Gweithiedu. I'm delighted to have been given this opportunity to speak to you today about our significant new acquisition, the Kalmscock Manor, and one which I'm sure will prove one of the highlights of the collections there. It has been made possible not only because of generous contributions from individuals, but also through funding from the National Heritage Memorial Fund and the Meany Purchase Grant Fund.  Yn yma'r ddiddordeb yn 2014, Mae'r cyfrifio'r bwysig yma wedi'u cyfrifio'r byw sydd y bydd cyfrifio'r bwysig yma, gyda'r unrhyw o'r bydd ynghylch yn ymddangosol, a'r bydd y gyrfaethau a'r bwrthfyn ar y gwrthafol, ac mae'n ffryd yn cyfrifio'r bwysig yn ymgylch ar y Gweithreith Moris. Mae'n cael ei wneud o'r reisio'r gweithio a'r pwrthfyn i'r ddeiligol iawn, ac mae'n gweithio'r bwysig iddyn nhw. Mae'r gwneud yn dweud i'w bwysig y gallwn i'w ddweud i'r bwysig yma, ac rwy'n nhw'n fwy o'ch ddweud i'r ddweud i'r ddweud i'r ddweud i'r ddweud i'r ddweud i'r ddweud i'r ddweud. Mae'r ddweud i'r ddweud i'r ddotl Llyn Hals, y ffelly o'r society, ymweldwyr, ymgyrch, a'r practicioner, sy'n gynghwyl i'r cyflwyn i'r ddweudio'r cyffredinol sy'n cyflwyn i'r ddweud i'r ddweud i'r ddweud. Fel yma, dangos fel sy'n ddefnyddio'r Cornwallau, ac ond rhaid creed yn astu ddigon魚 blends yn sidefa aélo, ystyplaying ar forgotd yn dewe. Dyma, ond,ech gallwch Claudiam Hylluddio i'r ddoffa gylio e wedi dod hollhydd bathroom ac efallai yn eu gyfnodd iawn. поed gan Ondr Corynwyr gallaf hyfrifau cyffredinol oes Gwydiannaeth Maer einen yn practiceio gelly ac yn pobli yw'r ddafynTON, neu o widefarnio. i am ymddangosio i'r gweithio'r seithiant. Mae'r sorgfyrdd yn dweud ei ddechrau ar y cant yn ymgyrch, ac mae'n meddwl am gael ein canol o'r parod yn eich gweithio'r gweithio. A'r gweithio'r gweithio fi'n gweld bod ymgyrchol o'r ddefnyddio'r gweithio, ac mae'n gweithio'r gweithio'r gweithio. Mae'r bwysig yn gyfrifio'r sorgfyrdd y 12 gwahogau i'r bwysig i'ch anodd mewn beth.  Under her leadership, the department executed some of the finest embroidered work of today, the most which can be numbered of the Hangings on the Bed at Kelscot manner. She also was very active in the Royal School of Needlework and over the years she developed a particular expertise in historical embroidery particularly Opus Anglicana Mae dweud o fod yn ei ddechrau a gwneud y ddefnyddio iaith a'n 1893 y fawr ar bethau meddyliadau meddyliadau wedi cymryddoch yn wedi'i gwneud efallai y gallu gwaith y byd i'r ffordd, y cael eu sometimeu yn eich ymgyrchu'r enyfion i'r busiau hyn ysgolau y meddyliadau a hynny yn ddefnyddio'r reidio i wspargau i iechyd y ffazer yn mynd i'w defnyddio arniadau ar amgylcheddau. Maen nhw'n gweithio, Jane Weiss was extremely talented in transcribing designs into finished embroideries, something which she was well versed in doing, particularly during the early years of her marriage to William Weiss when the family lived at Red House, and when embroidered panels and hangings such as these, the Daisy hangings, which again are in the Helmscott Manor collection, was so prominent within the decorative schemes of the house. In Linda Perry's opinion, her transcription of Mae Morris' design to the finished piece that you'll see today was a masterpiece in its application of technique in retaining Mae's own drawing style, something very difficult to achieve. So what do we know about the history and significance of this object? Well, the ledger of the embroidery department for Morrisville Company is now at the National Art Library at the BNA, and what that tells us is that Mae designed a great many things over the years that she was director of that department, but only a handful of cock quills are listed as being pieces for retail or commissioned, and only one of those is described as having animals as its subject matter, a commission for Mrs Whiteley in 1893. Mae does appear to have designed another rather more simplified version of our cock quills in 1889 for an American client, which is described as having a small house surrounded by animals and birds, and above which hover an American eagle, which may quite possibly bear some relation to the eagle, which is featured at the top of the design of our cock quills. This piece, unfortunately, has since been lost, or at least it's whereabouts are currently unknown, so it's not being available to us for comparative purposes. But what is evident is that such subject matter was extremely rare within Mae's of. Well, in 1890, the cock quill was one of nine pieces designed by Mae Mawr, to be included in the third Arts and Crafts Exhibition Society show, and it was identifiable from its catalogue description, and the exhibition itself was reviewed in the Illustrated London News, and the quilt was given a particular mention praising both the complexity and originality of its design, and I'll just read you an extract from that review. In a glass case has arranged a cock quilt designed by Miss Morris and worked by Mrs Morris with a goodly array of animals, bordered with lines from Tiger Tiger Burning Bright by William Blake. Perhaps of all the pieces contributed by the Morris family, this is one of the best and most original. Well, another hundred years went by before the piece was shown in public again, when it featured in the exhibition held at the William Morris Gallery in 1989, which was in fact the first exhibition to be devoted purely to Mae Morris and her work, and the catalogue for that show described it as being amongst the most important works featured. So the design of this exceptional piece can safely be said to date to 1889, or possibly the early months of 1890, the months immediately preceding Mae's marriage to fellow socialist Henry Halliday Sparling, who you can see seated next to Mae in this photograph with Henry Walker and George Bernard Shaw. William Morris, as I'm sure you know, was a committed revolutionary socialist from 1883, and his daughter shared his political convictions as did Sparling. Prior to her marriage, Mae spent extended amounts of time at Kelmscott Manor preparing for her new life, and we know this from her mother's correspondence. Jane, in writing to a friend, observes Mae is a way at Kelmscott Manor alone, learning cooking and how to live on a few shillings a week. Perhaps not surprisingly, given Mae's affection for the place, they then spent their honeymoon at the manor. Given that this was a transitionary period in Mae's life, it is pertinent to question, as Linda Parry has done, whether the quilt's childlike composition could simply be said to be a flight of Mae's imagination, or whether instead it reflects a newly awakened maternal awareness. Fiona McCarthy, in her authoritative biography of William Morris, gives weight to this possibility. When she observes that although there doesn't appear to be any surviving evidence, it is maintained within Morris circles that the Sparlings had a stillborn child. And although we quite possibly will never know whether our quilt is the quilt designed by Mae for her own lost child, what we do know is that it had immense personal significance for her, which is demonstrated by an account from the 1920s. It was in March 1925 that Alfredo Manning, daughter of the sculptor, Hamo Thornycroft, visited Calmscock Manor, and she recorded that visit in her diary. It was then published in 1980 in the Journal of the William Morris Society. And very usefully, from our perspective, she is careful to state that the diary entry was made at the time of her visit to the manor rather than retrospectively, so as well as being highly detailed accounts of her visit, it's also a very reliable one. And she describes taking tea with Mae Miles prior to then detailing the embroideries which have been selected for her by Mae to view. And I'll read you the pertinent extract. Ms Morris showed us some coverlets embroidered with silk, a charming one for a child of a little house, a river, and every kind of animal. Foxes, ducks, a smiling lion, and a weakling elephant, etc. And round them was a border of motos. First plough your furrow, then God will send the seed. Better unborn than untaught, and an Italian one, and a Persian one. So a very detailed description of the piece. In addition, on that visit, she was shown a pair of bishops' gloves, finally embroidered by Mae Miles to a design by Charles Bricketts. Those are now in the V&A. And another bed cover, which was embroidered with honeysuckle, fratilleries, and crown imperial, which, as she noted, were flowers which flourished in the fields around Kelmscott at that date. Evidently, these were particularly precious items to her. She had a house full of wonderful items, which she could have chosen to show her guests, but these were the pieces that she selected. And our cock quilt embodies that very deep affection felt by Mae for Kelmscott, our beloved Oxfordshire home, as she called it. The place that was a constant in her life from the age of nine, on which she felt to be her true home. She was to write, Though my family lived ostensibly in London, we were never really town birds. Country life was always to us the natural and happy thing. And from 1923, Mae made the manna her permanent home when she left her house at Hemsmouth Terrace behind. Well, I'm just going to say a few quick words about the pictorial and textual content of the piece before I conclude. As I said before, research is still ongoing into it, and particularly into the rationale behind Mae's choices, both in terms of the animals and beasts, which she included in the design and the quotations and proverbs. Stylistically, the anthropomorphised, stym, smiling lion, as Alfredo Manning called him, who you can see on the left here, obviously references 17th century stump work. We don't know whether she was referencing one particular piece or not, but for some of the other birds and beasts, we do have far more specific sources that have been identified. So here we have the heron. The top left image is the heron from the cock cover, and beneath it is another heron designed by Mae Morris some 20 years later for the cover notes that she designed for her mother to embroider in memory of her father, which remains at the manna today. On the right, we have Thomas Buick's illustration from A History of British Birds, volume 2, first published in 1804, and of which William Morris owned a copy of the first edition, to which, of course, Mae would have had ready access. Likewise, the spotted giraffe, or camel leopard, as it's termed in this particular source, and the Ganges stag, appear to have been adapted from illustrations in Ralph Bilby's General History of Quadrupeds, first published in 1791, and of which Morris owned a copy of the second edition. And if I just go back a second to the giraffe, what's quite interesting is that the illustration that you see here is from that second edition. And as you can see, although it is slightly simplified, the embroidered design shows a spotted animal. In later editions of that book, that the pattern on the animal's skin is rather more jigsaw-like, as one would expect. So there's clearly a close correlation between Mae's design and that of the edition owned by her father. It's no coincidence that these creatures, and quite possibly many of the others, can be