#suffolk coast

[technetmedia]

The City That Fell Off a Cliff

"Beneath the waves, off the Suffolk Coast, lies a city taken by the sea through centuries of erosion. Matthew Green revisits Dunwich, a once lively port transfigured into a symbol of loss, both eerie and profound, for generations of artists, poets, and historians drawn to its ruinous shores." - this is how Matthew Green begins his essay.

I recommend to read:

[ingreycaptures]

2022 in Pictures

I’ve gone through over thousands and thousands of my photos this year in and around East Anglia and have hand picked my favourites, 451 to be precise. Looking back at this year, I feel like I’ve made some progress with how some of photos look a lot more “professional” compared to previous years where maybe it was a bit more a fluke. That’s not to say it’s not been a hit or miss with some of other…

[caedmonofwhitby]

'I defy any one, at desolate, exquisite Dunwich, to be disappointed in anything. The minor key is struck here with a felicity that leaves no sigh to be breathed, no loss to be suffered . . . Dunwich is not even the ghost of its dead self; almost all you can say of it is that it consists of the mere letters of its old name. The coast, up and down, for miles, has been, for more centuries than I presume to count, gnawed away by the sea. All the grossness of its positive life is now at the bottom of the German Ocean, which moves for ever, like a ruminating beast, an insatiable, indefatigable lip. . . . There is a presence in what is missing—there is history in there being so little. It is so little, today, that every item of the handful counts. The biggest items are of course the two ruins, the great church and its tall tower, now quite on the verge of the cliff, and the crumbled, ivied wall of the immense cincture of the Priory.'— Henry James

Photograph of All Saints’ Church, Dunwich, before it went into the waves, from the Nicholson Collection of postcards at Dunwich Museum, ca. 1910

[kaihphotographs]

Caught a couple of Bearded Tits on the walk back the car. A great way to finish the day! 🌅 #beardedtit #beardedreedling #reeds #reedbed #coast #suffolk #birds #bird #animal #wildlife #animals #wildlifephotography #twitcher #birdwatching #birdphotography #photography #nature #naturephotography #uk #unitedkingdom #nikon #winter (at Suffolk) https://www.instagram.com/p/CmrYjnqIcJ4/?igshid=NGJjMDIxMWI=

[willard-metcalf-paintings]

-On the Suffolk Coast-

[fluentisonus]

All Saints' Church Falling Into the Sea

A visual progression:

An Historical Account of Dunwich, Thomas Gardner, 1754

Antiquities of England and Wales, Francis Grose, 1786

A Topographical and Historical Description of the County of Suffolk, John Kirby, 1829

Coast Scene Near Dunwich, Charles Keene, 1855-70

All Saints Church, 1890

All Saints Church c. 1910, 1914, 1919, 1919-20

All Saints Church in 1959, 1970 (film sources)

[fatehbaz]

Travel back [...] a few hundred years to before the industrial revolution, and the wildlife of Britain and Ireland looks very different indeed. 

Take orcas: while there are now less than ten left in Britain’s only permanent (and non-breeding) resident population, around 250 years ago the English [...] naturalist John Wallis gave this extraordinary account of a mass stranding of orcas on the north Northumberland coast [...]. If this record is reliable, then more orcas were stranded on this beach south of the Farne Islands on one day in 1734 than are probably ever present in British and Irish waters today. [...]

Other careful naturalists from this period observed orcas around the coasts of Cornwall, Norfolk and Suffolk. I have spent the last five years tracking down more than 10,000 records of wildlife recorded between 1529 and 1772 by naturalists, travellers, historians and antiquarians throughout Britain and Ireland, in order to reevaluate the prevalence and habits of more than 150 species [...].

In the early modern period, wolves, beavers and probably some lynxes still survived in regions of Scotland and Ireland. By this point, wolves in particular seem to have become re-imagined as monsters [...].

Elsewhere in Scotland, the now globally extinct great auk could still be found on islands in the Outer Hebrides. Looking a bit like a penguin but most closely related to the razorbill, the great auk’s vulnerability is highlighted by writer Martin Martin while mapping St Kilda in 1697 [...].

