Life and works.

Few details of his life are known; we know neither the names of his parents nor his precise dates of birth and death. Recent research has revealed that his first name was Jean (other sources mention the name of Augustine of Autrecourt, Sieur de Sainte-Colombe) and also that he had as teacher the theorbo and viola player Nicolas Hotman.  Sainte-Colombe performed publicly in the Parisian Salons, as did most of his colleagues and Parisian music masters such as Le Sieur Dubuisson. According to Titon du Tillet, he often performed in consort with his two daughters, and often with his own students, as attested by the copyist who wrote out his pieces for two viols as well as the solo-viol Tournus Manuscript. Sainte-Colombe's most notable student was Marin Marais, who wrote "Tombeau pour Monsieur de Sainte-Colombe", in 1701, as a memorial to his instructor. Sainte-Colombe's students also included the Sieur de Danoville, Jean Desfontaines, Pierre Méliton, Jean Rousseau and two women known only as Mlle Rougevillle and Mlle Vignon.  Amongst the extant works of Sainte-Colombe are sixty-seven "Concerts à deux violes esgales", and over 170 pieces for solo seven-string viol, making him perhaps the most prolific French viol composer before Marin Marais.

Family history.

It is speculated by various scholars that Monsieur de Sainte-Colombe was of Lyonnais or Burgundian petty nobility; and also the selfsame 'Jean de Sainte-Colombe' noted as the father of 'Monsieur de Sainte-Colombe "le fils".' This assumption was erroneous, according to subsequent research in Paris by American bass viol player and musicologist Jonathan Dunford. Dunford suggests he was probably from the Pau area in southernmost France and a Protestant, that his first name was "Jean" and that he had two daughters named Brigide and Françoise.

Contemporary references.

In 1991, Pascal Quignard published a novel giving a conjectural picture of the relationship between M. de Sainte-Colombe and Marin Marais, entitled "Tous les matins du monde" (All the Mornings of the World). Alain Corneau directed a film based on it, with Jean-Pierre Marielle as Sainte-Colombe, Guillaume Depardieu as the young and Gérard Depardieu as the aged Marin Marais. The soundtrack of the film was realized by Jordi Savall.  A quotation from a composition of Monsieur de Sainte-Colombe is used in Carlo Forlivesi's "Requiem" (1999).

Jean de Sainte-Colombe (ca. 1640–1700) was a French composer and violist. Sainte-Colombe was a celebrated master of the viola da gamba. He is credited (by Jean Rousseau in his "Traité de la viole" (1687)) with adding the seventh string (AA) on the bass viol.

Jean de Sainte-Colombe, také známý jako Monsieur de Sainte-Colombe (1640 – 1700) byl francouzský barokní hudební skladatel a učitel, hráč na violu da gamba.


Mistrovství světa ve fotbale 2014 – skupina F

Matches.

Argentina vs Bosnia and Herzegovina.

The two teams had met in two previous matches, both in friendlies, most recently in 2013, both won by Argentina.  Bosnia and Herzegovina conceded three minutes into their World Cup debut, when Lionel Messi's free kick from the left was flicked on by Marcos Rojo and bounced off Sead Kolašinac into the net for an own goal. In the second half, Messi played a one-two with substitute Gonzalo Higuaín and shot home from the edge of the penalty area with his left foot into the bottom-right corner. With five minutes remaining in normal time, Bosnia and Herzegovina pulled one back, when Senad Lulić's pass found substitute Vedad Ibišević to score the country's first ever World Cup goal, shooting under the goalkeeper with his left foot.  Kolašinac's own goal after two minutes and nine seconds broke the record for the fastest own goal in the history of the FIFA World Cup, surpassing Carlos Gamarra's own goal (two minutes and 46 seconds) in Paraguay's first group stage match against England at the 2006 FIFA World Cup.

Iran vs Nigeria.

The two teams had met in one previous match, in the 1998 Lunar New Year Cup, won 1–0 by Nigeria.  In a goalless game of few chances, Iran's Reza Ghoochannejhad forced a save from Vincent Enyeama in the first half, while Nigeria substitute Shola Ameobi headed wide in the second half.  This was the first goalless match as well as the first draw of the tournament after the previous 12 matches all produced a winner, and was the longest wait for a draw in a single tournament since 1930, where there were no draws in the entire tournament. This was also the first clean sheet kept by Iran in the World Cup.

Argentina vs Iran.

The two teams had met in one previous match, in a friendly in 1977, won on penalties by Argentina after a 1–1 draw.  In a match where Argentina dominated in terms of possession and shots, they scored the only goal one minute into second half injury time when Lionel Messi received a pass from Ezequiel Lavezzi on the right wing, dribbled inside and curled a left-footed shot past the outstretched hands of the Iranian keeper Alireza Haghighi. Before the goal, Iran had chances to score, but Argentina goalkeeper Sergio Romero was able to save Ashkan Dejagah's header and Reza Ghoochannejhad's shot, and Dejagah also had a penalty appeal turned down when Argentina defender Pablo Zabaleta tackled him in the area but only just got his toe to the ball. With the win, Argentina were guaranteed to advance to the knockout stage.

Nigeria vs Bosnia and Herzegovina.

The two teams had never met before.  Bosnia and Herzegovina thought they had taken the lead when Edin Džeko put the ball into the net, but his effort was ruled out for offside, which replays later showed to be an incorrect decision. Referee Peter O'Leary later admitted Džeko's goal was disallowed in error. Seven minutes later, Nigeria took the lead when Emmanuel Emenike burst past Emir Spahić to cross for Peter Odemwingie to score, firing in through the legs of Asmir Begovic. Džeko came closest to scoring the equaliser to keep his team's qualification chances alive, but his shot in second-half stoppage time was deflected onto the post by Nigeria goalkeeper Vincent Enyeama. Nigeria held for the win and eliminated Bosnia and Herzegovina as a result.

Nigeria vs Argentina.

The two teams had met in six previous matches, including three times in the FIFA World Cup group stage, all won by Argentina (1994: 2–1; 2002: 1–0; 2010: 1–0).  Before the match, Nigeria were the only team yet to concede in the tournament, but their defence were breached inside three minutes when Ángel Di María's shot hit the post and Lionel Messi slammed home the rebound. Nigeria, which would qualify for the knockout stage if they gained a point or if Iran failed to beat Bosnia and Herzegovina in the other match, equalised within a minute, when Michel Babatunde fed Ahmed Musa, and he cut inside and curled the ball into the net. Messi put Argentina in front in first half injury time with a direct free kick, but Musa equalised once again early in the second half, after playing a one-two with Emmanuel Emenike and scored. Argentina, which needed only a point to win the group, then scored the game winner when a corner from Ezequiel Lavezzi was flicked on by an Ezequiel Garay header and Marcos Rojo scored with his knee. Argentina won the group with a perfect record of three wins out of three, while Nigeria were able to qualify as group runners-up despite losing as Iran also lost to Bosnia and Herzegovina in the other match.  Musa became the first Nigerian player to score more than once in a World Cup match.

Bosnia and Herzegovina vs Iran.

The two teams had met in five previous matches, all in friendlies, most recently in 2009.  Bosnia and Herzegovina, which had already been eliminated, led 1–0 at half-time through a goal by Edin Džeko, shooting low with his left foot after he received a pass from Miralem Pjanić. Pjanić extended the lead in the second half when he slotted low past the goalkeeper, after receiving a through ball from Tino-Sven Sušić. Iran, which had to win and also hoped Nigeria lost to Argentina to have any chance for qualification to the knockout stage, reduced the deficit after Reza Ghoochannejhad tapped home from close range from a Javad Nekounam cross. However, Bosnia and Herzegovina scored a third goal when Avdija Vršajević slotted home with his right foot after Sejad Salihović played him in on the right, sealing their first win in World Cup finals history, and also confirming Iran's elimination, meaning that they failed to advance to the knockout stage for all four of their World Cup campaigns.  With Ghoochannejhad's goal for Iran, the 2014 World Cup became the first since 1998 in which every participating team managed to score at least once.
<section end=f6 /

Group F of the 2014 FIFA World Cup consisted of Argentina, Bosnia and Herzegovina, Iran and Nigeria. Play began on 15 June and ended on 25 June 2014. The top two teams, Argentina and Nigeria, advanced to the round of 16.

Skupina F Mistrovství světa ve fotbale 2014 byla jednou z osmi základních skupin tohoto šampionátu. Nalosovány do ní byly celky Argentiny, Bosny a Hercegoviny, Íránu a Nigérie.


Club career.

Early career.

Matuidi was born in Toulouse, Haute-Garonne, to an Angolan father, Faria Rivelino, and a Congolese mother, Élise. Rivelino emigrated to France at a young age. Matuidi has four other siblings and was raised in the Parisian suburb of Fontenay-sous-Bois. He grew an attraction to the sport of football watching Paris Saint-Germain and became an admirer of former PSG attacker Jay-Jay Okocha. Matuidi began his football career at the age of six playing for hometown club US Fontenay-sous-Bois. After five years at the club, he joined CO Vincennois in nearby Vincennes, where he was teammates with Yacine Brahimi for a year. In 1999, Matuidi was rated as one of the best players in the Île-de-France region and was subsequently selected to attend the prestigious Clairefontaine academy. He trained at the academy for three seasons, playing there on weekdays while simultaneously playing for Vincennes on the weekends. In 2001, Matuidi left Vincennes to sign for semi-professional club Créteil on an "aspirant" (youth) contract. He spent four years in the club youth academy quickly becoming one of the club's most sought after prospects. Despite an intriguing offer from the two-time defending champions Lyon, Matuidi signed with Troyes, citing the club's training centre as his primary reason.

Troyes.

Matuidi began his career with Troyes playing on the club's reserve team in the Championnat de France amateur 2, the fifth division of French football. In November 2004, he was called up to the senior team by manager Jean-Marc Furlan and made his professional debut on 23 November in the team's Ligue 2 match against Gueugnon. Matuidi started the match and played over 60 minutes in a 2–1 victory. His only other appearance with the senior team in the 2004–05 season came on 4 February 2005 in a league match against Guingamp. Matuidi was relegated back to the club's reserve team for the rest of the campaign where he helped the team finish in sixth place. In the following season, Matuidi was promoted to the senior team, who were now playing in Ligue 1, on a permanent basis. He was inserted as a starter by Furlan and appeared in 31 league matches. Matuidi was also one of the league leaders in card accumulation, with 11. He scored his first professional goal on 11 January 2006 in a 1–0 victory against Lille, converting a volley that was described by the media as "magnificent." Despite the impressive individual season from Matuidi, Troyes finished only one spot above the relegation zone.  Following the season, on 16 June 2006, Matuidi signed his first professional contract, agreeing to a four-year deal with Troyes despite interest from English club Charlton Athletic. Despite the firing of Furlan, Matuidi remained first-choice under new manager Denis Troch. He appeared in 35 total matches and score three goals. He also reduced his card accumulation to only six. Arguably Matuidi's greatest performance in a Troyes shirt came on 28 April 2007 against Sedan, whom Troyes were contesting a relegation battle with. With Troyes trailing 2–1 at home with 15 minutes remaining, Matuidi scored an equalizing goal in the 75th minute. Eight minutes later, he scored the winning goal to give Troyes a 3–2 victory. Matuidi scored again on the final match day of the season against Lens in a 3–0 win, however, Troyes still dropped down to Ligue 2 after finishing the season in the 18th position. The club's relegation back to Ligue 2 caused speculation regarding Matuidi's future with the club.