linked to volumes held in Morris's library a ready and available source of inspiration to Mae, who certainly appears to have made extensive use of it. The quotations and proverbs that she selected with which to decorate the border of the piece are also noteworthy. Many of them are bound by a common philosophy, living responsibly, taking advantage of opportunities for education and self-improvement, and dealing fairly and kindly with one's fellow man, all broadly speaking tenants of socialism and reflective of Mae's political activism through her involvement with the Hammersmith branch of the Socialist League at this time. And if I just look a little closer at the first one, better unborn than untaught is taken from Plato's Republic. The full line from that is, it is better to be unborn than untaught for ignorance is the root of misfortune. Perhaps more specifically, given the data at which Mae was designing this piece, it may also be worth considering the possibility that she was making an oblique reference to her father's great utopian novel, News from Nowhere, which was first published in serial form in the Socialist Journal Commonwealth from January 1890. The two other proverbs beneath that reflect those same socialist values. And it does appear that Mae also referenced directly her father's work. The two extracts of Farsi, which you can see here, have been identified as coming from the roubaillate of Omar Kayam, a poem for which Maurice had a particular enthusiasm and of which he had created two illuminated manuscript versions in the 1870s, which of course Mae would have been aware of. In fact, the ongoing research by American scholars, William and Sylvia Peterson, into reconstructing William Morris' personal library, and they visited the man at this summer to look at our books for that particular project, has made it possible for us to establish that with the exception of William Blake's Songs of Innocence and Experience, which of course relate to the Tiger Tiger Burning Bright line, all of the quotations and proverbs are taken from books owned by Morris. And so it can be seen that the quilt not only encapsulates Mae's creative collaboration with her mother, but also reflects the intellectual and political bond between herself and her father. Well, it remained in Mae's hands until her death, and subsequently was entered into the rather forlorn sale that took place on a rainy day in July 1939, and in which it was described in the catalogue rather perfunctrally as embroidered cockwild worked by Mrs William Morris. We know from annotated copies of that catalogue that the purchaser was one, Mrs Mae Elliot Hobbs of Bradshaw's Farm, Kelmscott, and that she paid £26 for it. Mae Elliot Hobbs is herself rather an interesting person. She was the daughter of a noted Scottish agriculturalist and stock-breeder born in 1872. She was privately educated, and then she went to Germany to study the piano before embarking on a career as a concert pianist, cut short in 1906 by her marriage to Robert Hobbs, who was a farmer at Kelmscott, and breeder of the renowned herd of Kelmscott's shorthorn cattle, which I believe Jenny may mention again in her talk, and who also was the Morris' landlord at Kelmscott at that date. Evidently Mae Elliot Hobbs was very independently minded. She supported women's suffrage. She also served in the First World War with an ambulance unit in France and subsequently was in the Women's Land Army. But as well as that, she had a particular love for and deep knowledge of rural life, and she was, along with Cecil Sharp, with whom you can see her photograph here, Cecil Sharp on the left, an aged Morris dancer to his right, Mae Elliot Hobbs, and then we have Mae Morris and in the wheelchair the rather dark figure is Jane Weiss. This image was taken just two years before Jane Weiss's death. She was a founder member of the English Folk Dance Society. Mae Elliot Hobbs, in her thought, is embarked on a lecture tour of America. This is one of the pages taken from the prospectus for that tour, during which she spoke on farming, English folk dance and song, and, of course, inevitably, Kelmscott. So it can be seen that she was in sympathy with many of Mae Morris' own concerns and the two women became friends. They were both particularly interested in the role of women in rural society and they were the driving force behind the foundation of Kelmscott's Women's Institute in 1916. And for many years thereafter they were also at the heart of the social life of the village initiating, encouraging, participating in and, of course, hosting communal activities.  It then passed down through the family until it was acquired literally just a few weeks ago by the society so we have an unbroken provenance for the piece. I'm just going to finish by saying a few words about how the quilt will now augment the collections at the manor. Firstly, it is, of course, a creative response to the inspirational power of the manor, its history and significance and exploring which is at the heart of our future vision for the site. It also draws together the Hobbs and Morris families and the link between the manor and its history as a working farm. The manor was, of course, built by the antecedents of the Hobbs family, the Turner's and during both the tenure and the ownership of the manor itself by the Morris family the adjacent farm buildings were still used for agricultural purposes embodying the continuity of this isolated community which was of such immense importance to William Morris and which we plan to incorporate into our future interpretation. The piece will provide an imaginative entree into the collections for our younger visitors. We have struggled slightly to achieve that and this is an ideal piece to assist us in doing so and we'll be developing interpretation accordingly. Last but not least, we hope to capitalise on the appeal of this delightful piece by developing and licensing retail products based on it which will, we hope, make practical contribution to safeguarding Calmscott Manor's future. Thank you. I am delighted to be here. Yes, so I worked, my internship was about seven weeks long and I spent two weeks here at the Magna Catering Commission and then I spent about five weeks in Calmscott over the summer and when we arrived we weren't really sure what to expect but I think both of us realised over the course of the internship that there is so much at Calmscott to do and there's so much such a depth of interesting history to look at and we both really enjoyed our time there. So I'm going to start just with a brief overview of some of the tasks that we were given and to have a look at and Jen will be speaking later about the Turner and Hobbs families and we spent quite a lot of time looking at and then we really dabbled in all these areas but I'm going to be talking about mapping Calmscott Manor's interiors and the outside and gardens and also we also mucked in with the day-to-day running of the manor on the open days doing stewarding on the ticket office and all that thing, all those things. So a lot of the mapping of the interior and exterior of the manor really took shape in the form of image research so this house of the manor has been lived in for hundreds of years and the Morris is, you know, they are really only a small fraction of the people who have lived there and one of the things that can be considered when looking at the manor is what part of this time we present to the public is how much information can we give about the people that have lived there and the history of the house itself even within the period of the manor, as Kathy was saying Maymor is considered as her home and she lived there for a very long time and using images to track changes in the interior and exterior of the manor can be very helpful in explaining this kind of period of people living in the house to visitors and it can also influence the layout of the house, what furniture we have where and how it's actually presented. So this is an example of the kind of issues that can come up when looking at image research so we have three different images here from different points in the manor so we've got an image from the Frederick Evans collection from 1896 of the White Room and then we have one that's undated but this is of May Morris in the White Room and then one from 1921 which is later from Country Life and really what's interesting here is that in the middle picture you can see that the red house saddle is in the White Room along with a big round oak table which is being used as a work table none of these things are in the White Room at the moment here it's being used perhaps as a work room, as a living room and now it's a lot more formal in the way it's presented so it's kind of interesting to see how the use of the room might have changed through the years and why is the red saddle now in the Garden Hall and things like that and it's great to be able to perhaps offer these images to visitors to show the kind of development of the house but this image is an example of how frustrating this kind of work can be as this image we found on a piece of paper in some of the files and we're not sure where this is from we're not sure what data is we're not really sure who that woman is in the corner and it kind of shows that some images can be quite limiting and quite frustrating when you can't slot them nicely into the time frame so I'm not going to take you to the hundreds of images that we found but I do want to say that approaching this task we weren't approaching the blank canvas the previous interns, staff members and the wonderful volunteer group that Kathy mentioned earlier had already done quite a lot of work on this but the problem was that there were a lot of images but they weren't in the same place they weren't referenced, some were digital files, some were physical files and really what I spent a lot of time doing as it comes got is collating all these images making sure that we had both the physical and digital file of each one and trying to find out as much as possible about each image and the provenance of it so this is a screenshot from a very large spreadsheet that we put together with as much information as we could get about each different image and hopefully this will be really useful for people to come back to in the future so they can easily trace the images and make them actually usable in the manner so I'm just going to give some examples of things we found and why that might be useful so one of the things that we spent a lot of time doing was trawling through some of the council manner archives which contain a lot of correspondence over the last 50 years and some of the things in that we've now become unaware of because they weren't kept track of so this is an example of some of the bits and bobs we found this is photocopies of sketches dated to 1889 at the outside of the manner from the Middleton notebooks and then here we have two maps of the floor plans of the manner that are dated to 1889 and 1895 I've just circled kind of points of interest which might be useful when trying to explain things to visitors so for example on the floor plan on the left you can see that the two rooms on the edge of the house which they are both shut off but