[A]nd pine martens and “Scottish” wildcats were also found in England and Wales. Fishers caught burbot and sturgeon in both rivers and at sea, [...] as well as now-scarce fishes such as the angelshark, halibut and common skate. Threatened molluscs like the freshwater pearl mussel and oyster were also far more widespread. [...]

Predators such as wolves that interfered with human happiness were ruthlessly hunted. Authors such as Robert Sibbald, in his natural history of Scotland (1684), are aware and indeed pleased that several species of wolf have gone extinct:

There must be a divine kindness directed towards our homeland, because most of our animals have a use for human life. We also lack those wild and savage ones of other regions. Wolves were common once upon a time, and even bears are spoken of among the Scottish, but time extinguished the genera and they are extirpated from the island.

The wolf was of no use for food and medicine and did no service for humans, so its extinction could be celebrated as an achievement towards the creation of a more civilised world. Around 30 natural history sources written between the 16th and 18th centuries remark on the absence of the wolf from England, Wales and much of Scotland. [...]

In Pococke’s 1760 Tour of Scotland, he describes being told about a wild species of cat – which seems, incredibly, to be a lynx – still living in the old county of Kirkcudbrightshire in the south-west of Scotland. Much of Pococke’s description of this cat is tied up with its persecution, apparently including an extra cost that the fox-hunter charges for killing lynxes:

They have also a wild cat three times as big as the common cat. [...] It is said they will attack a man who would attempt to take their young one [...]. The country pays about £20 a year to a person who is obliged to come and destroy the foxes when they send to him. [...]

The capercaillie is another example of a species whose decline was correctly recognised by early modern writers. Today, this large turkey-like bird [...] is found only rarely in the north of Scotland, but 250–500 years ago it was recorded in the west of Ireland as well as a swathe of Scotland north of the central belt. [...] Charles Smith, the prolific Dublin-based author who had theorised about the decline of herring on the coast of County Down, also recorded the capercaillie in County Cork in the south of Ireland, but noted: This bird is not found in England and now rarely in Ireland, since our woods have been destroyed. [...] Despite being protected by law in Scotland from 1621 and in Ireland 90 years later, the capercaillie went extinct in both countries in the 18th century [...].

---

Images, captions, and text by: Lee Raye. “Wildlife wonders of Britain and Ireland before the industrial revolution – my research reveals all the biodiversity we’ve lost.” The Conversation. 17 July 2023. [Map by Lee Raye. Bold emphasis and some paragraph breaks/contractions added by me.]

[random-brushstrokes]

Willard Metcalf - On the Suffolk Coast (1885)

[marypickfords]

The Stalls of Barchester (Lawrence Gordon Clark, 1971) A Warning to the Curious (Lawrence Gordon Clark, 1972) Lost Hearts (Lawrence Gordon Clark, 1973) The Treasure of Abbot Thomas (Lawrence Gordon Clark, 1974) The Ash Tree (Lawrence Gordon Clark, 1975)

“For all five of these adaptations, Gordon Clark worked with cinematographer John McGlashan and sound recordist Dick Manton, who he credits with establishing the gloomy look that would be the hallmark of the series (as well as editor Roger Waugh who edited all the original series’ James adaptations save 1973’s ‘Lost Hearts’). Central to that aesthetic were the authentic East Anglian locations that have been the inspiration for many a terror tale, even aside from those of M.R. James.

‘James lived in East Anglia—the region that encompasses Norfolk and Suffolk—for most of his life,’ explains Helen Wheatley, citing this as one reason James set many of his stories there. ‘However, there is also a broader sense of the region as being rather out on a limb, a relative hinterland, which lends itself to ghost story telling,’ she continues. ‘In James’ stories, and their television adaptations, the geography and landscape of the region—expanses of flat land, the whispering grasses of the East Anglian coast line, sparsely populated agricultural land—has a particularly haunting quality.’