Saint-Étienne.

Despite being linked with a hosts of Ligue 1 clubs, notably Bordeaux, Lille and Monaco, on 12 July 2007, it was confirmed by the media that Matuidi had agreed to join Saint-Étienne after agreeing to a four-year deal with the club. Upon his arrival, Matuidi was given the number 12 shirt and was inserted into the starting XI, where he established midfield partnerships with Loïc Perrin and Christophe Landrin. He also formed a bond with former and fellow "Troyen" Bafétimbi Gomis, who had a breakout season. Matuidi made his club debut on 11 August 2007 in a league match against Valenciennes. He remained first-choice for the entire season under Laurent Roussey. The club's play that season culminated into a fifth-place finish and qualification for the UEFA Cup.  During the 2008–09 season, Matuidi's performances caught the attention of English club Arsenal, who sent its scout Gilles Grimandi to watch him. Grimandi subsequently recommended the player to fellow Frenchman and Arsenal manager Arsène Wenger. Matuidi was also tracked by Italian club Milan during the season. On 16 August 2008, he scored his first career goal for Saint-Étienne in a 2–1 win over Sochaux. Matuidi made his European debut on 18 September 2008 in the team's first leg tie in the first round of the UEFA Cup against Israeli club Hapoel Tel Aviv. He made eight appearances in the competition as Saint-Étienne ultimately reached the Round of 16 before suffering elimination to German club Werder Bremen. Matuidi appeared consistently in the league until receiving his first career red card in the team's 3–0 defeat to Lille. In the second half of the season, Matuidi and the club in general struggled with injuries. The team's broken collective resulted in Saint-Étienne barely avoiding relegation, having survived on the last day of the season. After the season, Matuidi announced his intent to leave the club, telling French newspaper "L'Equipe", "My wish is to leave because I think it's time." Matuidi also stated that he would be happy if he remained at Saint-Étienne. After failing to receive any significant offers from clubs in the 2009 summer, sporting director Damien Comolli announced that Matuidi would remain at the club for the 2009–10 season.  Matuidi was named as the club's captain by incoming manager Alain Perrin following the first league match of the 2009–10 season due to injuries to incumbent captain Loïc Perrin. Despite Loïc Perrin returning to the team in September 2009, Matuidi still held onto the armband. Under his leadership, Saint-Étienne defeated the defending champions Bordeaux 3–1 on 3 October 2009. Following the firing of Alain Perrin midway through the season, incoming manager Christophe Galtier returned the captaincy back to Loïc Perrin. On 18 May 2010, Matuidi was involved in a physical altercation with teammate Dimitri Payet during the team's 1–0 defeat to Toulouse. Midway through the first-half, Payet received criticism from teammate Yohan Benalouane for displaying a lack of aggression. He was then confronted by Matuidi, who echoed Benalouane's sentiments. Matuidi and Payet went face-to-face with the latter player delivering a blow to Matuidi's head before the two were separated by referee Bruno Coue and teammates. As a result of the incident, Payet was substituted out after 31 minutes and sanctioned by club president Roland Romeyer. On 6 October 2010, following both Matuidi and Payet's call up to the France national team, Matuidi described the altercation as a "lack of maturity" on both players part, while Payet described the incident as "an argument that had no place" and that "the incident was explained and the two were on new ground".

Paris Saint-Germain.

On 25 July 2011, Paris Saint-Germain confirmed that the club had signed Matuidi to a three-year contract as a replacement for the departed Claude Makelele, who retired from the sport. The transfer fee was undisclosed, but is purported to be in the region of €7.5 million plus future incentives. Matuidi was presented to the media the same day alongside fellow new signing and international teammate Jérémy Ménez and was assigned the number 14 shirt. He made his club debut for the team in its 1–0 defeat to the New York Red Bulls at the Emirates Cup. Matuidi made his competitive debut for PSG on 6 August 2011 in the team's opening 1–0 league defeat to Lorient. During the 2012–13 season, Matuidi scored in wins against Bastia(0–4), Troyes (4–0, 0–1), Lyon (1–0), and Brest as PSG won Ligue 1 for the first time in 19 years. He scored his first UEFA Champions League goal in a 4–0 defeat of Dinamo Zagreb at the Parc des Princes on 6 November 2012, and went on to score a stoppage time equalising goal in a 2–2 draw with Barcelona in the quarter-final first leg.  On 24 May 2013, Matuidi was one of five PSG players named in the Ligue 1 Team of the Year.  On 26 February 2014, Matuidi agreed a four-year contract extension. On 10 May 2014, he scored in PSG's 3–1 win at Lille as the Parisians set a new points record in Ligue 1.  On 30 September 2014, Matuidi scored the winning goal for PSG in a 3–2 home victory over Barcelona in the group stage of the 2014–15 UEFA Champions League.  On 16 May 2015, he scored in a 2–1 win at Montpellier to confirm a third consecutive French league title for Paris Saint-Germain.  In the 2015–16 season, Matuidi was named in the UNFP Ligue 1 Team of the Year for the second time. On 21 May 2016, he scored the opening goal of PSG's 2016 Coupe de France Final win over Marseille to record the second consecutive league-Coupe de France-Coupe de la Ligue domestic treble for the club.  On 28 September 2016, Matuidi scored the equalising goal for PSG in the 3–1 away victory against Ludogorets Razgrad in PSG's second 2016–17 UEFA Champions League Group A match, his first goal for PSG since the 2016 Coupe de France Final.

Juventus.

2017–18 season.

On 18 August 2017, Matuidi joined Juventus on a three-year contract that would expire on 30 June 2020. The initial transfer fee was €20 million, plus up to €10.5 million in potential bonuses that would depend on the number of appearances made by him in Juventus' competitive matches over the next three seasons. He made his club and Serie A debut on 19 August 2017, in a 3–0 home win over Cagliari. Matuidi scored his first goal for Juventus on 17 December; the final goal of a 3–0 away win over Bologna.

2018–19 season.

On 1 September 2018, Matuidi scored his first goal of the 2018–19 season in a 2–1 away win over Parma in Serie A.

2019–20 season.

On 30 October 2019, Matuidi made his 100th appearance for Juventus in a 2–1 home win over Genoa in Serie A.

International career.

Matuidi is a former French youth international, having represented his nation at under-19 and under-21 level. He went unnoticed while developing at both Créteil and Troyes; after establishing himself in the 2006–07 season with the latter club, however, he was called up to the under-19 team by coach Guy Ferrier. Matuidi made his youth international debut on 5 October 2005 in a 4–0 friendly match victory over Norway. He subsequently appeared with the team in qualifying matches for the 2006 UEFA European Under-19 Football Championship. France ultimately failed to qualify for the competition and Matuidi finished the campaign with nine appearances and no goals.  Matuidi earned his first call up to the under-21 team under coach René Girard in the team's first match following the 2006 UEFA European Under-21 Football Championship against Belgium, appearing as a half-time substitute for Jimmy Briand. He featured in qualification matches for the 2007 UEFA European Under-21 Football Championship and appeared as a substitute in both legs of the team's surprising defeat to Israel in the qualifying playoffs. Matuidi was among a handful of underage players who remained with the team after its elimination appearing with the team in its first match of 2007 against Sweden, which France won 4–0. Matuidi appeared with the team in the next ten matches, which included qualifiers for the 2009 UEFA European Under-21 Football Championship. After missing the last match of 2007, he returned to the team for their first match of 2008 against Spain. Matuidi remained with the team for the rest of the qualifying campaign. His under-21 career came to an end following the team's defeat to Germany in a two-legged play-off, which determined who would earn a berth in the 2009 UEFA European Under-21 Football Championship.  After failing to appear at international level for nearly two years, on 5 August 2010, Matuidi was called up to the senior team for the first time by new manager Laurent Blanc for the team's friendly match against Norway on 11 August 2010. He failed to make an appearance in the match, but was called back into the team the following month as an injury replacement for UEFA Euro 2012 qualification matches against Belarus and Bosnia and Herzegovina. Matuidi made his international debut in the team's 2–0 victory over Bosnia and Herzegovina, appearing as a substitute. On 29 March 2011, he made his first start in the team's 0–0 draw with Croatia.  Matuidi was named in France's squad for Euro 2012 but did not make an appearance in the tournament due to injury. He appeared nine times during 2014 FIFA World Cup qualification and impressed in midfield in the team's 3–0 play-off defeat of Ukraine at the Stade de France to secure qualification.  Matuidi scored his first international goal with a scissor kick in a 2–0 friendly win against the Netherlands on 5 March 2014.  On 13 May 2014, Matuidi was named in Didier Deschamps' squad for the 2014 World Cup. On 8 June, he scored twice as France defeated Jamaica 8–0 in their final World Cup warm-up match.  Matuidi started alongside Paul Pogba and Yohan Cabaye in midfield in France's opening match of the tournament, a 3–0 defeat of Honduras. In the second match, Matuidi scored his first goal in a competitive international as "Les Bleus" beat Switzerland 5–2 and qualified for the knockout stage.  In May 2016, Matuidi was named by national side manager Deschamps to France's 23-man squad for Euro 2016, hosted on home soil. On 3 July, Matuidi assisted Olivier Giroud's opening goal in the quarter-finals of the tournament at the Stade de France, as the host nation defeated Iceland 5–2. He started in the final of the tournament on 10 July, where France suffered a 1–0 extra-time defeat to Portugal.  On 17 May 2018, he was called up to the 23-man French squad for the 2018 FIFA World Cup in Russia. On 15 July, Matuidi started in France's 4–2 victory against Croatia in the final of the tournament.

Style of play.

