recently announced the release of its newest attachment, the Long Reach Tree Shear.
The ALL NEW Long Reach Tree Shear is an improvement on Sidney's tree shear design. By adding an extended seven foot reach, the Long Reach Tree Shear is now capable of removing hard to reach limbs and brush. In addition to the extended length, the Long Reach Tree Shear also features an updated blade design. "The new shear blade slices through wood instead of cutting. This slicing motion is more time effective, but is also much more efficient handling difficult wood conditions." Says Andrew Christy, Product and Sales Manager for Sidney Attachments.
The Sidney Long Reach Tree Shear will be the newest addition to Sidney's popular HTC series of tree shears. The HTC series is already a favorite among land clearing professionals in the agriculture and landscaping industries. Sidney's HTC Tree Shears are all made in the USA, use high quality steel, and powerful hydraulic cylinders, making easy work of trees and brush while maintaining durability.
Sidney's Long Reach Tree Shear also features a thicker steel than used in past HTC series tree shears in addition to a new hydraulic cylinder. This new cylinder is the largest in class adding power to support the thicker steel and new blade design.
The Long Reach Tree Shear comes standard with a rotating head and a universal quick-attach coupler for easy use with most skid-steers and wheel loaders. Other couplers can be made custom upon request.


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Q: how to create bucket inside a buckets in aws-s3 using ruby? I have one s3-bucket with name "my-bucket".
s3 = AWS::S3.new
bucket = s3.buckets.create('my-bucket')

bucket object has the reference to 'my-bucket'. how to create a another bucket inside it?

A: You can't create buckets inside buckets - see the third paragraph on http://docs.aws.amazon.com/AmazonS3/latest/dev/BucketRestrictions.html which states:
You cannot create a bucket within another bucket.

S3 is not a folder based storage, but rather more like a key value store. Buckets are, according to Amazon's docs, analogous to domain names.
You can simulate a folder structure by storing your files with their full path as the object name.

A: Buckets hold neither other buckets nor folders. Object (file) key names delimited with "/" create a pseudo folder structure for organizational purposes, but it's really a single-level store. You have the bucket, and you have infinite items inside that bucket.


The prime feature of the Oilless Bare Pumps is the composite piston technology that offers superior performance at very low maintenance. They can be installed as a replacement for almost all air compressor pumps, and come with an air-cooled intercooler and a built-in cooling fan. They also can meet the NFPA 99 requirements making them trustworthy for medical applications.
Piston Bare Pumps at Compressor World?
That's not all, all air compressors and bare pumps available with us come with complete warranty, and local servicing, the details of which are provided at the time of purchase. Buyers can directly get in touch with the local service providers to avail servicing. However, at the time of purchase, buyers will be offered complete assistance on finding the most suitable compressor/ spare parts.
If you think you need more information or guidance on finding the right replacement for your existing piston air compressors pump, get in touch with one of our compressed air experts at 866.778.6572. We'll be more than happy to help you out.
store. Find a huge selection of Oilless Piston Bare Pumps and Oil Free Bare Pumps from top brands. Talk to one of our experienced Oilless / Free Bare Pumps experts at 866.778.6572. Free Shipping & Tax Free!


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Rare Disease World Day – 28 February
On the occasion of the Rare Disease World Day, 28 February, Zdravlje is sharing the general public information to help raise the awareness and generate the change for the 300 million people worldwide living with a rare disease, their families and carers.
What is a rare disease?
A disease or disorder is defined as rare in Europe when it affects less than 1 in 2000. One rare disease may affect only a handful of patients in the EU, and another touch as many as 245,000.
Rare disease prevalence
Over 6,000 different rare diseases have been identified to date.
Rare diseases currently affect 3.5% – 5.9% of the worldwide population, an estimated 30 million people in Europe, 25 million in the USA and 300 million worldwide.
72% of rare diseases are of genetic origin, and are often chronic and life-threatening.
Others are the result of infections (bacterial or viral), allergies and environmental causes.
70% of those genetic rare diseases start in childhood.
See the video at: https://youtu.be/-N8zbmMONSc
Estimating cumulative point prevalence of rare diseases: analysis of the Orphanet database, European Journal of Human Genetics (September 2019)
#bazaretkihbolesti #zivot #retkebolesti #rarediseaseday