The orchestra's sound, especially in the brasses, turned raw and blaring.
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Occasionally, the brasses seemed like they were about to veer into Wagner.
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There were a few too many passing fumbles in the brasses to ignore.
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In its fevered moments, it's like Shostakovich, all angular brasses and whip-smart percussion.
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Performing in various ensembles and styles, he learned more instruments: guitar, bass, drums, brasses.
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I get really intense, order some brasses, get thrown out and leave with them.
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Throughout the Mahler, the brasses were in excellent form, and the strings never gave into hysteria.
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Nothing was overblown, and the balances among the various sections, especially between brasses and woodwinds, were exquisite.
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Rest assured, this is still the Czech Philharmonic of warm strings, penetrating brasses and fleet-footed danciness.
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The deep, dark chords in the lower strings and brasses that emerge were like heaving sea currents.
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The sound was thin, murky and diffuse, like a cloudy broth; the brasses were inelegant even when not flubbing.
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The brasses of the Music Theater Wales ensemble show off their polish in a recording conducted by Michael Rafferty.
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Some of the colors were questionable, but amusingly so, as when the brasses evoked rude bodily sounds in "Gnomus" ("Gnome").
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Their timbres, particularly in the winds and brasses, are distinct, blending less smoothly than in orchestras today yet affording stereoscopic clarity.
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The third movement's opening is announced by Minimalist harp figures and muted tones — suggestive of jazz, but not imitative — in the brasses.
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Blending with the strings but with a reedy brightness that complemented the winds and brasses, her sitar was a persuasive orchestral chameleon.
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The Vienna Philharmonic plays for him with astonishing virtuosity: strings of tactile fullness; tangy winds; bursts of ideally round and peppery brasses.
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The first movement has his characteristic quality of grave propulsion, until some writing for the low brasses exhibits an unexpected lightness of step.
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Call it a lingering honeymoon glow, but they responded to his every gesture with enthusiasm and virtually flawless precision — especially in the brasses.
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There was an unpleasant edge to the violins as Strauss's "Sunset" passage arrived; murkiness from the brasses; and an overall need of focus.
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"Pollux" (played first) and "Castor" emerged from a single rhythmic germ, and they also share an ominous, nocturnal mood, brasses brooding and drums menacing.
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All this in good measure, of course, and the concerto soloists and the orchestra's high brasses proved excellent models of moderation in both concerts.
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After some unsteadiness early on, the brasses nailed edgy timbres during the final movement — achieving an emphatic sense of release, stripped of all irony.
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He maintained the opening march's solemn steadiness, which never sank into ponderousness and occasionally shocked with whooping brasses that flared and receded like fireworks.
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Listen closely and you'll hear that the brasses have an unusually, if still subtly, prominent place in the harmonies, giving the piece a golden glow.
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The coppery burr of muted brasses emerged from the back of the orchestra, as if from a great distance, before a frightening descent into Expressionist madness.
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It may improve by Saturday's concert, along with sound imbalances in the brasses and, in the balcony, cowbells that were more distractingly present than pleasantly distant.
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The orchestra excelled in the contrasts of the fourth movement, with the strings channeling fervid passions and the brasses taking a jeering delight in their disruptions.
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Most orchestras seem to generate raw power mainly through the brasses, but in this one the strings are no less crucial, playing tremolos and pizzicatos with incomparable energy.
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The vaunted Met orchestra and chorus were at slightly less than their best on Saturday, with a few slips in the brasses and slight disunity in a women's choral number.
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Mr. Valcuha, who made his Philharmonic debut in 2012, seemed to have reasonable command of the orchestra, if not of the hall, admitting some blatant sounds, especially from the woodwinds and brasses.
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The brasses and woodwinds could snort, snarl, bray and swoon with the best of them, as appropriate, and the percussion section, which drives much of this work, was suitably raucous and disruptive.
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Though the homages and allusions are not obvious, the 18-minute work, starting with elegiac strings and ending with braying brasses, has a pleasing contour and gives the orchestra a good and imaginative workout.
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I was so struck in the first movement of the Ninth by the coexistence of milky winds, spiraling strings, roaring brasses and the slightest shudder of timpani; so many colors and textures, in perfect balance.
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Currently in his 11th season as the principal in Chicago, an orchestra famous for its brasses, Mr. Martin previously served as the principal trumpet of the Atlanta Symphony Orchestra and the associate principal trumpet of the Philadelphia Orchestra.
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A pensive middle section had uncommon depth and warmth in this account, with the orchestra's dusky strings and mellow brasses (though the sound of the orchestra, over all, did not come through so well in the Howard Gilman Opera House).
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What unites these two sides of Wagner, the early and late, here is Mr. Petrenko's unshowy energy, which emerges from the root of the orchestra: Listen closely, and there's always warm, full, rounded precision in the low brasses and low strings.
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In nearly every one of the piece's many, many minutes there is a stimulating effect or turn of phrase, something indisputably correct, or sometimes intriguingly incorrect, like the weirdly, somehow wonderfully whimsical pips of winds and brasses that mourn Lazarus's death.
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Despite some trouble among the brasses, this was a moving and intelligent reading of the "Resurrection," dramatic in the opening and finale, sweet and playful in the inner movements, and sublime in the setting of "Urlicht," sung by the mezzo-soprano Elisabeth Kulman.
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In the finale, he gave particular prominence in the blend to the brasses; similarly, the strong profile of the cellos near the end suggested Mr. van Zweden was at pains to make the orchestra's layers visible, to create textures simultaneously dense and transparent.
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Mr. van Zweden has the winds and brasses sounding, in ensemble, more integrated than they have in even the recent past; at the start of the concerto's second movement, the winds were beautifully blended before being quietly infused, as if from below, with the rich brown sound of horns.
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Concerning the famous Cobham brasses William Belcher in his Kentish Brasses (1905) stated: Kent is peculiarly rich in Brasses. It has, perhaps, a larger number and a more representative collection than any other county, although individually finer examples may be found elsewhere. No church in the world possesses such a splendid series as the nineteen brasses in Cobham Church, ranging in date between 1298 and 1529.William Belcher, Kentish Brasses, Preface, Vol.
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As an author his writings include The Foundation of St Augustine at Reading, 1982; Victorian Memorial Brasses, 1983; A. W. N. Pugin and the Revival of Memorial Brasses, 1991; and Modern Memorial Brasses, 2008.British Library website, accessed 31 July 2010.
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Other varieties also exist, such as cadaver imagery on incised slabs and monumental brasses, including the so-called "shroud brasses", of which many survive in England.
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It is one of the earliest military brasses in England.
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The church contains some fine brasses and 17th century woodwork.
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Numerous lists of medieval and post-medieval brasses have been published. The standard national list for examples in Britain up to 1710 remains Mill Stephenson's A List of Monumental Brasses in the British Isles, first published in 1926. It is still common practice in the specialist literature for individual brasses to be identified by place-name and an "M.S." number.
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In the floor are memorial brasses to 19th-century incumbents of the church.
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Friendly society brasses were the emblems of village friendly societies or clubs common in the west of England between the late 18th and early 20th centuries. The use of brasses as emblems was particularly prevalent in Somerset and the surrounding counties.
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Tin additions significantly increase the corrosion resistance of some brasses, especially resistance to dezincification.
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Under the floor of the east end of south aisle is the tomb Amee Washington who died in 1564, and her husband Lawrence who died in 1584. The tomb is covered by a slab of Hornton ironstone with monumental brasses set into it. There were originally six brasses in the set: a pair of figures of Lawrence and Amee Washington; a pair of smaller brasses, one their four sons, and one of their seven daughters; a brass of a family coat of arms and one with an inscription. The brasses of Amee Washington, the family coat of arms and the inscription are missing.
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The Museum of English Rural Life has a collection of over 900 Friendly Society Brasses aka poleheads. The design of the brasses was sometimes conventional or sometimes represented an interest of the club such as the inn in which the meetings were held .
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He also gave brasses to Durham, Merton College, Queen's College, and the church at Oddington.
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Thus the brasses were made in 1533 and set onto the tomb in 1534.Byrne, 1981, vol.
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He died on 30 June 1570 at Filleigh,Virgoe states date of death as 26 June, but contemporary brasses in Filleigh Church both state he died on the last day of June, i.e. 30th and was buried in Filleigh Church, where two monumental brasses exist in his memory.
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Brasses, which were frequently used for doorknobs and push plates in decades past, also demonstrate bactericidal efficacies, but within a somewhat longer time frame than pure copper. All nine brasses tested were almost completely bactericidal (more than 99.9% kill rate) at 20 °C within 60–270 minutes. Many brasses were almost completely bactericidal at 4 °C within 180–360 minutes. The rate of total microbial death on four bronzes varied from within 50–270 minutes at 20 °C, and from 180 to 270 minutes at 4 °C.
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"Metallic Ornamental Work" written by William Walter Watts, with relevant bibliography; H.W. Macklin, Monumental Bronzes, 1913 and Monumental Brasses, ed. J. P. Phillips, London (repr. 1969); Paris, Musée des Arts décoratifs, Le Métal, 1939; "Antiquaries and Historians: The Study of Monuments", OUP, URL accessed 28/03/2013; M. W. Norris, Monumental Brasses: The Memorials, 2 vols., London, 1977; idem, Monumental Brasses: The Craft, London, 1978; F. Haskell, History and its Images: Art and the Interpretation of the Past, New Haven and London, 1993, pp. 131–5.
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Monument to Clement Throckmorton (d. 1573) and wife Catherine Neville. Chest tomb with monumental brasses on top. Haseley Church, Warwickshire.
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St Mary Magdalene Church, the parish church of Cobham, contains famous monumental brasses of members of the de Cobham and Brooke families, lords of the manor, which are reputedly the finest in England. William Belcher in his Kentish Brasses (1905) stated: No church in the world possesses such a splendid series as the nineteen brasses in Cobham Church, ranging in date between 1298 and 1529. In the church also survives the sumptuous chest tomb and alabaster effigies of George Brooke, 9th Baron Cobham (1497–1558) and his heiress wife Ann Bray.
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It was determined that the brasses with high zinc content were the ones that suffered dezincification when exposed to aggressive water.
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About 80 ancient monumental brasses survive in Gloucestershire, many in the parish churches at Cirencester and Northleach. Many have been lost to theft over the ages. The first complete listing of brasses in Gloucestershire was made by Cecil T Davis who stated that they may be divided into three categories: ecclesiastical, military and civil.Davis (1881–2), pp. 339–344.
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Brasses of William and Margaret can be seen in Baginton Church, Warwickshire. He appears as a character in Shakespeare's play Richard II.
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Where appropriate, entries retain Stephenson's "M.S." numbers. Hugh Cameron published a list of monumental brasses in continental Europe in 1970.Cameron 1970.
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36; archive.org. the tomb inscription to Kingston was later reported lost.Cecil Tudor Davis, The Monumental Brasses of Gloucestershire (1899) p. 217; archive.org.
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Mill Stephenson, 'A list of monumental brasses in Surrey (continued),' Surrey Archaeological Collections Vol. XXXII (1919), pp. 63–130, at pp. 86–89.
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In the church are 14th- century monumental brasses of Sir Simon de Felbrigge and his wife, the original Lord of the Manor here.
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Elsewhere in the chapel are memorial floor slabs and brasses. In one of the windows is stained glass dating from the 16th century.
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A widespread version is: 1 piccolo, 4 clarinets, 2 horns, flugelhorn, 3 trumpets, at least 2 trombones, low brasses (number unspecified), bass drum.
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He was buried in the chantry chapel in a tomb of Purbeck marble. There were formerly monumental brasses to him and his wife, Elizabeth.
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The church has a number of 15th century brasses and a wall monument to Sir Francis Mannock, 1st Baronet, of Giffords Hall (d 1634).
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Also in the church are three brasses, the oldest dated 1520. There are three bells, dating from about 1350, from 1604, and from 1708.
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There are some medieval brasses and marble monuments. Under the stained glass east window is a wooden reredos with a carving of Agnus Dei.
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Sir Roger de Trumpington in Trumpington, Cambridgeshire, c. 1326 There was a revival of interest in monumental brasses in the 19th century.Meara 1983.Meara 1991.
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2 Thirteen of the brasses belong to the years 1320–1529 and commemorate members of the Cobham family and of the Brooke family, their heirs.
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The only surviving fabric from the old church comprises the two monumental brasses which formerly adorned the now lost tomb-monument of Richard Fortescue (died 1570), great-grandson of Sir Martin Fortescue. These brasses, in damaged and incomplete condition perhaps indicating their having been carelessly wrenched off the former monument, are now framed and affixed to the north wall of the nave of the new church.
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William Belcher, Kentish Brasses, Preface, Vol.2 Thirteen of the brasses belong to the years 1320–1529 and commemorate members of the Brooke and Cobham families. The church in Luddesdown, part of the ecclesiastical parish, is dedicated to St Peter and St Paul. Next to the church in the village is Cobham College, a one- time home for secular priests, and now acting as almshouses.
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In 1794 Lanherne House, mainly built in the 16th and 17th centuries, became a convent for émigré nuns from Belgium. Many memorials of the Arundells survive in the parish churches of St Mawgan, dedicated to St Mauganus and St Nicholas, including monumental brasses to George Arundell (1573), Mary Arundell (1578), Cyssel and Jane Arundell (ca. 1580), Edward Arundell (c.1586).Dunkin, E. (1882) Monumental Brasses.
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It is an important chemical reagent and an industrial chemical, mainly used in paper pulp industry (Kraft process), textiles, synthetic flavors, coloring brasses, and iron control.
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1400)) and his wife Anne Code (d. 1508),Dunkin, E. (1882) Monumental Brasses. London, Spottiswoode who both died within a day of each other of sweating sickness.
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Instruments evaluated include voice, piano, strings, woodwinds/brasses, and percussion. NYSSMA scores and evaluators' comments are often used by music teachers as diagnostics and progress monitoring. They also determine selection into orchestra, band, or choral groups depending on their instrument. Students who play saxophones, brasses or percussion or sing can choose to be evaluated in NYSSMA Jazz Festival where they have an opportunity to be selected into various jazz ensembles.
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The first mutual savings bank, founded in Scotland in 1810, was called the "Savings and Friendly Society". Credit unions and other types of organization are modern equivalents. Friendly Society Brasses were the emblems of village friendly societies or clubs common in the west of England between the late 18th and early 20th centuries. The use of brasses as emblems was particularly prevalent in Somerset and the surrounding counties.
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The church contains a brass memorial on a chancel pier to H.A. Douglas-Hamilton, vicar from 1915 to 1925. There are also four brasses in the chancel floor.
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Cobham () is a village and civil parish in the borough of Gravesham in Kent, England. The village is located south-east of Gravesend, and just south of Watling Street, the Roman road from Dover to London. The parish, which includes the hamlet of Sole Street, covers an area of and had a population of 1,469 at the 2011 Census, increasing from 1,328 at the 2001 Census. The village is in a Conservation Area and as such remains relatively unspoilt. The parish church is 13th century and is dedicated to St Mary Magdalene, and has monumental brasses which are reputedly the finest in England. William Belcher in his Kentish Brasses (1905) stated: Kent is peculiarly rich in Brasses.
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The majority of extant memorial brasses are now found in England, where it is calculated that there may be about 4,000 still remaining in various churches. They are most abundant in the eastern counties, and this fact has been frequently adduced in support of the opinion that they were of Flemish manufacture. But at the time sepulchral brasses were most often fashioned, the eastern counties of England were a centre of commercial activity and wealth, and there are numerous engraved memorials of civilians and prosperous merchants in the churches of Ipswich, Norwich, Lynn and Lincoln. Flemish brasses can be found in England, but they are not common, and they are readily distinguished from English workmanship.
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The parish church contains the fine brass of Nicholas Assheton and his wife, 1466.Pevsner, N. (1970) Cornwall; 2nd ed. Penguin Books; pp. 48-49Dunkin, E. (1882) Monumental Brasses.
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The church has a small chained library of 17th-century theological works and some notable monumental brasses particularly the altar tomb of John Harewell and his wife Anna (1505).
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During this era working horse parades were popular throughout the British Isles and prize or merit awards were given, some by the Royal Society for Prevention of Cruelty to Animals (RSPCA). Horse brasses were often highly prized by the "carters", who decorated their horse with them. Other horse brass subjects include advertising, royalty commemoration, and in later years, souvenir brasses for places and events, many of which are still being made and used today.
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H. W. Dunkin has a number of his scholarly articles listed in Collecteana Cornubiensa Column 217. author of The Monumental Brasses of Cornwall with Descriptive, Genealogical and Heraldic Notes, 1882.
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On the south wall is a tablet to Ann, the five-year-old daughter of Rev William Gilpin, headmaster of Cheam School. The brasses are dated between 1450 and 1632.
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Warm-hearted brasses, rhythmics endiablé, guitars in the acidulous casseroles, low heavy and heavy to supplement by the special voice of Little CED will allow the group to make immediately spot.
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The outside walls are of flint and limestone with some chequer work and sarsen, and are crenellated. The roofs are lead and slate. Inside are a number of monuments and monumental brasses.
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1515, and others of John Trenowyth, 1498, Marie Coffin, née Boscawen, 1622, John Boscawen, d. 1564, engraved 1634.Dunkin, E. (1882) Monumental Brasses. London: Spottiswoode Fentongollan Cross is a wayside Latin cross.
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The memorials include two brasses in the sanctuary, and there is a ledger slab dating from the middle of the 18th century in the chancel. Many of the fittings have been removed.
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Stamped brasses on heavy horse harness appeared on the scene around 1880, with a small number occurring perhaps a decade or so earlier, and it is highly likely that the process developed from one that was already established in the manufacture of carriage harness trappings and military insignia. However, production of these appears to have peaked shortly before the First World War, and since the 1920s, a few types have been produced but their quality is rather poor being made from thinner gauge brass sheet. Due to serious considerations of the sheer weight of cast harness decorations carried by working horses (first raised by the early animal welfare movements in the late 19th century) it is thought that the first stamped brasses were made as a lighter (and cheaper), alternative to cast brasses being later exported throughout the British Empire. Unlike their cast cousins, stamped brasses were not made in moulds, but pressed out of rolled sheet brass approximately 1/16 in thickness although other gauges of sheet than earlier examples.
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The Wroth heraldry, 'Argent, on a bend sable three lions' heads erased of the field crowned or', is displayed on the tomb of Mabel Hardres.Upper Hardres Church website, 'Brasses in Upper Hardres' page.
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He was the only son of John I Rashleigh (d.10 August 1582), a merchant at Fowey in Cornwall (the 2nd son of Philip I Rashleigh (died 1551) of FoweyDunkin, Edwin Hadlow Wise, The Monumental Brasses of Cornwall with Descriptive, Genealogical and Heraldic Notes, 1882, p.56) by his wife Alice Lanyon (d.20 August 1591) (whose 1602 monumental brass survives in Fowey Church,Dunkin, Edwin Hadlow Wise, The Monumental Brasses of Cornwall with Descriptive, Genealogical and Heraldic Notes, 1882, text pp.
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Its name comes from the foot pedal keyboard pedals of a pipe organ, which are used to play 16' and 32' sub-bass notes by pressing the pedals with the player's feet. Brasses with a bell do not naturally vibrate at this frequency. A closed cylinder vibrates at only the odd members of its harmonic series. This set of pitches is too sparse to be musically useful for brass instruments; therefore, the bells and mouthpieces of brasses are crafted to adjust these pitches.
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The oldest of these is a slab containing the indents of brasses to Robert Rampston (1585) and his wife Margaret (1590). The church holds regular services and its hall is used by many different societies.
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Kelshall also has a major road running along one of its boundaries. In the 1880s the church was described as being "ancient, plain, and good, with a tower; and contains a few brasses and monuments".
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The chancel contains several medieval monumental brasses including one dedicated to Rauf Fallywolle (or Fallowell, d.1349) and his wife Lucie (d.1368), and another dedicated to Richard Blackhed (d.1517) and his wife Maude.
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Collecting horse brasses for their own sake other than as decorations for harness seems to have commenced around 1880, when women bought the newly issued, pierced- design, die-struck brasses which were used for pin-cushions. A little later these were often used as fingerplates on doors which can be corroborated by accounts in the trade magazine, Saddler and Harness by the veteran saddler William Albery or Horsham in Sussex. From 1890 onward, collecting the various types of brass, i.e. face-pieces, swingers, and hame-plates, etc.
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His method of obtaining impressions of brasses involved: French paper kept damp in a specially prepared case; printer's ink; and rags. He inked the brass, wiped it clean, laid on the paper, covered it with some thicknesses of cloth, and then trod on it. He finished the outlines at home, cut out the figures, and pasted them in a large portfolio. His collection of impressions of brasses, bound in two volumes, in deal boards over six feet in height, was purchased by Thorpe the bookseller in 1830.
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It was appropriated, at an early period, to Westminster Abbey. The church contains a number of monumental brasses, including a notable one in memory of Sir John de la Pole and his wife, dating from 1380.