This landscape is key to the series’ hauntological appeal. Scholar Derek Johnston has an extensive catalogue of writing that examines nostalgia in relation to the Christmas ghost story—and the A Ghost Story for Christmas series in particular—and notes that the Victorian middle class idealization of rural life was subverted by James’ stories, which presented the country as peaceful on the surface but a place of dark, tumultuous secrets. He also points out that East Anglia is a land of invaders and colonizers, writing in his essay ‘Season, Landscape and Identity in the BBC Ghost Story for Christmas’ that ‘The connection to the local soil and landscape runs generations deep, but it has also been built upon the remains of earlier populations, with earlier connections to that landscape, overrun by the incomers...the landscape may encourage identification with the nation, but it also emphasises how the landscape is interpreted through the history of human action upon it.’” — Kier-La Janisse, from Yuletide Terror: Christmas Horror on Film and Television (2017).

[pers-books]

For fans of Julian Simpson, here's the latest news on the Pleasant Green Universe (PGU).

Pleasant Green

Hollywood being in the doldrums right now, I have decided to make Pleasant Green my life for at least the next few months. I'm very happy with that decision, because there is a LOT I want to do in this universe and I am finally carving out the time to get some of it done. In the past I have been a little coy about plans because, well, the nature of this business is that everyone is a little secretive about projects but NO MORE. I am showing my work now!

First up, there's going to be a movie of BAD MEMORIES. This has been in the works for a while (truth be told, it's still in the works because these things take AGES to come together) but I can tell you that the script is written (and re-written, and re-written) and the action has moved to the US. This is partly for commercial reasons and partly because it lets me set the story in Arkham-country, which is really exciting to me. The story is an adaptation of the original radio play, not a straight translation, but the whole thing is going to be creepy as hell. We have actors attached to play Rachel and Jim, but that's the one thing I do have to be coy about for contractual reasons. I can tell you that I LOVE these two actors and they are going to be incredible.

Then there are THREE (count 'em!) movies coming up behind that (quite a bit behind because I'm only writing them now). THE SHADOW WORLD is a supernatural espionage story that is going to be crazy-dark. It tells the story of Marcus Byron and Victoria Ness, who both featured in The Haunter of the Dark, and explores the weird liminal space that we call "The Breach". Behind that are two interlinking movies, one big, one smaller, that are going to be set in Paris and revolve around the activities of the Levesque Institute. I'm super-excited about all three of these, but it's going to be a long old journey from here to when we start selling tickets.

On the TV side, there is a show tentatively titled WENTWORTH, which I'm incubating right now. It's set on the Suffolk coast (of course it is) and it's going to be intersecting with the Pleasant Green Universe from a different angle, as a London cop (it's British TV, the main character has to be a cop, that's the law) heads back to her home village to investigate the death of a schoolteacher, which leads her down a trail into her own, very dark, family history. I want to do this show on a new model; 30 minute episodes, low-budget (like an indie movie) and financed independently so we get the freedom to make it right. I imagine that's going to take a while to come together, but it'll be worth it if we can make it work, and I want to sprinkle a few familiar characters into it too.

More immediately, the latest installment of the Saltmarsh storyline will be going up on the Pleasant Green site, for paid subscribers, in the next few days. This story is getting weirder and scarier from here on in.

We have to sit down and figure out the crowdfunding stuff over the next month or so, but the plan right now involves two audio series and I'm not sure what order we're going to fund them in. Obviously one is the fifth season of The Lovecraft Investigations. That's expensive, relatively speaking, because I want to do a full series of 30 minute episodes and really dive back into the world properly. You all have an idea of what story I'm adapting for this, but you have NO IDEA where we're going to take this one...

The other audio series is more modest, but I think it's going to be really good. Throughout the Lovecraft Investigations, we have continually made reference to the Great Beast himself, Aleister Crowley, and it occurred to me that there is more than enough material there to create a non-fiction audio series detailing Crowley's life and very weird exploits; birth to death, soup to nuts, the whole thing. We'd make it entirely factual BUT we would present that information within our own framework ie. Kennedy and Heawood would host the show, with the occasional guest interviewee (a certain professor of folklore, for instance) for added colour. I'm really excited about this idea, as a kind of Lovecraft Investigations 4.5, but the format lends itself to a whole strand of occult non-fiction ideas as well.