now the white room which at the top we still have that little closet room but in the green room at the bottom that's now all one room it's been knocked through so it's interesting to see for visitors that the house has not always looked the way it does now on the right we've got a floor plan with a photocopy of a floor plan which has Philip Webb and William Morris's handwriting on and they're discussing changes they might want to make to them on there so the bit that I've circled says I want this room which is now tiled with machine made tiles to be flagged so it's quite a nice glimpse into the way that the Morris has viewed the house and the changes they'd want to make to it so another source we used for images was a lot of internet collection searching this is just an example of images we found on the National Portrait Gallery collection and these are primarily of Mae Morris during her time at Calmscott so we've got her in the garden and the third picture in the middle is her using a loom in the green room again a great example of how the house might have been used very much a working house, very much very productive which you might not get a sense of that now it's very peaceful, it's very calm but it was very much a wallet house and the three pictures that are outlined in red are just an example of these new images that we came across this year that were not part of the collection of images already held so the Scott Snells lived at Rent of the Manor in the 1940s and their son, Jocelyn Goodwin, has recently discovered a lot of their correspondence and a lot of his father's artwork and he's actually published a book recently which covers the Scott Snells Pym at the Manor and these are sketches by Edwin Scott Snell which I think are really interesting because they show a different kind of artistic conception of what the Manor is especially this picture on the right which is almost threatening in a way which is definitely not a feeling I think a lot of people get when they visit the Manor but again it's an interesting, a different view of the Manor and how people might have lived in it this next picture is a sketch by Edwin Scott Snell of his wife Stephanie during their time at the Manor Yes, the observant amongst you might notice that the sofa that she's sitting on is the settle that can be found outside in the hall which obviously was on the Manor during the 1940s and the details are very similar indeed so in terms of different uses of the Manor this image is like it serves from the edition of the City of Oxford High School magazine and it's taken on a school trip to Calm Scott at that time where the boys learned about farming and such like so I think this is probably the teachers and another source of images are Miss Love's scrapbooks Miss Love was a very close friend and companion of Mae Morris when Mae was living at the Manor permanently and her, a big stack of her scrapbooks has recently been discovered at the National Library of Wales where a lot of work is going into them at the moment but there are lots of images of the outside of the Manor which can be found here and these are really useful in trying to reconstruct what the Manor looked like especially when putting together things for the HLF bids and things like that and thinking about the Manor as a working farm and how long that went on for and one of the things that we did as well as image research was we looked out for passages of writing and descriptions that described the inside and the outside of the house at various points and this is a letter from Jane Morris to Philip Waith and discussing and tiling the fireplace and she says it's very specific I've only selected an extract from this letter it goes on for quite some time talking about different types of tiles and what Morris himself might like but this is a slightly different view of the Manor from a visitor in 1896 and though she does say the house is lovely for its oldness she is quite rude about Jane Morris and it reminds us that when the Morris has used this house as a young couple there's a phrase Jane says that they were picnicking in the house it wasn't that home, it was very sparse and I think it's nice to see this kind of view of what the house was like when they were living in it obviously a woman of no reputation without her stays and this is an extract from a piece written by Felix who is the other son of the Scott Snows who actually lived in the Manor with his parents they run a small school there for a bit very interesting people but again this is fascinating living there during the war and he says Calysgull Manor did have gas masks hanging ready in the hallway but had no telephone and no radio and that's a hangover from Mae Morris who didn't want to install electricity in the Manor and he goes on to talk about how they had ducks and chickens for eggs and they had a beehive that yielded honey as an alternative to sugar which was rationed they bought a milk cow and named her Amaryllis after a Greek legend and that's lovely because I think tells you a lot about the family but also that it was still being used as a farm it was very much a country house even this later this is a wonderful description of people attempting to visit the Manor during the Scotsnails time that he's quite rude about the Scotsnails and they are artists, dreadful artists these hideous watercolours were hanging on top of Morris' handings and tapestries and apparently the Scotsnails made it quite difficult for people to visit but that was part of the terms of their renting the Manor was that people were allowed to visit and view Morris' works it's fascinating to think that all Morris' tapestries a lot of the bed hangings the embroidery were just out and being used as part of a family home so other documents we looked at we looked at legal documents this is the Will and Cudysel of Mary Morris that's Mary Morris and this is lovely when she mentions certain things being kept in certain rooms and we can see how furniture moved around the house so here we have to her goddaughter she leaves her Japanese cabinet which are into her bedroom whereas in the Frederick Evans photograph of the white room from 1896 you can see the Japanese cabinet there and I think that's what they still are in their house obviously that's 40 years previously so it reminds us that it's a real house and things aren't just left in stuff again this is a description from the contents of Calmsgat Manor that they wrote and all these items were in what was called the passage room which is now the Marigold Room the Marigold Room formed part of a flat that was lived in by those looking after the manor around the 60s which is now an exhibition space we used it when we were working at the manor it's very modernised and pretty much empty part from a few trestle tables and there are all these items that would have been in there and what I think this reminds us is that the Calmsgat Manor that was really a living house and the image the image research we've done and all the documents we've looked at showed an ordinary house that objects move from room to room and I think the next thing to do all this information is to decide what to do with it and how much what period of time do you want to present and how do we organise this information in a way that's useful for visitors so all I want to do is say thank you so much to Kathy and Sarah and the rest of the stuff at Calmsgat for having me with them over the summer I really enjoyed it, thank you very much OK, so my name's Jenny as John mentioned I came to Calmsgat shortly after the conference when my last was in art history at Oxford, I stayed a little longer than Olivia a few weeks so much of the focus at Calmsgat Manor I understand the B centres on William Morris Morris is the intensive of Calmsgat in 1874 but it's a 16th century manor house the property has a history stretching back from nearly three centuries prior to the States oh sorry OK so yeah as a 16th century manor house Calmsgat has a history stretching back nearly three centuries prior to William Morris throughout this period it was occupied continuously by the same family who built it, the Turner family a local family of farmers who became minor gentry when they were granted arms in 1665 in the 19th century the Turner's married into the Hobbs family who were also local farmers the Hobbs family continued to work the farm buildings even after the manor had been leased to Morris right until the farm eventually folded in the late 1920s this meant that Morris always knew Calmsgat as a working farm the influence that this rural farming community had upon his artistic and political views was profound and this image here just shows it's just the year after Morris' death and it shows the farm buildings to the left they're still in use so one of our main research priorities therefore was to try to find out more about the Turner and the Hobbs families whose history is so intertwined with that of Calmsgat so as you see the Turner and Hobbs were a very large, very prolific family using parish records and other sources we began by creating this family tree which was key to getting to grips with all the individuals many of whom confusingly shared the same Christian names and lots of Georges and Tomates the names in blue indicate the presumed owners of the manor there so when I arrived at Calmsgat I was handed a copy of the Hobbs saga this is a 150 page narrative account of the family covering the period from around the time of the enclosures in the 1990s through until the end of the 19th century so this had been written on a typewriter by Mae Elliot Hobbs who was a member of the family as Kathy explained earlier and a great friend of Mae Morris so the work was a goldmine of information regarding the family and their relationships farming practices, social life and occupation of the mother I digitised it and converted the text to OCR and created an index to help with the research but fascinating as it was without adequate referencing it was impossible to distinguish fact from fiction and so I couldn't be sure how reliable it was as a record of the life of the family so accordingly we visited a number of local archives in search of relevant material and as the internship progressed we were fortunate enough to uncover a great deal of the original sources that I believe Elliot has self-utilised in the Hobbs saga as well as many other things besides so among other places we made a trip here to Burlington House to study the many legal deeds and documents relating to Calescott Manor here's some interesting facts in the Hobbs saga were corroborated so this is the will of Charles Turner who died in 1833 leaving the manor to his son but it also corroborates the salatious story related by Elliot that Charles had disinherited his daughter Anne after she ran away in the middle of the night to a loathe with a man he didn't approve of and to be fair he did later add a codisil leaving her anonymity of £50 a year so to begin with most of the sources that we consulted were like the will written rather than visual so we had no way of knowing what the family looked like but then very late in the internship I came across these in one of the archives which turned out to be family photo albums there