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In the wall of the nave are two brasses, one dated 1535 and the other from later in that century. In the west window of the nave are pieces of 14th and 15th-century stained glass.
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The Cathedral's treasures include the 18th-century wrought iron rood screen manufactured by Robert Bakewell, for which he was paid £157.10.0d; a monument with effigy of Bess of Hardwick of Hardwick Hall and monumental brasses of her descendants the Cavendish family, later Dukes of Devonshire, including brasses of Henry Cavendish and of Georgiana Cavendish, Duchess of Devonshire. The entrance gates, moved to the cathedral from St Mary's Gate in 1957, were also made by Robert Bakewell. The gates were refurbished in 2012 and renamed the Queen Elizabeth II Gates to celebrate the Queen's Diamond Jubilee.
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The replica brass memorial of Sir Hugh Hastings The brass memorial to Sir Hugh Hastings (died 1347), the largest of all English church brasses, has been described by Nikolaus Pevsner as “the most sumptuous of all English church brasses”. With some parts missing it shows a long figure in armour with hands together in prayer while two angels hold his pillows. In the cusped arch above tiny angels receive his soul. In a gable above this is a mounted St George spearing a devil in an octofoiled circle.
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As with Zelenka's other High Mass compositions there are no brasses in the orchestration, which includes only organ, six violins, two viols, cello, double bass, two oboes, bassoon and archlute, expanded by two solo flutes and a chalumeau.
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His chest tomb with monumental brasses on top, of himself between his two wives with his children below in two small groups exists in St Mary's Church, Atherington, to where it was moved in 1818 from Umberleigh Chapel.
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Haines, A Manual of Monumental Brasses, published under the sanction of the Oxford Architectural Society, Oxford, 1848; 2nd edit., 2 vols. Oxford, 1861; reprinted Bath (1970) The now lost figure of Archdeacon Rudying was originally kneeling before Death.
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The Allmusic review by Richard S. Ginell states "At the very least, the brasses sound fresh and interested in what they're doing, so there is pleasure to be had here".Ginell, R. S. [ Allmusic Review] accessed April 14, 2009.
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The octagonal font dates from the 15th century. In the nave floor are three brasses with dates in the late 15th and early 16th centuries. The reredos contains Flemish panels, and in the church is a bust dating from 1780.
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The monument to himself and his wife survives in Berry Pomeroy Church, but is missing all its original monumental brasses, robbed before 1701, as described by the biographer Rev. John Prince (1643–1723), for many years vicar of Berry Pomeroy:Prince, p.
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The kaleidoscopic orchestration of this grotesque movement recalls Stokowski's version of Night on Bald Mountain. Muted brasses are featured quite prominently, as is the xylophone. Stokowski's canvas depends more on strange woodwind and brass sounds than Ravel's percussion (including whip).
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In the narthex are white marble busts of Thomas and Julia Ripley, and brasses to their memory. The three-manual pipe organ was built in 1888 by Wilkinson and Sons of Kendal, and was overhauled in 1988 by Corkhill of Keighley.
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Dunkin, E. (1882) Monumental Brasses. London, Spottiswoode The church was restored in the 1880s after becoming virtually ruinous in the 1870s. Willimott's predecessor as vicar was the Rev Dr John Rooke Fletcher (d. 1878) who was vicar for 61 years.
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Bismuth bronze or bismuth brass is a copper alloy which typically contains 1-3% bismuth by weight, although some alloys contain over 6% Bi. This bronze alloy is very corrosion-resistant, a property which makes it suitable for use in environments such as the ocean. Bismuth bronzes and brasses are more malleable, thermally conductive, and polish better than regular brasses. The most common industrial application of these metals are as bearings, however the material has been in use since the late nineteenth century as kitchenware and mirrors. Bismuth bronze was also found in ceremonial Inca knives at Machu Picchu.
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Many bishops and even some German rulers were commemorated with brasses."Brasses, Monumental" alt=Limestone statue of a putrefied and skinless corpse which looks upwards at his outstretched left hand. Castrum doloris for Queen Katarzyna Opalińska of Poland, erected in Notre Dame de Paris in 1747 The castrum doloris was a temporary catafalque erected around the coffin for the lying in state of important people, usually in a church, the funerary version of the elaborate temporary decorations for other court festivities, like royal entries. These began in the late Middle Ages, but reached their height of elaboration in the 18th century.
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A memorial brass in Tintagel Parish Church commemorates Joan (d. 1430s?), mother of John Kelly who was vicar of Tintagel 1407-1427 and afterwards dean of Crantock.Dunkin, E. (1882) Monumental Brasses. London: Spottiswoode Following the dissolution of the monasteries the college was closed.
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The base is cushioned, with cable moulding. There are brasses to previous vicars, and several memorial slabs. In an arch in the wall of the south aisle, there is an effigy of Sir John Sewell, knt. The register dates from the year 1538.
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Dunkin, E. (1882) Monumental Brasses. London, Spottiswoode The church was restored in 1850 by George Edmund Street. The restoration was prompted by an outbreak of dry rot. The ceilings had been covered at some time with plaster, and the pillars with whitewash.
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St Margaret, Sotterley, The Suffolk Churches site. Retrieved 2009-04-19Sotterley , Hundred River Benefice. Retrieved 2011-04-18. The church has more figure brasses than any other in Suffolk as well as medieval glassworkSt Margaret's Church , Sotterley Estate. Retrieved 2011-04-18.
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The monuments include two brasses of the mid 15th century and those of John Rashleigh, 1582, and Alice Rashleigh, 1602. The most interesting are two later Rashleigh monuments: John Rashleigh, c. 1610, and another of 1683.Pevsner, N. (1970) Cornwall; 2nd ed. rev.
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268 Falmouth, the first Governor of Pendennis Castle and his wife Elizabeth Trewennard.Dunkin, E. (1882) Monumental Brasses. London: Spottiswoode, pp. 36-7 Besides the parish church, the village also had a Wesleyan Methodist Chapel originally built around 1814, and rebuilt in 1843.
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The church contains a number of monuments, including memorial brasses in the floor of the chancel, the table tomb of William Stede (d. 1574), wall memorials to Sir Edwyn Stede, Lieutenant Governor of Barbados (d. 1695), Constance Stede (d. 1714), Charlotte Baldwin (d.
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These are surface treatments for metallic components which impart super hydrophobicity, self-cleaning, antifouling, deicing and corrosion resistance to alloys, including brasses, irons, aluminum alloys and Hastelloy used in water industry and will be of interest to other industries including food processing and aircraft industry.
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The font is octagonal and dates from the 14th century. Above the south door is a Royal coat of arms. There are two piscinae, one on each side of the church. The church contains seven brasses, most in memory of members of the Blennerhassett family.
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The rest of the roof has plain ceilings. The font has an ogee-shaped wooden cover and the south wall of the chancel contains a piscina. Two monumental brasses are set into the chancel floor dedicated to John and Dorothy Hooper (d. 1617 and 1648).
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A replica Eleanor Cross was erected in Sledmere, East Riding of Yorkshire, in 1896–98. The tall stone structure was constructed by the Sykes family of Sledmere. Engraved monumental brasses were added after the First World War, converting the cross into a war memorial.
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The most refined monuments were made of alabaster. Around the 13th century, smaller two-dimensional effigies incised in plates of brass and affixed to monumental slabs of stone became popular too. These memorial brasses were somewhat cheaper and particularly popular with the emerging middle class.
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702 ; Penguin, (1964); revised by Nicholas Antram (1989), Yale University Press. Marrat describes two monumental brasses, to Isaac Lavington (d.1635) and John Lavington (d.1637), in the floor of the north aisle, and gives the patron of St Nicholas's as Sir Gilbert Heathcote.
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3 (1903), pp.55-6, 59-62, 84, 96-7, 142 One of the finest remaining brasses in Scotland commemorates the murdered Earl of Moray; it is located in Saint Giles Kirk, Edinburgh. It carries the Moray arms and figures representing Religion and Justice.Love (1989).
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Monumental brass of Edward Courtenay (d. 1509/10) of Landrake, 2nd son of Sir William I Courtenay (d. 1485) of Powderham, Devon. Landrake ChurchDunkin, E. H. W. The Monumental Brasses of Cornwall, 1882, pp. 24-5 & plate XXI Landrake Church is dedicated to St Michael.
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There are memorial brasses to Stokes and his wife in the north aisle. Over the chancel arch are traces of either a carved rood or a wall painting of the Crucifixion. Holy Cross has a west gallery that was built early in the 18th century.
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Clearer examples of a fish and a windmill can be seen around the doorway to the belfry turret. In the chancel can be found two monumental brasses, one to Joan Dowman of 1607, having a large figure with the figures of one son and seven daughters below, each with a name attached. The other slab is of the early 16th-century and has the figures of a man and his two wives, beneath the second wife being one son and three daughters, while the brasses of the first wife's children have been lost.The Parish of Newnham - A History of the County of Hertford: Volume 2.
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The Willans engine was single-acting; steam pressure was only applied to the upper surface of the pistons. This was a common feature of high-speed engines at this time, in a measure to reduce knocking and increased wear, thus permitting higher operating speeds. The principle was that in a single-acting engine the forces on the connecting rod and its bearings always act to compress the rod, rather than reversing direction twice in every revolution, as for the double-acting engine. The lower bearing brasses, which carried a load only during starting, were smaller than the crankpin and the main working brasses above.
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According to Time magazine, the two composers drew very different interpretations from the piece, with Schuller's work consisting of a "snatch of serial music in which the orchestra beeped, squeaked and rasped like a rusty hinge while the muted brasses burped out shreds of sound" while Diamond drew on "more somber tones: muted, dark-hued movements of the strings, with the picture's more jagged lines delineated by scampering woodwinds and brasses." Larson wrote in New York Magazine (1987) that the image was then "embedded in childhood prehistory", commenting that it "always seemed to be taped to kids' bedroom walls, next to Rousseau's The Sleeping Gypsy".
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Other examples of this occur, and the probability is that, in most cases, the lines of the engraving were filled with colouring matter, though brass would scarcely bear the heat requisite to fuse the ordinary enamels. Like three-dimensional effigies of the same period in stone and wood, several early 14th-century military brasses (including those of Setvans, Trumpington and d'Aubernon mentioned above) depict their subjects with crossed legs, but there is no substance to the long-established myth that this pose identifies the deceased as a crusader.Harris 2010. Brasses become more numerous through the 14th century, and present great variety in their details.
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There are a number of fonts made from this material and it was also used for used for ledger slabs in the medieval period and as a matrix stone for Monumental brasses. It is very possible that it continued to be used for later ledger slabs.
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He was buried in Heyford Church where his tomb remains. It bears portrait brasses of himself and his wife. His brass shows him in armour. He was descended from Michael Mauntell of 'Rode' and married Elizabeth, daughter of John Lumley (also reputed to be of Heyford).
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It has, perhaps, a larger number and a more representative collection than any other county, although individually finer examples may be found elsewhere. No church in the world possesses such a splendid series as the nineteen brasses in Cobham Church, ranging in date between 1298 and 1529.
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St Blaise's Church, Haccombe, which contains many effigies and monumental brasses The manor of Haccombe was a historic manor in the small parish of Haccombe, near the town of Newton Abbot, Devon, England. It was the seat of important branches of the Courtenay and Carew families.
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There are a number of memorials to former Fellows of Trinity within the Chapel, including statues, brasses, and two memorials to graduates and Fellows who died during the World Wars.Index of memorials in Trinity College Chapel and Ante-Chapel. Trinity College Chapel. Retrieved on 24 August 2013.
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A good example is that of Nicholas Lord Burnell (d. 1382) in the church of Acton Burnell, Shropshire. In the 15th century the design and execution of monumental brasses had attained their highest excellence. The beautiful brass of Thomas de Beauchamp, 12th Earl of Warwick (d.
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A long conical bearing with adjustable brasses was provided as shown. The joints of the coupling were tight so that it could be filled with oil. With this axle little trouble was experienced from the sharp curves.John H. White: The American Railroad Passenger Car, Part 2.
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The Flemish examples have the figures engraved in the centre of a large plate, the background filled in with diapered or scroll work, and the inscription placed round the edge of the plate. The English examples have the figures cut out to the outline and inserted in corresponding cavities in the slab, the darker colour of the stone serving as a background. This is not an invariable distinction, however, as figure-brasses of Flemish origin are found both at Bruges and in England. But the character of the engraving is constant, the Flemish work being more florid in design, the lines shallower, and the broad lines cut with a chisel-pointed tool instead of the lozenge-shaped burin. The brass of Robert Hallum, bishop of Salisbury, the envoy of King Henry V to the council of Constance, who died and was interred there in 1416, precisely resembles the brasses of England in the details which distinguish them from styles elsewhere in Europe. No surviving brasses in England can be dated earlier than the late 13th century.
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1510, in Weare Giffard Church, where exist others adorned with Fortescue arms and those of other heiresses who brought possessions to the Fortescue family. The Denzell arms are also shown in the second quarter of the arms of Richard Fortescue (died 1570) on his monumental brasses in Filleigh Church.
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In the church is a double monumental brass to Sir John Cassey and his wife (circa 1400). Cassey was Chancellor of the Exchequer to King Richard II. In the chancel are early 16th-century brasses of two ladies. A plaque commemorates the composer George Butterworth, MC (1885–1916).
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The organ has two manuals, the brightly coloured casing is in English oak and decorations are in sycamore wood. The chantry contains monumental brasses commemorating Robert and Katherine Incent, the parents of John Incent. Another brass commemorates John Raven, squire to the Edward, the Black Prince at Berkhamsted Castle.
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In the church are royal arms of 1757. The stained glass in the east window, dating from about 1904, is by Herbert Bryans. In the south wall of the nave is a tomb recess dating from the 14th century. The monuments include brasses from the 17th and 18th centuries.
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280 (Hathi Trust).John Rykhill was son of the prominent justice William Rykhill, and became senior Master of the Linenweavers' Company of London in 1433: see R. Griffin, 'Monumental Brasses in Kent: Northfleet', Archaeologia Cantiana XXXII (1917), pp. 27-75, especially at pp. 58-64 (Kent Archaeology pdf).
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Elsewhere there are 19th-century monuments in Classical style, and brasses dated 1692 and 1872. The reredos is in alabaster and dates from 1897. The stained glass in the west window dates from 1891. It depicts archangels, was designed by Carl Almquist, and made by Shrigley and Hunt.
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Walker was an avid collector of Malay weapons, brasses, and silver and had what was reputed to be "the finest collection of old china in the peninsula". His collection of Malay stone implements from the Straits Settlements is now in the Pitt Rivers Museum at the University of Oxford.
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St Mary's Church, which is surrounded by its churchyard in the north-east corner of the village, is a large, medieval building, with tower, nave, aisles and chancel. It was largely built out of cobbles, but has an early brick clerestory and later south porch. Exhibiting some fragments of Norman work (including a priest's door), it principally dates from the 13th to the 15th centuries, and was restored in 1892. Inside are two noteworthy brasses: on the south side of the chancel the fragments of a (rare) bracket-brass, and on the north side more substantial, full-size brasses to John St Quintin, a former Lord of the Manor, and his wife.
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On many points of detail, however, Stephenson's List is now seriously dated, and its cut-off date of 1710 means that it omits all more modern brasses. An "Appendix" to Stephenson by M. S. Giuseppi and Ralph Griffin, containing numerous revisions, was published in 1938; and in 1964 Stephenson's List and the Appendix were reprinted by the Monumental Brass Society as a single volume.Stephenson 1964. More recent lists for certain individual counties have also been published, including a volume on Warwickshire edited by S. A. Budd, published by the Monumental Brass Society in 1977, which was devised as the first instalment in a "Revised List of Monumental Brasses in the British Isles" (updating Stephenson).
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Inside the church, there are many items of interest. At the north side of the church, an arch leads from the nave into the Bedford Chapel. There is a 12th-century 'Aylesbury' style font from the Norman period,The 'Aylesbury' fonts in Buckinghamshire: Chenies also medieval brasses, and Victorian windows.
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Only the east window contains stained glass. Also in the church are brasses in memory of members of the Gillow family. The authors of the volume in the Buildings of England series comment that the church was intended to outdo the Anglican church in the village "in size, prominence and quality".
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The chancel, nave and aisles were entirely refurnished. However, in 1930 the original font was retrieved and reinstalled. In the south aisle is a carved recumbent effigy of a knight of about 1270 or 1300. St Andrew's has also one of the largest collections of monumental brasses in the country.
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3, letter 516) Sir John Bonde wrote to Lady Lisle "the pictures of Mr Basset's tomb" have been "laid on by the hands of Oliver Tomlyng". Thus the brasses were made in 1533 and set onto the tomb in 1534.(Byrne, 1981, vol.1, Appendix 6, "The Atherington Brass", p.
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The older church was demolished, other than the east end of the chancel which was retained to contain the monuments and brasses from the old church. This remnant of the former church was declared redundant on 16 June 2002, and was vested in the Churches Conservation Trust on 1 August 2002.
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Among many other examples, Victorian brasses can be seen at Truro Cathedral (Archbishop Benson), Oscott College, Birmingham (Bishop John Milner), St. Nicolas', Guildford (Rev. W. S. Sanders), and All Saints, Boyne Hill, Maidenhead (Rev. Gresley and Canon Drummond). The tradition has continued into the 20th and even the 21st centuries.
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It is a Grade I Listed building.British Listed Buildings - Wormleybury, Broxbourne The parish church of St Lawrence has a nave and font dating from the 12th century. There are several brasses from the 15th century and a marble monument to the Purvy family dated 1617.History of the County of Hertford pp.
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The Horse Emporium was once the mill's canteen block. The displays are arranged on the theme of horse power. Among other exhibits there is a heavy-duty British Railways dray, a decorative chaff cutter and a horse fodder measure. There is a saddler-at-work display, plus horse brasses, horseshoes and other harness.
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1780; in the south aisle to Richard Ross, d. 1730; matrices of brasses of a demi-figure of a priest with inscription plate, and a figure of a woman with inscription plate and four scrolls, both 15th century; floor slabs to Reginald Michell, d. 1706, and the Rev. Robert Michell, d. 1707.
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The old west doors still show the marks of shots fired during the English Civil War. Inside the church, the highlight is the intricate 14th-century screen, with five open bays. The roof is a sympathetic restoration dating from 1871 of the Perpendicular original. There are several funerary monuments and floor brasses.
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They have moulded labels and next to them is a piscina (basin) with two bowls under a similar arch. Stained glass in the church includes work by Clayton and Bell and Harry Stammers. There are monuments from the 18th and 19th centuries and the Faringdon Chapel in the nave has 19th-century brasses.
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Copper and brasses do not survive well in high nitrate or ammonia environments. Carbon steels and iron do not survive well in low soil resistivity and high chloride environments. High chloride environments can even overcome and attack steel encased in normally protective concrete. Concrete does not survive well in high sulfate and acidic environments.
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He took great interest in preserving the monumental brasses in St David's Cathedral. On 30 June 1623 he received a knighthood. He was appointed Deputy Constable of Haverfordwest Castle by the Constable Thomas Acton.W R Williams The Parliamentary History of the Principality of Wales In 1625, Canon was elected Member of Parliament for Haverfordwest.
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The church is renowned for its fine memorial brasses and Trussell's beautifully carved double-recessed monument. Towards the end of the reign of Edward III the church and college were almost destroyed by fire, but from the design of the existing church the damage done must have been almost entirely confined to the secular buildings.
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As well, the instrument contains an orchestral voice section that can be layered with the organ sounds. The sounds include strings, brasses, choirs, percussion instruments (e.g., glockenspiel) and bass sounds. The keyboard has an 11-pin rotary cabinet connector which allows it to be connected to external rotary speaker, such as a Leslie Speaker.
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The plate is of a similar date, consisting of a salver (1704), flagon (1732), chalice (1733), and two patens and an almsdish (1753). The modern kneelers illustrate in tapestry the animal and plant life of Henfield parish in almost 300 different designs. There are two brasses. One, in the vestry, shows Ann Kenwellmersh (d.
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Jocelin died on 19 November 1242 at Wells and was buried in the choir of Wells Cathedral. He may have been the father of Nicholas of Wells. The memorial brass on his tomb is allegedly one of the earliest brasses in England. He employed the medieval architect Elias of Dereham as a household official.
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1399–1474) and his grandfather William I Canynges both have effigies on them, as do those of Robert de Berkeley and of Philip Mede (c.1415-1475), a Member of Parliament and thrice Mayor of Bristol. Multiple mural monuments also exist in the church. Amongst the monumental brasses is one to Richard Mede (d.
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The church contains a series of monumental brasses to members of the Barttelot family: three pairs from the 15th century and one set from the early 17th century. The church is a Grade I listed building. St Mary's parish is part of a combined benefice with the parish of St Mary the Virgin, Fittleworth.
