St Marys Road outdoor swimming baths #Nuneaton one for you @francisfrith
Actress Mary Riggans, who played Suzie Sweet in children's show Balamory and Effie in High Road, dies at the age of 78.
A Catholic woman's notes on the passing scene
Mary McCartney is a photographer, filmmaker, TV cook and author. In Feeding Creativity she blends her passions for food and photography, cooking 60 of her favourite recipes for friends, family, musicians, actors, artists and visionaries. Mary makes each a specially prepared dish, which they eat together at their home or studio. Here, she shares her photographs, recipes, and anecdotes from those culinary encounters. Mary caters for every eating occasion on her culinary voyage, from enjoying sheet pan pancakes with Cameron Diaz for breakfast to sharing globe artichoke appetisers with HAIM. She prepares an onion, pea, and spinach tart for lunch at David Hockney's LA studio and savours smokey dogs at home with Woody Harrelson. She meets Nile Rodgers at Abbey Road Studios with a roasted and toasted salad, makes a rainbow sprinkle cake for afternoon tea with Jeff Koons, and much more. Feeding Creativity is a toast to easy and delicious plant-based food and a celebration of culinary conviviality. Hardcover 280 pages
St Mary, Burgh-next-Aylsham, Norfolk Burgh-next-Aylsham probably seems a busy little place if you approach it from east or west along the busy Aylsham to Wroxham road, but I have never done this. If you come down the narrow lane through the Tuttington woods out of high Norfolk, you get a quite different impression, crossing the main road being the only sign of civilisation before you get to the church. Better still, across the water meadows of the Bure from Brampton to the south - no traffic here, just footpaths and footbridges over the lazy river as it meanders pointlessly between the two villages. The view of St Mary across the river from the south is one of the finest of any church in East Anglia, and you should go and see it if you can. The church is aisleless and clerestoryless, but you step into a great feeling of light and space, and turning to the east you find something thrilling, for here as Pevsner so eloquently puts it, is unexpectedly, the finest Early English chancel in East Anglia. It is as if part of Lincoln Cathedral were shrunk down and transported across to the Bure valley. The basic plan here can be dated fairly accurately to the first decade of the 13th century. I say plan, because you will not be surprised to learn that a lot of what you see here today is, in fact, Victorian. We know that no less a person than George Gilbert Scott came and saw it before the restoration, and that what he saw was a smaller version of what you see today. The restoration itself was by Richard Phipson, Diocesan architect, responsible for the restoration of St Peter Mancroft in Norwich and the complete rebuilding of St Mary le Tower in Ipswich. Phipson was not the most exciting architect of the 19th century, having an eye for the letter rather than the spirit, but this served St Mary well. The east wall is his, as, indeed, is everything east of the second lancet. You can see this more clearly from outside. He also built the north chapel, probably intending it as an organ chamber. Pevsner says this was a rebuilding, but it looks wholly Victorian in form to me. There's also a fair amount of recutting and harmonising, but it is good work of its kind and is, above all else, still very beautiful. The brick floors count for a lot, the clearing of clutter and the way you step down in to the chancel - it is an inspiring sight, in a special place. And it is for more than this that St Mary is a church of special interest, for back at the west end of the nave is one of Norfolk's twenty-two seven sacrament fonts. These fonts date from the 15th century, at a time when local landed families were trying to assert the official doctrine of the Catholic Church in the face of local superstitions and abuses. One way of doing this was to bequeath money in your will to pay for images in the Church of aspects of doctrine - the seven works of mercy, the seven deadly sins, the seven sacraments - in windows, and on walls, and on fonts. On an octagonal font, of course, there are eight panels, so as well as the seven sacraments you get an eighth panel, which varies from place to place. Most commonly, it is the Baptism of Christ, although the Crucifixion is also popular. There are a few seven sacrament fonts in East Anglia with unique eighth panels - the martyrdom of St Andrew at Melton in Suffolk, the Assumption of the Blessed Virgin at Great Witchingham in Norfolk. Interestingly, here at Burgh-next-Aylsham there is some disagreement about exactly what the eighth panel is. It shows a figure kneeling at an altar before an object, and this has been interpreted as the Adoration of the Blessed Sacrament. But the object looks to me to have human form, and I think it is actually the Mass of St Gregory, as represented on the rood screen at Wyverstone in Suffolk. A doubting Priest, celebrating Mass, has his doubts cast away when the host turns into the human form of Christ. The font is not in