Described as a "fierce and strong tackler", with good defensive attributes, Matuidi is known in particular for his energy, work-rate, mobility, tenacity, and physical strength, as well as his discipline, positional sense, and tactical intelligence, which enable him to excel in a holding role as a ball-winner in midfield, due to his ability to close down spaces, intercept loose balls, or break down possession. A versatile and well-rounded team player, he is capable of playing in several other midfield positions, and is known for his ability to carry, distribute the ball, and start attacking plays after winning back possession, often acting as a box-to-box player in the centre of the pitch. His movement on the pitch and ability to make effective attacking runs also allows him to contribute to his team's offensive play, as it often draws opponents out of position, and in turn creates space for his teammates. He is also capable of making runs into the box and scoring goals, which has seen him be deployed in a more offensive, left-sided central midfield role during his time with Juventus under manager Massimiliano Allegri, a position known as the "mezzala" or "incursore" role in Italian football jargon. Although his main influence is Claude Makelele, his playing style has also been compared to that of Jean Tigana.  During the 2018 World Cup, Matuidi was also deployed in a new position for France under manager Deschamps, playing out wide, rather than in the centre, as a left-sided winger or attacking midfielder in a 4–2–3–1 formation. In this system, he proved to be equally effective, in spite of his unorthodox playing role, as he was able to track back and limit the attacking threat of the opposing full-backs on the flank. Moreover, he also often tucked into the centre, in order to help support Paul Pogba and N'Golo Kanté defensively, which also helped minimise the amount of space given to the main playmakers of France's opponents throughout the tournament, and ultimately helped to nullify their impact on the game. Furthermore, Matuidi's more defensive role on the left flank provided balance within the team, as it in turn gave Kylian Mbappé the licence to attack and run at defences from the right wing. He also been used in a similar role by Allegri at Juventus. A left-footed player, Matuidi has also been used in a more defensive role along the left flank on occasion, as a left-back.

Personal life.

The rapper Niska paid tribute to Matuidi by creating the song "Matuidi Charo (PSG)" and dance of the Charo, dance of the vulture, which was then popularised on the football field by Matuidi.  In May 2016, he released his autobiography, "Au bout de mes rêves", written in collaboration with Ludovic Pinton (publishers Solar ).  In 2018, he was named champion of the year and champion for peace by the organisation Peace and Sport, for his work with his organisation 'Tremplin Blaise Matuidi' which helps the reintegration of youths from the suburbs.  On 17 March 2020, Matuidi tested positive for COVID-19, amid its pandemic in Italy.

Honours.

Paris Saint-Germain  Juventus  France  Individual  Orders

Blaise Matuidi (; born 9 April 1987) is a French professional footballer who plays as a midfielder for club Juventus and the France national team.

Blaise Matuidi (* 9. dubna 1987, Toulouse, Francie) je francouzský fotbalový záložník a reprezentant s angolskými kořeny, od léta 2017 hráč klubu Juventus FC. Účastník Mistrovství světa 2014 v Brazílii a EURA 2016 ve Francii.


Operational history.

Irish service.

"Aoife" was first commissioned when European Union (then EEC) funding became available in response to the extension of the Irish Exclusive Fisheries Zone from to in 1976.  Together with sister ships (decommissioned in 2001), (decommissioned in 2013) and (decommissioned in 2016), "Aoife" was built at Verolme Cork Dockyard. Originally named after Aoife, step-mother to the children of Lir, "Aoife" operated primarily as a fisheries protection vessel. "Aoife" also assisted however in emergency rescue operations and other naval support roles.  In 1986 Richard Branson's "Virgin Challenger II" was attempting to break the transatlantic speed record set by in 1952. "Challenger" left New York Harbour on 26 June 1986 and refueled, as prearranged, at an oil rig on the Grand Banks of Newfoundland. However, four tons of water also entered her tanks and soon, "Challenger" needed more fuel filters. Branson's London control centre requested help from the RAF but the Royal Navy did not have a ship in the area. "Aoife", 160 miles distant, was informed and an RAF Nimrod dropped a canister of filters to "Challenger". "Aoife" reached "Challenger" at 00:43 on 29 June. Her crew refueled "Challenger", which went on to complete the voyage, taking two hours and nine minutes off the previous record. Branson invited representatives of the ships company to the celebrations in London, saying "We could not have succeeded without their help".  In October 2004, "Aoife" assisted in the rescue of the Canadian Forces submarine off the north-western coast of Ireland.  In July 2007, "Aoife" assisted in the rescue of over 100 children taking part in a sailing regatta off Dun Laoghaire Harbour.  Despite the ship's home port being Haulbowline Island in Cork Harbour, it had a close relationship with the city of Waterford and its crew were involved in fund-raising for the children's ward of the University Hospital Waterford.  LÉ "Aoife" was decommissioned in Waterford on 31 January 2015 and later donated to Malta.

Maltese service.

"Aoife" was commissioned into the Maritime Squadron of the Armed Forces of Malta on 28 June 2015, and given the pennant number "P62". It is the largest vessel in the Maritime Squadron, being larger than the flagship, the offshore patrol boat. It arrived in Malta in November 2015, intended initially for use in humanitarian operations in the Mediterranean.  On 24 May 2019, "P62" was involved in the recovery of a WWII aircraft engine off the Grand Harbour. The engine, most probably that of a Short Sunderland flying boat, was retrieved after a 14 hour operation.  In early February 2020, the ship participated in a joint training operation with the Royal Netherlands Navy which involved various scenarios at sea. She was joined by the Dutch Frigate HNLMS De Ruyter. The onboard AW139 was joined in the air by the Dutch NH90.

LÉ "Aoife" (P22) of the Irish Naval Service, now known as P62 of the Maritime Squadron of the Armed Forces of Malta, was built as an offshore patrol vessel in 1978.

LÉ Aoife (P22) je hlídková loď třídy "Emer" irského námořnictva. Irsko plavidlo provozovalo v letech 1979–2015. Vyřazené plavidlo zakoupila Malta, jejíž ozbrojené síly loď provozují od června 2015 jako "P62". Jedná se o největší maltskou válečnou loď.


Personal Info.

Peter Nalitch was born on 30 April 1981 in Moscow, Russia. His grandfather Zahid Nalić, was a Bosnian opera singer from Tuzla, Bosnia and Herzegovina. Peter graduated from the Moscow University of Architecture (MARHI) and studied music at Orfei Studio directed by Irina Mukhina. He has worked for two years as an architect. He has a son from his first marriage and a daughter from the second.

"Gitar".

Peter Nalitch has become famous in Russia after the publication in 2007 on YouTube of the clip of his song "Gitar" (where he makes fun of himself with broken English lyrics and dubious film editing qualities). In about three years, more than 4,000,000 people had watched it. Interviews and articles about Peter followed in some Russian papers. The song "Gitar" is most popular in Greece, Germany and Slovakia.

Peter Nalitch and Friends.

Beginnings.

In 2007, Peter already had about 40 songs written down, all available on his website for free. Fans archived them, they can still be found on the web. It is with these songs that Peter gave his first concert, on November 9, 2007, in the club "Apshu" ("Апшу") in Moscow.  After the success of this first concert (a lot of people had been unable to enter the first crowded venue), articles were written on blogs and in newspapers. Peter then gathered a band of musicians, with whom he gave two more concerts during the winter of 2008 in the club "IKRA" ("Икра"), in Moscow. Tickets were sold out several months before the event.  The band took the name Peter Nalitch's Musical Collective - "Muzykalny kollektiv Petra Nalitcha" ("Музыкальный коллектив Петра Налича") or more simply "MKPN" ("МКПН").

Success.

Over the following two years, in addition to the Moscow venues, MKPN went on tour, performing in Saint Petersburg, Yekaterinburg, Nizhny Novgorod and other large Russian cities. The band released their first album in 2008 - "Radost Prostykh Melody" ("Радость простых мелодий" - translated as "The Joy of Simple Melodies" on their website). They also released a DVD of the footage of a concert in Moscow – "MKPN v B1 Maximum" ("МКПН в Б1 Maximum" – "MKPN at the B1 Maximum") and an EP, "More" ("Море" – "The Sea"). In 2009, the band was one of the headliners at the "Sfinks" festival in Antwerp (Belgium).  Nalitch is self-produced.

Eurovision 2010.

Peter Nalitch and Friends was chosen to represent Russia in the Eurovision Song Contest 2010, in Oslo, with the song Lost and Forgotten. The final, on May 29, saw the song finishing 11th.

Musical style.

Peter Nalitch sings in Russian, English (the latter with a Russian accent, which he refuses to hide), Italian ("Santa Lucia"), French ("Il pleut toujours", on the EP "More") and Baburi, an invented language.  The lyrics of his songs are often humorous and can sometimes be compared to child songs ("Yeti" - «Йети», is a song about a lonely yeti). MKPN also did covers of Russian romances and Cossack songs. All albums and songs are available for free on the band's official website, with the mention "Pay what you will", even though the album and the EP have been released. Peter Nalitch had declared in an interview that they were not really making money from album sales, only from the concerts given in Russia.  In the wake of this idea of self-promotion on the web, the band has given, on September 17, 2009, an acoustic concert from their own flat, broadcast live on RuTube (a local videohosting and live broadcasting site). On October 30, 2009, they broadcast another show live on RuTube, this time a real concert in Moscow.

Peter Andreyevich Nalitch (, also spelled as Petr Nalich or Pyotr Nalich, is a Russian singer and composer who represented Russia at the Eurovision Song Contest 2010 in Oslo. In the final on May 29, he came 11th with his song "Lost and Forgotten".

Pjotr Andrejevič Nalič (rusky "Пётр Андреевич Налич", * 30. dubna 1981 Moskva, Rusko) je ruský zpěvák a skladatel, který reprezentoval Rusko na Eurovision Song Contest 2010 v Oslu. Ve finále dne 29. května se umístili na 11. místě s písní ""Lost and Forgotten"".


Geography.

The island’s age has been estimated at 1,100 years. It was formed when the Neman River deposited its sediments before flowing into the Curonian Lagoon (see alluvial plain). Therefore, its elevation does not exceed 1.5 metres. One point in the island is 0.27 metres below sea level, which is the lowest point in Lithuania (an earlier measurement placed it at 1.3 metres below sea level). The island is subject to frequent flooding, particularly in spring due to ice dams. Floods and regular river flow deposit new sediments increasing the area of the island. Floodwaters are removed by pumping, using an extensive system of canals and polders. The polder and embankment system has not always been able to contain floods such as the one in 1958.  The island contains several distributaries of the rivers Atmata and Skirvytė (Pakalnė, Vorusnė, Skatulė, Rusnaitė, etc.). In addition, it has two rivulets (Naikupė and Ulmas) that are not part of the distributary system. Its natural values are protected by its inclusion within Nemunas Delta Regional Park.