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On the Eton brass the mantle is fastened at the neck. The lost effigy of John Robyns, d. 1558, of which the inscription remains in St George's Chapel, may have shown him wearing the mantle. Brasses of canons of Windsor are found showing them vested in copes, without the Garter badge, as at Thurcaston, Leicestershire.
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The west window in the aisle contains glass by Shrigley and Hunt, dated 1909, depicting Saint Helen. In the church are brasses dating from the 17th century. Also in the church are the painted royal arms of George II. The two-manual organ was built in the 1880s by Abbott. There is a ring of three bells.
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The job of the cleaner was to ensure that the grime that accumulated on the engine parts was removed so that the train could run smoothly. There were usually four cleaners assigned to each locomotive. Two cleaned the boiler brasses, the buffer and the driving wheels. The other two cleaned the wheels, the coupling rods and the framing.
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343 of Cobham and of Cooling, Constable of Rochester Castle in Kent and one of the Barons of the Exchequer,G. E. Cokayne, The Complete Peerage, n.s., III, p.343 who married Joan de Septvans (died 1298), a daughter and co-heiress of Sir Robert de Septvans of CharthamBelcher, William Douglas, Kentish Brasses, Vol.1, 1881, no.
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The heirs of the Viell family in the 17th century were the Prideaux family of Prideaux Place, which still owned the manor of St Breock in 1968.Delderfield, Eric R., West Country Historic Houses and their Families, Newton Abbot, 1968, p. 124 There is a brass probably also to a Tredeneck, ca. 1520.Dunkin, E. (1882) Monumental Brasses.
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The monumental brass of Ralph Hamsterley (died 1518) at Oddington in Oxfordshire. Hamsterley was rector of Oddington and also warden of University College Oxford. This brass, which shows his body wrapped in a shroud being eaten by worms, was one of five identical brasses Hamsterley laid down before his death. Only one (at Oxford) was over his grave.
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John Tame is buried in Fairford Church in a chest tomb on the north side of the chancel (the most usual burial-place for a founder). On the ledger stone on top of the chest tomb are various monumental brasses, set into the slab, the main ones showing John Tame and his wife standing facing each other.
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Monumental brasses include one to former vicar Edward Foley Evans, who died in 1933. The main monument is a large stone effigy of Sir Gabriel Poyntz (1538–1608) and his wife Etheldreda, who are lying on a marble tomb chest. Over them is a wooden tester without column supports, decorated with images of the sun, moon, clouds and stars.
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The major points of interest in the church are the chapels and the monuments. The church contains "the finest collection of alabaster effigies in Cheshire". The smaller Legh Chapel, built around 1422 and rebuilt in 1620, is now used as a baptistry. It contains a number of memorial brasses, including one to William Legh who died in 1630.
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The building was restored in 1895 and is a Grade I listed. Church monuments in St Bartholomew's include a number of brasses. In the north aisle is a brass commemorating John the Smith, who died in 1371. It bears an epitaph written in Middle English, which may be the earliest example of an inscription in the English language.
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The church contains monumental brasses depicting Sir Lionel Dymoke clad in armour and kneeling on a cushion with plates showing his three daughters and two step- sons. Jane Dymoke (died 1743) wife of the Hon Charles Dymoke, who was Champion at the coronation of William III and Mary II is buried alongside Sir Lionel Dymoke in the church's chancel.
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Other fittings include an 18th-century painting of the Adoration of the Magi on the north wall of the chancel, and a 17th-century carving of the Stuart arms, executed in painted wood, on the east wall of the nave. There are brasses with figures to Henry Rowdell (d. 1452) and Isaiah Bures (vicar 1596-1610).
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In the chancel is a brass to the memory of the founder. There is also a monument to Benjamin Piggot, who died in 1606, his three wives and his children. It is in polychrome marble and incorporates coats of arms and brasses. The font is octagonal and dates from the 15th century, the cover is probably 17th century.
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They are depicted standing side by side, and below them are their five children, two boys and three girls. This is said to be one of the best pre- Reformation brasses in the county. Between the chancel and nave is the plastered stone base of the former rood screen. To each side of this, in the west wall, is a piscina.
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Copper and its alloys (brasses, bronzes, cupronickel, copper-nickel-zinc, and others) are natural antimicrobial materials. Ancient civilizations exploited the antimicrobial properties of copper long before the concept of microbes became understood in the nineteenth century.Dollwet, H. H. A. and Sorenson, J. R. J. "Historic uses of copper compounds in medicine", Trace Elements in Medicine, Vol. 2, No. 2, 1985, pp. 80–87.
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The score of the 2014 version was written for a 13-musician chamber orchestra with some of the musicians playing more than one instrument. In addition to strings, woodwinds, brasses and bass and snare drums, the instruments included a didgeridoo, Chinese opera gong, Indonesian button gong, and metal wind chimes. The orchestra for the 2018 version was expanded to 35 musicians.
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128–29 and figure; Stephenson, 'A List of Monumental Brasses in Surrey' (Carshalton), pp. 26–30 and figure. and showed them with four sons and four daughters, all looking towards a Trinity in the upper right hand corner. The inscription, in which the dates of death were never inserted, referred to their service to the queens of Edward IV and Henry VII.
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Potesgrave's damaged effigy is within the church; other memorials include brasses to John Cawdron (d. 1438), and William Cawdron "baylyf of Hekington" and his two wives. The steeple is from 1360–70; it was rebuilt in 1888 as part of a restoration,Cox, J. Charles (1916) Lincolnshire pp. 163, 164; Methuen & Co. Ltd after a previous church restoration of 1867.
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St. Mary’s Church, Walthamstow, is in Walthamstow Village, a conservation area in Walthamstow, London. It was founded in the 12th century and is still a working church. It retains over one hundred and fifty brasses and monuments, the oldest dating from 1436, though all that now remains of the original Norman church is some pillar bases and the chisel marks on them.
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136, 137; Methuen & Co. Ltd Pevsner dates the tower from 1756, and a stained glass window by Christopher Whall from 1915.Pevsner, Nikolaus; Harris, John; The Buildings of England: Lincolnshire p. 248; Penguin, (1964); revised by Nicholas Antram in 1989, Yale University Press. In the chancel and the north aisle are monuments and brasses to the Tourney family of Cavenby.
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Ledger stone and monumental brass of John Twynyho, Lechlade Church The Gloucestershire historian Ralph Bigland (d.1784) identified him with the surviving ledger stone set into the floor of the South aisle of St Laurence's Church, Lechlade,Davis, C.T., Gloucestershire Notes & Queries, Monumental Brasses of Gloucestershire, London, 1899, no.XLV, pp.109-110 in which he had founded the chantry of St Blaise.
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Patron, H. J. Oakes, Esq. The church is ancient, with a tower; and contains an ancient font, and several brasses and monuments. There is a national school. In 1887, John Bartholomew also wrote an entry on Hawkedon in the Gazetteer of the British Isles with a much shorter description: :Hawkedon, parish, W. Suffolk, 5½ miles NE. of Clare, 1461 acres, population 278; P.O.
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The memorials include fragments of brasses surviving from the earlier church dating from the 15th century. The chapel contains a marble memorial to the 1st Battalion of the Hertfordshire Regiment, designed in 1921 by Reginald Blomfield. The three- manual organ dates from 1899 to 1900, and was made by Henry Willis & Sons. Additions were made to it by the same firm in 1910.
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It was a little less > successful in its third section (Alborada, in B-flat major), where the > brasses somewhat drown the melodic designs of the woodwinds; but this is > very easy to remedy, if the conductor will pay attention to it and moderate > the indications of the shades of force in the brass instruments by replacing > the fortissimo by a simple forte.
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The interior has a number of monuments and brasses dating from the 15th to the 19th century. The three stage tower has a belfry with a peal of eight bells, three of which are dated 1615. Broxbourne station The New River which passes through the centre of the town, was constructed in the early 17th century. Broxbourne railway station was built in 1840.
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The thefts were discovered by the Allegany County Sheriff's Office after they were alerted by the scrap yard. Stolen parts included 12 original crown brasses and 12 hub liners. The parts would have to be remade as they were damaged during removal. The scrap yard had paid the employee a total of $14,662 for the parts, some of which weighed .
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In 1616 Sir Thomas Hillersdon purchased the remaining monastic buildings and incorporated them into a new house, which itself later became a ruin. The church contains some 15th-century brasses, 17th-century and later tombs and furnishings. Another survivor of the monastery is a small vaulted building on the south side of the church, originally a parlour and now used as a vestry.
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Former Rectors of Elford are commemorated in the brasses in the Chancel floor. The ones there now are 19th-century restorations, as the originals disappeared long ago. There are some genuinely old slabs belonging to members of the Arderne family in the floor of the Chantry Chapel near where the altar formerly stood, and the churchyard contains some tombstones with quaint inscriptions.
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Painting in Islam: a study of the place of pictorial art in Muslim culture, Gorgias Press LLC, 2004, p. 58 The angels, hovering over the mother, correspond to a Christian type, while the three women, who came to visit the mother, conform to the three Biblical Magi. Some surviving Ayyubid inlaid brasses feature Gospel scenes and images of Madonna with infant Jesus.Hillenbrand, p.
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652, 654, pedigree of Rolle whose monumental brasses can be seen in Petrockstowe Church. Margaret Yeo was the daughter and sole heiress of Robert Yeo by his wife Mary Fortescue, daughter of Bartholomew Fortescue (d.1557)of Filleigh, the grandfather of Hugh Fortescue (d.1600), the figure shown on the top tier of the Weare Giffard monument, son of Richard Fortescue (d. 1570), MP, of Filleigh, whose two monumental brasses can be seen in Filleigh Church. The monument is a two tiered baroque structure, showing on the top tier under a broken classical pediment (supporting an heraldic achievement under which is inscribed in large capitals: LE FORT JEHOVAH) Hugh's grandparents, Hugh Fortescue (1544–1600) and his wife Elizabeth Chichester (d.1630), daughter of Sir John Chichester (d.1569) of Raleigh, kneeling opposite each other in prayer with a prie dieu between them.
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A modern souvenir horse brass featuring Gloucester cathedral In ancient Rome, horse harnesses were sometimes embellished with horse brasses known as phalerae, normally in bronze, cut or cast in the shape of a boss, disk, or crescent, most often used in pairs on a harness.Phalera, James Yates, M.A., F.R.S., on p. 894 of William Smith, D.C.L., LL.D.: A Dictionary of Greek and Roman Antiquities, John Murray, London, 1875. In medieval England, decorative horse brasses were in use before the 12th century, serving as talismans and status symbols, but extensive, original research by members of the National Horse Brass Society has shown that there is no connection whatsoever between these bronze amulets to the working-class harness decorations used in the mid-19th century which developed as part of a general flowering of the decorative arts following the Great Exhibition.
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The parish church has a large collection of heraldic brasses and stained glass windows of the Barttelot family.See 2018 youtube video of Sir Brian Barttelot showing a visitor (The Bald Explorer) around, discussing his family, the brasses and stained-glass windows The 2nd Baronet was killed in action during the Boer War, the 3rd Baronet in WW I and the 4th Baronet in WW II.Montague-Smith, P.W. (ed.), Debrett's Peerage, Baronetage, Knightage and Companionage, Kelly's Directories Ltd, Kingston- upon-Thames, 1968, p.B54 The title is now held by Colonel Sir Brian Barttelot, 5th Baronet (born 1941), OBE DL, great-great-grandson of the 1st Baronet (the title having descended in the direct line) who succeeded his father in 1944. He is a Colonel in the Coldstream Guards and a Vice-President of the Standing Council of the Baronetage.
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Accounts of the High Treasurer of Scotland, vol. 8, (1908), 121, 123, 127, (Mansioun also engraved brasses for memorials, see ibid. pp. xxvii-xxviii) John Drummond was also in charge of the manufacture of gunpowder at Edinburgh. At the start of the war with England called the Rough Wooing, John was with the gunners who defended Edinburgh Castle from Lord Hertford's army in May 1544.
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On the north side of the chancel is a 13th-century tomb of the founder Brayboeuf. On the south side is a tomb erected in 1605 to John Witherwick (died 1595). There are brasses to Fitzwilliams Armiger (died 1634), Jane Burnaby (died 1653), and Mary Monson (died 1638). The painting of the Annunciation by Charles Edgar Buckeridge was originally in St Margaret's Church, Burton upon Trent.
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Margaret Cobleigh (died 1547) of Brightley, Chittlehampton, died seized of the manors of Brightley, Stowford, Snape, Wollacombe Tracy, Bremridge and Nymet St. George.Per her Inquisition post mortem Margaret was the only child and sole heiress of John Coblegh (d.1542) of Brightley by his wife Joan Fortescue, whose small monumental brasses survives in Chittlehampton Church. Joan (or Jane) Fortescue was a daughter of William Fortescue (d.
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From the early 14th Century on, the Fylfot was often used to adorn Eucharistic robes. During that period it appeared on the monumental brasses that preserved the memory of those priests thus attired. They are mostly to be found in East Anglia and the Home Counties. Probably its most conspicuous usage has been its incorporation in stained glass windows notably in Cambridge and Edinburgh.
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The monument was described by Ian Nairn and Nikolaus Pevsner as "one of the biggest, most ornate and best preserved brasses in England". The nave contains a ledger stone with a brass of Margaret de Camois (died 1310). This is the oldest known brass of a woman in England. A 15th- century niche-tomb existed formerly in the south wall, but had been largely removed by 1780.
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Church of St. James, Spilsby, Lincolnshire, burial place of William Willoughby, 5th Baron Willoughby died at Edgefield, Norfolk on 4 December 1409 and was buried in the Church of St James in Spilsby, Lincolnshire, with his first wife.. A chapel in the church at Spilsby still contains the monuments and brasses of several early members of the Willoughby family, including the 5th Baron and his first wife..
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There was evidence of injuries sustained in warfare: damaged incisors from a blow to the jaw and osteoarthritis in the shoulder and elbow. The monumental brass put up over Hugh's tomb is "one of the most celebrated of all English brasses". Hugh is portrayed as a knight in armour. Around him are smaller figures holding the coats of arms of the men Hugh had served under.
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The series continued after Pevsner's death in 1983, financed in part by the Pevsner Books Trust and published by Yale University Press. Pevsner's approach was of Kunstgeschichte quite distinct from the antiquarian interest of local and family history typical of English county histories. Consequently, there is little mention of monumental brasses, bells, tracery, the relationship of the building to the landscape.Harries, Pevsner, p. 392.
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It contains a 15th-century rood screen, the only one in Lincolnshire. There is a Jacobean family pew at the west end, and the rest of the seating is just rough benches sometimes described as "rustic". There is the royal coat of arms of Charles I dating from 1635 and brasses to a William Butler (d.1590) and his wife; the figures on these are small.
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Her inheritance included Heanton Punchardon and Umberleigh,Vivian, p.46 whilst Shirwell went to the Chichesters,Risdon, p.330 of Raleigh, Pilton, from which family was her sister's husband. A chest tomb monument with monumental brasses survives in Atherington Church, next to Umberleigh and formerly in the Umberleigh Chapel, of Sir John Bassett (died 1528), the son and heir of Sir John Bassett by Joan Beaumont.
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Microstructure of rolled and annealed brass (400× magnification) Brass has higher malleability than bronze or zinc. The relatively low melting point of brass (, depending on composition) and its flow characteristics make it a relatively easy material to cast. By varying the proportions of copper and zinc, the properties of the brass can be changed, allowing hard and soft brasses. The density of brass is .
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Two are in alabaster and are thought to represent members of the Hondford (or Handford) family, Sir John, who died in 1461 and his son, also named John. The third is in sandstone and represents Sir Thomas Brereton of Handforth who died in 1673. The church contains brasses dating from the 17th and 18th centuries. There is also a tablet dated 1817 by John Bacon junior.
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Several monumental brasses form the floor of the quire. The walls are decorated with a wealth of epitaphs and sculptures of the ducal house. The design of the ceiling is a combination of painting and sculpture in the style of Italian mannerism. The transition between wall and ceiling is formed by a multitude of musical angels on the uppermost ledge of the epitaph architecture.
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As well as the sculpture of Francis Bacon (see above), St Michael's has some notable monumental brasses. In the south chapel is a 14th- century brass to John Pecock and his wife. There is a brass from 1380 that originally depicted a civilian and his wife with a floriated cross between them. The figure of the wife has been lost and only part of the cross survives.
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Malcolm 1803, p. 314 The steeple was rebuilt in 1625.Malcolm 1803, p. 317 There were further alterations in 1642 when, for religious reasons, the "popish altar cloth" and "superstitious brasses" were sold. The cross was taken down from the steeple and a workman was paid "for defacing superstitious things in the church". According to John Strype, the church was repaired and beautified in 1630 and 1633.
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1625) which displays Plomer kneeling at an altar with flanking obelisks and crests over an arch. Several memorials dating from the 18th century and later are on the nave walls. Several monumental brasses are set in the floor of the chancel, including in the North with one dedicated to Elizabeth Parker (d.1602), while in the South is a brass to William Wheteaker (d.
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The tomb recess in the north transept contains a fine effigy of a knight. The south transept is the larger of the two and is the family Fettiplace chapel. St Mary's is notable for its numerous monumental brasses, including one to William Fynderne (died 1444) and his wife which at long is the largest in old Berkshire. The church is a Grade I listed building.
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The cross was redesigned as a war memorial in 1918 by Lt Col Sir Mark Sykes, 6th Baronet, to commemorate fallen officers of the 5th Battalion Yorkshire Regiment, the fallen from the Sledmere estate, and two other soldiers known to him, one who served in the 1st Battalion Cheshire Regiment and the other in Princess Patricia's Canadian Light Infantry. Sykes added a bronze crucifix, and 22 engraved monumental brasses of the fallen soldiers made by Gawthorp and Sons of London. Some of the soldiers wear modern uniforms, but others (especially the officers) are in a 14th-century or Gothic Revival style, often presenting the soldiers as knights or with chivalric references. The brasses were installed over a period of time from 1918 onwards, with separate unveiling ceremonies, ultimately filling in seven of the eight blind panels on the first tier of the cross, with one panel left vacant.
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Over the monument is a canopy with a round arch supported on classical columns, with a cornice with his arms. In the north window of the chapel are fragments of stained glass, with parts of Sir Edward's arms, his motto, and other lettering. On the north and east walls are the remains of painted inscriptions. There are brasses in the chancel and nave from the 15th and 16th centuries.
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The change of dominion had no major effect on the sedentary "Dridu" villages in the region. The settlements in Moldavia and Wallachia, most of them built on river banks or lake shores, remained unfortified. Sporadic finds of horse brasses and other "nomadic" objects evidence the presence of Pechenegs in "Dridu" communities. Snaffle bits with rigid mouthpieces and round stirrupsnovelties of the early 10th centurywere also unearthed in Moldavia and Wallachia.
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John Gainsford's probate was concluded in 1464: his high tomb stands on the south side of Crowhurst chancel, opposite his father's, also with armoured brass figure, shields and inscription.M. Stephenson, 'List of Monumental Brasses in Surrey', S.A.C. XXVIII, pp. 30–33 (with figure). In 1466 William and Nicholas Gainsford and other feoffees obtained licence to grant the manor of Poyle at Guildford, held in chief, to their brother John's son John.
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The hinges of the door and the trap door are probably original. The lower chamber is now used as the Vicar's vestry and there is an oak bier, dated 1706, in the upper chamber. In this aisle is a tombstone of Elizabeth Hooker (1666), another with the brasses torn off and an oak table thought to have been used as a Communion table during the time of Cromwell.
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Effigy of Blanche Killigrew (d.1595) on her husband's monument in Tawstock Church, with arms of Killigrew ("ancient"Ancient arms of Killigrew as identified by Dunkin, E.H.W. The Monumental Brasses of Cornwall, 1882, p.20. The "modern" arms of Killigrew were Argent, an eagle displayed with two heads sable within a bordure of the second bezantee (Dunkin, p.36)): Gules, three mascles or John Wrey married Blanch Killigrew (d.
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Since 1914 it has been in the Diocese of St Albans. It has a 13th-century door with its original ironwork, a Norman baptismal font, a wall painting of the crucifixion and some notable monuments, including monumental brasses. The Norman church was enlarged in the 14th and 15th centuries; sumptuous improvements were made by Sir Gilbert Scott.Betjeman, J. (ed.) (1968) Collins Pocket Guide to English Parish Churches: the South.
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Parish church of St Giles, St Giles in the Wood The large parish church of St Giles, which is in the village of St Giles in the Wood, Devon, England, came into being in 1309. When it was restored in 1862–3, many monuments were retained, including the monument and effigy of Thomas Chafe (d. 1648) of Dodscott, three monumental brasses, of Alenora Pollard (d. 1430), Margaret Rolle of Stevenstone (d.
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The major feature inside the church is the alabaster effigial monument of Thomas Fettiplace, who died in 1447, and his wife, Beatrice, who died in 1442. Beatrice was supposedly a member of the royal family of Portugal. On the north wall of the chancel is an altar tomb to John Fettiplace, who died in 1524, and his wife Dorothy. The tomb is plain but it is surrounded by canopy containing brasses.