are actually many more photos than the ones I've shown here these are just the ones that were identified in the albums I was really delighted to discover these because I thought that if they could be incorporated into the display at Calmscott they could really bring the family to life for the visitors as indeed they did for us so on the far left are Elizabeth and Anne Turner they were sisters who were born in the manor in the late 18th century and they were raised there Anne was the daughter who was disinherited by her father Elizabeth was the one who married into the Hobbs family in around 1820 their brother was James Turner who was not pictured he was the last member of the Turner family to live in the manor but he died without children in 1870 at which point the manor passed to Elizabeth's eldest son Charles who was third from the left Charles however was occupied with the farm that had them left to him by his father's family near by Maisie Hampton and as he had no inclination to occupy Calmscott Manor it was he who decided to lease the property to William Morris in the meantime his eldest son Robert who was second from the right there with his wife Fanny he continued to work the farm at Calmscott which was in fact one of several that the family owned in the local area Robert inherited the Calmscott estate from his father in 1893 and continued leasing it to the Morris family it was he who eventually sold the manor to Jane Morris in 1913 although he continued working the farm until the 1920s and Mae Elliot Hobbs was his daughter-in-law so, as I mentioned the Turner's and Hobbs were both farming families and during the internship we uncovered a great deal of new sources that shed light on the actual farming practices mostly the information we found dates from the early 19th century onwards in terms of analysing this information with regard to the farm buildings that currently form part of the Calmscott estate this corresponds approximately to the date that the buildings were built I don't have time to go for everything that we found but just to mention a few things so we came across a number of inventories that provide detailed information of the farming equipment crops and livestock owned by the family such as these here on the left are some dating from between 1917 and 1920 while the one on blue paper in the middle is earlier dating from 1864 but perhaps more colourful than the dry listing of the inventories are the descriptive articles that were published on the Hobbs family farm in local newspapers which gives an indication of how prominent the farm was within the local community so, among other things, the articles describe how the Hobbs family were celebrated breeders of pedigree cattle, sheep and shy horses in later years they also developed a dairy herd they were particularly renowned for developing the breed of cattle known as the Calmscott short horn of which tricks to that on the left as a fine example they were heavily involved in showing their livestock and regularly won prizes as the newspaper could put things on the right show I felt that it was really charming that a short horn was included on the cock cover that Cathy spoke of earlier and I think it just shows the kind of connection that Mae had to the farm and to the livestock there many of the sources we came across especially the legal deeds and documents made references to the names of local fields and areas of land which at times could get quite confusing however the location of these fields was made clearer by the various maps that we uncovered separately which give the names of these fields and in some instances indicates the ownership status at various points in history some of them even give the names of the occupants of the various cottages throughout the village and I really like these because they remind us that the history of the Calmscott estate kind of goes beyond the bricks and mortar of the actual buildings and into the wider landscape beyond so another of my favourite finds was these handwritten recipes and remedies which I believe belonged to Elizabeth Turner before she left Calmscott to Mary in the early 19th century so in addition to remedies for the family there are remedies for livestock too for example to treat lower in a cow's foot or to help with lambing use they give an indication of daily life at the manor and show the involvement of the women in the running of the farm whose role is sometimes perhaps underestimated although I do think some of the ingredients are perhaps a bit dubious I don't know how much we want to use lead in our sense today so our archive search has also uncovered statement of accounts notes on experimental fertilisers bills and receipts relating to the maintenance of the farm buildings letters, deeds and documents relating to land ownership and much more but unfortunately there's not really time to go through everything here and it's really fascinated by these items but I believe there's still much work to be done in terms of creating a narrative of the history of Calmscott farm although I think that Elliot's Hobb saga goes some considerable way towards doing this While researching the Turner and Hobbs families we also spent time consulting census records which led me to a number of the projects that I worked on whilst at Calmscott the census records show not only the members of the family who own the manor but the living servants they employed also The occupation of the head of the household is stated which means that in the case of the Turner and Hobbs families the acreage of the farm they worked and the number of men, women and boys they employed as labourers is likewise given Like the women, the servants and employees are sometimes underrepresented group who are nonetheless indispensable to the running of the estate and therefore inextricable from its history I thought that comparatively little work had been done on this subject at Calmscott so I decided to work on compiling a spreadsheet which would bring together in one place everything that is known about the farm workers and the household staff employed by the families the Turner's, Hobbs and Morris's who occupied the manor So far the spreadsheet identifies around 30 individuals who over the years were directly associated with Calmscott manor and farm plus another 25 or so who were employed by the Hobbs family when they owned the manor but did not live there The sources for this are quite varied and while some are quite certain like the census records others still need to be verified So with regard to the farm labourers for example these new people click the things on the right there they know the farm hands who worked for the Turner family and won prizes for plowing and for sheep shearing The annual plowing match is a local tradition that continues in Nechley to this day and actually was taking place last time when I was at Calmscott which is quite nice and gives delightful anecdotes of all the farm workers and local villages celebrating the harvest home in a large south road barn on the Calmscott estate and it's really lovely to think of this building being at the centre of the community The saga also mentioned many workers by name Tom Price for example who's in this photo who was the groom to Charles Hobbs who leased the manor initially to Morris It was really charming to discover his photograph just tucked in loosely at the back of the photo albums I showed earlier which I think sort of indicates the esteem with which he was held by the family The earliest reference to a member of the household staff that I came across so far was in the will of Thomas Turner dating from 1729 in which he left 30 pounds to his servant Mary Carter which is quite a sum of money in those days In another instance I found a letter in the Calmscott Manor internal archive sent in the 1970s from a lady now living in Australia telling how her great-grandfather Richard Basson was a steward on the estate of James Turner who was the last of the Turner to occupy the manor before the Morris is Sometime later, in another archive I found a statement of account from a solicitor which happened to mention that James Turner James Turner's mans servant had been in attendance with him and the servant's name was given as Richard Basson which is quite nice In the 1841 census we see that the Turner family employed three servants whose names were given as Harriet Farmer Ann Hicks and Mary Farmer The latter two were just 14 years old The following census records show a similar pattern of employment by the Turner's although their names were always different so they had a high change over The first census taken during the years of the Morris tendency in the 1870s shows that the Morris is for absent but records the servants who had been left behind as caretakers Francis and Mary Harding and their six month old baby, Olive as well as a 14 year old maid named Mary Oakley The following census, well in 1901 confirms the presence in the manner of two servants whose faces are familiar to us from their inclusion in Marie Stillman's painting of the manner which is now hanging in Jane Morris' bedroom so that's emily panting their feeding the doves and Henrietta Carter under the walkway I've also included this photograph on the top left of William Giles who was the Morris's gardener This is a gentleman who inherited William Morris' coat on display in the manner I found the photo in the manner archive together with a letter from his granddaughter explaining the anecdote of the coat It was when leafing through Olivia's image files of the manner that I saw this other photograph of a gentleman in the garden which I believe is also William Giles So the benefit of creating a spreadsheet to bring all this into one place was that we can sort of draw together all these disparate references and I hope that it will prove to be a useful resource for future interpretation of the sort of life downstairs at Calescott Manor So in conclusion I really enjoyed my time at Calescott and I certainly feel the internship gave me ample opportunity to develop my research skills The staff and the volunteers were extremely friendly and welcoming and it was a privilege to work alongside people who are so passionate about art and art and so engaged with its history So thank you very much


Twitter won't let Zomiza celebrate his big wins. Zomiza is supposed to be celebrating a big win. He just announced that his book, I Am Not A Chef, has been nominated for a Gormand award in 2022, in the Celebrity World Chef category. But the celebration was abruptly cut short when Tweeps revisited the abuse allegations that his estranged husband, Mohal Motong, leveled against him. As Zomiza took to social media to announce that in addition to his momentous nomination, he will also be having a birthday tour across Mzansi and Africa, Tweeps hopped on his moment to remind him that they had not forgotten that he too is an alleged abuser. In the aftermath of Amanda Dupont and Masikaba and Love You accusing Jubjub of sexual and physical abuse, the rapper has already faced multiple consequences in the court of public opinion. And now Tweeps are pointing out the fact that Zomiza didn't face half as much backlash when Mohal accused him, which is a double standard.