Knocking around on the periphery of all this is THE VERY RUINE OF THE WHOLE LAND, which is a feature-length audio piece telling the origin story of a character called Karen Whybrew, who no one but me has met yet (readers of the Saltmarsh storyline will be encountering her very soon). The idea here is to do something absolutely spectacular with sound, like a weird, spooky art movie on headphones - something that will really push the boundaries of the medium.

Meanwhile, I'm working to set up the premium "Department of Works" membership tier on the Pleasant Green site (Ghost does not make it easy to do this stuff in the background without publishing everything, but I'm getting there). I had wanted to offer high-quality audio downloads of the shows to that membership level, but we have a boring issue with distribution rights at the moment, so that may take a while. In the meantime, I am delving through behind-the-scenes photos and notebooks etc to put together a really good package for The Case of Charles Dexter Ward. When I've got that together, I'll launch the tier and then start assembling and posting material for the other seasons, one by one. I'm also going to include downloadable PDFs of all the series scripts. We're also talking about putting a few bits and pieces of merch together.

The future of the Pleasant Green site is looking pretty good at the moment. The Saltmarsh storyline is leading into some other fiction ideas, and a recent trip to Amsterdam yielded an interesting notion about an organisation known only as The Cabal, which Parker is investigating and which intersects with the aforementioned Karen Whybrew storyline.

AND ANOTHER THING, which I may have alluded to before; dust off your D20s because I'm going to be working with Pelgrane Press to create a Pleasant Green supplement for their stupendous Trail of Cthulhu game system. That's in the early stages (because I have been slow getting off my ass and providing material) but it is now happening just as fast as we can manage it.

Like I say; full immersion in the Pleasant Green Universe for the next few months. I can't wait.

As we move forward on all these fronts, there will be plenty of opportunity to help out and get involved. Cartoon Gravity will be the place to learn about it all first, so if you know people who like the world, make sure they know to sign up here (it's free). Our best chance of getting a head of steam is to bump up the subscription numbers on this site, so we can launch membership and crowd-funding initiatives in a big way. The more people you can hook in now, the more we can get done.

Oh, I almost forgot - ALDRICH KEMP AND THE ROSE OF PAMIR starts on Radio 4/BBC Sounds on Friday 22nd November. This is our best series so far. I'll post the trailer just as soon as it's available.

[scotianostra]

On 7th June 1868 Charles Rennie Mackintosh was born n Glasgow.

As a young boy he was inspired by nature, drawing and painting flowers and driftwood he'd collected in the basement of his home in Townhead He began attending classes in drawing, painting, modelling and design at the Glasgow School of Art (then on Sauchiehall St) aged 15 and a year later began working as an apprentice to local architect John Hutchison.

It is widely reported that Mackintosh’s name is actually spelt 'McIntosh' on his birth certificate but was misspelt in the 1890s. The error stuck and from then on the young man referred to himself by the surname we are all familiar with.

Many buildings in Glasgow built in the 1890s were described publicly as the work of architects John Honeyman and Keppie; buildings which were either partly, or entirely like the Glasgow Herald building (now the Lighthouse) the work of Mackintosh in his role as assistant within the firm. As he was not a 'partner', he wasn't publicly acknowledged.

Mackintosh was engaged to Jessie Keppie, the youngest sister of the boss of his firm, but called off the engagement after falling in love with fellow artist Margaret MacDonald. Doing so was highly frowned upon at the time, and he risked both his expulsion from the firm and from the Glasgow societal circles he moved in for his choosing to pursue his love, whom he would marry in 1900.

His love for Margaret MacDonald is one of the greatest love stories in art history, and Mackintosh wasn't shy of shouting it across the rooftops. His wife was his "spirit key" who represented 3/4 of all that he had done. And while he had talent, Margaret "had the genius".

After the Glasgow School of Art was completed in December 1909, a local paper branded it an eyesore for the centre of the city, remarking that Mackintosh "have his bare arse whipped" for designing a building that "resembles a prison". Newer generations of citizens even regarded the building as 'queer' and 'decadent'. Remarkable for a building recognised by RIBA journal in 2009 as the finest designed by a British architect in the last 175 years.