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A second screen commemorates other members of the Hardinge family who died during the 1st World War. There is a wide collection of brasses and monuments with the Sanctuary dominated by memorials to previous rectors of the parish, the most notable of whom was Revd. Henry Hammond (1605–1660), who became Rector or Penshurst at the age of 28 and who went on to become Chaplain to King Charles I.
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The interior is noted for the original wooden box pews, screen and pulpit. Some medieval brasses survive, as well as fine monuments to the Dukes of Grafton buried in the church and the adjacent churchyard. The church is a Grade I Listed building.British Listed Buildings - Church of St Genevieve, Euston It is open to the public in the summer months, but regular traditional Sunday services are held throughout the year.
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Built in 1830, some of the walls bear traces of frescoes, the designs of which are in some parts sufficiently distinct to be distinguished. Over the north doorway is a huge painting of St Christopher, of the 15th century. On the north walls of the chancel, there is a monument of carved alabaster. There is also an altar slab from 1644, as well as a few mutilated brasses.
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Living conditions were primitive in the camp, with trainees housed either under canvas in tents or in Nissen huts and they were responsible for cooking their own meals. Correct military protocols were enforced: Officers were saluted and uniforms had to be clean, with brasses and boots shining on parade. At the end of each course the final exercise was a simulated night beach landing using live ammunition.Moreman, p.38.
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Its remains were discovered in 1945 and reassembled in the church the following year. The top of the tomb is covered by a large brass inscribed with the figures of a man in armour, three wives, and 14 children, all framed by a canopy with four gables. The sides of the freestone chest are carved with niches containing figures of saints. Around the church are smaller brasses and wall memorials.
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Most are 14th or 15th century but there are also later brasses commemorating a churchwarden (died 1899) and his wife, and two soldiers killed in the First World War. By 1558 St Andrew's had a ring of four bells and a Sanctus bell. In the succeeding century all were replaced and the ring was increased to five. William Knight II of Reading cast the oldest bell in about 1586.
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1415) on his brass at Ripon has a strange collar of park palings with a badge of a hart in a park, and Thomas de Berkeley, 5th Baron Berkeley (d. 1417) wears one set with mermaids, the Berkeley family heraldic badge.Davis, C. T. The Monumental Brasses of Gloucestershire, London, 1899. Davis correctly states the date of death as 1417, yet incorrectly calls him 4th Lord in place of 5th.
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In the late 1960s — in response to football hooliganism at matches in England — police began confiscating any objects that could be used as weapons. These items included steel combs, pens, beermats, horse brasses, Polo mints, shoelaces and boots. However, fans were still permitted to bring in newspapers. Larger broadsheet newspapers work best for a Millwall brick, and the police looked with suspicion at working class football fans who carried such newspapers.
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The event's purpose, as it has always been from the start, is to raise thousands of pounds for local charities from money collection carts in the two-hour procession. In several villages Punkie Night is celebrated each October. Many villages had Friendly Societies or Clubs between the late 18th and early 20th centuries. The use of Friendly Society Brasses as emblems was particularly prevalent in Somerset and the surrounding counties.
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The floor contains some medieval tiles, and inscribed slabs and brasses dating from the 17th and 18th centuries. On the north and south walls are four marble memorials dating between 1729 and 1798. On the west wall is a framed painting recording the 1831 expansion of the church and two boards bearing the Ten Commandments. On the east wall are wall paintings that probably date from the 18th century.
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Early examples that do survive include a fragment from the brass to Bishop Thomas de Cantilupe (d. 1282) in Hereford Cathedral; and brasses to Margaret de Camoys (d. 1310) at Trotton, Sussex; Joan de Cobham (c. 1310) at Cobham, Kent; Archbishop William Greenfield (d. 1315) in York Minster; Sir William de Setvans (c. 1323) at Chartham, Kent; and Sir Roger de Trumpington (c. 1326) in Trumpington, Cambridgeshire.Coales 1987.
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Nathaniel Hitch was responsible for the decorative sculpture, including the reredos. The original south aisle of St Mary's Church survives, incorporated into the south-east corner of the cathedral and known as St Mary's Aisle. It still functions as the city centre's parish church. Three brasses were described by Edwin Dunkin in 1882: those of Cuthbert Sydnam (1630), Thomas Hasell (1567) and George Fitzpen, rector of the parish.
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The screen too is Perpendicular. The octagonal oak pulpit is 19th century, possibly constructed with old wood taken from the previous rood screen. Pevsner notes a 1696 chalice and paten, and an 1808 alms basin by Peter and William Bateman. There are brasses to Nicolas Deen (d. 1479), and the wife (d. 1508) of James Deen, and a tablet to the family of Dr Hurst, Chaplain to Charles I, dated 1674.
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Monumental brasses to Nicholas Wadham (1508–1508) infant son of Sir Nicholas I Wadham (d. 1542) of Merryfield, by his 2nd wife Margaret Seymour, aunt (not as often stated "sister")Aunt of Queen Jane Seymour, not sister as erroneously per , and others. For evidence she was the aunt not the sister see of Queen Jane Seymour. The lowest inscription is in memory of his fourth wife Jane Lyte.
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The working of memorial brasses is generally considered to have originated in north-western Germany, at least one centre being Cologne, where were manufactured the latten or Cullen plates for local use and for exportation. But it is certain that from medieval times there was an equal production in the towns of Belgium, when brass was the favoured metal for other purposes. Continental brasses were of rectangular sheets of metal on which the figure of the deceased was represented, up to life-size, by deeply incised lines, frequently filled with mastic or enamel-like substance; the background of the figures was covered with an architectural setting, or with ornament of foliage and figures, and an inscription. In England, possibly because the metal was less plentiful, the figures are usually accessories, being cut out of the metal and inserted in the matrices of stone or marble slabs which form part of the tomb; architectural canopies, inscriptions and shields of arms are affixed in the same way.
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Eight solemn bell strokes echo > and die. Again silence. Suddenly the brasses blare, and out of the > trombones’ awesome processional grows a steady roar … the big gongs the tam- > tam beaten in a long and powerful resonance, shattering and echoing across > mountains and along valleys. This is music of the high hills, music for vast > spaces: ‘The hour is coming when the dead will hear the voice of the Son of > God’.
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Holy Trinity Church Adjacent to the castle is the Grade I listed Perpendicular-style Holy Trinity Collegiate Church, endowed by Ralph de Cromwell, 3rd Baron Cromwell, but built after his death. It received its charter from Henry VI in 1439 but building was not begun until 1472, reaching completion around 1500. The church has medieval stained glass, a collection of brasses and an intact rood loft. It was restored between 1893 and 1897.
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On the chancel floor are memorial brasses to Sir John Greville who died in 1547 and Sir Edward Greville who died in 1559, both of whom were Lords of the Manor of Milcote. On the wall are three early 19th century memorial tablets to members of the Adkins family, also of Milcote. There is a single bell, dating from the mid-15th century, which is inscribed with a cross and the word Gabriel.
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The carved woodwork behind the altar may well be the remains of the rood screen which once stood above the chancel arch. Below the chancel were tombs of some of the Jones family, was well as those of some of the former parish rectors. Horatio Westmacott, rector in the 1880s was the third son of the famous Victorian sculptor Sir Richard Westmacott. On the floor of the south aisle near the lectern are two brasses.
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Little is known about these early times. In the church are brasses, transferred from the previous church, to the memory of John and Johanna Onley and their children. It is believed he was lord of the manor at the old manor at Hunkington. By the choir is a brass to Adam Grafton who was priest of Upton Magna and of the Battlefield College as well as being vicar of Withington. He died in 1530.
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146–47 In the church is the early 15th century brass of John Balsam, formerly rector here.Dunkin, E. (1882) Monumental Brasses. London, Spottiswoode ;St Catherine's Church, Temple At Temple is the church of St Catherine, originally also a parish church, but the parish of Temple was merged with Blisland in 1934. ;Blisland Primary School Blisland School is located just outside Blisland in a hamlet named Waterloo on the edge of Bodmin Moor.
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Later acquisitions by the British Museum included Davy's "Collection of Epigrams", British Library, Add MS 19245; "Cat. of Library", Add MS 19247; "Commonplace Book", Add MS 19246; a letter from Davy to Joseph Hunter, Add MS 24867, folio 372; Add MS 32570, folios 204–5 (to John Mitford in 1851), and Add MS 32483–32484, "Rubbings of Brasses" by Davy. An index to "Suffolk Monumental Inscriptions" in the Davy collection (1866) forms Add MS 29761.
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The general softness of brass means that it can often be machined without the use of cutting fluid, though there are exceptions to this. Aluminium makes brass stronger and more corrosion- resistant. Aluminium also causes a highly beneficial hard layer of aluminium oxide (Al2O3) to be formed on the surface that is thin, transparent and self- healing. Tin has a similar effect and finds its use especially in seawater applications (naval brasses).
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In this way, Black Eyes and Lemonade, amongst other work by Jones, made public many of the ideas that would later become important for the emergence of pop art in Britain. Objects displayed in the exhibition included horse brasses, corn dollies, canal boat artwork, ship's figureheads, and the outfits of Pearly Kings and Queens, alongside more contemporary cultural artefacts including the Idris Talking Lemon, beer mats, pest control adverts and shop posters.
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The church contains an unusual Wedgwood ceramic font dated 1780 and several brasses and monuments. In 1916 the east end of the church was damaged by a bomb dropped by the German Navy Zeppelin L-16; two sisters were killed. There is a village pub named The Rose and Crown. Historic houses in the parish include Camfield Place which was the home of the novelist Barbara Cartland and visited by Beatrix Potter.
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Apart from the western tower topped by a spire very little is obviously medieval. The two monumental brasses are early 15th century. The baptismal font, sedilia and piscina are early 14th century, while the lectern and pulpit date from the following century. Both the lectern and pulpit were moved here from Ashburton church: the lectern is attributed to Thomas Prideaux and thought to be a donation of the Bishop of Exeter ca. 1510-15.
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1618, containing a brass chandelier dated 1686. There are brasses to Elizabeth Roper, d.1567, to John Worley, d.1621, with 2 foot figures, and a painted alabaster effigy of a stiff recumbent knight with his lady on a marble sarcophagus, whilst a son and two daughters kneel on a panel to the rear in a coffered niche, with an architectural surround with corinthian capitals, a dentil cornice, obelisks and a cartouche.
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Bewsey Old Hall St Elphin's church St Elphin's church Brasses from the Boteler tomb Thomas Boteler was born at Bewsey Old Hall in 1461. In 1463, his father Sir John FitzJohn le Boteler was murdered and Thomas's elder brother, William, inherited the estates. William died at the age of 22, fighting in the Lancastrian ranks at the Battle of Tewkesbury in 1471 and Thomas inherited the estates.Beamont, volme 2, chapters 18, 19 & 20.
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Further brasses are one with effigy to Thomas Greville, infant, died 1492, and Robert Barrow died 1503. There are figures of a man in armour and his wife c.1540. The Petres were a significant family in Stanford Rivers and are commemorated by many ledger slabs in chancel. Members of the Stuart family, Earls and Marquisses of Bute were buried here but with the exception of two they have been removed to Roath.
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Previous to that period the features were invariably represented conventionally, though sometimes personal peculiarities were added. A large number of brasses in England are palimpsests, the back of an ancient brass having been engraved for the more recent memorial.Page-Phillips 1980. Thus a brass commemorative of Margaret Bulstrode (1540) at Hedgerley in Buckinghamshire, on being removed from its position, was discovered to have been previously the memorial of Thomas Totyngton, abbot of St Edmundsbury (1312).
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He was described as a zealous advocate of English policy in Ireland, but also as a pragmatic statesman, who was willing to conciliate the Anglo-Irish ruling class. He did much to enlarge and beautify Christ Church, Dublin, although virtually no trace of his work survives, having been destroyed by the Victorian rebuilding of the Cathedral .Fairbank, F.R. "Ancient memorial brasses remaining in the old Deanery of Doncaster" The Yorkshire Archælogical and Topographical Journal, 1891, Vol. 11 pp.
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The church was first recorded in 1140 and has played an important part in Gloucester's history since then. The Crypt School was founded adjacent to the church in 1539 by Joan Cooke with money she inherited from her husband John, and the school room still exists, although the school has now moved to larger premises. Mr and Mrs Cooke were both buried in the church and the north transept includes brasses to their memory.John and Joan Cooke.
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The Four Gospels fitted on the window of the west wall have inscriptions in honour of John James Murley and William Paget. The window bears the Arms of Truro and the Arms of Exeter, representing the corresponding dioceses. The four panels of the window also display: Saint Mary, Patron Saint of Truro Cathedral; St Colan holding the Church in his hands; and St Peter, Patron Saint of Exeter Cathedral. There are also two interesting monumental brasses.
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Celtic phalera from a chariot burial in Gaul Display of English brasses A horse brass is a brass plaque used for the decoration of horse harness gear, especially for shire and parade horses. They became especially popular in England from the mid-19th century until their general decline alongside the use of the draft horse, and remain a collectors item today. Phalera is the archaeological term for equivalent disks, which were popular in Iron Age Europe, including Ancient Rome.
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One of the most prominent buildings in Stratton is the 12th century Norman church dedicated to Saint Andrew which holds a central and elevated position within the town. It is listed Grade I. The church contains a brass to Sir John Arundell of Trerice, 1561.Dunkin, E. (1882) Monumental Brasses. London: Spottiswoode As well as the main church, there were also other chapels around the village; this indicates a large population because only one church wouldn’t suffice.
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The Cambridge Antiquarian Society is a society dedicated to study and preservation of the archaeology, history, and architecture of Cambridgeshire, England. The society was founded in 1840. Its collections are housed in the Haddon Library on Downing Street in Cambridge, Cambridge University's Museum of Archaeology and Anthropology, and the Cambridgeshire Archives and Local Studies. Collections include archaeological publications, books, and periodicals, over 8,000 photographs, nearly 3,000 lantern slides, over 350 watercolours, and rubbings of monumental brasses.
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In 1495, it had 47 households. Between 1683 and 1687, Lukovit was part of an Ottoman process of forceful Islamization, but was never completely converted as late as 1860 when it had 250 Muslim Bulgarian and 260 Eastern Orthodox households. After the Liberation of Bulgaria, all the Muslims left the town. Buried artefacts from the 4th century BC Thracian culture, the Lukovit Treasure (Bulgarian: Луковитско съкровище) comprising horse brasses made of silver, were found in 1953 near the town.
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Speed called the Kingdom "East Angle" but this is a variation of the name East Angles. Amongst those had emigrated included Samuel Lincoln, ancestor of President Abraham Lincoln, and Edward Gilman Sr., ancestor of Nicholas Gilman, New Hampshire delegate to the Continental Congress and signer of the U.S. Constitution. The Church Heraldry of Norfolk: A Description of All Coats of Arms on Brasses, Monuments, Slabs, Hatchments &c.;, and now to be found in the county, Rev.
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Some brasses remain in the church, while others have been removed and are in storage. One of those remaining, on the east wall of the north aisle, is to Sarah Glover, the inventor of the Norwich sol-fa system of musical notation. There is a ring of six bells. The oldest of these was cast in about 1356 by William Revel, the next in about 1530 by William Barker, and the third oldest in 1615 by William Brend.
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The church contains several imposing monuments, notably to members of the Wroughton and Glanville families.Pevsner & Cherry, 1975, page 147 There are indents of two lost brasses in the chancel, both knights in armour. The earlier was probably to William Wroughton (died 1392) and the later was certainly to his grandson, John Wroughton (died 1429). The monument to John's great great grandson, Sir William Wroughton (died 1559), is early Elizabethan, canopied, and shows influence of the previous Perpendicular Gothic style.
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The church of St Leonard, situated on high ground to the east of the village, was originally erected in the 11th century. The earliest portions of the present building are the Perpendicular chancel and tower, the nave having been rebuilt in 1798, while the transepts were erected in 1816. There are a number of interesting old brasses and monuments. The church of Our Lady and St Patrick is located on Higher Walton Road in the village.
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The Karamazovs incorporate music into their performances through the use of special clubs adapted as percussion strikers, allowing them to play drums and marimbaphones without breaking their juggling patterns. Most past and present Karamazovs are adept with a great range of conventional instruments, including brasses and woodwinds. One of their most widely known musical performances is Rockpalast Night 8, held in Essen, Germany, on March 28, 1981. The main acts were The Who and the Grateful Dead.
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Three ancient monumental brasses survive depicting canons of Windsor, wearing the mantle of the Order of the Garter, purple in colour, with a circular badge on the left shoulder, displaying: Argent, a cross gules (a Cross of St George): #c. 1370. Roger Parkers, North Stoke, Oxfordshire (half effigy with inscription; head lost). #1540. Roger Lupton, LL.D., Provost of Eton College and Canon of Windsor. Eton College Chapel (mantle worn over fur-lined cassock; no surplice). #1558.
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A. V. "In Memoriam Sir William St John Hope" in Archaeologia Cantiana, Vol. XXXIV, pp. 149-52\. 1920. Interested in archaeology and heraldry since boyhood, his earliest works were on the subject of the monumental brasses often found in English churches. His largest and most important work was his Architectural History of Windsor Castle, began in 1893 with the approval of Queen Victoria, and completed twenty years later in 1913, an undertaking for which he was knighted.
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The interior of the church contains two brasses, one of which is of a priest and bears a date of 1460.Nikolaus Pevsner (1961), Buildings_of_England: Suffolk, Penguin, Polstead. Polstead Hall Next to the churchyard is Polstead Hall, rebuilt in the Georgian style in about 1819. In the grounds of the hall are the remains of the "Gospel Oak", which collapsed in 1953, but which is believed to have been the tree under which Saint Cedd preached to the heathen Anglo-Saxons.
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In 1889 the two brasses of the children and the head of the brass of Lawrence Washington were stolen. They were recovered in 1923 and reinstalled in 1924 but no-one was ever charged with their theft. In 1659 the Washingtons sold Sulgrave Manor, and in about 1673 it passed to a member of the Hodges family. On the south wall of the south aisle above the Washington pew are three neoclassical wall monuments to members of the Hodges family.
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Its cover, designed by Sir Ninian Comper in 1938, is supported on four gilt pillars. The notable collection of monuments includes 15th- to 18th-century brasses to members of the Frowyk, Ewer, Harrison, Hodsden, and Ketterick families, including one commemorating Thomas Frowyk (d. 1448), his wife, and nineteen children. Wall-monuments include an early-17th-century memorial, with a death's-head and carrying the arms of the Nowell family, and memorials to William Adams by Thomas Denman and Mary Dakin by William Spratt.
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Also 15th-century are the choir stalls, the screen between the chancel and Lady chapel, the baptismal font and a doorway to a former rood loft. Inside St Michael's are several monumental brasses, most of which are late Medieval. One is of a priest, John Balam, who died in 1496. A triple brass from about 1500 depicts a knight and his two successive wives. Another represents Sir John Daunce, who died in 1545, with his wife who died in 1523 and their children.
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One of No. 4014's driving wheels on the lathe at the Strasburg Rail Road's workshop in 2017 In August 2016, UP officials announced that restoration work on No. 4014 had begun under Heritage Fleet Operations director Ed Dickens. By early 2017, the locomotive had been completely disassembled. Some new parts were fabricated, including the rod brasses, top boiler check valve, and lubricator check valves. The driving wheels were sent to be repaired by the Strasburg Rail Road in Strasburg, Pennsylvania.
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The west tower was built later in the 15th century. The church contains many memorial brasses and sculpture, including the 1689 tomb of Sir Richard Winwood carved by Thomas Stayner. The stone effigies depict the deceased lying in full armour, while his widow, Ann, who paid for the tomb, rests beside him, half sitting regarding her husband. In the chancel are a reredos and sedilia by William White who was responsible for the heavy Victorian restoration and rebuilding of the chancel in 1877.
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Chancel altar chest tomb of unknown origin Within the chancel are two 15th-century stone chest tombs, one either side of the altar. The tomb at the north is panelled with quatrefoils enclosing plain shields; that at the south panelled with cusped ogee arches and plain shields. There are no inscriptions, and no information on their origin. Brasses on chancel burial slabs are to Oliver St John (d.1497), his wife Elizabeth (d.1503), and Elizabeth's former husband Henry Rochford (d.1470).
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Polish and Czechoslovak airmen in the extension of St Helen's parish churchyard The Church of England parish church of St Helen is partly ancient. John Marius Wilson described it as "variously late pointed Norman and decorated; has a modern tower; contains a Norman font and two [monumental] brasses; and is very good." The parish includes the hamlets of Fifield and Crowmarsh-Battle or Preston-Crowmarsh. The village is often confused with RAF Benson, which is a well-known RAF station and airfield.
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It is a cadaver monument, showing his corpse in its burial shroud, which is a style unusual for monumental brasses in England. Elsewhere there is an example from the late 14th century, also in memory of a parish priest, in the parish church at Lytchett Matravers in Dorset. Margaret Staples Browne in St Andrew's churchyard. Browne was a Māori princess whose maiden name was Papakura The second unusual monument is a large pietà at the west end of the nave.