Welcome back to Yankees Magazine. Whenever a baseball team loses in the postseason, the ending is abrupt and harsh, like a snowball to the face, or, more specifically, like a baseball cruelly soaring and disappearing. A Jose Altuve Homer, often a oldest Chapman hanging slider, being the difference in one team dying and one team dancing into the World Series. The Yankees believed they were built to win a title, and in this injury-ravaged, next-man-up season, they often resembled the championship team. But the Astros, New York's nemesis for three of the last five October's, were simply built better, and more importantly, they performed better in this titanic ALCS. Across six tense games, the Astros were superior, and while Garrett Cole and Justin Verlander rightfully received a ton of hype before and during the series, Houston's bullpen proved to be just as valuable. The Yankee blueprint was to ride their vaunted relievers to the World Series, but Zach Britton, one of those precious arms, said, starters are still the way to go and trying to win it all. What made this series especially agonizing for the Yankees is the fact that they were accessible paths to a victory in three of their four losses. After winning the opener, the Yankees outlasted Verlander and turned Game 2 into a bullpen battle. That's a game they needed to win, because their bullpen, which was rested throughout September, was supposed to be a defining weapon. Instead, they lost on Carlos Correa's walk-off homer against Jay Hatt. The Yankees challenged Cole in Game 3 and had nine baser-runners through five innings and scored nothing. How might that game have changed if they had one or two timely hits? And finally, after DJ Lamehu's memorable game tying, two-run homer in the ninth inning in Game 6, the Yankees gave the ball to Chapman. It should have been Advantage Yankees, but Chapman made a poor pitch to a great hitter, forgetting there was a 227 hitter on deck. Season over, instant depression filling Yankeeland. As the off-season unfolds, the Yankees will decide how to make improvements as they try to leap over the Astros, their October roadblock, pursuing Cole, a free agent to be, who is the best pitcher on the planet, must be a priority. If we were in a fantasy world, the Yankees would clone Lamehu, who was the perfect addition in this strikeout-laden lineup. While Lamehu and Gleiber Torres combined to hit 325 with six of the Yankees' 15 homers in the playoffs, the rest of the team hit 211. Yes, the Yankees should chase Cole, but we must remember that their offense stalled against Houston. There will be more post-season moments for the Yankees because they are too talented and too smart to become October spectators. Manager Aaron Boone believes the Yankees will soon reach the championship mountaintop with battle scores from this recent series on them. Maybe he's right, but for now, that's a faraway thought. Because the pain from losing is still raw, those snowballs are still hitting them in the face.


Hey guys, what is up? Welcome to my channel So today I am doing a video including some items that I picked up from the Nordstrom anniversary sale So some quick facts about the sale that goes on at Nordstrom What it is basically is it's a sale that Nordstrom has but it's not on old things It's on new things that are coming out for next season that you get at a reduced price It's one of my favorite sales ever the stuff they have is really good So if you are a Nordstrom card holder from July 12th to July 19th You have early access, but honestly in early access so much things like get sold out And they don't replenish them and then for everybody else July 20. Oh my gosh It just starts storming like really bad. It was sunny a minute ago But and then from July 20th to August 5th is when everybody else can shop the sale So I picked up two things from Charlotte Tilbury I know that I just reviewed a product from Charlotte Tilbury But these are two new products that I wanted to review for you guys So the first thing that I picked up is the pretty glowing skin palette And then I also picked up the pretty pink Lip set so let's go into these products So I'm going to start off with the pretty glowing skin palette This guy is $75. Apparently it has a $153 value So the idea behind this palette is that it is a palette featuring everything you need to look instantly Healthy glowing and pretty it features powder contour blush and glow for a head turning complexion Obviously that is what I have on my face right now, and I do have to say my skin looks rather healthy and glowy So let's start off with the packaging. It has the typical rectangular Plastic Charlotte Tilbury packaging that basically all of her palettes have she just recently came out with a Highlighting palette called the bar of gold palette that I did just review so you should check it out But same concept behind the packaging is my point on the back It has what each product is and then you open it up It reveals a big mirror and then six colors So I'm gonna start off with the top row you have a powder Then you have a blush which is called pretty blush Then you have a glow powder and then on the second row you have a bronze and contour shade a summer blush shade and another Glow shade so here are these swatches that I have for you The first three are from the top row and the bottom row are the last three in these swatches as you can see these powders don't have a ton of pigmentation. They're very soft and faint, but for a face product I mean personally, I don't want mine to be super pigmented. Otherwise, I would look rather crazy So let's start off with how the first product that you're supposed to use in this palette is it is just the regular powder It is the airbrush powder number two, which I actually do have. Yeah, literally do have this and I love this powder It's one of my absolute favorite I will say swatching them side by side the powder in this product seems to be the ever so slightest bit deeper, but I mean so slight they do have the same consistency and I just love the overall finish that it gave me looks I'm actually very very excited that they put this powder in This product because this is one of my favorite face powders instantly right there I am sold on this palette now the second next to that is the blush in the shade pretty It's just described as a youthful rosy flush I put it on this side of my face and I Personally am very into rose pink blushes. I'm not really that much of a warm blush kind of girl So I love the blush. It was pretty pigmented So I think with a brush it did pick up on the brush very well So that's very good for more deeper skin tones and it did blend out like a dream Which is good for more fair skin tones. So the formula of this blush was really lovely and I love the color Let's talk about the other blush also below it That is the summer blush, which is a bright coral with a soft sheen I did notice that I definitely did have more of a sheen than the pretty blush and it's I mean it also is very pretty on the cheek and Surprisingly they do look different on my face. I didn't think they would you can't really tell on camera But I did notice the sheen with the summer blush way more than a sheen with pretty And I did notice that the summer blush was brighter So I do think that it is appropriate to have these two blushes in here I do wish they kind of would have done that cooler rosier tone and then a warmer tone just for something different But I do like the two blushes they chose in the formula They blend out like butter and they look really good. So thumbs up for that I forgot to talk about the bronzer shade beat for the blush shades But I'm just gonna go rewind into the bronze and contour shade It is a neutral cocoa to tone slim sculpt and define the face for me personally This is a really good shade to contour with it is very neutral tones and it blended out very well However, like a lot of Charlotte Tilbury products, I feel this does not cater to medium to deep skin tones It's a very very light color didn't do much bronzing by the way, but from my personal skin tone It was a beautiful sculptor shade, but I mean come on if you have a medium skin tone What are you gonna do with this color? It literally is like I had a shade darker than my skin tone So that could be pretty useless to you if you have a medium skin tone So let's move on to the glow shades in this palette There is a more rosy tone and then a more champagne tone one, which is very nice I like the two different tones Depending on the look that you do and I was worried about these looking at them and swatching them They didn't seem very nice They kind of seemed very subtle and natural which isn't a bad thing But I just wasn't impressed by them and then I put them on my face and I must say I'm highly highly impressed They're very soft formula much different than the bar of gold formula a little bit less metallic But much softer and there really is a pretty good sheen to them. I actually quite like their finish It's very soft on the skin, but still super duper glowy and healthy looking does not emphasize the texture on my skin So I surprisingly am super into this highlighter formula, and I think I like it more than the bar of gold formula And I liked the bar of gold formula, so My overall thoughts on this palette aren't I genuinely really really enjoy this palette $75 is a hefty price to pay, but this really is a great all-in-one palette I can see myself traveling with this palette and it just created a really healthy every day Look on my skin that would go with so many different looks So if you are a Charlotte Tilbury fan, and you want to pick up this Nordstrom Exclusive palette. I love it. I think it's a really great. I'm a Charlotte Tilbury fan So couldn't help myself not super unique, but you're getting good quality good formula So it's up to you if you need it What I like is what you see in the pan is what you get on your face So that also is something that you don't find a lot with powders. Alright, so let's move on to the pretty in pink Lip set pause I do love Charlotte Tilbury lipsticks And I do have a swatch video on my favorite nude lipsticks from Charlotte Tilbury that I will put in the cards and link down Below and I'm also going to do a second one of pinks very very soon So I will link that here in this video once I get to that so just so you know I'm very familiar with the Charlotte Tilbury lipstick formula. So I got the pretty pink lipstick set This is $60 it says has a $90 value and what you get is one lip liner and two Lipsticks which are exclusive to this collection. So these are not in her normal line of lipsticks Let's talk about the lip liner first. This is in the shade pillow talk This is not a Nordstrom exclusive, but this is a staple. I already have this and love it It is a your lips, but better kind of color What I love about Charlotte Tilbury lip liners is they are the perfect combination of soft But still stiff enough that you can really get a line going but you know have enough give to it So this lip liner is one of the best lip liners ever