Human history.

Recorded history includes its settlement by fishermen and subsequent Livonian Order control. Its location near the junction of the Nemunas and the Baltic Sea lent it some strategic importance as a point on trade routes and during the battles for control of Samogitia. A church in the town of Rusnė dates to 1419. The main businesses in the island are sailing, canoeing tourism, and fishing. The town of Rusnė, with 1,600 inhabitants, is the largest populated place on the island. The only bridge between the mainland and the island leads to Rusnė. The first bridge was completed in 1914 but was destroyed during World War II. The current bridge was built in 1974. Rusnė Island Cultural and Information Office operates in Rusnė.  After Lithuania re-established its independence in 1990, collective farming on the island ended and individual landowners lacked the resources to use the machinery needed to clear the fields. This led to the growth of vegetation that was inhospitable to migratory birds, an internationally problematic issue since the island lies within the East Atlantic Flyway. An NGO, The Lithuanian Fund for Nature, successfully spearheaded a drive to restore the meadows that had been used by various bird species. The initiative was supported by local farmers.

Rusnė Island is an island in Nemunas Delta, Šilutė District Municipality, Lithuania. It is located between Atmata and Skirvytė, distributaries of the Neman River, and the Curonian Lagoon. At 45 or 46 square kilometers, Rusnė is often named as the largest island of Lithuania.

Trijų kryžių kalnas (doslova "Hora tří křížů") je vrch ve Vilniusu na pravém břehu řeky Vilnia. Na jejím vrcholu stojí památník, jehož autorem je Antoni Wiwulski.


History.

Fountains Abbey and Hall.

Fountains Abbey was founded in 1132 by Benedictine monks who left St Mary's Abbey, York to follow the Cistercian order. After the dissolution of the monasteries in 1539 by Henry VIII, the Abbey buildings and over of land were sold by the Crown to Sir Richard Gresham, a merchant. The property was passed down through several generations of Sir Richard's family, then sold to Stephen Proctor who built Fountains Hall probably between 1598 and 1604. The hall is a Jacobean mansion, built partly with stone from the Abbey ruins. Fountains Abbey mill is the only 12th-century Cistercian cornmill left in the UK and the oldest 'intact' building on the estate.

Studley estate.

From 1452 onwards, Studley Royal was inhabited by the Mallory family, most notably by MPs John Mallory and William Mallory. John Aislabie inherited the Studley estate from his elder brother in 1693. He was the Tory Member of Parliament for Ripon in 1695, and in 1718 became Chancellor of the Exchequer. Aislabie was a principal sponsor of the South Sea Company scheme, the bill for which was promoted by him personally. In 1720 when this vast financial operation collapsed, he was expelled from Parliament and disqualified for life from public office.  Aislabie returned to Yorkshire and devoted himself to the creation of the garden he had begun in 1718. After his death in 1742, his son William extended his scheme by purchasing the remains of the Abbey and Fountains Hall. He extended the landscaped area in the picturesque romantic style, contrasting with the formality of his father's work. Between them, the two created what is arguably England's most important 18th-century Water Garden.  After William's death, the estate passed to his daughter Elizabeth Allanson and then to her niece, Mrs Elizabeth Sophie Lawrence, who lived there from 1808 until her death in 1845. It then devolved to Thomas de Grey, 2nd Earl de Grey, a distant relative on whose death in 1859 the estate passed to his nephew the Marquess of Ripon, the Viceroy of India, who built St Mary's church in the park. On the death of Frederick Robinson, 2nd Marquess of Ripon in 1923, the estate was acquired by his cousin Clare George Vyner.  In 1966 the estate was bought by West Riding County Council and in 1983 was taken over by the National Trust.

Studley Royal House.

Studley Royal House (or Hall) stood in the north-west corner of the park. Originally a medieval manor house, having a main block with forward projecting wings, it burned down in 1716 and was rebuilt by John Aislabie. He filled in the centre, to which his son William added a portico in 1762 to complete its Palladian appearance.  The building was destroyed by fire in 1946. A large stable block, built between 1728 and 1732, survived and is now a private house ( 54° 7'30.55"N 1°34'34.82"W ).

Recent history.

In 1966 the estate was purchased by West Riding County Council and was acquired by the National Trust in 1983. The Abbey precinct is managed by English Heritage on behalf of the National Trust. In 1986 the entire Park was designated a World Heritage Site by UNESCO. It gained recognition as it fulfills the criteria of “being a masterpiece of human creative genius", and "an outstanding example of a type of building or architectural or technological ensemble or landscape which illustrates significant stages in human history”.  Since 1994 the estate has been within the Nidderdale Area of Outstanding Natural Beauty.

Major features.

The park incorporates Fountains Abbey, Fountains Hall, and a number of other notable historic features.

Studley Royal Water Garden.

The water garden at Studley Royal created by John Aislabie in 1718 is one of the best surviving examples of a Georgian water garden in England. It was expanded by his son, William who purchased the adjacent Fountains Estate. The garden's elegant ornamental lakes, canals, temples and cascades provide a succession of dramatic eye-catching vistas. It is also studded with a number of follies including a neo-Gothic castle and a palladian-style banqueting house.

St Mary's Church.

St Mary's Church was one of two, late Victorian, memorial churches in Yorkshire, built by the family of the First Marquess of Ripon in memory of Frederick Grantham Vyner. The other is the Church of Christ the Consoler at Skelton-on-Ure, and the architect of both was William Burges. Vyner was murdered by Greek bandits in 1870 and his mother, Lady Mary Vyner, and sister, Lady Ripon, used the unspent ransom, gathered to obtain his release, to build two churches in Vyner's memory on their respective Yorkshire estates. Burges' appointment as architect was most likely due to the connection between his greatest patron, John Crichton-Stuart, 3rd Marquess of Bute and Vyner, who had been friends at Oxford. St Mary's, on Lady Ripon's estate at Studley Royal, was commissioned in 1870 and work began in 1871. The church was consecrated in 1878. As at Skelton, Burges' design demonstrates a move from his favoured Early-French, to an English style. Pevsner writes of "a Victorian shrine, a dream of Early English glory." The interior is spectacular, exceeding Skelton in richness and majesty. The stained glass is of particularly high quality. St Mary's is Burges' "ecclesiastical masterpiece."

Deer park.

The medieval deer park, where the church stands, is home to between 300 – 350 deer and a wealth of flora and fauna. At Studley there are three types of deer: Red Deer, Fallow Deer and Sika Deer.

Biddulph Grange Garden.

This garden was the vision of James Bateman, who – from 1841 – spent over 20 years collecting plants from all over the world. Bateman did not go on many of the expeditions himself, instead he employed plant hunters who sent the specimens back to him by sea. The plants and trees were brought together at Biddulph amid, topiary, tree-stumps and an extraordinary collection of eclectic garden buildings designed by Bateman and Edward Cooke.

Studley Royal Park including the ruins of Fountains Abbey is a designated World Heritage Site in North Yorkshire, England. The site, which has an area of features an 18th-century landscaped garden, some of the largest Cistercian ruins in Europe, a Jacobean mansion and a Victorian church designed by William Burges. It was developed around the ruins of the Cistercian Fountains Abbey.

Studley Royal Park (Královský park Studley) včetně ruin opatství Fountains Abbey (Fontánové opatství) v North Yorkshire, Anglie, je zapsáno na seznam světového dědictví organizace UNESCO. Místo, které má rozlohu 323 ha (800 akrů) je pokryto zahradou z 18. století, a obsahuje jednu z největších ruin cisterciáckého kláštera v Evropě a viktoriánský kostel navržený Williamrm Burgesem.


Tours / Music Director.

Gold toured in fall 2003 as the keyboard player for Hilary Duff, and continued as her musical director until 2007. In winter 2007, Gold co-wrote with the Canadian songwriter James Renald the first single for the "American Idol" winner Taylor Hicks, entitled "The Runaround". Television and national performances of "The Runaround" took place starting in December 2006. Gold became the musical director and keyboard player for Taylor, touring extensively in 2007. In 2008, Gold toured with Mandy Moore in support of her album, "Wild Hope" in Australia and the Philippines. In winter 2008/2009, he continued playing keyboards with the NBC production "America's Got Talent" and ABC's "Dancing with the Stars".  In 2008–09, Gold became Musical Director and consultant for several pop artists, including Demi Lovato, Jordan Pruitt, Jordin Sparks and Selena Gomez.[2] During spring 2008, Gold began performing with Don Felder of Eagles (band), shortly followed as keyboardist / vocalist for Kenny Loggins.[2] An original Gold/Renald composition, entitled "Pretend", was used in the 2009 Walden Media film Bandslam on featured on the Bandslam (soundtrack), available on Hollywood Records.[2]

Roger Daltrey.

In 2009, Gold became the keyboard player and vocalist for Roger Daltrey's "Use It or Lose It Tour". Daltrey's band, No Plan B, also opened for Eric Clapton on several dates during 2010. At the show of October 12, 2009, in Seattle, Pearl Jam singer Eddie Vedder joined the band on stage for performances of Pearl Jam's Better Man, and the Who's The Real Me and Bargain.  In December 2010, Gold was asked to be Musical Director for the Phil Kennemore Y&T benefit concert in Santa Clara, CA. Gold performed with several guests, including Geoff Tate of Queensrÿche, Don Dokken of Dokken, and Vinny Appice of Dio and Black Sabbath.  In 2011, there were performances of the Who's Tommy and the hits of the Who; which included a performance for the Teenage Cancer Trust at Royal Albert Hall with Pete Townshend. On March 28, 2012, the band was joined on stage by Steve Winwood, Ronnie Wood, Paul Weller, Kelly Jones and Michael Miley for another Royal Albert Hall performance for the Teenage Cancer Trust. A world tour of Tommy continued throughout 2011–2012 with North America, Europe, and Japan.

The Who.