Charles Rennie Mackintosh was reported to be a heavy drinker, with stories indicating that he was often found in the morning in his studio under the table clutching an empty bottle.

As if his design for buildings wasn't giving him enough stick from some of his peers, Mackintosh even went so far as to design his own tartan, rejecting traditional green and red colours with his own 'Toshie's Tartan' of black and white check.

During WW1 in August 1915, Mackintosh was locked up in jail after begin arrested on suspicion of being a German spy. This was after he had aroused the suspicion of locals while staying in Suffolk by his late night walks along the coast, who thought that his use of a lantern may be him signalling out to see to the enemy.A police raid found letters written in German (to fellow artists) and he was banged up, before begin released after colleagues convinced the authorities of his innocence.

Mackintosh's work has featured in a dazzling array of films such as Inception, The Addams Family, American Psycho and Blade Runner - where the inclusion of his famous 'Argyle' chair provides a hidden meaning to the life of one of the film's central characters. Not only that, but in Madonna's 'Express Yourself' video, the singer can be seen crawling underneath a table surrounded by Mackintosh's famous chairs.

The statue in the pics is at Anderston in Glasgow, and was unveiled on anniversary of his death in December 2018, it is by Scottish sculptor Andy Scott of Kelpies fame.

[justforbooks]

Stephen Salter, who has died aged 85, was the inventor of the Salter’s Duck, a wave-power device that was the first of its kind and promised to provide a new source of renewable energy for the world – until it was effectively killed off by the nuclear industry.

In 1982, after eight years of development under Salter’s direction at Edinburgh University, the United Kingdom Atomic Energy Authority (UKAEA) was asked by the government to see if the duck might be a cost-effective way of making large quantities of electricity. To the great surprise of Salter, and others, the UKAEA came to the conclusion that it was uneconomic, and that no further government funding should be given to the project.

A decade later it emerged that thanks to a misplaced decimal point, the review had made Salter’s duck look 10 times more expensive than the experiments showed it was likely to be. The UKAEA claimed this was just a mistake, but Salter, who had never been allowed to see the results of the secret evaluation, put it another way: asking the nuclear industry to evaluate an alternative source of energy was like putting King Herod in charge of a children’s home, he suggested.

By then, however, Salter had become interested in other projects, and as a result his duck has never been tested at sea – although wave-power devices using some of his technology are now in development in the Orkneys and off the coast of Portugal.

The prototype ducks, developed in a multidirectional wave tank of Salter’s invention, are now in the National Museum of Scotland in Edinburgh, where there are a number of other exhibits with links to him, including the only remaining Black Knight rocket, a UK ballistic missile from the 1950s, and Freddy the Robot, from the 60s, the first machine to have artificial intelligence that could “see” and had a sense of touch. He also invented the Dervish, a low-cost method of clearing landmines, by using a revolving three-wheeled mechanism with a constantly changing path.

Perhaps the range of those projects sums up Salter’s mind better than anything else. Colleagues who worked with him said that while other scientists concentrated for years on one subject to the exclusion of all others, Salter was fascinated by new problems.

Although it was the oil shock of 1973 that first stimulated his interest in renewable energy, he later became one of the first scientists to realise the dangers of climate change. Doubting that the slow pace of cutting fossil-fuel use would be enough to save the planet from dangerous overheating, at the turn of the 21st century he set up a scheme to develop marine cloud brightening – an idea to produce more and brighter clouds in the middle of the oceans in order to reflect sunlight back into space, thereby keeping the oceans cooler and reducing sea-level rise.

He designed a project to build a large number of automated ships spraying aerosols from sea water into the atmosphere to create and brighten clouds in the middle of the world’s oceans and – having made a considerable fortune by selling some of his inventions – was able to set up the Lothian School of Technology just outside Edinburgh for £2.4m. The centre provides premises for up to 60 of his students to work on inventions and develop them commercially beyond their time at university.