It goes with every single lip color and I highly highly highly Recommend this super good and it's amazing that you get it in this set So let's go over the lipsticks that it came with so the first one we have here is Blushing dream and this is described as a cool feminine rose bud with a satin finish This is from the Kissing line, which is my favorite line from Charlotte Tilbury. It's very moisturizing on the lips It has a shiny finish on your lips and this is a really nice cool light Pink color I did look through my collection to find if they were similar to anything else in my collection And I thought the closest match that I personally had was super Cindy But super Cindy is a little bit more brighter So I would say there is enough of a difference that you could buy this and not feel guilty So I do really like this color It is a perfect feminine pink really wearable great color favorite formula from Charlotte Tilbury And the second lipstick here is rose kiss and this is a bit deeper It's described as a soft warmer low with a natural matte finish and natural matte is the perfect way to describe this formula It is matte you can tell it's matte, but it's still comfortable. It doesn't dry your lips out So I do like her matte lipsticks. I love her kissing formula more But if you're into matte lipsticks, this is a super good formula So and this I would definitely Describe as a wearable color this color would go with any look It adds the perfect amount of color to your lips where you look done but not over done And so the colors from my collection that I thought were similar were stoned rose and Walk of shame walk of shame is definitely much more berry Stoned rose is I think the most similar color There's more of a terracotta undertone and does have more of a sheen But a very very similar color and then walk of shame has that similar color But it's a bit more deeper and berry, but they are very similar So if you do have those in your collection, you don't need to need those lipstick But they are different enough. They aren't like exact dupes or anything But you guys already know I love her lipsticks and the fact that it also came with my favorite lip line You're probably one of my favorites ever this set is a steal I love it and the best part is even if you are a lipstick fanatic from Charlotte Tilbury You probably don't have these colors. So can't wait to have these to my crazy collection All right, so that's all I have for this review for you guys I hope you guys enjoyed this video remember to subscribe to my channel and like this video comment down below any questions You may have and I will catch you guys later. Bye. Have a great day


Hi everybody, Sean with jaspyscasebrakes.com doing 2019-2020 upper deck ingrained hockey five box case break number 14 pick your team this is the second half of the case that we started earlier today with pick your team break number 13 we'll see what's in the second half we've got the full list here jack b with last spot mojo and the winnipeg jets what's there okay good luck everyone well obviously that box wants to be open first really nice product here i know riley for the st louis blues and jack and jimmy schult with the las vegas golden nights that's going to eric gonzalez both of those are $2.99 nico stern rookie signature shots to $2.49 for the minnesota wild and jurrell taylor it is a nice auto for the new york islanders pat lafontaine new york islanders is going to joseph agosta hit one of these in the first half dale howard chuck this one's to 35 remnants for the jets and jack b last spot mojo winnipeg jets noah hannahfin for the calgary flames remnants to 65 calgary flames shon matik and synthesis for the toronto maple leaves austin matthews to 50 toronto maple leaves going to brian vornberg not a bad first box riley said he's he tops out at 97 you got the wood in this one mark messier to 299 for the rangers and josh pruce and brady keeper to 299 for the florida panthers and nick galvin julien gothe for the carolina hurricanes rookie signature shots to 99 carolina hurricanes jurrell taylor carry price signature flexures on-card auto for the montreal canadiens and jason hoesner nice card there it's pretty cool john mccall and the chicago blackhawks carved in time patrick kane very nice john congrats awesome looking card matthew barzol for the islanders to 50 islanders going to joseph agosta yeah they're incredible looking cards patrick kane to 10 for the chicago blackhawks and john mccall nice and max jones to 299 for the ducks and jurrell taylor alexander texie for the blue jackets rookie signature shots to 249 blue jackets is eric jock zack sentin for the bruins bruins is going to shan mcmanus kale macarre three-color patch to 35 for the colorado avalanche and shon maddock only to be released back into the air nico filigo for the blue jackets to 100 remnants blue jackets is eric jock elias petterson since this is for the canucks and shon maddock two more boxes guys another one of those big packs oh am i jack sorry about that man i will try to not do that then better mark shifley to 299 for the jets jack bosmodian connor clifton for the bruins to 299 bruins and shon winnipeg jets vile hynola rookie signature shots 249 last spot mojo jack b and the winnipeg jets last spot mojo has been hitting shon maddock synthesis kale macarre nice card there man congrats that is an awesome looking card not bad hell of a case claude lemieux for the new jersey devils devils is going to matt buckler and for the philadelphia flyers philip mires to 49 that's going to miguel roose last box good luck everyone this stuff is incredible looking like dust alexander barkoff to 299 for the florida panthers going to nick galvin and curvy dock for the blackhawks to 299 going to john mccoll brady keeper for the florida panthers to 99 rookie signature shots florida panthers going to nick galvin very nice troi terry patch auto for the anheim ducks number 265 43065 three color patch there for jarell taylor jack loves that card just in love with that look at the colors on that god the ducks really do make black and silver look good on a jersey don't they guys i don't think any other team has ever made black and silver look this good on a jersey that orange really makes it pop can you imagine somebody trying to pair that with like purple or something like that andy moog remnants for the oilers to 100 edmonds and oilers josh pruce and for the maple leaves john tovaras maple leaves brian vornberg yeah sorry about that eric some nice cards none for the uh the knights this time but thank you guys all thanks guys that was 2019 2020 upper deck five box case break of ingrained hockey pick your team number 14 jasmine's case breaks dot com check it out


Okay, we're back. We're live with energy. Wow, energy for the 4 p.m. on a given Wednesday. This is Hawaii, the state of clean energy. And we have Peter Rossick and we have James McKay and they're both going to talk about their respective areas of interest today. The first thing is the hot news from the press release about Project Footprint. Peter, what is that? Well, Project Footprint is an effort to involve our customers more in the overall challenges of what we have to do. You know, we always say if we're going to have clean energy, if we're going to get off oil, if we're going to reduce emissions and reduce our carbon footprint, it involves everybody. It's not just us. It involves everybody. And I think by now people are kind of coming around to that. So Project Footprint is a way to kind of remind people of that. We've always tried to have a relationship with our customers around energy efficiency and conservation. Since long before there was Hawaii Energy, which is the PUC organization that does that. And so what it is, is you sign up and you get a couple little freebies, a bag and some other stuff. And if you do certain things, you get other little awards. And you know, as we say, the small print while supplies last, but don't worry. We got plenty. So, and there'll be more of these as we go forward. Right now there are four basic things. Electronic billing, automatic payment, because that will help reduce the number of trees that we have to kill to get money, get your money, which we still have to do. But you know, that's one thing pretty much everybody can do. And a lot more people could benefit. And you get some little awards. If you buy an electric vehicle, if you put solar on your roof, there's other awards, you know, not huge, but then there, but they're substantial. And they're just one more little incentive. They're incentives. We're talking about incentives to make people conscious of what's going on and the benefits that are available. And to incentivize them to do certain conduct like electric vehicles. Exactly. And the other part of it is, you know, you'll see, you'll begin to see people with Project Footprint logo on their stuff. And you'll know, these are people that have taken that step. And that's important. You know, if you drive certain kinds of electric vehicles, everybody knows you're driving an electric vehicle, because it's a little different than the others. If you have solar on your roof at home, your neighbors can see you have solar, but nobody else knows that you're actually making a meaningful contribution. So now, you know, you'll have a little bit of swag, I guess you'd say. To show people, you know, and show them in other circumstances.  We know that, but it's a small award. And it's a thank you. It's a little incentive. And it's a reminder. And as we go forward, we're going to have other activities, other behaviors going to be added that you can get awards for. You know, some people respond to that. Some people do it just because it's the right thing to do or it's the cool thing to do. But so all kinds of different people have different reasons. And the basic premise is, you know, when you were a little kid, you didn't have a very big footprint. And you should continue to try to have the smallest possible footprint. And you get it, you know, you got it. And, you know, it's just one other way for the electric company. We're not just, we're in the course of the business of supplying electricity and getting paid for it. But we've had a long tradition of interaction with our customers. You know, whether it's recipes in the newspaper or the old electric kitchen, we turn out volunteers for community activities. We donate to community activities.  