In July 2012, the Who announced Gold as Keyboardist / Backing Vocalist on their 2012–2013 35-date Quadrophenia and More tour, where they played their album "Quadrophenia" in its entirety. The tour continued in the summer of 2013 with performances throughout Europe, concluding with a performance at Wembley Arena in London. In between the two legs of the tour, Gold performed at – a benefit concert that took place on December 12, 2012, at Madison Square Garden in New York City. In addition to the Who, performers included Paul McCartney, the Rolling Stones, Billy Joel, Bruce Springsteen, and Roger Waters. It was the most widely distributed live musical event in history, accessible to nearly two billion people worldwide on television, radio and the Internet.  Prior to joining the band, Gold worked with the Who on their 2010 Super Bowl Halftime performance - helping edit and organize the arrangement of the performance.  Between performances with Roger Daltrey and the Who, Gold traveled to Japan and performed with veteran Tsuyoshi Nagabuchi. The tour, entitled "Arena Tour 2014 All Time Best," celebrated a career that has spanned over 30 years. Performances included the legendary Nippon Budokan in Tokyo and Yokohama arena. A live DVD was released following the tour. A final concert was added in 2015 at Mt Fuji, with 100,000 people in attendance.  In 2014, the Who announced The Who Hits 50! world tour, to celebrate the 50th anniversary of the band. The tour kicked off in the United Arab Emirates, at a concert after the Abu Dhabi Grand Prix. Just prior to the tour, the Who band appeared at London's Shepherd's Bush Empire on November 11 as part of the Who Hits 50 tribute night in aid of the Teenage Cancer Trust. Gold performed and sang back-up vocals, alongside the rest of the Who band. Performers included Wilko Johnson, Kaiser Chiefs' Ricky Wilson, Geddy Lee of Rush (band), Joe Elliott of Def Leppard, the Strypes, Tom Odell, Amy Macdonald, Andy Burrows and Rizzle Kicks. Ricky Wilson was joined by Phil Daniels, the star of the 1979 film Quadrophenia for 'Bell Boy', which was originally released in 1973. Included during the 2015 tour were large, outdoor performances at Hyde Park and Glastonbury, with upwards of 200,000 people in attendance.  During a break between the Who's 2014-2015 world tour, Gold performed at the annual ARF Stars to the Rescue charity concert in January 2015, headed by Hall of Fame baseball manager Tony LaRussa. In 2013, Gold also performed with several members of Santana and Bruce Hornsby at the annual charity event. More ARF shows have followed, including 2017's performance with Huey Lewis and the News.  In May, 2015, Gold performed with the Who touring band at the MusiCares Foundation in New York City, honoring the Who’s Pete Townshend and its manager, Bill Curbishley. With an all star line-up that included Bruce Springsteen, Joan Jett, Billy Idol, Willie Nile, and Who lead vocalist Roger Daltrey.  Gold was featured as the "Stadium Ace" in the April 2016 issue of Keyboard (magazine).

Artists.

Gold has recorded and/or worked with the Who, Roger Daltrey, Pete Townshend, Kenny Loggins, Natalie Maines, Huey Lewis and the News, Tsuyoshi Nagabuchi, Eddie Vedder, Steve Winwood, Don Felder, Melissa Etheridge, Rita Wilson, Hilary Duff, Taylor Hicks, Mandy Moore, Rita Wilson, America's Got Talent, Dancing with the Stars, Demi Lovato, Selena Gomez, Eric McCormack, Jordan Pruitt, Nick Lachey, Jordin Sparks, Gladys Knight, Dan Aykroyd, Andrew Gold, Y&T, Kara DioGuardi, Andrew Dice Clay and others.

Awards.

American Idol Season Five (Gold Record Award) Taylor Hicks (Gold Record Award) Demi Lovato (Gold Record Award) Selena Gomez (Gold and Platinum Awards) Hilary Duff (Multi-Platinum Awards)

Network Television Appearances.

"The Tonight Show", "Oprah Winfrey", "The Late Show", MTV, "The Ellen DeGeneres Show", "The Today Show", "Good Morning America", Jimmy Kimmel, "CBS Early Show", "Martha Stewart", "Dr Phil", "Carson Daly", "American Music Awards", "Billboard Awards", "The Talk".

DVD / Television / Film / Live Albums.

Quadrophenia Live in London, The Who Tommy Live At Albert Hall, The Who Live In Hyde Park, The Who 2017 Tommy & More, The Imitation Game, Bandslam", "", "Melrose Place", "Beverly Hills, 90210", "", HBO, Showtime, Cinemax, The Movie Channel, Nickelodeon, Tsuyoshi Nagabuchi, All Night Live, Tsuyoshi Nagabuchi, FUJI SANREI ALL NIGHT LIVE 2015(5CD+DVD)

Works.

In 2015, Gold released his first instructional book for Alfred Music. Entitled "Sitting In: Blues Piano," it features backing tracks and improv lessons, and includes progressions in essential blues styles, like boogie woogie, shuffle, gospel, blues-rock, swing blues, and others. Audio recordings contain sample solos, while the book provides tips focusing on scales, modes, comping patterns, and other ideas for developing an authentic blues vocabulary. The recordings feature a live band with piano, guitar, bass, harmonica, and drums.  A second book was released in 2016, entitled "Sitting In: Rock Piano" which follows a similar format to the blues book.  Gold also composes music which falls into the Instrumental genre. Selected works include: Keys, All Around Me

Loren Gold is an American keyboardist, vocalist, music director, and songwriter. Gold has been the keyboardist and backup vocalist for the Who since 2012, and Roger Daltrey since 2009. Other artists he has toured with include Kenny Loggins, Don Felder, Natalie Maines, and American Idol winner Taylor Hicks. Gold has been Musical Director for pop stars Selena Gomez, Demi Lovato, and Hilary Duff, and he continues to build and develop bands for other artists. Gold has published two instructional books through his collaboration with Alfred Music, and his original compositions have been featured on HBO and Showtime.

Loren Gold je americký klávesista, skladatel a textař. Od roku 2000 ve velké míře jezdí na turné s různými umělci. Od roku 2009 jezdí na turné jako klávesista a zpěvák Rogera Daltreyho a od roku 2012 The Who.


Name.

The name of Semigallia appears in contemporary records as "Seimgala", "Zimgola" and "Sem"["e"]"gallen". The -gal[l] element means "border", while the first syllable corresponds to "ziem" ("north") or "zem" ("low"). So the Semigallians were the "people of the northern borderlands" or "people of the low borderlands", i.e. the lower parts of the Mūša and Lielupe river valleys.

History.

During the Viking Age, the Semigallians were involved in battles with Swedish Vikings over control of the lower part of the Daugava waterway. In "Gesta Danorum" the Danish chronicler Saxo Grammaticus wrote that the Viking Starkad crushed the Curonians, all the tribes of Estonia, and the peoples of Semgala. When the Rurikid successors of the Varangians tried to subjugate the Semigallians, they defeated the invading army of Polotsk led by Prince Rogvolod Vseslavich in 1106. Ancient chronicles claim that 9000 of their soldiers were killed.  At the start of German conquests Semigallian lands were divided in Upmale, Dobele, Spārnene, Dobe, Rakte, Silene and Tērvete chieftaincies.  According to the "Livonian Chronicle of Henry", Semigallians formed an alliance with bishop Albert of Riga against rebellious Livonians before 1203, and received military support to hold back Lithuanian attacks in 1205. In 1207, the Semigallian duke Viestards () helped the christened Livonian chief Caupo conquer back his Turaida castle from pagan rebels. In 1219, the Semigallian-German alliance was canceled after a crusader invasion in Semigallia. Duke Viestards promptly formed an alliance with Lithuanians and Curonians. In 1228, Semigallians and Curonians attacked the Daugavgrīva monastery, the main crusader stronghold at the Daugava river delta. The crusaders took revenge and invaded Semigallia. The Semigallians, in turn, pillaged land around the Aizkraukle hillfort. In 1236, Semigallians attacked crusaders retreating to Riga after the Battle of Saule, killing many of them. After regular attacks, the Livonian Order partly subdued the Semigallians in 1254.  In 1270, the Lithuanian Grand Duke Traidenis, together with Semigallians, attacked Livonia and Saaremaa. During the Battle of Karuse on the frozen gulf of Riga, the Livonian Order was defeated, and its master Otto von Lutterberg killed. In 1287, around 1400 Semigallians attacked a crusader stronghold in Ikšķile and plundered nearby lands. As they returned to Semigallia they were caught by the Order's forces, and the great battle began near the Garoza river. The crusader forces were besieged and badly defeated. More than 40 knights were killed, including the master of the Livonian Order Willekin von Endorp, and an unknown number of crusader allies. It was the last Semigallian victory over the growing forces of the Livonian Order.  In 1279, after the Battle of Aizkraukle, Grand Duke Traidenis of Lithuania supported a Semigallian revolt against the Livonian Order led by duke Nameisis. In the 1280s, the Livonian Order started a massive campaign against the Semigallians, which included burning their fields and thus causing famine. The Semigallians continued their resistance until 1290, when they burned their last castle in Sidrabene, and a large number of Semigallians. The "Rhymed Chronicle" claims 100,000 migrated to Lithuania and once there continued to fight against the Germans.

Semigallian archaeological sites in Latvia.

Bauska district Čapāni, Drenģeri-Čunkāni, Dumpji, Jumpravmuiža, Lielbertuši, Mežotne hillfort, Podiņi, Siliņi, Zeltiņi, Ziedoņskola  Dobele district Atvases, Auce, Bāļas-Šķērstaiņi, Cibēni, Dobele hillfort, Gailīši, Grīnerti, Guntiņas, Īles mežniecība, Jāņogānas, Kaijukrogs, Ķūri, Lielogļi, Lozberģi, Oši, Skare, Tērvete hillfort  Jelgava district Ciemalde, Diduļi, Eži, Gaideļi-Viduči, Kakužēni, Kalnaplāteri, Kraujas, Ķēķi, Mazgrauži, Pudžas, Rijnieki, Vilces parks  Saldus district Griezes dzirnavas, Kerkliņi, Priedīši, Rūsīši-Debeši  Tukums district Mutstrauti, Zante  Riga district Pļavniekkalns

Semigallian archaeological sites in Lithuania.

Pasvalys district Ąžuolpamūšė hillfort, Berklainiai, Daujėnai, Kyburtai, Meldiniai, Noriai, Pamiškiai, Pamūšė, Skrebotiškis, Smilgeliai, Šakarniai, Vaidžiūnai  Akmenė district Balsiai, Papilė hillfort, Pavirvytė-Gudai, Šapnagiai, Viekšniai  Joniškis district Budraičiai, Daugalaičiai, Daunorava, Dvareliškiai, Ivoškiai, Jauneikiai, Joniškis, Kalnelis (Sidabrė hillfort), Lieporai, Linkaičiai, Linksmėnai, Martyniškiai, Rudiškiai, Rukuižiai, Slėpsniai, Spirakiai, Stungiai, Žagarė (Raktuvė hillfort)  Pakruojis district Aukštadvaris, Dargužiai, Degesiai, Diržiai, Dovainiškis, Karašilis, Karpiškiai, Kauksnujai, Lauksodis, Liesai, Linkavičiai, Linksmučiai, Linkuva, Pakruojis, Paliečiai, Pamūšis, Pašvitinys, Peleniškiai, Petroniai, Plaučiškai, Sakališkiai, Stačiūnai, Šukioniai, Vėbariai, Žeimelis  Šiauliai district Daugėlaičiai, Gibaičiai, Jakštaičiai, Jurgaičiai hillfort (Hill of Crosses), Kaupriai, Kybartiškė, Mažeikiai, Norušaičiai, Norvaišiai, Račiai, Ringuvėnai, Valdomai, Visdergiai

Notable leaders.