Born in Johannesburg, South Africa, Stephen was the son of British parents who had emigrated there, Rachel (nee Floyd) and Willoughby de Carle Salter. His father joined the Royal Navy as a meteorologist during the second world war and afterwards the family moved to Britain, where Willoughby became head of a prep school in which Rachel also taught. Stephen attended two boarding schools and then Framlingham college in Suffolk.

By that time he was designing, building and flying model aeroplanes, and his ambition was to take an engineering degree at Cambridge University. But he failed to get good enough grades, instead becoming an apprentice at Saunders-Roe, an Isle of Wight aero- and marine-engineering company, where he was involved in the Black Knight rocket project. After studying at night classes he was finally accepted at Cambridge to study natural sciences including metallurgy.

He moved to Edinburgh University in 1967, aged 29, to become a research fellow working on artificial intelligence in robots. Within six years he was also a lecturer and had begun his work on wave energy. In 1984 he became professor of engineering design.

Perhaps Salter’s left-leaning politics and his willingness to take on the London establishment prevented him from being showered with the honours he deserved, but he was elected to a fellowship of the Royal Society of Edinburgh in 1991, made MBE in 2004, and inducted into the Scottish Engineering Hall of Fame in 2021. He never stopped working, becoming an emeritus professor at retirement age and continuing to research, advise companies and refine his inventions until the end.

He married Margaret Donaldson, a professor of development psychology at Edinburgh University, in 1973. She died in 2020. He is survived by his younger brother, Edmund.

🔔 Stephen Hugh Salter, inventor, born 7 December 1938; died 23 February 2024

Daily inspiration. Discover more photos at Just for Books…?

[wonder-worker]

"Margaret (of York, Duchess of Burgundy) left Bruges on 24 June and was in England for more than three months. She travelled with a large retinue headed by Guillaume de Baume and the embassy included two officials who were well-known to her, Thomas Plaines and Jean Gros, the treasurer of the Order of the Golden Fleece. She received aides from the Estates to cover her expenses with the Hainault Estates contributing 4,000 livres. Her mission had several goals, but the immediate need was to obtain some military help in the form of English archers to reinforce Maximilian’s hard pressed armies. ... King Edward sent Sir Edward Woodville, the Queen’s younger brother, aboard the royal ship ‘Falcon’ to bring his sister across the Channel. It was twelve years since she had sailed to her marriage. Sir Edward had been part of her marriage party and he had won the honours in the famous joust of the Golden Tree. This time Margaret took the shorter route from Calais to Gravesend, where she was received by Sir John Weston, the Prior of the Knights of St John. She then transferred to a royal barge which had been sent to bring her up the Thames to London. The barge was specially refitted for the occasion. The master and the twenty-four oarsmen had been supplied with new liveries in the Yorkist colours of murrey and blue with white roses embroidered on their jackets. The knights and squires who formed the escort of honour wore fine black velvet jackets which were decorated with a pattern of silver and purple. Two residences had been prepared for Margaret’s use, the palace at Greenwich where she had spent so much time before her marriage, and the London house of Coldharbour near her mother’s home at Baynard’s Castle. New beds with red and green hangings had been sent up to the Coldharbour house and the finest bedlinens and coverlets had been ordered. Curtains, screens and tapestries were provided for both the houses, including a piece of arras which depicted the story of Paris and Helen. For her travel during her stay in England, Margaret was sent ten ‘hobbeys and palfreys’ all newly harnessed and caparisoned in rich saddle cloths. The King encouraged everyone to be generous towards his sister and used ‘right large language’ with the Archbishop of Canterbury who failed to offer Margaret a gift. His own final present to his sister was a luxurious pillion saddle in blue and violet cloth of gold, fringed with ‘Venetian gold’ thread.