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Dunkin, E. (1882) Monumental Brasses. London, Spottiswoode In the early years of the 19th century the rare custom of turning to the East for the Doxology at the conclusion of the recitation of each Psalm, particularly by those in choir, was observed in Probus church. There are records of no less than nine medieval chapels in the parish and three more of which traditions exist. Two mansions formerly existed at Golden: one of the Wolvedon family and a larger one of the Tregians.
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The interior has 17th-century brasses, and pillars with basket and leaf decoration. There is a 15th-century screen, examples of Jacobean woodwork, and a font dated 1599. This church was declared redundant in 1962 when its parish was united with that of New Edlington, creating the new title of Old Edlington Church. After suffering years of uncertainty and vandalism, this building was the first church to be vested in the Churches Conservation Trust, then known as the Redundant Churches Fund, in 1971.
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St Hugh's Church with the cross in the churchyard in the foreground The original church was cruciform in plan but a tower was added (probably in the 13th century) and then the aisle. There are old wagon roofs and a funeral recess (14th century). The stained glass and some other ornamental work is the handiwork of the late 19th century vicar, William Willimott, and there are three brasses (1471 to Roger Kyngdon, and 1631 to Richard Chiverton, d. 1617, and his wife).
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The Earl of Moray had been assassinated, and his monumental brass carries the Moray arms and figures representing Religion and Justice.Love 1989, pp. 34–35. The fine memorials of the royal house of Saxony in the cathedrals of Meissen and Freiberg are the most artistic and striking brasses in Germany. Among the 13th-century examples existing in German churches are the full-length memorials of Yso von Welpe, Prince-Bishop of Verden (1231), and of Bernard, bishop of Paderborn (1340).
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Beeson attended City of Oxford High School for Boys, where his best friend was T. E. Lawrence (better remembered today as Lawrence of Arabia). Lawrence called him by his nickname of "Scroggs". At the age of 15 Beeson and Lawrence bicycled around Berkshire, Buckinghamshire and Oxfordshire, visited almost every village's parish church, studied their monuments and antiquities and made rubbings of their monumental brasses. The two schoolboys monitored building sites in Oxford and presented their finds to the Ashmolean Museum.
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In the sanctuary there is a monument to John Palgrave who died on 29 May 1611 who had been a prominent lawyer and a local magistrate in Norfolk. On the wall of the chancel there is a monument to Margaret Pope the wife of Dr John Pope of Over, Cambridgeshire. She was the daughter of John and Urith Palgrave. At the eastern end of the north aisle brasses set into a stone slab to commemorate Henry Palgrave who died in 1516.
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Denney axle To prevent excessive friction and wear on the wheels Denney's divided axles were used, which permitted the wheels to rotate independently of each other. The coupling was of gun metal, in three pieces, which were riveted together after the brasses were in place. The portion of the coupling shown at the right in the cut was shrunk into that half of the axle. The collar at the extreme end of the coned portion of the axle was also shrunk on.
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Fred remained unchanged by his success and fame, continuing to live a simple life without radio, television or running water at his primitive cottage in Aston Munslow, near Craven Arms. He grew his own vegetables and was fond of his collection of horse brasses. Jordan left his cottage in 2001 to live in a residential home in Ditton Priors due to poor health. He died here at the age of 80 on Tuesday 30 July 2002 following a heart attack.
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Several family members who died late in the 15th or early in the 16th century are commemorated by monumental brasses. The largest are a pair long representing Thomas Andrewe (died 1496) and his wife. From the latter half of the 16th century are two carved stone monuments. A tomb-chest bears recumbent effigies of Sir Thomas Andrew (died 1564) and his two successive wives, while a well-carved relief in fine white stone commemorates Thomas Andrew (died 1590) and his family.
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Katherine Swynford's tomb in 1809 Swynford's tomb and that of her daughter Joan Beaufort are under a carved-stone canopy in the sanctuary of Lincoln Cathedral. Joan's is the smaller of the two tombs; both were decorated with monumental brasses – full-length representations of them on the tops, and small shields bearing coats of arms around the sides and on the top – but those were damaged or destroyed in 1644 during the English Civil War. A hurried drawing by William Dugdale records their appearance.
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A grand west front with towers and pinnacles was constructed between 1330 and 1338, but a plague interrupted building extension plans. In the 16th century the ornamental brasses were cast into weights and the gravestones cut into grindstones. Within the church there were at one time 18 chapels, some maintained by guilds, others by private families, such as the Paxtons. At the Reformation the chapels were demolished and the building's valuable liturgical vessels sold off, the proceeds spent to widen the channel of the harbour.
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Killigrew was the fifth son of John III Killigrew (died 1567) of Arwenack, Cornwall, the first Governor of Pendennis Castle, situated on land within the Arwenack estate, appointed by King Henry VIII.Dunkin, Edwin Hadlow Wise, The Monumental Brasses of Cornwall with Descriptive, Genealogical and Heraldic Notes, 1882, pp.36–7 His mother was Elizabeth Trewinnard, 2nd daughter of James Trewennard of Trewennard,Vivian, Lt.Col. J.L., (Ed.) The Visitations of Cornwall: Comprising the Heralds' Visitations of 1530, 1573 & 1620; with additions by J.L. Vivian, Exeter, 1887 , p.
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Brasses and reeds, such as trumpets and saxophones were rarely used, unlike in contemporary R&B; and soul bands and some of the white bands from the U.S. East Coast (e.g., Blood, Sweat & Tears or Chicago). Sly & the Family Stone, a San Francisco- based group that got its start in the late 1960s, was an exception, being a racially integrated hippie band with a hefty influence from soul music, hence making use of brass instrumentation. "Rock & roll" was the point of departure for the new music.
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There are also 19th- and 20th-century monuments to the Rolle family,Pevsner, N. (1952) North Devon, Harmondsworth: Penguin Books; p. 84 including a mural monument and stained glass window in the south aisle to John Rolle, 1st Baron Rolle (d. 1842), a mural monument in the south aisle, in mosaic depicting the Good Shepherd, of Mark Rolle (d. 1907), and two 16th-century monumental brasses combined together on the floor of the south aisle, of Margaret Rolle and her husband John Rolle (d.
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Monumental brass of Sir John Arundell (detail)Dunkin, Edwin Hadlow Wise, The Monumental Brasses of Cornwall with Descriptive, Genealogical and Heraldic Notes, 1882, Plate XXX, pp. 34–5; drawn by Dunkin Arms of Arundel of Trerice (and of Arundell of Lanherne & Wardour Castle): Sable, six martlets argent. Sir John Arundell (1495–1561), of Trerice, Cornwall, nicknamed "Tilbury Jack" (or Jack of Tilbury), was a commander of the Royal Navy during the reigns of Kings Henry VIII and Edward VI and served twice as Sheriff of Cornwall.
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The name Dowsby is from the Old Scandinavian 'Dusi+by', for "farmstead of Dusi", appearing in the Domesday Book as "Dusebi". Hoe Hills () was a group of round barrows dating back to the Bronze Age where Roman and Medieval finds have been made. St Andrew's Church, originating from the 12th century, was mostly rebuilt and enlarged in 1864, although Norman fragments remain as part of the fabric. A recumbent effigy of Etheldreda Rigdon, and six brasses to the Burrell family from 1682 lie in the vestry.
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Thus the stone or marble background takes the place of the decorated brass background of the Continental example. The early method of filling in the incisions has suggested some connection with the methods of the Limoges enamellers of the 13th century. The art was introduced into England from the Low Countries, and speedily attained a high degree of excellence. For many centuries it remained very popular, and a large number of brasses still remain to witness to a very beautiful department of artistic working.
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The main block was constructed by John Clopton (son of Sir William Clopton) in the late 15th century. The wings were added by his grandson, the third William Clopton, in the 1540s; finally the extra level, including a new long gallery, was added by his son Francis Clopton in the 1560s. The Cloptons also rebuilt the Holy Trinity Church in Long Melford and added numerous stained glass windows portraying the family with brasses to their deceased. They also built the integral Clopton Chapel for private family worship.
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124 the latter being a device for blowing (French: souffler) air into an organ., Guillim suggested the charge may be a rudder, but in which case it is shown upside down, when compared to that charge used for example on the tomb at Callington of Robert Willoughby, 1st Baron Willoughby de Broke. Certainly in the brasses on the chest tomb of Sir John Bassett (d.1529) in Atherington Church, Devon, the charges are engraved in tubular forms with vents or reeds as used in true organ pipes.
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They are frequently represented on tomb effigies and monumental brasses of the late 15th and early 16th centuries. A very expensive, but plain, garment described as a tabard is worn by Giovanni Arnolfini in the Arnolfini Portrait of 1434 (National Gallery, London). This may be made of silk and or velvet, and is trimmed and fully lined with fur, possibly sable. At The Queen's College, Oxford, the scholars on the foundation were called tabarders, from the tabard (not in this case an emblazoned garment) which they wore.
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The pulpit dates from the late 17th or early 18th century. The memorials include a series of black marble stones under the altar, fragments of brasses from the 14th and 15th centuries, and a 17th-century wall monument. The stained glass in the east and south windows of the chancel by Kempe dates from 1894, and that in a south window in the nave dating from 1864 is by A. Gibbs. There is a ring of four bells, but these are no longer ringable.
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The church of St. Mary is an ancient building of stone, in the Norman and Early English styles, and has a tower which was restored in 1923-4, containing 6 bells, augmented to 8 in 2002. There are numerous monuments to the Scott family, some brasses and several stained glass windows, one of which contains very early glass; the church affords seating for 200. The restoration was carried out by Sir Gilbert Scott.Betjeman, J. (ed.) (1968) Collins Pocket Guide to English Parish Churches: the South.
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St Mawgan also has a 13th- century parish church, dedicated to St Mauganus and St Nicholas. The church was originally a cruciform building of the 13th century but was enlarged by a south aisle and the upper part of the tower in the 15th. The unusual rood screen and bench ends are noteworthy and there are many monumental brasses to members of the Arundell family; these include George Arundell, 1573, Mary Arundell, 1578, Cyssel and Jane Arundell, c. 1580, Edward Arundell (?), 1586,Dunkin, E.
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It is widely used in many other alloys, including nickel brasses and bronzes and alloys with copper, chromium, aluminium, lead, cobalt, silver, and gold (Inconel, Incoloy, Monel, Nimonic). A "horseshoe magnet" made of alnico nickel alloy. Because it is resistant to corrosion, nickel was occasionally used as a substitute for decorative silver. Nickel was also occasionally used in some countries after 1859 as a cheap coinage metal (see above), but in the later years of the 20th century, it was replaced by cheaper stainless steel (i.e.
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Two descendants of Sir Roger, Sir John D'Aubernoun the Elder (died 1277) and his son Sir John the Younger (died 1327) are buried in the village; there are monumental brasses of them in St Mary's Church, with the one of Sir John the Elder believed to be the oldest in England. Until the mid-19th century, Stoke D'Abernon lay in the hundred of Elmbridge, which gave its name to the modern-day borough. Today, the village forms part of the Oxshott & Stoke D'Abernon ward of the borough.
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Monumental effigies in churches were usually fully coloured and gilded and dedicated to members of the clergy, knights and their wives. In contrast to England, where the fashion for stone-carved monuments gave way to monumental brasses, in Scotland they continued to be produced until the end of the Medieval period.R. Brydall, The Monumental Effigies of Scotland: from the Thirteenth to the Fifteenth Century (Kessinger Publishing, 1895, rpt. 2010) .K. Stevenson, Chivalry and Knighthood in Scotland, 1424–1513 (Boydell Press, 2006), , pp. 125–8.
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Restored in the late 19th century, All Hallows was gutted by German bombers during the Blitz in World War II and required extensive reconstruction, only being rededicated in 1957. The main-altar mural, a post-war work by Brian Thomas Many portions of the old church survived the War and have been sympathetically restored."The City of London Churches" Betjeman,J Andover, Pitkin, 1967 Its outer walls are 15th-century, with the Saxon arch doorway surviving from the original church. Many brasses remain in the interior.
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Among the monuments in the Great Coates church interior are brasses dedicated to Lady Isabella, daughter of William Kelke of Barnetby, and wife of Roger Barnardiston, from 14020 and another, dating from around 1503, to the family of Sir Thomas Barnardiston. In Thomas Barnardston's will, written and witnessed at Great Coates in April 1461, he requests to be buried in St. Nicholas Church 'on the north side of the altar under the window'. He also leaves bequests to the Church and, 'to the parson...my best horse'.
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However, the south aisle and south chapel were rebuilt in the Perpendicular Gothic style early in the 15th century so Page and Ditchfield conclude that the brasses of Clarice Windsor and John York were formerly in the south chapel and moved at a later date. The south chapel has a squint into the chancel. The chapel was re- roofed in the 17th century. The arch supporting the west bell tower is 14th- century Decorated Gothic but the style of the rest of the tower is Perpendicular Gothic.
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In the south transept is a mediaeval recumbent effigy of a lady. In the north chapel is a stone effigy of a knight, said to be Sir Gilbert Talbot, who died in 1419. On a wall in the south transept is a monument to George Thompson, who died in 1603: a recumbent effigy of him flanked by Corinthian columns. In the chancel are three monumental brasses: to Thomas Plymmyswode who died about 1419, Robert Holcot who died in 1500 and Frances Gardner who died in 1633.
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References to Pluckley can be found in the Domesday Book of 1086, at which time it was a more significant settlement than the now considerably larger town of Ashford. The village's parish church, dedicated to St Nicholas, dates primarily to the 13th and 14th centuries. The Dering Chapel, separated from the rest of the church by two screens and found at the east end of the south aisle, was built in 1475. The nave contains brasses dedicated to members of the Dering family, all of which were made in the 1630s by Sir Edward Dering.
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Waterperry is a village beside the River Thame about east of Oxford in Oxfordshire and close to the county boundary with Buckinghamshire. The Church of England parish church of Saint Mary the Virgin is partly Saxon and has notable medieval stained glass, sculptural memorials, Georgian box pews and memorial brasses. Waterperry House is a 17th-century mansion, remodelled early in the 18th century for Sir John Curson and again around 1820. It is now a house of seven bays and three storeys with a balustraded parapet and Ionic porch.
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William and Rachel are depicted kneeling facing each other with a prayer desk while figures of their five sons and four daughters are carved on the obelisk pedestals. The tomb of 'Young' Sir Alexander Culpepper (died 1599) with his 16 grandchildren In the south chapel can be found memorial brasses to John Bedgebury (died 1424); Sir John Culpepper (1424–1480), and Walter and Agnes Culpepper (died 1462 and 1457). Here also is the alabaster standing wall monument to 'Young' Sir Alexander Culpepper (1541–1599), erected in 1608 by his son Sir Anthony Culpepper.
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During the later 14th century the marriage of John Gainsford to Margery, daughter of Sir John and Mabel de la Poyle, led to a great extension of the Gainsford estates.B.W. Greenfield, 'The descent of the manor and advowson of Hampton-Poyle, in the County of Oxford', in J.G. Nichols (ed.), The Herald and Genealogist I (J.B. Nichols, London 1863), pp. 209–224. Sir John's grandson John de la Poyle (died 1424),M. Stephenson, A List of Monumental Brasses in the British Isles (Headley Brothers, London 1926), p. 406.
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Denys brass, 1505, Olveston Church, east wall of south transept Rubbing of the Denys brass, 1505, Olveston Church, Gloucestershire The Denys monumental brass in Olveston Church, Gloucestershire, dates from 1505, and is one of only about 80 Monumental brasses of Gloucestershire surviving today. It was erected following the death of Sir Walter Denys in 1505, and shows the latter together with his father Maurice Denys, both Sheriffs of Gloucestershire. The Denys family were at various times lords of the manors of Alveston, Earthcott Green, Siston and Dyrham in Gloucestershire.
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The large parish church in the village is dedicated to St Giles the Hermit and came into being in 1309 when licence was obtained from the Bishop of Exeter to build a chapel of ease because the church at Great Torrington was considered too far for the convenience of the local inhabitants. Mark Rolle funded its restoration in 1862–3 and many old monuments were retained; these include the monument and effigy of Thomas Chafe (d. 1648) of Dodscott, three monumental brasses, of Alenora Pollard (d. 1430), Margaret Rolle of Stevenstone (d.
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He was seventh son of John Clubbe, rector of Whatfield in Suffolk, baptised at Whatfield on 16 April 1745. He was educated at Newcome's School and Caius College, Cambridge, where he matriculated in 1762 and graduated LL.B. in 1769. In the same year he was instituted to the rectory of Flowton, and in the following year to the vicarage of Brandeston, both in Suffolk. He took an antiquarian interest in brasses and other materials removed on the restoration work in Letheringham church, a modernisation pushed through by Thomas Rede, attorney at Beccles.
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Drawing of monumental brasses of Sir Giles Daubeney and his first wife Joan Darcy, South Petherton Church, Somerset The monumental brass effigies of Daubeney and his first wife Joan Darcy survive in the Church of St Peter and St Paul, in South Petherton, and include two inscribed plates and four heraldic shields. The effigy of Daubeney measures high; that of Joan measures high. The inscriptions are on two plates under the feet of the figures; the first measuring x ; the second measuring x . Each heraldic shield is x .
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Fowler became an architect and builder at Winterton, and about 1796 made drawings of Roman pavements discovered there. He took them to London to be engraved by his brother-in-law, Mr Hill. There he studied the process of copper-plate engraving, and in April 1799 brought out his own coloured engraving of a Roman pavement at Roxby. Between 1799 and 1829 he published three volumes of coloured engravings of twenty-five pavements, thirty-nine subjects from painted glass, five brasses and incised slabs, four fonts and eight miscellaneous subjects.
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The term latten referred loosely to the copper alloys such as brass or bronze that appeared in the Middle Ages and through to the late 18th and early 19th centuries. It was used for monumental brasses, in decorative effects on borders, rivets or other details of metalwork (particularly armour), in livery and pilgrim badges or funerary effigies. Latten commonly contained varying amounts of copper, tin, zinc and lead, giving it characteristics of both brass and bronze. Metalworkers commonly formed latten in thin sheets and used it to make church utensils.
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Painted monuments in parish churches often have been restored, in some cases several times over the centuries, and the arms depicted may not be as originally painted. Heraldry sculpted in relief on stone is liable to wear and crumbling, especially when placed in the favourite location, exposed to the elements for centuries, on the porch or gatehouse of the family mansion. Ancient monumental brasses do not show tinctures but otherwise provide lasting records of heraldry. Stained glass depictions are optimal sources as they include tinctures, but ancient survivals are rare.
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Due to the ease of their manufacture, many thousands of these stamped types were produced, but there are some that are very rare. The production of both cast and stamped brasses has continued since the demise of the British working horse but their manufacture is mainly centred on the souvenir trade, and other specialist manufacturers who provide for the heavy horse world who still breed and show the various breeds. The National Horse Brass Society of England has members all over the world and provides publications for members and swap meets.
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St Wyllow's Church (note the lantern cross near the porch) The parish church, dedicated to St Wyllow, was built in the 14th century and refashioned in the 15th. The 16th century benchends and panels from family pews have been preserved in the Victorian restoration by E. H. Sedding.Betjeman, J. (ed.) (1968) Collins Pocket Guide to English Parish Churches: the South. London: Collins; p. 148 The church contains the brasses of Thomas de Mohun (d.1400) of Hall in Lanteglos (grandson of Reginald de Mohun and his wife Elizabeth FitzWilliams)Vivian, Lt.Col.
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Among the earliest forgeries are false Anglo-Saxon charters, a number of 11th- and 12th- century forgeries produced by monasteries and abbeys to support a claim to land where the original document had been lost or never existed. One particularly unusual forgery of a primary source was perpetrated by Sir Edward Dering, who placed false monumental brasses in a parish church.Everyone has Roots: An Introduction to English Genealogy by Anthony J. Camp, published by Genealogical Pub. Co., 1978 In 1986, Hugh Trevor-Roper authenticated the Hitler Diaries, which were later proved to be forgeries.
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The Church of St. Peter and St. Paul was rebuilt in 1431, although the original 14th-century tower remains. Its collection of brasses and monuments are amongst the finest in England, including the impressive tomb of Reginald de Cobham, 1st Baron Cobham. Lingfield Parish church There had been a church on the site for some centuries before the 14th-century building.East Surrey family history society Listed at Grade I, the highest category of architectural listing, the church is among a low percentage to have this status in the country.
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Sir Ralph is reported to have said "I can sleep without Snoring". John Pearson (1612–86), the English divine and scholar, was born in Great Snoring on 28 February 1612. Francis White's 1854 History, Gazetteer and Directory of Norfolk describes the village as having as 99 houses, with a total population of 656, and with John Dugmore, Esq as lord of the manor. The church, dedicated to the Virgin Mary, is described as having a "fine tower" (formerly a spire), containing curious old brasses of the Shelton family.