We all live here. We're not, you know, attached to somebody else. It's our community. And we've always tried to be more than just a, you know, some company that sends you electricity and a bill every month. I've seen you. I go down to these, you know, things like the Boy Scouts Onazuka event every year. And you guys are there in force. All volunteers too. It's quite nice. Yeah, thousands. We tally it up at the end of the year. And, you know, tens of thousands of hours of volunteers, the employees themselves, their families, their kids. It's turned into a fun outing. We've gone and dug up lorries on some Hawaiian, you know, property. And we've, I was one of my proudest accomplishments was like the Tom Sawyer. I helped to paint the fence at the Hawaii Humane Society. I remember that. So I did. I did. I have, I probably have still have the t-shirt with the paint on it. So, you know, we're in the community. We are actively engaged with our friends and neighbors and family. And this project footprint is just a small way to spread that out. You know, we still have Hawaii Energy, which is working. They give you a rebate if you do certain kinds of things and they're promoting energy efficiency and just came out with a new deal that if you, if you put a fast charger in your multifamily dwelling or in your workplace, they'll give you an incentive, a rebate working with all the ponos. So they're very active on some things, but we are still where people look for energy information.  Is this a good deal? Is this work? Is this meaningful? So we're still functioning like that. And this is just part of that in the community. Hawaiian Electric Company's Hawaii's Electric Company. Since what, 1910 or something? 19, yeah, 1876. Oh, in Princess Kay through the switch. You're close. Don't, don't, don't put in for your, your exam, your oral exam on Hawaiian. History just yet, but King Kalakaua, he electrified Hawaii, the Iolani Palace, a renewable energy originally. He was getting, there was a dynamo down by Nuwara Stream.  Ta-da, we've been here ever since, 120 to 60 years ago. He used to term engagement a minute ago and I really think that's important because we had a show earlier today on news and the priorities of news items.  Right, exactly. You have to make it top of mind for people. And they may not, you know, on a daily basis, there are hundreds of things that come at us and sometimes we forget the important things. And one of the important things is we live in a renewable energy community. We have goals and targets. We have an industry that cares about this and a government that cares about it. So we have to be reminded. And I think the program you described, the footprint program, as a side effect has, has that kind of benefit that people are reminded that we live here. We live in the world of renewable energy, Hawaii, the state of clean energy and all that. And that's what, you know, aside from all the benefits and incentives, it reminds them of where that issue is on the priorities. Absolutely.  There's no reason for all those lights to be on. And that last week, maybe two weeks and one thing and another. So, you know, the hardest thing to change about people is behavior. And so this is, as you say, another reminder, another thing that this is, you know, part of a busy life and it's important. And, you know, we got to do it and got to keep doing it. And got to remind ourselves every so often to go to the gym, turn off the lights. And, you know, all those things that we're supposed to do. So you're exactly right. Yeah. And we're going to turn off the lights now for just a moment. We're going to have a short break, Peter. And we're going to break the James McKay. And then when you come back, I will have disappeared. Thank you, Jay. I appreciate the chance to talk. Always nice to have you. Nice to see you. Aloha. Bye. Hey, Aloha. My name is Andrew Lanning. I'm the host of Security Matters Hawaii airing every Wednesday here on ThinkTech Hawaii, live from the studios. I'll bring you guests. I'll bring you information about the things in security that matter to keeping you safe, your co-workers safe, your family safe, to keep our community safe. We want to teach you about those things in our industry that, you know, may be a little outside of your experience. So please join me because Security Matters. Aloha. Hi, I'm Rusty Komori, host of Beyond the Lines on ThinkTech Hawaii. My show is based on my book also titled Beyond the Lines, and it's about creating a superior culture of excellence, leadership, and finding greatness. I interview guests who are successful in business, sports, and life, which is sure to inspire you in finding your greatness. Join me every Monday as we go Beyond the Lines at 11 a.m. Aloha. All right. We're back. We're live. I'm Jay Fiedel. The fellow you can't see anymore is Peter Rossek from Hawaiian Electric. The fellow you can see is James McKay from Amoresco. James, thanks for coming down. Pleasure. We want to know everything about Amoresco. Amoresco is into building efficiency, building energy efficiency, mostly, and you have a place in Pacific Guardian Tower. We made a movie about that for OC16 not too long ago. We want to find out more from you about the changes in Amoresco. It's a rival, full force, and what it's doing. Full force in Hawaii. Well, yeah, we've actually been in the Hawaii market for a little while, maybe six or seven years. But predominantly, we're an East Coast company. Like all good things from America, I guess have been spreading West. They've gone as far as they can go. My head office is out of the Seattle area. And so my bosses are up there, Portland and Seattle. I took over the region here about a year and a half ago. And really, we're focusing on just like Peter discussed, the energy efficiency side is critical. My professional background in Hawaii was commercial solar. And the most important part of solar is actually energy efficiency, which sounds counterintuitive. But if you really think about it, generation, which is also what Amoresco does, is a very expensive way to create energy. So the tagline is you always want to reduce before you produce. So the energy efficiency side is critical because the cheaper measures, just like we talked about, turning off the light. That behavioral stuff is very important. But like Peter said, behavior is hard and you can't make a business case depending on people's behavior that's going to vary. So what we do, we specialize core bread and butter business is something called an energy services performance contracting model, or ESPC. Success contracts, isn't it? It is, it's a guaranteed success contract. I hate to use the term no-brainer contract because it's actually a very complicated mechanism, but it's used nationally. Hawaii actually leads the states in all of these contracts per capita and I think per dollar figures now. So we have more ESPC contracts going and they're performed by what we are, an energy services company, an ESCO, ESCO. So you hear other names around, ours is embedded in the names, so you can't forget what we do. But we're probably the most smaller nimble ESCO company in that we can do renewables and these ESPC contracts. Well, you talk about renewables and efficiency and it seems like it's a non-secretary, but it both, the underlying point is it's smart. It's smart energy. And so you come to me, I'm a building owner, I always wanted to be a building owner. You might regret that, but yeah. And you say to me, look, we're going to make you, first we're going to make you efficient and then we're going to give you renewables to power what's left. Exactly. And the bottom line is everybody wins. We save money, the tenants always derivatively save money, the state is better off because the state is using solar power. And we're being smart about it. Exactly. There's been, over the years, I'm sure you can comment on this, over the years there's been a lot of waste in big buildings about the use of energy because we didn't have smart systems. Now Amoresco is a specialist in smart systems. Can you talk about that? Yeah, so it's not just the smart system, it's also the smart financing really. And that's critical to where the state is today. A big issue that facility managers and building owners would be very familiar with is deferred maintenance. So the standard procurement model is actually what's left Hawaii very behind in that if you are owning or operating a bunch of buildings, they generally go to ask the CFO, chief financial officer, or the legislature in our case for public buildings, we need $2 million to upgrade all these air conditioners and widgets and gadgets. And the CFO says, well, I've only got half a million, so I'll give you 250 now to do one, two, three. And 20 years later, they're still asking for the same widget to be replaced. So that leaves us with a lot of archaic broken widgets or widgets that are just ticking by and they're working would be the kind of operating guy that your air condition is working either too hard or not hard enough, but it's an old air condition that's using a ton of energy to do what it's doing. So the smartness, you're right, the energy world has rapidly become very integrated, the worlds of efficiency renewables, but the internet of things in the energy space has come up very rapidly. So the interconnectivity of all these widgets and gadgets, I won't use their real terms, but everything to work properly is very important, not just for our customer, but also for the utility here, because we don't want to have all these spikes of demands and loads all over the utilities grid. So increasingly, we're a key partner to the utility as well, because we have to integrate all our work with the grid side of it as well, because it does impact one another and that can impact the neighborhood. So it's become a very interesting space and incredibly dynamic. Yeah, I always said that energy is technology. I mean, it used to be not so, but or at least not so much so, now it's turned into technology. And if you see those new inverters on the solar systems, you see the connections among the grid elements and with storage, big technology and storage. Yeah, storage is coming up. Technology in many, many different ways that goes into that. And efficiencies, energy efficiency, that's technology too. Absolutely. You guys are into technology and I went to see this program you had that Pacific Guardian, which is kind of like your home-based downtown a couple blocks away. And you had an engineer there. And I must say, and the room was full of building engineers and building owners, I suppose, from downtown who were interested in what was going on at Pacific Guardian and with Amoresco. And he was talking a language that was so far over my head. It was really, it was all technology. Efficiency is technology. But before it would be, turn off the lights. Oh no, it's much more than that. Exactly. And that's why the, for me, the company we acquired was previously known as Chelsea Group. That came about just because I was so impressed with the team there. They're young, very intelligent, cutting edge, and really focused on quality. And that's what we're about. We're focusing on delivering the solution for the customer as a long-term partner in this space. Because the building management is very hectic and busy and you're putting out fires all the time. Energy management requires a different way of looking through a different lens at the building and making strategic investments in that building infrastructure that have a long term, not just energy result, but here in Hawaii, energy is money. So, you know, the boss of the building loves our work, but a building manager rarely is a good energy manager and a good building manager. They're slightly different skill sets. And slowly the industry has realized this and that's why we have these ESCO companies and the ESPC financing models that can really help a building owner become a lot more successful. And, you know, for me personally, like in Hawaii, it's very expensive to do business. So, if a building owner isn't thinking about the rates that they're just passing through to their tenants, it's not really a long-term sustainable vision for an owner to think that way. In my view, if I was a billionaire and I owned a building, I'd make it as efficient as possible so I could make the rates as low as possible for my tenants. So, they're buildings, you know, we have long-term tenancy and productive, constructive businesses that are hiring people for a long-term in Hawaii. That's kind of the long-term goal. Well, I think it's very important.  