There is an unconfirmed theory that the Semigallians were one of the first Baltic tribes to establish a monarchy, yet one weak in comparison to the power of the Semigallian nobles.  One of the most notable Semigallian leaders was duke Viestards (Viesturs). Upon uniting hostile Semigallian clans into a single state in the early 13th century, Viestards formed an alliance with the German crusaders to defeat his enemies on the outside. After the crusaders broke the treaty and invaded his lands, he allied with Lithuanians, resulting in the near annihilation of the Livonian Brothers of the Sword in the Battle of Saule in 1236. Duke Nameisis (Namejs, Nameitis), another renowned Semigallian leader, united Semigallian and Lithuanian tribes for a retaliatory counterattack on Teutonic Knights at Riga in 1279 and in Prussia after 1281. Main sources for his activities are "Livländische Reimchronik" and "Das Zeugenverhör des Franciscus de Moliano (1312)." What is known with certainty, however, is that by the end of the 1270s, a new powerful leader had emerged who achieved several major victories over German crusaders in Zemgale and East Prussia.

Semigallians (Latvian "Zemgaļi";, also "Zemgalians, Semigalls, Semigalians") were the Baltic tribe that lived in the southcentral part of contemporary Latvia and northern Lithuania. They are noted for their long resistance (1219–1290) against the German crusaders and Teutonic Knights during the Northern Crusades. Semigallians had close linguistic and cultural ties with Samogitians.

Zemgalové byl kmen lidí žijící na východ od Kuršů v oblasti Lielupe. Jejich území na jihu hraničilo s územím dnešní Litvy. Od finských kmenů ho oddělovala řeka Daugava. V historických análech se Zemgalové poprvé připomínají v roce 870. Nejvýznamnější památkou na území Zemgalů byl Tervetský hrad, na kterém začátkem 13. století žil vůdce tohoto kmene označován jako kníže, "dux" – Viestarts.


History.

The first mention of the settlement is in the so-called foundation charter of the Benedictine monastery in Kladruby issued by Prince Vladislav in 1115. In that year the Benedictine monks settled here and built a settlement for the colonists called Opatovice. Therefore, it is now located near the church street Opatovická. The settlement apparently served as a being in middle point between the Prague castle and Vyšehrad. With the arrival of the colonists was built Romanesque church of St. Michael. Then the church served as a parish. In the 2nd half of the 13th century the church was assigned to the parish priest. In 1348 the settlement was included in the New Town, found by Charles IV and the church functioned as other parish churches of the New Town. Newtowners and a Prague archdeacon held the posting right above the church.

Gothic and Renaissance reconstruction of the church.

The Romanesque church was demolished and replaced by a Gothic church in 1369. The Gothic church was built with a tower in the west part, with a rectangular nave, trapezoidal presbytery with asymmetrical vault, which makes the temple very remarkable. In 1387 the church was extended by adding the northern side vaulted nave. The nave contains a window broken later above a portal, which was hidden in the hallway. In 1399 parish school was connected to the church. The south aisle of the eastern chapel was built before 1402. In the 15th century was documented connection between the church of St. Michael and Zbraslav monastery. In 1511, there were vaulted a main nave and a south aisle. In the second half of the 16th century Renaissance builders added arc-form shield to the northern hall. A typical feature of the church was narrow, high, gothic, sacred tower above the chancel and a brick corridor, which is supported by a wide arc. The hallway led from the singing choir to the house no. 152, where was a former rectory. The Protestant church managed until 1621, when the church came under Catholic Church. Then it lost the parish status and it was subordinated to a church Adalbert in Jircháře. The altar and tomb of the founder was built in the north aisle of the Central Chapel of the Crucified Savior and St. Mary Magdalene, thanks to Mary Magdalene Krechmerova. Also the sacristy was rebuilt. After a fire in 1717, when the church escaped with only a small blemish, builders began Baroque reconstruction.

Baroque reconstruction.

During baroque reconstruction there were bricked two gothic windows in the presbytery. As a replacement, served two newly pulled oval shaped windows. The presbytery was equipped with the baroque baptistery, which is still preserved today. Furthermore, the sacristy was arched, there was built a new staircase to the choir loft, which was also rebuilt. Adjustings of the northern hallway and portals followed. In 1722 the tower was reconstructed, which was the end of entire baroque reconstruction. In 1770 there was added a new main altar.

18.-19 century reconstructions.

Emperor Joseph II ordered to abolish the church in 1787. Two years later it was bought by the Prague merchant Frantishek Kehrn. He sold the church in 1791 to the German Protestants. The church served as a chapel. However Protestants planned to destroy the church tower and rebuild exterior as a bourgeois house, because their houses of prayers and churches could not have towers. The same year was given them an exception and the tower was left at the church. Protestants contributed a new organ. Also there were added benches and chandeliers. Later, in 1817, the church was newly plastered and then was installed a pulpit. In the year 1838 was built a wall with a gate that on the west side protected space around the church. In 1882 was torn a northern hallway and a builder J. Blecha statically secured the entire object. In 1904 were created two western windows.

Revival Gothic reconstruction.

Newly Gothic reconstruction showed both eastern Gothic windows and a bricking baroque presbytery and oval windows. On the same side was removed Baroque portal and revitalized Gothic window in the portal. Besides this portal, was discovered bricked Gothic window, which is almost the same as the window in the south chapel. The Baroque tower was covered with a new copper roof. The Gothic choir was stripped of plaster. In 1920 an organ gallery was reconstructed and expanded. Since the last renovation of the appearance of the church did not change much.

Disposition.

The building is built of a rubble masonry. The church was restricted by the street since the Middle Ages, that is why it has asymmetric. This fact derives its ground asymmetry.

Medium nave.

The medium nave is vaulted by two-bays cross vaults. The vaults are supported by double mangered stone ribs. Rib vaults converge on multi-lobed brackets. In the eastern part of the nave brackets are drowned in the baroque wall. The trapezoidal presbytery is connected to the nave on the east side. Its height coincides with the height of the central nave. The central nave defines a pair of Baroque arcades supported with pillars. In the middle of the nave arcades are drained massive stone pillars that seem to come from the late 14th century. Columns' tops terminate with Corinthian capitals. At the end of the 19th century's northern nave arched vaults with two cross pyriform ribs. Ribs grow from facing pyramidal consoles. The console in the middle of the north wall is a replica circa 1914. Bolts vaults are the target or circular type. Bolts adorn the coat tanners. On the northern boat continues on the east side chapel of St.Salvatora. The chapel is vaulted with placková vault with stucco mirror. Chapel corners are broken niches that culminates conches and pilasters frame. Pilasters carry peripheral cornice chapel. Above the niches in the corners are a motif stucco, crossed, laurel branches. The north nave and chapels are connected through high semicircular culminating in the arcade. The wall-pillar with leaf capitals and the entablature cover plate frame created by the nave for the connecting arcade. At the top of the arcade is located stucco cartouche with Veraikon.

South nave.

An external support system based apparently on three additional operations with over-tile roofs aisle. Cross vaults with stone and twice mangered ribs span the space nave. Bolts at ribs are the same as in the northern aisle (undecorated, circular). Ribs do not end consoles mostly. In the northwest corner there is the only console left, the floor is covered with the embedded Baroque choir. High arcade opens the field to the east of the presbytery. In the Baroque period it served as the oratory window. The southern Gothic chapel nave overlaps the western part of the presbytery. The southern Gothic nave is adjoined extension with the baroque staircase to the choir loft.

Presbytery.

Its ground plan geometry consists of a trapezoid because of streets' restrictions. The width of the presbytery almost does not differ from the width of the main nave. The inner space creates interesting jump straddle vault with pear-shaped profile ribs. The entire space of the presbytery is vaulted by jumping vault. Because of this vault construction the church is considered as a unique Gothic architecture in Prague. Also other similar examples of this type of vault across Europe are younger. Vaults carry stone ribs with a pear profile. Ribs continue directly into the perimeter walls without any connection to the bracket. Interior space on the east side is also shaped by two high Gothic windows with partial stone mangered lining, which was supplemented with newly Gothic reconstruction. On the south side of the presbytery light flows through the third window similar to the eastern side. The windows are filled with colorful inside geometric stained glass. The same applies to the north nave. The great arcade on the west side opens the door to the adjoining southern chapel. On the opposite wall segmently ended, secondarily pulled down arcade meets Baroque chapel of St. Savior.

Sacristy.

The sacristy is adjacent to the presbytery in the north, the road to it leads through a rectangular late Gothic portal with a stone profiled jamb. The portal is round out the cross-hatched design together with stonework mark on top. The portal demonstrates the fact that the sacristy dates from the late Middle Ages. The current sacristy was built in baroque style together with the chapel St. Saviour. This proves reinforced overlay on the northeast corner, visible from the outside. The space of the sacristy is vaulted with two-bays of baroque vault. In this space is the niche that is compressed oval arched. The chimney with architectonic top is one of the original features of the sacristy. The top of the chimney was rebuilt in the years 1914-1915. Rectangular sacristy windows are situated in the north. Above the northeast corner is situated a frame for painting (now empty).

The roof of the sacristy.

The roof is saddle-type. It is covered with tiles. The roof meets in the east plastered Baroque shield.

Portals.

The main portal on the north side accesses the entire three-naves. The Baroque portal is located on the side where it was formerly senior portal from the beginning of the 15th century. The modern Gothic portal dates to year 1914. Its basic geometry consists of a rectangle. It is made with a profiled planner lining. Double, cassette door portal is counted the same year as the construction site. The secondary setting Gothic tracery window creates a fanlight portal. Casting is done in a nice breaking into older masonry. The window is damaged, it has the center portion broken. A series of five nuns semicircular záklencích created tracery windows. Arches were made with mangered profiles of rods. This design of the window portal in the Czech Republic is very rare, but rather used as in France layout portals in the 14th and 15th centuries. The portal provides safeguards hall, which was demolished in 1882. The Gothic portal in the south aisle probably dates from the same period as the portal on the north side. However, it is executed in the traditional manner. Gently oblený záklenek portal is profiled cavettos. Záklenek was discovered in 1914 nad Baroque passage, which pointed to the stairs to the loft. The portal linked the southern nave with the house of so-called Oltářník (now No. 151)

Windows of naves.