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The brass foundry was built in 1869 in Shaw Street, Walsall and closed after the Second World War but re-opened in 1964 by James Powell and used until his death in 1973. The building and its equipment were relocated to the museum in 1986. It can be seen in operation when the brass caster demonstrates traditional skills in casting horse brasses, pot hooks and other small items. The rolling mill installed at the Birchley Works in Oldbury in 1923 ceased to operate in 1976 and it was moved to Lord Ward's Canal Arm.
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Certain monuments originally in the Umberleigh Chapel next to the manor house of Umberleigh, were moved in about 1820 to Atherington Church (See Colwell); Pevsner, p.139 states this tomb with brasses to have made such move in 1818 (Pevsner, p.139) His inquisition post mortem states that he held Whitechapel not as a tenant- in-chief but from an overlord, namely Henry, Duke of Somerset (1519–1536), by service unknown, worth 100 shillings per annum.Byrne, Muriel St. Clare, (ed.) The Lisle Letters, 6 vols, University of Chicago Press, Chicago & London, 1981, vol.
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210-13 After the building was badly damaged by fire, it was rebuilt in 1831-2 with a tower and six bells, and the chancel was enlarged in 1899-1900. One of the windows incorporates some pieces of medieval and 17th- century stained glass; some 17th-century memorial brasses also remain.P. L. Chadwick, Geograph The church has been a Grade II listed building since 1958.British listed buildings Adjacent to it is Church House, which has also functioned as a school and parish room, and parts of which date from the 16th century.
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Tombs with effigies in the Herbert Chapel The Herbert Chapel contains recumbent monuments and effigies, in both alabaster and marble, associated with the ap Thomas and Herbert families. These include Sir Richard Herbert of Coldbrook, executed with his elder brother William, Earl of Pembroke after the Battle of Edgecote in 1469 and William's illegitimate son Richard Herbert of Ewyas. The latter was brought up with Pembroke's ward Henry Tudor, later Henry VII, and fought on his side at Bosworth in 1485. Within the chapel are also monumental brasses dating from the 16th and 17th centuries.
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It is a cadaver monument, showing his corpse in its burial shroud, which is a style unusual for monumental brasses in England. Elsewhere there is an example from the early 16th century, also in memory of a parish priest, in the parish church at Oddington, Oxfordshire. A great deal of restoration was carried out at the beginning of the 16th century at the behest of Dame Margarita Clements. In the 17th century the Arundel family, heirs by marriage to the Maltravers estate, funded the restoration of St Mary's and rebuilding of the north aisle.
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In 1949 the electric clock cost £896 and was installed on the tower section of the spire as a memorial to the fallen of World War Two. During a special service held on 16 May 1976, the local branch of the British Legion laid up its standard in the church for safekeeping. Also, the standard of the Royal Air Forces Association was placed in the church "for evermore", at a service held on 29 September 1991. Among the many memorials are two monumental brasses – very rare in Wales – on the north nave wall.
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Attempts were made to rig sails but progress was slow and after an attempt to tow, the engineers under Mr. Brown worked in intolerable conditions to repair the shaft. The repairs were complicated and after various failures it was decided to take down the high pressure engine and use the bottom end brasses as a clamp. This was effective in holding the shaft and then the rear end breakage was connected by a Thomson coupling. Using the low pressure engines only, Fazilka was able to make Colombo at a speed of .
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The family of Mohun of Hall died out in the male line in 1712, following the death in a celebrated duel of Charles Mohun, 4th Baron Mohun of Okehampton (1677-1712), who died without progeny. However, the family had long out-lived the senior Dunster line which died out in the male line in 1375, following the death of John de Mohun, 2nd Baron Mohun, KG, (c.1320-1375). Two monumental brasses survive in Lanteglos church to members of the Mohun family of Hall, namely Thomas Mohun (died c.
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At the start of the First English War in 1642, he intervened at Painswick church, where some iconoclastic Parliamentarians had been active; his wife claimed descent from the courtier William Kingston who had an elaborate tomb in the church. Theyer made a court appearance in September with two local men, was fined, and added some church brasses to his collection in 1644;Welbore St. Clair Baddeley, A Cotteswold Manor; being the history of Painswick (1907), pp. 201–2; archive.org.Welbore St. Clair Baddeley, History of the Church of St. Mary at Painswick (1902), p.
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There are some notable brasses. The church underwent two major restorations overseen by the architect Robert Jewell Withers in 1867 and 1875. In the first restoration, box pews were replaced with pine benches, a gallery was removed from the west, the rood screen was painted, and a large wall painting was added to the nave wall by the Arts and Crafts artist Daniel Bell, depicting Christ enthroned in Majesty. The 1875 restoration of the chancel was funded by a donation from Adelbert Brownlow-Cust, 3rd Earl Brownlow of Ashridge.
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John Mapulton (also known as John Mapilton), rector of the church between 1424 and 1431 was clerk to the Court of Chancery and was chancellor to Queen Joanna, widow of Henry IV. The church has a brass dedicated to John Mapilton. Two well-preserved brasses on a stone slab were found under old pews in 1826. This was set into the centre aisle of the nave and then in 2007 moved to be positioned vertically in the north transept. The main brass cross commemorates Reverend Richard Tooner who died in 1445.
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Non-fiction illustrated titles are the most design intensive books, requiring extensive use of images and illustrations, captions, typography and a deep involvement and consideration of the reader experience. The activities of typesetting, page layout, the production of negatives, plates from the negatives and, for hardbacks, the preparation of brasses for the spine legend and Imprint are now all computerized. Prepress computerization evolved mainly in about the last twenty years of the 20th century. If the work is to be distributed electronically, the final files are saved in formats appropriate to the target operating systems of the hardware used for reading.
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The tomb of Sir William Clopton is set into an alcove here, in the north wall. An effigy of Sir William, wearing chain mail and plate armour, is set on top of the tomb. Sir William is known to have died in 1446 and it is therefore believed that this corner of the church predates the late 15th-century reconstruction. There are numerous brasses set in the floor commemorating other members of the Clopton family; two date from 1420, another shows two women wearing head attire in the butterfly style from around 1480, and a third depicts Francis Clopton who died in 1558.
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King Musical Instruments (originally founded as the H. N. White Company) is a former musical instrument manufacturing company located in Cleveland, Ohio, that used the trade name King for its instruments. In 1965 the company was acquired by the Seeburg Corporation of Eastlake, Ohio, and the name changed to "King Musical Instruments". After four changes of ownership for King Musical Instruments since 1980, the rights to the King name are currently owned by Conn-Selmer, Inc., a subsidiary of Steinway Musical Instruments, who use it as a brand for brass instruments including trumpets, trombones, tubas, and marching brasses.
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The length of the Purbeck Marble slab on top is six feet nine inches; the breadth, three feet seven inches; and the height, three feet six inches. The north and south, the longer, sides have each three heraldic shields, in circular panels; on both, from east to west, the shields display the following arms: (1) Twynihoe, (2) Tame, (3) Tame impaling Twynihoe. The west displays the arms of Tame. On the ledger stone on top of the chest tomb are various monumental brasses, set into the slab, the main ones showing John Tame and his wife standing facing each other.
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As an illustrator, Archer made drawings for wood engravings for publications including Charles Knight's History of London, Illustrated London News and Blackie's Comprehensive History of England. Archer was the author of Vestiges of Old London, a large quarto volume, illustrated with etchings; and of a series of articles in Douglas Jerrold's Magazine, entitled "The Recreations of Mr. Zigzag the Elder", and numerous contributions to the Gentleman's Magazine, and Illustrated London News. He claimed to have revived the practice of engraving monumental brasses, and produced several large monuments of this type from his own designs. He likewise painted a few works in oil.
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The village is home to a medieval church dedicated to All Saints whose building dates back to the fourteenth century and is partly constructed from Totternhoe stone. The church's fifteenth century spire was destroyed by lightning in 1967 and after the subsequent theft of the lead from its roof was replaced by a much smaller modern turret. The interior houses a number of medieval brasses and monuments to Sir Edmund Anderson (d.1605), founder of the Anderson line who were lords of the manor, and who was also a judge during the trial of Mary, Queen of Scots.
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Included is a memorial to Sir John Wyndham (1558–1645), who played an important role in the establishment of defence organisation in the West Country against the threat of the Spanish Armada. Next to his monument is one to his parents, and the chest tomb of his grandparents, with monumental brasses, serves to separate the chapel from the chancel. A mural monument exists with kneeling effigies of two of Sir John's sons, Henry and George, as well as other monuments to the later family of Wyndham. The organ was presented to the church in 1933 by W. Wyndham.
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There are a great deal of die-hard, unfounded myths surrounding these decorations such as their usage as amulets to ward off the "evil eye". The most popular size is 3 × 3½ inches of flat brass with a hanger by which the brass is threaded onto a horse harness strap, known as a Martingale. In England many of these items of harness found their way into country public houses as the era of the heavy horse declined, and are still associated today as a pub decoration. By the late 19th century heavy horses were decorated with brasses of all kinds and sizes.
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With matrices of missing monumental brasses and decorated with crosses of the Order of St John Sir William Weston (c. 1470 – 7 May 1540) was the last Prior of the Order of Knights of the Hospital of Saint John of Jerusalem in England before the Dissolution of the Monasteries, during the reign of King Henry VIII.although an abortive attempt was made to revive the "English Langue" of the Order by Queen Mary (1553-1558) As such he ranked as Premier Baron in the roll of peers. He is characterised as one of the influential adherents of the papacy.
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Children were trained to dance round the maypole, which was set up in the school playground or on the Green, this celebration ceasing in 1923. The May Queen and her attendants travelled around the village in three or four farm wagons, which were decked up with garlands, all the horses having their martingale brasses highly polished. There was then a free tea for the children in the rectory (or occasionally the Hall) grounds, and the lawns would be lit up with large Chinese lanterns. In the evening there would be dancing in the Adam and Eve barn.
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During the height of costume production each season, a wig shop and additional studio is open in the basement of the Angus Bowmer Theatre. The Festival acquired Carpenter Hall (I) in October 1973, renovating it to accommodate lectures, concerts, rehearsals, meetings and Festival and community events. The Bill Patton Garden (K) provides the venue for free informal summer noon talks by OSF actors and staff. The Tudor Guild, a separate non-profit corporation, operates the Tudor Guild Gift Shop (B) and Brass Rubbing Center (K), where visitors can make facsimiles of 55 historic English brasses under expert guidance.
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Despite the fact that she had cousins, the Lyons estate passed to Sir John Chetwode when Elizabeth Lyons died without male siblings, and Chetwode adopted the older and more distinguished Lyons arms, in preference to his own arms, and the title 'Lord of Warkworth'. Therefore, the Chetwode family are buried and commemorated in the Church. There are five 15th-century monumental brasses: to Sir John Chetwode (died 1412), a second John Chetwode (died 1420), Margaret Brounyng (died 1420), Lady Chetwode (died 1430) and William Ludsthorp (died 1454). There is also an 18th- century monument to William Holman (died 1740).
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Engraving after a 1780 brass rubbing by Craven Ord from King's Lynn Minster, the brass having been removed by the early 19th century Ord's life was mainly devoted to antiquarian researches, but he published nothing separately. He contributed to Archæologia. Ord's support was acknowledged by John Nichols, by Gideon Algernon Mantell, and by George Ormerod in their county histories (respectively of Leicestershire, Surrey, and Cheshire). With Sir John Cullum, Ord assisted Richard Gough in his major work Sepulchral Monuments of Great Britain; in September 1780 he went on a tour in search of church brasses in East Anglia, with Gough and Cullum.
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Work in the early part of 1983 was mainly confined to smaller jobs such as casting various brasses and overhaul of the various parts of the fantail drivetrain and mechanism for controlling the Patent sails. The mill was generally made as safe as possible inside in preparation for scheduled visits, including one from the Wind and Watermill Section of the Society for the Protection of Ancient Buildings. Other work included the overhaul of the final drive to the stones, including dismantling the stone nut and replacement of three cogs in beech. When the weather improved, work commenced outside.
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These effects can lead to significant lead leaching from brasses of comparatively low lead content. In October 1999 the California State Attorney General sued 13 key manufacturers and distributors over lead content. In laboratory tests, state researchers found the average brass key, new or old, exceeded the California Proposition 65 limits by an average factor of 19, assuming handling twice a day.News & Alerts – California Dept. of Justice – Office of the Attorney General , October 12, 1999 In April 2001 manufacturers agreed to reduce lead content to 1.5%, or face a requirement to warn consumers about lead content.
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John Blodwell, DCL was a 15th-century priest. Blodwel was born in Llanyblodwel and educated at the University of Bologna."The 15th Century Vol XI Concerns and Preoccupations" Clark, L p30: Woodbridge, Boydell, 2012 He held the living of Balsham in Cambridgeshire; was a Proctor of Durham"Illustrations of Monumental Brasses Vol V" Mason Neale, J p75: Cambridge, T.Stevenson, 1842 and Canon of St Davids; and Dean of St Asaph from 1418 until 1441."Willis' Survey of St. Asaph, considerably enlarged and brought down to the present time" Edwards, E. p168: Wrexham, John Painter, 1801 He died at Balsham on 13 April 1462.
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The resulting brasses, produced by heating a mixture of copper and calamine to a high temperature for several hours (allowing zinc vapor to distill from the ores and permeate the metallic copper), contained a significant amount of slag material resulting from the non-zinc components of calamine. The use of ore rather than metallic zinc also made it difficult to accurately produce the desired final proportion of copper to zinc. This process is known as cementation. Calamine brass was produced using proportions of two-sevenths fine copper, four-sevenths calamine, and one-seventh shruff (old plate brass).
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The BJP leaders also criticised the opposition political parties for creating an anarchic situation in the country through national and international conspiracies. They called upon the government to initiate open dialogue with major political parties on reforms of the election commission and other demands. Leaders of the BJP central committee and 56 district units spoke at the meeting and almost all of them expressed similar views about the coalition government's performances in the last three and a half years. Many BJP leaders demanded that its top brasses take a quick decision whether the party will be with the alliance or not.
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Rogers, p.156, regnal date 20 Henry VI; Given by Pole in his list The Sheriffs of Devon since the Conquest as William Woodham His monumental brass and chest tomb in the Church of St Mary, Ilminster is said by William Henry Hamilton Rogers to depict him with his mother Joan Wrottesley, daughter of Sir William Wrottesley of Blore and Joan Bassett of Drayton Bassett, both in Staffordshire. It is among the best surviving brasses from the fifteenth century, and depicts him in complete plate armour exported to England by Milanese armorers; the finest of the period. His mother is wearing 'widow's weeds'.
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The church houses one of the largest collections of brasses in England, the oldest dating from the middle of the 15th century. Most of the stained glass dates from the 19th and 20th centuries, although there are fragments of 15th-century glass in the centre window of the north aisle. The east window dates from 1870 and depicts the healing of the Centurion's servant. In the north chapel is a depiction of the Annunciation made by James Powell and Sons, and in the south chapel is a Tree of Jesse from 1916, probably by King of Norwich.
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The ring of bells was augmented to 10 in 1934. The church clock strikes thirteen at 1 o'clock by means of a device invented by the Duke of Bridgewater to prevent his workforce returning late from their lunch hour. The device was transferred from the estate yard to the church in 1946. The fittings are of the highest quality, the original oak pews, a pulpit fashioned by Scott from carved panels acquired on his travels, a richly decorated limestone font and the tomb of Francis Egerton and brasses and memorials to later members of the family in the Ellesmere Chapel.
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Chantry chapel monument to Sir Ralph Cheney, Edington Priory Church The ledger stone on top is missing its original monumental brasses, but the stonework of the chantry chapel retains several relief sculptures of heraldic escutcheons, some held by angels. Also shown is the heraldic badge of a ship's rudder, later adopted by Robert Willoughby, 1st Baron Willoughby de Broke (c. 1452 – 1502) (the eventual heir of Brooke) visible on his chest tomb in Callington Church in Cornwall.Hamilton Rogers, William Henry The Ancient Sepulchral Effigies and Monumental and Memorial Sculpture of Devon, Exeter, 1877, pp. 346–7 & Appendix 3, pedigree of Willoughby de Broke, p.
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Its benefice is now combined with the parishes of Cold Aston, Compton Abdale, Farmington, Hampnett, Haselton, Notgrove and Turkdean. The parish church has a number of monumental brasses. Most portray local wool merchants in civilian clothes with their wives: John Taylour (died 1400) and his wife Joane, Thomas Fortey (died 1447) with his wife Agnes and her first husband William Sors, John Fortey (died 1459), William Midwinter (died 1501) and his wife, Robert Serche (died 1501) and his wife Anne, Thomas Busshe (died 1526) and his wife Johane. In the chancel is a brass portraying a priest, William Lander (died 1530), in his Mass vestments.
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In some marches, a short introduction to the trio is heard, often a repeat of the opening introduction, or it may be a different melody played by the whole band, a fanfare by the brasses—or a percussion soli (drum roll-off) as heard in "Semper Fidelis" by Sousa. Another example of a trio introduction is found in "Twin Eagle Strut" by Zane Van Auken. The third (or technically fourth or fifth) primary melody in a march is called the trio, which usually is the main melody of the march. It typically is played legato style in a softer dynamic and features woodwinds more than brass.
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In 1822–3 Harding published a series of eighteen portraits of the Deans of Westminster, engraved by James Stow, R. Grave, and others, to illustrate John Preston Neale and Edward Wedlake Brayley's History of Westminster Abbey. This was followed in 1825 by Ancient Oil Paintings and Sepulchral Brasses in the Abbey Church of St. Peter, Westminster, with descriptions by Thomas Moule. Among other historical works to which he supplied the plates was John Heneage Jesse's Memoirs of the Court of England during the Reign of the Stuarts, 1840. He gave much time to the preparation of a manuscript account of the Princes of Wales, illustrated with portraits and heraldic devices.
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Two monumental brasses which formerly adorned a tomb-monument of Richard Fortescue exist in Filleigh Church, having been removed from their original setting in the old parish church of Filleigh, demolished c. 1730 to make way for landscaping surrounding the Palladian mansion of Castle Hill, which was a re-modelling of Richard Fortescue's ancient manor house. Both are now affixed within Victorian wooden frames on the north wall of the nave of the new parish church of St Paul, built in 1732 some half mile away from its former location next to the manor house. There are two heraldic escutcheons on each brass, in poor condition with parts torn away.
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A cloth over the man's shoulders was then used to cover the sieve. The tail was sometimes a real horse's tail and was often barbed with hooks or tin-tacks to dissuade people from pulling on it; E. H. Rudkin observed girls who tried to pull a hair from the tail to gain luck and getting scratched as a result. The folklorist E. C. Cawte compared its design to the tourney horse used in the Abbots Bromley Horn Dance, but noted that here there was "even less attempt to produce the illusion of a horse and rider." At East Butterwick, the rider is recorded as being decorated with horses' brasses.
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The chapel was begun in 1554–55 by order of Queen Mary and was completed in 1567 by her half-sister, Elizabeth I. The architectural style is Tudor-Gothic, with Perpendicular tracery and pinnacles. The roof is of an earlier style than the rest of the building, and may have been re-used from the chapel of King’s Hall, the college which preceded Trinity on this site. Only the walls and roof are of Tudor date. There are many memorials to former Fellows of Trinity within the Chapel, some statues, some brasses, including two memorials to Graduates and Fellows who died during both World Wars.
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The title comes from the main character's name, Axel Foley (played by Eddie Murphy). It is composed in the key of F minor. Faltermeyer recorded the song using five instruments: a Roland Jupiter-8 provide the distinctive "supersaw" lead, a Moog modular synthesizer 15 provided the bass, a Roland JX-3P provided chord stab brasses, a Yamaha DX7 was used for the marimba sound, and a LinnDrum was used for drum programming. According to Faltermeyer, the initial reaction to his premiere presentation of the cues to the film's producers and director didn't result in an immediate approval; it wasn't until director Martin Brest voiced his approval that the producers showed enthusiasm.
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The Shakespearean English use of the word 'brass' can mean any bronze alloy, or copper, an even less precise definition than the modern one. The earliest brasses may have been natural alloys made by smelting zinc-rich copper ores.Craddock, P.T. and Eckstein, K (2003) "Production of Brass in Antiquity by Direct Reduction" in Craddock, P.T. and Lang, J. (eds) Mining and Metal Production Through the Ages London: British Museum pp. 226–7 By the Roman period brass was being deliberately produced from metallic copper and zinc minerals using the cementation process, the product of which was calamine brass, and variations on this method continued until the mid-19th century.
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St Meubred's church (note the cross on the right) One of the crosses in the churchyard Treslea Cross Cardinham Methodist Church The parish church is dedicated to St Meubred: it has north and south aisles and a tower of granite. The chancel suffered bomb damage in World War II. In the church is the brass of Thomas Awmarle, rector of Cardinham, d. 1401?Dunkin, E. (1882) Monumental Brasses. London, Spottiswoode Two freestanding Celtic crosses of stone, bearing inscriptions in Latin have been found in Cardinham; both had been embedded in the walls of the fifteenth- century church and were moved after their discovery to the churchyard.