Sort of commitments of the great of good involved in all of this because the building owner could pass the electrical cost, electricity costs on to the tenants.  This is what it is. Enjoy. Pay it. Yep. Kind of thing. And that was the old model. But the new model is, and I don't think it's so much the tenants as it is the owners and managers. They want to do right by the tenants. This is something that they will attract, use to attract tenants to their building. They say, we care about renewables. We care about good rates. We don't, we want to make it cheap for you. Yep.  So, we go into efficiency and we go into renewables and it benefits the tenants because the landlord is passing it through anyway. So, this is a very, what do you call it, community-minded kind of approach when you do this sort of thing. Absolutely, sir. And I hope the tenants appreciate it. I hope you tell them about it so they know the benefit they're getting out of this. Because in the end of the day, they're paying less. Yeah, they'll pay less and actually the other benefit is actually the improvement in performance is greater. So, you know, the lighting upgrades with LEDs and customized lighting, you can actually have different color. You know, depending on what you're actually working on, you can optimize the lighting performance and how the criteria works for that kind of job category. Air conditioning, obviously, you know, that classic here at movie theaters, right?  Because everyone's in, you know, shorts, tee-shops, flip-flops here and then you walk in thinking, oh yeah, I forgot again. Yeah, we can do better than that. Yeah, so there's a lot of things that we do need to change and it costs a lot by not changing them. So, yeah. What about the role of the building engineer? You know, back in the day, the building engineer would, you know, do very few technical things. Mostly he was there for band-aids. Yeah, yeah. And now it's different. Yeah, well, there's a lot of older building engineers that are still in their jobs because, you know, familiarity, they like, they well like by all the talents, the owners, they can trust them. But a lot of them don't keep up with the latest technology and skill sets. So, and it's not easy. Like, this stuff changes pretty quickly. And, you know, we're just adopting a new energy code now, too. So, that's all going to be changed. We've got plenty of shows about that. Yeah, exactly. So, you know, how it's always on that. So, it's going to kind of, either they upgrade their skill sets or they have to partner with someone to adopt this stuff now. So, I think, you know, the state has to do this stuff to get to the energy goals it has to get to. So, we don't really have a choice. It's just how we get there. So, effectively, it's retraining a workforce of engineers. Absolutely, absolutely. Even if they have an engineering degree, which a lot of them don't, they need to be retrained in the latest stuff. And, the conference I saw and filmed a few weeks ago involved a talk by an Amoresco engineer through building engineers in the local downtown community.  They were taking notes because those concepts and that equipment he was talking about, you know, will help them do their jobs. So, it's a raising all boats kind of experience when you have this. So, the question is, you know, how much penetration do you have? You know, that was Pacific Guardian Center. There are other big buildings like that. Are they all getting a word? Are they all doing this?  I think it's a slower process, obviously, than what I'd like to see. I think, you know, for me, it's the sooner the better for either generation or efficiencies. And the problem is really, in what I've experienced so far, it really is that procurement method of the financial driving what they can afford to do and looking at it from like a business procedural procurement method where the last gateway is your financial guy who's not an energy manager and not a facilities manager and just looks at it on a spreadsheet and says, wow, two million dollars for a big air conditioner or something? What is that about? There's always a CFO in the wing somewhere, you know. So, yeah. So, that's why it's something like, you know, the solar power purchase agreement people are probably familiar with in Hawaii where there's no cash down, no money down, all these kind of things that sound too good to be true. In the energy services performance contracting, it's a guaranteed energy savings model to the client. It's a very complicated spreadsheet of what's called energy conservation measures, which are the upgrades of all the widgets around the facilities. And it's basically a spreadsheet of old widget, if replaced by new widget, saves us this much energy, which was this much money. And then our company would fund all the investment upgrades. So, the CFO sees a zero.  We upgrade their facilities at our cost. And it's a 20 year or 25 year partnership between us and the facilities, which is paid back over the guaranteed energy savings for the lifetime of the project. And then the facilities probably, who knows what they're in state in 25 years, they've probably got other things going. But usually the payback period is very impressive. And it relies on that partnership of, you know, the facilities managers, if they're not going to get the funding to do it and they're not going to do it themselves some other way, that's the only option right now, really. They can get this work done. Yeah. Well, you mentioned, I mean, this is really, it's a financing arrangement at the end of the day. It is, yes. Because the cost of upgrading the building and Morisco was bearing that cost. But then the, I guess what happens is, it will recover that cost over time by virtue of the guaranteed success feature in the contract. And so that's hard to underwrite. Especially talking about a 25-year term, you got to look into the future and figure out not only what the expectations of the building are, you know, the demands, but also what the technology is going to be changing going forward. This is really a pretty hard thing to do. It's really interesting. If you do that, James? I definitely don't. I kind of keep it on how far I can see on the end of my arm. So that works for Hawaii. So we know we're going to have amazing technologies coming down the pipeline.  But there will be some game changes for sure, but the key thing is that to do something today and start getting those savings are bankable day one. The moment the upgrades are done, you start saving immediately. If you have a groundbreaking technology in whatever aspect of the building, you can incorporate that later. It's only going to mean you save more. It doesn't mean that you can't do it. And that's, you know, what we build into these things aren't fixed by any means. You can revise it as you go down the pike. You revise it on a cash flow and performance positive partnership. We're trying to tune it, make it perfect. Yeah. Well, tuning is another part of it. So these things don't just sit aside without maintenance here. We need people employed as technology, engineers, O&M, the operations are maintenance side of it. It's just as important. It's like a bicycle. You got to keep moving the chain and keep the tires going round. Otherwise, especially in our climate, it's going to start rushing out. There's no choice about that. You have to change with the times. Yeah. So we need the maintenance side of it, but also the verification, just seeing what else is out there doesn't make sense to upgrade it. And then through the savings, the client might be able to fund a special, like the UH have started, this green Revolving Loan Fund where they take the savings out of those projects, put them into a special account, and that account buys new things to save more energy. So that's a very similar kind of creative financial method that's a really good idea. We are learning, aren't we? All right. Every day. Every day. MRS is a great entry into the marketplace here, a great player, because it brings new wisdom to us, new techniques, new best practices, maybe that we weren't aware of before. Yeah. One last question. I wanted to ask, you're a solar guy, or at least your background is in solar. And I wonder how important solar is in building efficiency and in building renewable sources. Because the footprints on some of these big buildings, with current solar technology, is not all that big. Yeah. So how do you play that? How do you play solar? Yeah, that's a tough one. Yeah, definitely. It's always site-specific. Solar is directly powered by the sun, so you can't have shading. Rainfall is an issue. Clouds, just that general lack of solar radiation drops performance, which is your direct financial return on investment. So I'm very excited by the Community-Based Renewal Energy Program that's just started now. Sure. So I've been looking a bit into that, and I think that's got great potential going forward in the bigger phase where it really ramps up. So that'll be a lot of the really utility solar that's going to do it, because we can't power all the skyscrapers in Kakako and Waikiki from solar. It's going to rely on an intercombined grid that's going to get clean energy somewhere else and then basically wheel it to those other customers. How about batteries? Are batteries included in the kind of setups that you create? Yeah. Pretty well mandatory now. Yeah, it's hard to find a grid that's not solar saturated as the term. You know, again, the amount of solar saturation on the grid does cause some problems to the utility. So the batteries provide a short-term storage point all the way around the grid, then more and more in different projects we'll see we'll be installing batteries nearly on everyone, which is a whole new, interesting, exciting technology line, which is going to be pretty interesting too. Very interesting to talk to you, James. Thank you for coming down. Pleasure, Jay. Good to see you. Really appreciate it. I want to hear more about Amoresco going forward on its new adventures and projects and ideas we won't want to share. Yeah. Thank you so much, James McKay. Look forward to it. I know you were a shy child. Very. I was actually. Making up for it now.