terribly good condition. The injunctions against images in the later years of the reign of Henry VIII, and especially under his son, the boy king Edward VI, would have left the parish here with a problem. Wall paintings were easily whitewashed, statues and sculptures smashed and burned. Stained glass was usually allowed to remain, since its replacement was not cheap or practical. The Anglicans were more pragmatic than the Puritans of a century later. But what was to be done with a font? Many of the fonts were fairly new, seven sacrament fonts were less than a century old at the time of the Reformation. Anglicans may have thrown off Catholic teachings to do with Mary, Saints and the souls of the faithful departed, but they still believed in infant Baptism, and they still needed fonts for the purpose. In a few cases, for example Loddon, the font was completely excised of its images in the 1540s (not, as the guide book there suggests, a century later). But this seems a bit drastic, and the result is less than pleasing. Much better to use a hammer to knock the reliefs flush with the outer panelling (hence the loss of most of the heads) and then plaster the whole piece over. That, almost certainly, was what happened here at Burgh towards the middle years of the sixteenth century, as the new model Church of England was forged into being. This font is more battered than most, principally, I suspect, because of the shallowness of the images, and more needed to be knocked flush. But enough survives to identify every sacrament. It has a slimness and elegance that puts me in mind of the one at Earsham, although the shaft is like that at nearby Sloley, with the four evangelistic symbols at the corner of the foot. It is set on a simple Maltese cross. The panels, clockwise from the east, are Mass (the Priest with his back to the viewer), the odd panel out (probably the Mass of St Gregory), Last Rites, Matrimony, Confession (taking place at a shriving pew), Baptism, Confirmation (involving an infant) and ordination. The magic of the view to the east is worth more than the scholarly examination of the font, I think. And now to step out and across the Bure water meadows to Brampton on the other side, knowing that on a spring day there are few lovelier places in England.
Lewis with Mary McGee on race day in Canada | 09.06.24 Mary was the first woman to compete in motorcycle road racing and motocross events in the United States! Lewis is also produced a documentary a…
A working class, Newcastle community, increasingly facing demolitions and redevelopment, documented in the 1950s and early 60s by a photographer who was part of the community.
The Gables, Elswick Road - Date c 1870s Family group on the steps of the house. The Gables was the home of the Richardson family, owners of the Elswick Leather Works and was built in the mid 1870's. The Gables was purchased in 1919 from the Richardson family and became the Princess Mary Maternity Hospital. This then moved to new premises in Jubilee Road and it was decided that The Gables should be totally independent. In 1948 the NHS decided not to take The Gables over in its rationalisation of local health services and by 1950 it was in financial difficulties. It was then forced to close and was sold to the Salvation Army who renamed it the Hopedene Nursing Home. This was closed in 1974. After that it operated as a hostel which closed in 1994. Reference:TWAS: dx804/1/6 (Copyright) We're happy for you to share this digital image within the spirit of The Commons. Please cite 'Tyne & Wear Archives & Museums' when reusing. Certain restrictions on high quality reproductions and commercial use of the original physical version apply though; if you're unsure please email [email protected]. To purchase a hi-res copy please email [email protected] quoting the title and reference number.
A working class, Newcastle community, increasingly facing demolitions and redevelopment, documented in the 1950s and early 60s by a photographer who was part of the community.
Shaikh Zain ud-din, ‘Sulphur Crested Cockatoo on a Custard Apple Branch’, 61.5 x 86 cm, 1777. In 1773 Sir Elijah Impey moved from England to India to assume his illustrious position as …
Explore MKM06's 1668 photos on Flickr!
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From the 19th century, women and men all over the globe have been fighting against the ceaseless patriarchy. We have gone down a long road. In spite of everything that’s been done and said, we are still at the very start of our fight. Mary Wollstonecraft was a badass woman who decided to go against […]
In 1641, during the Christmas Season, a traveling salesman named Hendrick Busman, was walking near the fire-torn village of Kevelaer. When he saw a cross on the side of the road, he decided to stop…
View addition information about Birminghamian Mary Anderson, inventor of the windshield wiper. To discover many more inventors from Birmingham and Alabama search our Alabama Inventors Database.
A working class, Newcastle community, increasingly facing demolitions and redevelopment, documented in the 1950s and early 60s by a photographer who was part of the community.