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Martin Singleton playing the T.C.Lewis Organ, 2001 The chancel roof, which had been renewed in the 18th century, was decorated in 1972 by Campbell Smith & Co. There are thirteen ancient brasses in the church, mostly badly mutilated. The cope, to be seen in the North transept, was made for the 900th anniversary of the laying of the foundation stone, and the embroidered designs on this were copied from the mutilated brass of John Byrkhede in the chancel. The brass to John Lyon, founder of Harrow School, and his wife, Joan, is on the wall of the nave, near his grave by the lectern. It has an interesting inscription in English.
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Jocelin saw the church dedicated in 1239 but, despite much lobbying of the Pope by Jocelin's representatives in Rome, did not live to see cathedral status granted. The delay may have been a result of inaction by Pandulf Verraccio, a Roman ecclesiastical politician, papal legate to England and Bishop of Norwich, who was asked by the Pope to investigate the situation but did not respond. Jocelin died at Wells on 19 November 1242 and was buried in the choir of the cathedral; the memorial brass on his tomb is one of the earliest brasses in England. Following his death the monks of Bath unsuccessfully attempted to regain authority over Wells.
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Built in 1890, it is a relatively modern listed building, designed by Rowland Plumbe.Woodlands Park – Grade II – The local pub-restaurant is The Old Plough which dates to the 16th century.The Plough (now with suffix 'Old') – Grade II- The village has an active residents' association with a network of road representatives,Stoke D'Abernon Residents Association but like those of neighbouring Cobham and Oxshott, and unlike similar groups in the rest of Elmbridge, it does not contest elections.Website of the political grouping of the Elmbridge Residents Associations The church, St Mary's, is Saxon with Norman and Victorian additions, and is famous for its monumental brasses, among them the oldest in the country.
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The Church of St Mary is located next to the village green and contains six bells, five of which were made by Joseph Hatch in 1605, which makes them the oldest complete set by the same bellfounder in Kent.Chartham Parish Design Statement, Canterbury City Council & Chartham Society, March 2005 It was built in approximately 1294 and features a number of brasses, including that of Sir Robert de Setvans (d 1306). The stonework of its chancel windows exhibit a form of tracery, known as Kentish or split cusp tracery, which originates here. The tower is 14th century and the renovation was in 1875 by Oxford University architect George Edmund Street.
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J. Howard (ed.), The Visitation of Suffolke, made by William Hervey, Clarenceux King of Arms, 1561, Vol. I (Samuel Tymms, Lowestoft/Whittaker & Co., London 1866), p. 22), but it is shown so. He married Alice, daughter of William Forster of Copdock (near Ipswich), and died in 1593, as shown by his brass memorial in Wrentham church.'Church of St Nicholas, Wrentham', Historic England, List Entry Number: 1284532.'No. 236. 1593. Humphrey Brewster Esquire', in H. Haines, A Manual for the Study of Monumental Brasses (John Henry Parker, Oxford 1848), pp. 96-97 (Google). They had two sons, of whom the elder, Francis (1566-1644), succeeded to Wrentham Hall.
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However, no further volumes in this series came to fruition. In 1992 the Monumental Brass Society began to publish a new fully illustrated "County Series" for England, edited by William Lack, Martin Stuchfield and Philip Whittemore, to cover brasses of all periods, and intended to supersede Stephenson. This has progressed county-by-county on an alphabetical basis, beginning with Bedfordshire in 1992, and reaching Huntingdonshire by 2012. (Cumberland and Westmorland were published as a single volume in 1998; while Essex was published in two volumes in 2003.) For those counties that have been published, the County Series volumes are now regarded as the definitive catalogue.
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The chancel arch was built in the middle of the 13th century. The north aisle, also of three bays, was added about 1340, followed by the Decorated Gothic north chapel, which is alongside the chancel and linked with it by a two-bay arcade. On the floor of the north chapel are monumental brasses commemorating Claricia Wyndesor – quare fieri fecit istam capellam (died 1403) and her husband John York fundator istius Ile (died 1404). Nikolaus Pevsner takes this to mean that the north chapel was built early in the 15th century, which surprised him as its Decorated Gothic style had been succeeded by Perpendicular Gothic around 1350.
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Canting arms of Coblegh family of Brightley: Gyronny of eight gules and sable, between two cobs argent on a bend engrailed of the last three hurts. Monumental brass of Henry Coblegh (died 1470), Chittlehampton Church The Cobley family of Brightley was the leading family resident within the manor and parish of Chittlehampton, but were not lords of the manor of Chittlehampton. Two monumental brasses commemorating the Cobley family are set into two stone slabs measuring 65" × 25" set into the floor of the parish church immediately below and to the west of the pulpit. The more southerly one comprises a brass plaque only, measuring 17 1/4" × 3" (44 × 8 cm).
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Easter Sepulchre monument (remade 19th century) to Sir William Huddesfield and his wife Katherine Courtenay. North wall of chancel, Shillingford St George Church. It contains two monumental brasses: one affixed to the wall and one to the slab A monumental brass of Huddesfield and his second wife Katherine Courtenay survives in Shillingford St George Church,Pevsner, Nikolaus & Cherry, Bridget, The Buildings of England: Devon, London, 2004, p.727; a framed rubbing of the brass hangs in the chapel of Powderham Castle and the arms of Bosome (Azure, three bird bolts in pale points downward or) survive in a stained glass window in the same church.
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Monumental brass of Thomas de Berkeley, 5th Baron Berkeley and his wife Margaret de Lisle, Wotton-under-Edge Church, GloucestershireDavis, C.T. The Monumental Brasses of Gloucestershire, London, 1899. Davis correctly states the date of death as 1417, yet incorrectly calls him 4th Lord in place of 5th; Also drawn in Hollis, George, The Monumental Effigies of Great Britain, 1841, Part 4, Plate 10 crosses pattée six in chief and four in base argent Drawing of detail of mermaid livery collar of Thomas de Berkeley, 5th Baron Berkeley (d.1417), from his monumental brass at Wotton-under-Edge. It is believed to refer to his career as an admiral.
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The main innovation is Battisti's vocal performance, which in the opinion of Stefanel is superior to Maurizio Vandelli's one. In particular, the last two verses, in which the protagonist is laughing on the phone, are interpreted by Battisti in an extremely expressive way, rippling the singing with a forced laugh, which transposes into music the meaning of lyrics. Strings and brasses, at first discrete, later acquire a more important role, and finally result in an instrumental coda which closes the track. According to Stefanel, the coda throws an ambiguous light on the mood of the protagonist, leaving open if the return with his partner is really happy or actually forced.
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The flat Brasses most commonly took the form of an elaborate spear-head or a fleur-de-lis,See examples at while the three- dimensional forms were cast and based on a ball or column shape. There was often a symbolic element in a brass emblem. For example, the addition of a crown could indicate loyalty to the monarchy, while an acorn or oak leaves indicated strength or longevity. Other symbols include clasped hands or two figures shaking hands indicating friendship and community,See, for example, Henbury Society Emblem at religious symbols such as anchors or the Agnus Dei,See Combwich Friendly Society Emblem or Blagdon Hill Friendly Society Emblem at and horseshoes.
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Below them are two smaller male figures, one partly perfect in armour, and underneath again, six female children, of whom two remain.Rogers, p.68Following text largely quoted verbatim from out of copyright work: Jewers, Arthur John (ed.), The registers of the parish of St. Columb Major, Cornwall, from the year 1539 to 1780, London, 1881 The brasses are firmly fixed to the original slab of grey marble by apparently the original fastenings.Jewers, 1881 They were originally in the Arundell chapel (a chantry built by the Arundells on the south side of the chancel of the parish church), and were early in the 19th century covered with some pews which were then placed in the chapel.
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"Porque te vas" is a romantic ballad that incorporates elements of funk, disco and pop music, featuring a predominant use of the saxophone. Critic Julián Molero of Lafonoteca described the track's instrumentation as "full of self-confidence with almost mocking interventions of the brasses and the crash of the drums releasing unexpected blows". Writing for the Spanish edition of Rolling Stone, Miguel Ángel Bargueño wrote that the song possessed "an unruly rhythm and distinctly pop sound". In the book Lost in the Grooves: Scram's Capricious Guide to the Music You Missed, authors Kim Cooper and David Smay described the song as: "delicate breezy pop with one of those super-suave catchy tunes".
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He signed his will at Holditch on 25 May 1415,History of Parliament stating that he was then sick, but survived a further three years until his death on 23 or 24 January 1418. The phraseology used in his will, describing himself as a "wrichyd synner" with a "wreched unclene soule", suggests he was by religion a lollard, as does his wish to have a simple burial at Thorncombe, the parish church of Holditch. However his wife, who died 19 years later in 1437, appears to have ignored his requestHistory of Parliament as the couple are buried together under the surviving elaborate ledger stone and monumental brasses in a prominent position within the church.
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The surviving published version of the musical score appears in the format of a simplified keyboard transcription using a two-staff system (treble and bass). It includes only occasional notations about the instruments used in the original full orchestral score, which has not survived. Therefore, musical elements from the original production such as inner harmonic parts, countermelodies, and accompaniment figurations are no longer known. Based on records of payments made to musicians at The Chestnut Street Theatre at the time of the premiere, it was likely that the production employed approximately 25 pieces, which may have consisted of pairs of woodwinds (flutes, oboes, clarinets, and bassoons) and brasses (horns and trumpets) as well as some timpani and strings.
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Also distinctive in this part of the world is the wooden belfry tower. The church of St Leonard was completed in 1524 by Sir Richard Assheton, in celebration of the knighthood granted to him by Henry VIII for his part in the Battle of Flodden in 1513. The Flodden Window, in the sanctuary, is thought to be the oldest war memorial in the UK. It commemorates on it the names of the Middleton archers who fought at Flodden. The church also has one of the finest collections of monumental brasses in the area, including the only brass in the UK of an English Civil War officer in full armour, Major-General Sir Ralph Assheton.
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View northwards from the chancel into the Wyndham Chapel Sir John Wyndham and his wife Elizabeth Sydenham (d.1571) on their chest tomb, St Decuman's Church, Watchet The Wyndham Chapel occupies the east end of the north aisle and is dedicated to the Wyndham family of nearby Orchard Wyndham House, former lords of the manor. Included is a memorial to Sir John Wyndham (1558 - 1645), who played an important role in the establishment of defence organisation in the West Country against the threat of the Spanish Armada. Next to his monument is one to his parents, and the chest tomb of his grandparents, with monumental brasses, serves to separate the chapel from the chancel.
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The church, which stands on a slight mound on the west side of the village, was probably built by Edmund Grey, Earl of Kent (1465), between 1440 and 1489. It has a chancel, nave long with aisles, south porch and west three-stage tower with a projecting rood stair turret; the whole appears to be one built in local ironstone, embattled. On the walls of the north aisle are three fragmentary brasses commemorating: Eleanor Conquest (1434), Elizabeth, wife of Thomas Waren (1544) and Alice, wife of Reginald Hill (1594). There are six bells, (five dated 1902 and one 1904) by Bowell of Ipswich; they replaced five of 1687 by Richard Chandler of Drayton Parslow.
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40-41 (Internet Archive). They are not to be confused with the Heighams of Giffords Hall at Wickhambrook in Suffolk. His father died on 29 August 1500, and was buried under a marble slab in the Braunches chapel on the north side of the chancel of Lavenham church, with a brass figure in full armour, a brief Latin inscription, and above it a single shield for Heigham displaying Sable a fess componée or and azure, between 3 horses' heads erased argent. (The brasses are long since lost.)Described in Richard Reyce's Breviary of Suffolk (Harleian MSS), recited in J.J. Howard (ed), The Visitation of the County of Suffolke, 2 vols (Whittaker & Co., London/Samuel Tymms, Lowestoft 1868), II, p.
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His father's high tomb was raised on the north side of the chancel of Crowhurst church with a brass figure in armour, inscription and shields including the arms of Gainsford impaling Poyle set into the upper slab.M. Stephenson, 'A List of Monumental Brasses in Surrey', Surrey Archaeological Collections XXVIII (1914), pp. 21–87, at pp. 27–29 (with figure). Nicholas, born about 1427, was appointed Controller of petty customs in the Port of London in October 1449,Calendar of Patent Rolls, Henry VI, Vol V, 1446–1452, p. 304. and in 1452–53 he and his brother John were admitted to Lincoln's Inn,The Records of the Honourable Society of Lincoln's Inn, Vol. I: Admissions, 1420–1799 (Lincoln's Inn, 1896), p. 12.
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Sir Richard Wynn, a 17th century Member of Parliament, is buried within the nave; he had notably taken care of Wimbledon Manor House for Henrietta Maria, wife of Charles I, after she fled to the continent in 1642 during the Civil War. Sir Theodore Janssen, Lord of the Manor of Wimbledon, who was one of the founders of the Bank of England and director of the ill-fated South Sea Company, is also commemorated. Two more modern brasses commemorate the abolitionist William Wilberton, of the nearby Lauriston House, and Walter Reynolds, who was formerly the rector of the church and, later, the Archbishop of Canterbury. The most recent memorials commemorate Leslie Godfree and Kathleen McKane Godfree who were highly successful tennis players in the early 20th century.
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Withington Church is renowned for its 16th century brasses, the oldest has effigies to John Onley, his wife and seven children (1515) The other brass is of Adam Grafton (1530). He was a former vicar of Withington (among many parishes!) and one time chaplain to Edward V and Prince Arthur.Text extracted from the "Saint John the Baptist Church Visitor Guide", written by L. J. Stone and available from the church entrance. The church contains a wooden war memorial plaque to the two men of the parish who died in the First World War and a framed Roll of Honour to those "Belonging to Withington or connected with the parish by ties of family or friendship and who served in His Majesty's Forces" in the same war.
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Jay Krush is a native of the Philadelphia area whose busy career includes performing, composing, arranging, teaching and conducting. A founding member of the Grammy Award-winning Chestnut Brass Company, he has performed on tuba and historical brasses with that ensemble for twenty five years, touring to forty nine of the U.S. States and to Europe, South America, Asia, Canada and the Caribbean. He can be heard on recordings with the Chesntut Brass Company on the Sony Classical, Naxos, Newport Classic, Polygram, Albany, Musical Heritage Society and Crystal labels. Mr. Krush is also a tubist with the Pennsylvania Ballet Orchestra and on the faculty of the Boyer College of Music at Temple University where he teaches tuba and euphonium and directs the Contemporary Music Ensemble.
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Medieval brasses were sold, and a pulpit was placed in the nave for the first time. Between 1551 and 1568, in two periods as dean, William Turner established a herb garden, which was recreated between 2003 and 2010. Elizabeth I gave the chapter and the Vicars Choral a new charter in 1591, creating a new governing body, consisting of a dean and eight residentiary canons with control over the church estates and authority over its affairs, but no longer entitled to elect the dean (that entitlement thenceforward belonged ultimately to the Crown). The stability brought by the new charter ended with the onset of the Civil War and the execution of Charles I. Local fighting damaged the cathedral's stonework, furniture and windows.
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Later that evening, Gilbert joined the rest of The Gentlemen's Club and turned on Negrín, with the group adopting José Chaparro as its new leader. After a title match between Banderas and Del Rio was announced for Wrestlefest, Gilbert made an announcement where he noted that the envelope granting him a match against the champion at any time was still in his possession. In the weeks leading to the event and after a backstage segment placed him at odds with Banderas, he was officially announced as the special referee for the encounter. While officiating at Wretlefest, Gilbert tried to cash in his opportunity after suddenly using knuckle brasses to steal the pin, but Del Rio interrupted this attempt, which led to the title being held up.
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Monumental brasses of Sir John Basset (1462–1529) with his two wives, right: first wife Elizabeth Denys, left: second wife Honor Grenville. Detail from top slab of his chest-tomb, Atherington Church, Devon Sir John Basset married twice, producing in total 12 children. His first wife failed to provide him with a surviving son and heir and he appears to have lost all hope of having a son, hence his conveyance of his Beaumont inheritance to Lord Daubeney, retaining only Umberleigh for his life. However, after a long marriage his first wife died unexpectedly and Basset found himself at the age of 53 remarried to a new 22-year-old bride, who would provide him with the desired son and heir.
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The oxidizing flame creates undesirable oxides to the structural and mechanical detriment of most metals. In an oxidizing flame, the inner cone acquires a purplish tinge and gets pinched and smaller at the tip, and the sound of the flame gets harsh. A slightly oxidizing flame is used in braze-welding and bronze- surfacing while a more strongly oxidizing flame is used in fusion welding certain brasses and bronzes The size of the flame can be adjusted to a limited extent by the valves on the torch and by the regulator settings, but in the main it depends on the size of the orifice in the tip. In fact, the tip should be chosen first according to the job at hand, and then the regulators set accordingly.
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The 13th-century parish church of St Nicholas, after which the village and parish are named, was a chapel of ease for St Mary's Church at Reculver. The first rector is recorded as Adam de Brancestre in 1294. Built in flint, the church houses some fine 16th-century brasses, a carved oak pulpit dated 1615, and a coat of arms of King George III.Drawing of the church exterior The parish has twice been enlarged, firstly in medieval times, when it was separated from the parish of Reculver and joined with the little-known chapelry of All Saints, Shuart in 1310, and again in the mid-16th century, when it was joined with the parish of St Giles, Sarre.. The church is currently part of the Wantsum Benefice.
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Alice, Duchess of Suffolk. Thomas Chaucer, who died in 1434, and Alice de la Pole are buried in the Church of England parish church of Saint Mary the Virgin adjoining the almshouses. The tomb chest of Thomas and that of his wife Matilda Burghersh are topped with memorial brasses showing him in plate armour and her in mantle, veil and wimple with their respective crests (his a unicorn and hers a lion) at their feet. Alice's alabaster tomb, almost undamaged by time, consists of a canopy of panelled stone, below which is the recumbent effigy of the Duchess on top of the tomb chest which contains her remains; the space beneath the chest encloses her sculpted cadaver, which is viewed through elaborate reticulated arches.
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Tiersen only returned to his childhood instrument years later after searching for string sounds to sample. In his albums, Tiersen composes and arranges music incorporating several instruments including keyboards such as piano, electric piano, Fender Rhodes, organ, harpsichord, Bontempi and toy piano, Korg and Moog synthesizers, Mellotron, accordion and melodica, strings as violin, viola, violone and cello, different types of electric, acoustic and bass guitars, mandolin, banjo, ukulele, bouzouki and oud, brasses, like horns, and woodwind instruments such as saxophone, clarinet, bassoon, pipe, oboe and flute, percussions like drums, vibraphone, marimba, tubular bells, tom, cymbal, glockenspiel and tam-tam, and also the sounds produced by Leslie speaker, music box, carillons, typewriters, cooking vessels, chairs, a car or a bicycle wheel. Tiersen plays all of these instruments both in the studio and in concert.
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Harrison, E.M., A History of the Church at Otterton, 1983, pp. 5, 15 (church booklet). The crest of Duke on the helm above is A demi-griffin salient argent, holding in its dexter claw a chaplet azure.Heralds' Visitation of Devon, 1620 These arms can be seen more clearly on the two 17th century monumental brasses now on the west wall of Otterton parish church Following the Dissolution of the Monasteries the manor with the advowson, formerly the property of Otterton Priory, was purchased on 5 February 1540 from the crown (whose agent for such ex-monastic land sales was the Court of Augmentations) by Richard Duke (c. 1515–1572), Clerk of the Court of Augmentations, MP for Weymouth in 1545 and for Dartmouth in 1547 and Sheriff of Devon in 1563–64.
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166 who married Sir Ralph Verney (1509-1546), of Pendley in Tring, Hertfordshire, and of Middle Claydon, Buckinghamshire,HoP biog of son whose monumental brasses with heraldic shields survive in the Church of St. John the Baptist, Aldbury, Hertfordshire.see images On Elizabeth Bray's robe are engraved the arms of Verney (quarterly of four) impaling Bray (quarterly of four: 1&4: Bray modern; 2&3: Bray ancient, all charged with an inescutcheon of pretence of four quarters: 1: Or, on a bend gules three goats argent (Hallighwell); 2: Sable, a chevron between three bull's heads cabossed argent (Norbury); 3: Gules, a fess chequy argent and sable between six crosslets formée fitchée argent (Boteler); 4: Or, two bends gules (Sudeley).For heraldry see: D'Elboux, R.H., The Brooke Tomb, Cobham, published in Archaeologia Cantiana, Vol.62, 1949, pp.