To three-naves space rays of light are flowing through segmented, vaulted in baroque, windows. Four windows are located on the west side. Two high windows line the tower and are located above. Three windows are on the south side and two on the east. The windows on the north side lit chapel of St. Savior. In the western part of the northern wall is angled restored Gothic window (1914-1915) with Gothic mangered lining. Tracery windows disappear. The Gothic manger in the years 1717-1722 was replaced the Baroque. This process is now on the facade of the church are still visible, thanks to the survivors of the visible part of the Baroque segmental arches. On the east wall of the south aisle is more rectangular probably the Gothic window. The window that is performed again with tracery in which a pair of nuns. Similar was the window on the west wall. The window is now blind, but its remnants are seen lining alongside younger Baroque windows. The Regothization in the years 1914- 1915 revealed on the south side of the church the torso pieces of three Gothic pointed windows, which were destroyed in the Baroque period.

The roof.

Saddle pantile roof covers the entire three naves, together with the presbytery. The roof meets the east triangle Baroque shield. Historians believe that the core of the shield over the presbytery with new windows is Gothic.

Tower.

Its basic geometry consists of a square shape. It is oriented to the west. Part of the tower is built of rubble masonry as well as three naves. One can get to its core from the north through a rectangular Baroque portal from 1722. The portal above the other hosts oval window. ordonov ledge of the tower follows the cornice of three-nave and the presbytery. The tower has a baroque facade. From the corner towers on the facade relegated thirst with cornice capitals. They carry further dividing ledge. Above the ledge on lesenas abut Tuscan pilasters, which are part of the last rebuilt in Baroque floors. Former bell tower on the top floor was opened out four large semicircular windows crowned. The windows are lined with stucco shams with senior keystone. Elements window covers curved lintel cornice. In belfry is placed the bell made by Octave Winter from Broumov. The tower is ended with a copper onion dome with lantern.

Interior furnishing.

The choir.

The organ gallery in the western part of the church is from Renaissance period, but it was rebuilt in Neo Baroque style in 1920. It is placed instead of an old Gothic tribune. Its central wooden rail is white painted, the bottom part is decorated with carved floral decor in golden colour. The center part of the loft is connected to the side parts by two arcades. The loft has its own staircase, which leads from the exterior to the organ choir. It has a rectangular floor plan and the ground floor is vaulted. The staircase is lightened by two small rectangular windows and it has a simple portal.

The altars.

The main altar was originally dedicated to St. Michael. It is a late Rococo altar, which was made around 1770. The church was also equipped with a side altar of Corpus Christi and the altar of St. Peter and Paul. During the construction of the south aisle was built the east chapel, where is placed the altar of St. Marty.

Pulpit.

The wooden white pulpit in Classicism style is decorated with floral and festoon ornaments.

Organ.

It is from the second half of the 19th century. It is located on the organ gallery.

Sepulchral monuments.

The figural tombstone of Kristine Popelova of Vesce, who died in 1522, is located in the base of the staircase that leads to the organ gallery. Other marble gravestones are installed in the west wall of the nave under the organ loft. These tomb stones belong to Jan Šturma, who died in 1568 and Alžběta Malovcová of Cheynov, who died in 1620. There is a garden close to the church, which is planned to be opened for the public in future. It the area of today ́s garden is documented the existence of the cemetery in the year 1381.

References.

Links: Bibliography

St. Michael's Church in Jircháře, Prague - New Town near the National Theatre, specifically the New Town street, which is called v Jirchářích (in Jirchaře - the nickname of the church is called after this part of Prague). It is the seat of Czech, Slovak and English congregation of the Evangelical Church of the Augsburg Confession in the Czech Republic. Its architectural style is not uniform due to alterations in different periods and styles. It is protected as a cultural monument of the Czech Republic.

Kostel svatého Michala v Jirchářích stojí v Praze poblíž Národního divadla, konkrétně na Novém Městě v ulici V jirchářích. Je sídlem českého, slovenského a anglického sboru Evangelické církve augsburského vyznání v České republice. Jeho architektonický styl není jednotný z důvodu přestaveb z odlišných slohových období. Je chráněn jako kulturní památka České republiky.


History.

Early history.

Unlike the case of castles at Conwy, Caernarfon, Harlech and nearby Montgomery which were all built by the English to subdue the Welsh, Powis castle was built by a Welsh prince in the thirteenth century. Following the end of the Welsh Wars (1282) and for his loyalty to Edward I, the King permitted Gruffydd ap Gwenwynwyn to begin building Powis Castle circa 1283.  In 1286, four years after Edward I’s conquest of Wales, Owain ap Gruffydd ap Gwenwynwyn, the last hereditary prince of Powis, renounced his royal claim title and was granted the title of Baron de la Pole, (i.e. "of the Pool" a reference to Welshpool, formerly called just "Pool" and the location of Powis Castle). The ancient Kingdom of Powys had once included the counties of Montgomeryshire, much of Denbighshire, parts of Radnorshire and previously large areas of Shropshire, but by the 13th century had been reduced to two independent principalities - Powys Wenwynwyn and Powys Fadog - roughly equivalent to Montgomeryshire and South Denbighshire (plus Maelor Saesneg), respectively; Welshpool had latterly become the capital of Powys Wenwynwyn, of which Owain had been heir. On the death of Owain, the baronry passed to his daughter Hawise (known to history as Hawise Gadarn, the intrepid) who married Sir John Charleton. The Charletons continued to live at Powis until the fifteenth century when two daughters, Joan Tiptoft and Joan Grey inherited the castle. The Grey family took control of the whole castle in the 1530s.  In 1578 an illegitimate son of the last Baron Grey of Powis, began leasing the lordship and castle to a distant relative - Sir Edward Herbert (d. 1595), second son of Sir William Herbert, 1st Earl of Pembroke. Edward eventually bought the castle outright in 1587 and started a connection between the Herberts and Powis Castle which would continue to the present day. Sir Edward's wife was a Roman Catholic and the family's allegiance to Rome and to the Stuart kings was to shape its destiny for over a century. On 22 October 1644 Powis Castle was captured by Parliamentary troops and was not returned to the family until the restoration of Charles II.  The castle passed on to Robert Clive's son, Edward when the latter married Henrietta, a descendant of the original owners, and took the surname of Herbert for himself and his descendants. It continues to be owned by the Herbert (ex Clive) family, through the National Trust. According to William Dalrymple, much of the wealth amassed by Clive was loot that was illicitly collected after the Battle of Plassey. Much of it is today displayed at the Clive Museum at Powis. When Clive returned to UK with £234,000 (£23 million today), he was the richest self-made man in Europe.

1600–1800.

The magnificent State bedroom was installed in about 1665 and further improvements were carried out during the 1670s and 1680s, possible under the direction of William Winde, who may also have designed the extraordinary terraced gardens. Winde's employer was William, third Lord Powis (c.1626–1696), who was created Earl (1674) and then Marquess (1685) of Powis. Barred by his Catholic faith from high office under Charles II, Lord Powis became one of James II’s chief ministers and followed his master into exile in 1688. Thereafter King William III granted the castle to the 1st Earl of Rochford in 1696. The second Marquess was reinstated in 1722, and on the death of the third Marquess in 1748, Powis was inherited by his Protestant kinsman, Henry Arthur Herbert of Oakly Park, Ludlow, who was made Earl of Powis by George II.  On 6 July 1756 Lord Lyttelton wrote that "About £3,000 laid out upon Powis Castle would make it the most august place in the kingdom" and in 1774 Sir John Cullum remarked: "(Powis’s) grand situation, its charming and magnificent prospects, its extensive woody parks of many... render it one of the first seats of the Kingdom."

Passing into the Clive family.

In 1784, Lord Powis's daughter, Lady Henrietta Herbert, married Edward Clive, the eldest son of Clive of India. Edward also worked in the East India Company and was then the Governor of Madras. Their marriage led to the union of the Clive and Powis estates in 1801, and in 1804 the earldom of Powis was recreated for the third time for Edward Clive.  Powis Castle and Estates were inherited by Henrietta and Edward's eldest son (also called Edward Clive) when he turned 21. In accordance with his uncle's will, the younger Edward Clive duly changed his name to Herbert. The Clive fortune paid for long overdue repairs to the castle which were carried out by Sir Robert Smirke. The garden and park were also improved. Part of Clive's collection from India including fine old master paintings, the wealth amassed after the Battle of Plassey and the Battle of Serirangapatnam, French and English furniture, and Italian curiosities, were brought to the castle. These include Tipu Sultan's magnificent state tent, made of painted chintz; a gold and bejewelled tiger's head finials from Tipu's throne; and two cannons that are today positioned on either side of the castle entrance.

Modern period (20th century).

The final alterations to Powis Castle were undertaken at the beginning of the 20th century by G. F. Bodley for George Charles Herbert, 4th Earl of Powis (1862–1952) whose wife improved the garden which she felt had the potential to be "the most beautiful in England and Wales". She died after a car accident in 1929 and Lord Powis also lost his two sons (and heirs) in the First and Second World Wars. In the latter war, the Welsh Girls' School was evacuated to the castle from Ashford, Middlesex. On his death in 1952, he bequeathed the castle and gardens to the National Trust. He was succeeded by his cousin, Edward Herbert (1889–1974), fifth Earl, whose widow, the Countess Powis, remained living in the dower house, and was succeeded in turn by Christian Victor Charles Herbert the sixth Earl.

Notable features.

The Clive Museum features artifacts taken from Bengal, and other parts of modern-day Bangladesh, India by Robert Clive (1725–74) and his son and daughter-in-law Edward, 2nd Lord Clive (1754-1839) and Lady Henrietta Clive (1758-1830) in the 18th and 19th centuries, including textiles, silk, fine bamboo, magnificent hand woven carpets, refined jute handicrafts, armour, weapons, bronzes, gold and silver pieces, jade, ivory, and a formal tent. There is a rich archive of documents connected to the collection, but little is known about their acquisition. "Much must have been obtained as booty, or as presents from the native princes...". The collection came to Powis Castle in 1804. The current museum opened in 1987.

Reynolds portrait.

The castle contains the portrait Henrietta Clive, Countess of Powis (1758–1830), painted in 1777 by Sir Joshua Reynolds. The Countess was daughter of Henry Herbert, 1st Earl of Powis and wife of Edward Clive, 1st Earl of Powis. The hat and the lace scarf which she wears in the portrait are not shown in the engraving of 1778 (hung nearby) and appear to have been added by another hand.