While she was in England, Margaret renewed her contacts with all her old friends and family. She was received by the Queen and introduced to her royal nephews and nieces. Her youngest brother Richard, Duke of Gloucester, who was busy dealing with Scottish incursions in the north, made time to come south to see his sister, and the King gave a state banquet at Greenwich in honour of Margaret and their mother, the old Duchess Cecily. It was also attended by Margaret’s sister Elizabeth, Duchess of Suffolk. It seems that Margaret admired the wine, for on the day after the banquet, Edward sent her ‘a pipe of our wine’ valued at 36s 8d. As well as enjoying the company of her living family, Margaret could not have failed to remember all her dead relations. It was perhaps with a chantry in mind that she persuaded Edward to introduce the reformed Order of the Observant Friars into England. Soon after her departure the King sent for the Vicar-General of the Order and offered him a site for their new monastery near to the palace of Greenwich. Building began in 1482 and the abbey chapel was dedicated to the Holy Cross. Was the dedication in honour of Margaret, and does it provide further evidence of her connection with Waltham Abbey? ... Well satisfied that the negotiations were at last completed, Margaret prepared to leave London. She paid a farewell visit to the city where she was presented with a purse containing £100. She then set off for the coast accompanied by her brother Edward who had decided to see her on her way. ... The Dowager passed a week in Kent visiting the shrine of St Thomas à Becket and staying on the private estates of Anthony Woodville, Lord Rivers. These two bibliophiles must have had much in common especially now that Rivers was the patron of Margaret’s former protégé, William Caxton. No doubt she was shown Woodville’s translation of the ‘Dictes and Sayings of the Philosophers’ which was one of the first books printed on Caxton’s press at Westminster. With the King still in attendance, Margaret finally left for Dover, where the ‘Falcon’ waited to take her back to Calais. Edward seemed to be genuinely sad to see her departure and he wrote to Maximilian on 22 September announcing the return of his ‘well-beloved sister’. She left behind her in England Jacques de la Villeon, who was to act as an agent for the Burgundian ally, the Duke of Brittany."

Christine Weightman, "Margaret of York: The Diabolical Duchess"

[lboogie1906]

Attorney Nina Mitchell Wells (September 9, 1950) is an attorney and politician (D) who served as the 32nd Secretary of State for New Jersey. She was born in DC. He attended Immaculate Conception Academy. She enrolled in Mount St. Joseph College, but transferred to Newton College of the Sacred Heart, before the end of her freshman year. She earned her BA and married her longtime beau, Theodore V. Wells Jr. (1982). The couple have two children.

She earned her JD from Suffolk University Law School. The family relocated to Los Angeles for a short time before returning to the East Coast, where they settled in New Jersey. She began her career as Assistant Corporation Counsel in the city of Newark’s Law Department and legal advisor for the Newark Central Planning Board and the Real Estate Commission. She worked at Bell Communications, and served as the head of the Division of Rate Counsel in the Department of the Public Advocate, before serving as Vice President and Senior Counsel at the CIT group. She worked at Rutgers University as the Assistant Dean for the Minority Student Program, before she became the Vice President of Public Affairs at the Schering-Plough Corporation.

She was appointed by New Jersey’s 54th Governor Jon S. Corzine, as the Secretary of State. Her duties included overseeing state elections as chief elections officer, as well as the state archives, historical affairs, cultural and arts programs, literacy, Native American Affairs, and tourism. She held the position of Secretary of State until 2010. She served as a Board member for numerous secondary and collegiate institutions, cultural foundations, and community organizations including the College of St. Elizabeth, The Newark Museum, and the Victoria Foundation.

She has received numerous awards for her legal work and philanthropy over her more than 32 years as a public servant. She has been inducted into the New Jersey Business Hall of Fame and holds honorary degrees from the College of St. Elizabeth and Drew University. She serves as the President of the Schering-Plough Foundation. #africanhistory365 #africanexcellence

[kaihphotographs]

Making the most of the winter weather here in the UK! #robin #europianrobin #bird #birds #birdwatching #twitcher #birdphotography #wild #animals #animal #wildlifephotography #wildlife #nature #naturephotography #photography #suffolk #coast #winter #nikon #uk #unitedkingdom (at Suffolk) https://www.instagram.com/p/Cmi7FBKIY0h/?igshid=NGJjMDIxMWI=

[willard-metcalf-paintings]

-On the Suffolk Coast-