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The church contains many monuments erected for members of the families who have owned the nearby Mark Hall Estate including the altar tomb of Sir Peter Arderne and his wife with fine brass effigies (1467), a brass probably of Sir Peter's daughter Elizabeth and her husband Richard Harper (1492) and an alabaster monument showing the kneeling figures of James Altham, his wife, and 11 children (1583). There are also brasses to Frances wife of Richard Franklin (1604) and Emanuel Wolley (1617). Sir Edward Altham has a marble monument with pilasters, pediment, urns, and angels dating from 1632 and there is a Wall tablet in memory of the vicar Thomas Denne dating from 1680. There are also wall tablets to other Althams and to members of the Lushington, Burgoyne, and Arkwright families.
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The U.S. Mint greatly reduced production of Sacagawea dollars after the 2001 minting, citing sufficient inventory. From 2002 to 2008, the Sacagawea dollar was still minted for collectors and was available in uncirculated rolls, mint sets, and proof sets, but it was not released for general circulation again until the introduction of the Native American series in 2009. The Mint took great care to create the coin with the same size, weight, and electromagnetic properties as the Anthony dollar, but with a golden color. Unlike most other coins in circulation, the selected alloy has a tendency to tarnish quite severely in circulation, as is the case with most brasses, resulting in a loss of the golden shine, except on raised areas where the "patina" is more frequently rubbed off.
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The Rolle family's voracious appetite and great skill for amassing Devon property later saw Frithelstock Priory become one of their own estates.Risdon, Tristram (died 1640), Survey of Devon, 1811 edition, London, 1811, with 1810 Additions, p.422 He was much involved in the legal affairs of Lisle's wife's dower manor of Umberleigh and in the protracted legal struggle to obtain the Beaumont inheritance due to her eldest son John Basset (1518–1541), by her first husband John Basset (1462–1528) of Umberleigh. His letter to Lady Lisle dated 25 July 1534 includes the line "Madame, also your ladyship doth know that I bought your images and scripture for Mr Basset and for that I am now paid", which refers to the still surviving monumental brasses on the tomb of her first husband in Atherington Church.
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It was also in 1908 that he published his first book, a short history of church brasses. His collection of some 1500 brass rubbings is now in London's Victoria and Albert Museum. Replica Neolithic pit dwelling at Abbey Folk Park After the First World War he accumulated a significant private collection of antiques and when from 1927 onwards he began to form the "Confraternity of the Kingdom of Christ", together with his second wife Jessie, he would frequently return from a day in London with their car laden with numerous historical pieces for the collection. A thirteenth-century tithe barn, painstakingly taken down, transported in pieces and re-erected at Park Road, New Barnet, just outside London, was filled with priceless antiques and opened as a church in 1930.
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1401), and his wife Margaret, which formerly covered the tomb in St Mary's church, Warwick, is a striking example. One of the best specimens of plate armour is that of Sir Robert Stantoun (1458) in Castle Donington church, Leicestershire, and one of the finest existing brasses of ecclesiastics is that of Thomas de la Mare, Abbot of St Albans Abbey from 1349 to 1396. An interesting monumental brass of John Rudying dated 1481 in the Church of St Andrew in Biggleswade shows the figure of Death about to strike Archdeacon Rudying with a spear.Brass Monumental Brass of Death and John Rudying - Rubbings Collection - Ashmolean Museum, University of Oxford All Saints' Church, Rotherham, later owners of Broom Hall, Sheffield It is only in the 16th century that the engraved representations become portraits.
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Two small monumental brasses formerly affixed to the now lost tomb-monument of Richard Fortescue (died 1570) of Filleigh, displaced from their original location in the pre-1732 old church. Now affixed in Victorian frames to north wall of nave of new post-1732 Church of St Paul, Filleigh. To the left the brass depicts Sir Bernard Drake (died 1586), who erected the now lost monument to his brother-in-law Richard Fortescue (died 1570) who is depicted in the brass on the right. Above is a marble mural monument listing members of the Fortescue family buried in the family vault below The old mediaeval church was demolished by Lord Clinton in about 1730, as being situated adjacent to the old manor house which was to be re-modelled into the Palladian mansion, it interfered with the ambitious related landscaping plans.
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Recorded in December 2011, it's the most minimal cut on Exercises; its instrumentation includes a piano, slow-attack synth brasses performing harmonies in the style of the LP Amber (1994) by English duo Autechre, and a mid-octave synthesized bell counter-melody representing snow. Silver said that it is about a "lost winter feeling" with "moments of tenderness, confusion, elation." Categorized by Williams as a downtempo track in the style of the works of Jean Michel Jarre, "Exercise #7 (Loss)" centers around a triple metre piano with sawtooth wave sounds and vibraphones that fade in and combine to a "cloud" around it, wrote Shaw. Worthington analyzes that "Exercise #6 (December)" and "Exercise #7 (Loss)" depart from the "distinctly urban" element of the other tracks on Exercises for a "warmer" and "earthier" tone with quieter synthesizer textures.
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This dedication to sharing and receiving information continues today through the worldwide Moravian Unity, including Africa and the Caribbean. Along with their rich devotional life and their missionary fervor, the Moravians maintained their high regard for education and their love of music as an essential part of life. Moravian composers – also serving as teachers, pastors, and church administrators – were well versed in the European Classical tradition of music, and wrote thousands of anthems, solo arias, duets, and the like for their worship services, for voices accompanied not only by organ but also by string orchestras supplemented by woodwinds and brasses. In addition, these musicians copied thousands of works by the best- known and loved European composers of their day – Carl Stamitz, Haydn, Carl Friedrich Abel, Adalbert Gyrowetz, Mozart, the Bach family, and many whose names have descended into relative obscurity.
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Originally constructed in the early 13th century, the present church building has undergone numerous alterations, extensions, rebuilds and restorations since this time. An Early English south porch does survive from the original 13th-century structure, however, and records trace the existence of a previous Collegiate church on this site as far back as 1066. The Trinity Chapel of the church was first constructed in 1416, with maintenance of the chapel entrusted to the Holy Brotherhood of the Trinity. The church has long standing connections with Sir William Harpur and Dame Alice Harper, and the Trinity Chapel holds brasses of the couple. Sir William was the Lord Mayor of the City of London in 1562, and his Harpur Trust (which has a long history of operating independent schools in Bedford) has donated many of the stained glass windows in the church.
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His third period began from 1970 when his music becomes more improvisatory, perhaps due to his experiences playing in the Group of Improvisation (Grupo de Improvisacion) with Enrique Gerardi and Jorge Blarduni. Representative pieces include "Cuando estamos, cuando no estamos" for 8 instruments including the sitar and "Todos los dias… ninguno" for chamber ensemble, which won the composition award at the Simon Bolivar University in 1978. Sounds of the trumpet and brasses continue to be featured in his compositions from the 1980s, cumulating in the piece "Trumpets in September", composed in 1991. Music from this final period often reminiscence on events or places from the past with titles like "That Afternoon in That House" and "Once…" Two other pieces were dedicated to his wife and one to his son; the latter has yet to be performed.
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The northern one is late 15th or early 16th century with linenfold moulding to the lower part. The southern screen is 15th century with seven cinquefoiled headed lights and stalls below with three carved misericords. The walls feature wall paintings in various locations including St Michael defeating Satan, a number of crucifixions and Dives and Lazarus. The north window of the chancel contains grisaille glass and the east window of the north chapel (or "St Leger Chapel") contains stained glass in memory of the St Leger family, long lords of the manor of Ulcombe Yew tree in churchyard with plaque claiming it to be more than 2,000 years old The church contains memorials or monumental brasses to Sir William Maydeston (d 1419), Ralph I St Leger (d 1470) and his wife Anne, Sir Francis Clerke (d.
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Monumental brass of Sir John Basset (died 1528) of Umberleigh. On his chest- tomb between brasses of his two wives in St Mary's Church, Atherington, Devon, moved in 1818 from the nearby Holy Trinity Chapel, Umberleigh (now demolished) next to Umberleigh House Arms of Basset (ancient) of Umberleigh, Devon and Tehidy, Cornwall: Barry dancetty of seven or and gules. The family's later "modern" arms were: Barry wavy of six or and gules, as visible in Heanton Punchardon Church and at Watermouth Castle, Devon Sir John Basset (1462–31 January 1528), of Tehidy in Cornwall and of Umberleigh in Devon was Sheriff of Cornwall in 1497, 1517 and 1522 and Sheriff of Devon in 1524. Although himself an important figure in the West Country gentry, he is chiefly remembered for his connection with the life of his second wife and widow Honor Grenville (d.
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The abbey was only surrendered to Henry VIII in 1539, so that before the year was out the work of spoliation had begun, and the abbot's brass had been removed and re-engraved to Margaret Bulstrode. These ancient brasses were often stolen and re-erected after being engraved on the reverse, as at Berkhampstead, because until the establishment of a manufactory at Esher in Surrey by a German artisan in 1649, all sheet brass had to be imported from other countries on the European mainland. Jamestown Church in Virginia, built by English colonists in the early 17th century, contains a unique example of an American brass. The inlay itself has been lost, but the ledger stone survives and shows the imprint of a coat of arms and a knight in armour, believed to be Virginia governor George Yeardley (d. 1627).
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Her father Alfred was a shoe manufacturer and merchant, and later became President of the Norwich Hebrew Congregation and chairman of the Norfolk Daily Standard Company Ltd, as well as receiving the honour of being made the Sheriff of Norwich. Daphne referred to herself using the more Anglicised, 'Haldin', both professionally and privately, and appears to be the only member of her family to do so, although it is not certain when she began doing this.The Daphne Haldin Archive, 'collection level description' After the death of her father, she moved with her mother to London, where she spent the rest of her life. Despite evidence to suggest she studied History of Art at University College London and published at least one article on Medieval brasses for The Connoisseur, she remains otherwise unknown as an art historian.
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Raine notes that each aisle is now one arch longer than contracted for and that the vestry porches and the tower were not included in the original contract. The font was carved and installed not long after the original contract with Richard of Cracall. It's octagonal bowl is inscribed with the coats of arms of many local noble families (de Burgh, Scroop, Neville, Fitzhugh and Lascelles). It was long believed that the font and its stone base had been carved out of either grey or black marble, but a more modern assessment holds that it is black limestone with a very high polish. The interior of the church contains many plaques, brasses and monuments to the dead, including an effigy of Sir Walter Urswick who fought on the side of the Black Prince at the Battle of Nájera and who was later the Constable of Richmond Castle in 1371.
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The epitaph reflects upon human mortality: > man com & se how schal alle dede li: wen þow comes bad & bare > noth hab ven ve awaẏ fare: All ẏs wermēs þt ve for care:— > bot þt ve do for godẏs luf ve haue nothyng yare: > hunyr þis graue lẏs John ye smẏth god yif his soule heuen grit In the chancel are two brasses commemorating John Cottesmore, who died in 1439. Stone monuments include two 16th-century chest tombs of members of the Carleton family, and a substantial English Baroque monument to members of the Stone family on the east wall of the north chapel. The latter was built in about 1670 or 1690, replacing monuments to John Stone (died 1640) and his son Sir Richard Stone (died 1660) that were destroyed in the Great Fire of London in 1666. The bell tower has a ring of six bells.
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The scoring is generally heavy, and Bartók employs many colorful techniques here, including chromatic scales, trills and tremolos in the woodwinds; glissandi in the horns, trombones and tuba; cluster chords and tremolos on the piano; scales and arpeggios on the piano, harp and celeste; and scales, double stops, trills, tremolos, and glissandi in the strings. Other special effects include fluttertonguing in the flutes; muting the brasses and strings, a cymbal roll a deux (a cymbal crash followed by scraping the plates together); playing the bass drum with the wooden part of a timpani mallet; a roll on the gong; rolled timpani glissandi; string harmonics; col legno and sul ponticello playing in the strings; scordatura in the cellos; and, at one point, quarter-tones in the violins. In 2000 a new edition edited by Peter Bartók, the composer's son, was published. Based on the composer's written manuscripts, corrections, and the concurrently written score for piano with four hands, it restored a considerable amount of previously lost music.
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His mother, Sarah, was Thomas's second wife. She was the eldest daughter of William Gibson, surgeon of Carlton Colville and Willingham Hall, Beccles, Suffolk. Early in life Davy was apprenticed to a grocer at Halesworth, but his creative yearnings got the better of him and he left his apprenticeship to pursue drawing. Instead he became apprenticed to John Sell Cotman at Great Yarmouth, and assisted him in the etching of his Norfolk architectural views and illustrations of monumental brasses, published in 1818 and 1819. With this experience he issued his own series of ten etchings of Suffolk Antiquities including details of Beccles church, in 1818. In 1824 he married Sarah Bardwell, daughter of a master mariner in Southwold. Until 1829 he lived and worked in Southwold as an instructor in drawing and sketching from nature, and in the production of his own watercolours and etchings.A.H. Denney, 'Henry Davy, 1793-1865', Proceedings of the Suffolk Institute of Archaeology XXIX, pp. 78-90 & plates, at pp. 78-79.
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They vary in size and presentation, with one panel containing six in three rows of two, and others containing one, two or three full-length figures. Sykes attended the Paris Peace Conference in 1919 as an expert on the Middle East, as he was a signatory to the 1916 Sykes–Picot Agreement, but he contracted Spanish flu and died in Paris in February 1919. The villagers of Sledmere commissioned one further figure of Sykes to fill the remaining eighth panel, depicting him as a knight with a shield bearing the Sykes arms and a scroll with the words "LAETARE JERUSALEM" ("Rejoice, Jerusalem"). The figure of Sykes was unveiled on 3 April 1921 at the same time as the last of the other brasses, at a ceremony attended by a guard of honour from the 5th Battalion, Green Howards, with which Sykes served in the Second Boer War and of which Sykes was the commanding officer when the First World War broke out in 1914.
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Chancel memorial brass to An Thompson Roberts' plinth tomb Monumental brasses combined as a one slab memorial next the altar at the north-east corner of the chancel is to An Thompson--the wife of Thomas Thompson--who died in childbirth, aged 31, on 25 July 1607, St James' Day. There are eight plates: one each of an image of a man and woman in Elizabethan dress; two with inscriptions; one depicting their nine sons; one their four daughters; and at the head one shield of arms each over Thomas and An. On the opposite south- east side is an engraved stone slab to the memory of Dame Mary Scott with, at the top, three coat of arms in lozenge format. Dame Mary died 1678 aged 89 years, and was the daughter of John Aldersey of Aldersey Hall, Cheshire, who was a haberdasher in London--the Alsersey family were the first inhabitants of Berden Hall. She was first married to Thomas Westrowe, a London alderman and grocer.
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Pevsner, Buildings of England, South & West Somerset, p. 208 It consists of a 1689 Baroque monument erected by his subsequent heirs Sir Edward Wyndham, 2nd Baronet and Thomas Strangways on which was re-placed the Purbeck marble slab inset with late Gothic style post-Reformation monumental brasses from the original monument which had collapsed.A tablet on top of the monument is inscribed: Hoc monumentum vetustate collapsum instauratum erat sumptibus Domini Edvardi Wyndham Baronetti & Thomae Strangways Armigeri duorum cohaeredibus dicti Nicolai Wadham Septembris die VII Anno Dom MDCXXCIX ("This monument, collapsed from old age, was erected by the expenditures of Sir Edward Wyndham, Baronet & Thomas Strangways, Esquire, two of the co-heirs of the said Nicholas Wadham, on the 7th day of September in the year of Our Lord 1689") The monument was again restored in 1899 by the architect Thomas Graham Jackson (1835–1924).A tablet on the monument is inscribed: Hoc fundatorum monumentum iterum vetustate dilapsurum Collegii Wadhami in Univ. Oxon.
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Brass rubbing of a memorial showing the alliance of the Lindley and Palmes family, Otley Church, West Yorkshire Rubbing of the Thorntons' brass, Newcastle Cathedral (Newcastle upon Tyne) Brass rubbing was originally a largely British enthusiasm for reproducing onto paper monumental brasses – commemorative brass plaques found in churches, usually originally on the floor, from between the thirteenth and sixteenth centuries. The concept of recording textures of things is more generally called making a rubbing. What distinguishes rubbings from frottage is that rubbings are meant to reproduce the form of something being transferred, whereas frottage is usually only intended to use a general texture. Brass rubbings are created by laying a sheet of paper on top of a brass (actually called "latten" - an alloy of brass and nickel) and rubbing the paper with graphite, wax, or chalk, a process similar to rubbing a pencil over a piece of paper placed on top of a coin.
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However, the Olds plant in Los Angeles was not set up for manufacturing the additional brass lines and CMI had difficulty finding a partner who would provide these instruments to Olds without also producing the more profitable small brass and trombones. Instead, CMI's president, Maurice Berlin, coaxed Foster Reynolds, a former apprentice at J.W. York,30 year veteran of the H.N. White company, and founder of F.A. Reynolds Co., out of retirement and sent him to Los Angeles with a directive to tool up the factory and begin manufacturing the full line of brasses. Reynolds was regarded as one of the top brass instrument designers in the country, and was responsible for the introduction of many of the finest Olds trumpets and cornets. In the late 1940s, in a meeting between Reynolds, Reg Olds and Berlin, it was decided to pursue the student musician market for which great projections had been made.
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Planché, Recollections and Reflections, II. 228. In 1872 he published his autobiography, a two-volume work entitled The Recollections and Reflections of J. R. Planché (Somerset Herald): a professional biography, containing many anecdotes of his life in the theatre. In addition, Planché produced over 100 papers and articles on a wide range of topics. His obituary in the Journal of the British Archaeological Association mentions in passing such topics as the following: > Naval uniforms of Great Britain, early armorial bearings, processional > weapons, horn-shaped headdresses of the thirteenth, fourteenth and fifteenth > centuries, the clarion, the Stanley crest, ancient and medieval tapestries, > armorials of Ferres and Peverel, the Cokayne monuments at Ashbourne, the > tilting and other helmets, the family of Giffard, the Earls of Strigul (the > Lords of Chepstow), relics of Charles I, the Earls and Dukes of Somerset, > the statuary of the west front of Wells Cathedral, various effigies, brasses > and portraits, the first Earl of Norfolk, the family of Fettiplace, > monuments in Shrewsbury Abbey, the Neville monuments, the Earls of Sussex, > of Gloucester and of Hereford, and the Fairford windows.
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284 The Coblegh family of Brightley were the leading family resident within the manor and parish of Chittlehampton but were not lords of the manor of Chittlehampton. Two monumental brasses commemorating the Cobley family survive in St Hieritha's Church, Chittlehampton, one with an inscription to Henry Coblegh (died 1470) and his wife Alicia, parents of John Coblegh, whose brass lies adjacent to the north. John married twice, firstly to Isabella Cornu, secondly to Joan Pyne (possibly of the Pyne family of East DownVivian, p.632, pedigree of Pyne), as his brass records. His son by his second marriage was John Coblegh (died 1542) who married Joan (or Jane) Fortescue, a daughter of William Fortescue (died 1520), 2nd son of John Fortescue,Stated in the Visitations of Devon to have been MP for Totnes, Tavistock and Plympton; However the History of Parliament biography of his 1st Cousin Sir John Fortescue, Lord Chief Justice, of Ebrington, states the latter to have been MP for those places, thus confusion exists between the 2 sources of Wimpstone, Modbury,Vivian, Visitations of Devon, p.
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The locomotives were not known to be in the best condition due to decades of deferred maintenance at Nelson. One example of this is WF 62, which had its boiler inspected in 1926. It was found the boiler had only two years of life left, and notice was given that the engine should not be used after 1928. However, the locomotive soldiered on, and was the last engine in steam on the Nelson Section in 1956. In 1955, Addington Workshops fitter Noel Mather was sent to Nelson due to the failure of all four WF class locomotives. At that time, WF 62 had been withdrawn earlier that year due to a badly cracked smokebox saddle, WF 395 had not run in some years and was now the spare parts source, WF 397 was out of service requiring valve repairs, new piston rings and side- rod brasses, and new trailing bogie flanges as well as unspecified repairs to sundry minor parts. WF 404, previously the only operable steam locomotive at Nelson, had been removed from service with small cracks in the smokebox saddle. It had been steaming poorly, and its valves were out of time, requiring some attention.
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During the later 18th century, literary forgeries had a certain esteem, when audacious impostures like the De Situ Britanniae, the pseudo-Ossian, the medieval poems of Thomas Chatterton, or the works of William Henry Ireland might carry their own worth, and capture the romantic imagination. The case of Collier, in the mid-19th century, was different, because it was profoundly shocking to the scholarly establishment to discover that a long-established colleague in their midst, a person closely associated with the British Museum, the editor of numerous important editions, with privileged access to the primary documents of English literature, should become suspected of the systematic falsification of evidence and possibly the mutilation of original materials, especially in relation to William Shakespeare. Much as Sir Edward Dering's forgeries had corrupted the historical record in ways that were then not yet recognized,O.D. Harris, 'Lines of Descent: Appropriations of Ancestry in Stone and Parchment', in T. Rist and A. Gordon (eds), The Arts of Remembrance in Early Modern England: Memorial Cultures of the post-Reformation (Routledge, London 2016), pp. 85-104.R.H. D’Elboux, 'The Dering Brasses,' The Antiquaries Journal XXVII (1947), 11–23.
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