The State Bedroom.

A remarkable survival of the 1660s, the State Bedroom is the only one in Britain where a balustrade still rails off the bed alcove from the rest of the room. Such a design derives from the days when the English gentry wished to emulate the elaborate etiquette that regulated the court of Louis XIV at Versailles. When improvements to the castle were being considered in 1772, the architect Thomas Farnolls Pritchard recommended that the bedroom be wholly preserved. A visit to the castle by Charles II is still part of the family tradition.  The window latches in the shape of the Prince of Wales's feathers commemorate the visit of the future King Edward VII. His son and daughter-in-law (later King George V and Queen Mary), visited in 1909.

Clive of India’s Cat.

Displayed in the Long Gallery, the marble group of a cat and snake, is Roman and dates from between 1st century BC and 2nd century AD. Representations of cats are rare in Roman art and the Powis group is unique amongst surviving classical sculpture. Two similar compositions in mosaic are known, from Pompeii and at the Vatican Museum, but these both depict a cat attacking a bird.  It seems most likely that the marble was purchased by Clive of India for his wife on his visit to Italy in 1774. The marble was quarried on the Greek island of Thasos and is distinctive for the large embedded crystals which make sculpting difficult.

Garden.

The garden at Powis has survived the 18th-century reaction against the formality of earlier garden design, and Powis is thus one of the few places in Britain where a true Baroque garden may still be fully appreciated. It seems the terraces were hewn from the rock in the early 1670s under the direction of Frenchman Adrian Duvall of Rouen, although William Winde may also have been involved, up until his death in 1722. The concept for formal or terraces was introduced into northern Europe from the gardens of 16th century Italy.  It seems that Duval may well have been an expert in hydraulics, having been principally responsible for the impressive original water gardens, which were dismantled by 1809. One notable item salvaged from the garden fountains is the lead statue of "Fame", attributed to the workshop of Dutchman John van Nost (d. 1729), and now situated in The Courtyard. The piece seems to have been struck from the same mould as the Pegasus and fame supplied by van Nost between 1705 and 1716 to Sir Nicholas Shireburn at Stonyhurst, Lancashire.  A great deal of work to restore and improve the gardens was undertaken in the early 20th century by Violet wife of the fourth Earl. Her most considerable achievement was the relocation of "the entire kitchen garden, glasshouses and all, to a new position behind the Wilderness ridge", and the laying out of the formal gardens at the far south-eastern corner.

Powis Castle () is a medieval castle, fortress and grand country mansion near Welshpool, in Powys, Wales. It is known for housing the loot that was brought home by Robert Clive and his son, Edward Clive from India.

Powis Castle je středověký hrad, pevnost a velký panský dům, který se nachází v blízkosti města Welshpool, v Powys, středním Walesu.


Location.

Hestercombe House is between West Monkton and Cheddon Fitzpaine in the Taunton Deane area in the south of the English county of Somerset. It is on the Quantock Hills which were England’s first Area of Outstanding Natural Beauty being designated in 1956. The south facing gardens offer views of the Blackdown Hills.

History.

In the 11th century Hestercombe was owned by Glastonbury Abbey. Sir John Meriet founded a chantry in the 14th century and in 1392 it passed to John La Ware by marriage and stayed in his family for almost four hundred years. The current house is a Grade II* listed country house which was originally built in the 16th century for the Warre family. Sir Richard Warre (d. 1601) bequeathed it to his son Roger who married Elinor, daughter of Sir John Popham. When their descendant Sir Francis Warre, Bt. died in 1718 he left the estate to his daughter, Margaret, who transferred it to her husband John Bampfylde (1691–1750). Following his death in 1750 it was inherited by the couple's son, Coplestone Warre Bampfylde, a landscape painter who developed pleasure grounds to the north of the house incorporating cascades, lakes and a series of ornamental structures.  The house was enlarged and altered in the 18th century, but this work is no longer visible beneath the refronting and enlargement works carried out around 1875 for Edward Portman, 1st Viscount Portman, who had acquired it in 1873.

Second World War.

During the early years of the Second World War, the house and gardens were used by the British Army as part of the headquarters for VIII Corps, which was formed to command the defence of Somerset, Devon, Cornwall and Bristol. The VIII Corps main headquarters was at nearby Pyrland Hall, and the rear headquarters established at Hestercombe House, with Personnel and Logistics staff. Hestercombe was the headquarters of the American army 398th General Service Engineer Regiment from July 1943 to April 1944. Eisenhower visited Hestercombe on 18 March 1944 to meet General Gerow and inspect the troops. The Engineers were joined by the 19th District Headquarters of the US Supply Services in July 1943, which stayed until July 1944.  Early on 28 March 1944, a few minutes after midnight, a Junkers Ju 88 crashed on the drive to the house after being shot down by cannon fire from a de Havilland Mosquito of No. 219 Squadron Royal Air Force. Hestercombe was the American 801 Hospital Centre after the Normandy landings until the end of the war. A total of 33 barrack huts (various Nissen huts, Romney huts and MOWB (Ministry of Works brick huts) were constructed at Hestercombe during the war. Many were demolished in the 1960s by the Crown Estate, and only one is left standing, in Rook Wood.

Post war.

The house remained in the Portman family until 1944 when it was accepted in lieu of death duties by the Crown Estate, however Mrs Portman remained at the house until her death in 1951. It was leased to the fire service in 1953. A visitor centre opened in the Victorian stables in 2005. Most of the cost of the conversion was funded by a grant from the Heritage Lottery Fund. The house was used as the Emergency Call Centre for the Somerset Area of Devon and Somerset Fire and Rescue Service with a running cost in 2011 of £675,000 per year. The fire service moved out in 2012 and restoration work was then undertaken.  The house today appears an assemblage of several architectural styles popular during the Victorian era. While the overall design and air could be described as Italianate, also present in the same entrance facade are examples of high Victorian Gothic, such as an Italianate seigneurial tower confused in design with a campanile tower. This tower complete with a glazed loggia is crowned by a French-style mansard roof with oversized chimneys masquerading as Renaissance ornament. The centrepiece of the same facade is a porte-cochère designed in a heavy neoclassical style.

Watermill and dynamo house.

In the 18th century a watermill was installed and used to power a sawmill, grind corn and crush apples. There is some evidence that there has been a mill on the site since the late 14th century. The overshot waterwheel, which was in diameter and wide overall, was replaced in 1895, when the attached barn and workshops were expanded. and generated electricity for the estate, which was stored in glass batteries. The waterwheel had deteriorated by the 1980s.  From the 1950s until 2009 the buildings were used as a barn for animals and agricultural machinery. It has since been restored and had a biomass boiler installed. During the restoration an unexplained series of unusual pipework was discovered in the floor of the building. The building now acts as a visitor centre, which includes access to the dynamo room where acetylene gas was produced along with a thermalume generator which produced gas from petrol and air.

Gardens.

When the house and gardens were inherited by Coplestone Warre Bampfylde (1720–91) in the 18th century, a Georgian landscape garden was laid out, containing ponds, a grand cascade, a gothic alcove, a Tuscan temple arbour (1786), and a folly mausoleum. Bampfylde was an amateur architect of talent and a friend and adviser to Henry Hoare who laid out the gardens at Stourhead. Bampfylde also designed a Doric temple for the grounds, which was built around 1786, with an ashlar tetrastyle prostyle fronted by Tuscan columns and a large modillioned pediment. A Victorian formal parterre was added near the house by Henry Hall in the 1870s.  The Edwardian garden was laid out by Gertrude Jekyll and Edwin Lutyens between 1904 and 1906 for the Hon E.W.B. Portman, resulting in a garden "remarkable for the bold, concise pattern of its layout, and for the minute attention to detail everywhere to be seen in the variety and imaginative handling of contrasting materials, whether cobble, tile, flint, or thinly coursed local stone". Jekyll and Lutyens were leading participants of the Arts and Crafts movement. Jekyll is remembered for her outstanding designs and subtle, painterly approach to the arrangement of the gardens she created, particularly her "hardy flower borders". Jekyll was one of the first of her profession to take into account the colour, texture, and experience of gardens as the prominent authorities in her designs, and she was a lifelong fan of plants of all genres. Her theory of how to design with colour was influenced by painter J. M. W. Turner and by impressionism, and by the theoretical colour wheel. Their collaborative style was first developed at Herstercombe and described by the garden writer and designer Penelope Hobhouse as:  The "Great Plat" combined the patterned features of a parterre with the hardy herbaceous planting espoused by Miss Jekyll. Lutyens also designed the orangery about 50 m east of the main house between 1904–09, which is now Grade I listed, as are the garden walls, paving and steps on the south front of the house. On either side of the Great Plat are raised terraces with brick water channels. In his 2018 BBC series "Paradise Gardens", Monty Don suggested that the garden had many features of the traditional Islamic Paradise Garden.  The eastern area is laid out as a Dutch garden laid out with perennial plants such as Large white flowering Yucca gloriosa as groups used vertical elements alternate with purple colored flowering dwarf Lavender ("Lavandula"), catmint ("Nepeta") or silvery colored Zieste ("Stachys"), Cotton lavender ("Santolina"), China Rose ("Rosa chinensis") or Fuchsia ("Fuchsia magellanica").  Since October 2003, the landscape and gardens, extending to over, have been managed by the Hestercombe Gardens Trust, a registered charity set up to restore and preserve the site with a Heritage Lottery Fund grant of £3.7M. The gardens featured on BBC TV's "Gardens Through Time" series, and cover more than, with three different styles of garden ranging from woodland walks to lakes and ponds to formal gardens. The Georgian landscape, Victorian shrubbery and terrace and the formal Edwardian gardens combine to create biodiversity and interest for visitors. The site is used by Lesser horseshoe bats "(Rhinolophus hipposideros)" as both a breeding and wintering roost site. Numbers of Lesser Horseshoes at this site are only exceeded by one other site in southwest England. The bats use roofspaces in a former stable block as a maternity site. It has been designated as a Special Area of Conservation (SAC).

Hestercombe House is a historic country house in the parish of West Monkton in the Quantock Hills, near Taunton in Somerset, England. The house is a Grade II* listed building and the estate is Grade I listed on the English Heritage Register of Parks and Gardens of Special Historic Interest in England.

Hestercombe House je dům ve farnosti West Monkton v Quantock Hills, v blízkosti Taunton v Somersetu, Anglie. Budova je označena II. stupněm ochrany a je na seznamu dědictví UNESCO, mezi anglickými parky a zahradami se zvláštní historickou hodnotou. Dům byl založen v 16. století.