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"RIVERBEND" on the banks of the Clyde River at Nelligen
The huge open-plan Lounge has magnificent cypress flooring, feature brickwalls, a separate bar, a brick fireplace and mantelpiece enclosing a slow-combustion woodheater, and panoramic-view sliding doors opening onto the decking overlooking the river. The deck, made weather-proof with a roof below the balcony, is huge - over 100m² - and descends with sweeping steps onto the lawn and down to the river and jetty.

The huge modern kitchen with stone benchtops has recently been fully renovated at a cost of over $20,000.

A large breezeway, with wood-panelled walls and ceramic tiled floor, runs the full length of the house separating the lounge from the two downstairs bedrooms, and a bathroom and separate toilet. It gives access to the house from both ends through sliding glass doors. The two bedrooms have cool, clean floor tiles and wood-panelled walls and ample built-ins. The fully wall-and-floor-tiled bathroom, recently refurbished at a cost of $25,000, has a full-length 7-jet spa bath, glass-partitioned shower, and wall-hung vanity. The 315-litre hotwater system and a modern laundry are located at the back of the house.

Come upstairs to the Parents' Retreat
Photo Gallery
click here to view and print the brochure

Contact the Vendors on riverbendnelligen@mail.com
Some Price Comparisons
Some video clips of Nelligen and the Clyde River


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Death Notices & Obituaries

Brenda Hart

HART Brenda Irene of Taunton formally of St Ives, Cambridgeshire passed away peacefully at home with her husband Geoff at her side on the 8th of January 2019, aged 90 years. Brenda will be greatly missed by her loving husband Geoff & all of her other family and friends. A Funeral Service will be held at Taunton Deane Crematorium on Friday the 25th of January 2019 at 12.30pm. Family Flowers only please. Donations in memory of Brenda for The Donkey Sanctuary, Seaton may be left at the crematorium, left online through the Quantock Funeral Services website or forwarded to: Quantock Funeral Services. at 69 Staplegrove Road, Taunton, Somerset, TA1 1DG. Telephone 01823 277938.

Pictures from our gallery

Leave your message

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In Between review

I have to admit, I didn’t know what to expect from developer Gentlymad’s In Between. I’d watched a few of the trailers and it looked intriguing if not a little puzzling. What could this journey through the mind of one unlucky individual offer that other puzzlers cannot?

So, In Between is set inside the mind of a man hit by a cruel twist of fate. Controlling him, you are both on a journey through the protagonist’s head. This world does not seem to obey the laws of physics however. The aim of the game is to free your mind by negotiating the 60-plus levels of puzzling goodness. Each of these puzzles will require your skill, speed of action, quickness of thought and all of your analytical, puzzle-solving skills.

First impressions of the game are good then. The graphics switch from full-on, almost street graffiti inspired interlude cut-scenes to the atmospheric, sepia toned seriousness of the puzzle levels. They’re beautifully rendered and hide a multitude of small quirks. Cogs move in the foreground as you move around, platforms glide and deadly caltrops rise and fall as you move. They’re all fluidly animated and make you really think about your next move.

In BetweenThe main character is also well drawn and slick. The mechanics of the game means that you can alter the point of gravity for him to get around the various puzzles and obstacles on the level arena you’re playing. Not that this is an easy process. The right stick controls the gravity while the left moves you along that platform. It’s a strange concept to get used to and it took me a few levels to really get my head around it.

Handily, there’s a tutorial chapter to guide you through the basics. This pushes you gently through the action at first, but once you’ve completed that, you’re pretty much on your own. It’s a good introduction, but it doesn’t necessarily prepare you for the next chapter of levels, where the designs, obstacles and extra elements get really devious.

The level designs lend themselves well to the game. It’s a good thing too, as with only 60 or so levels to play through, you’d make pretty short work of this title without them being a real challenge. There are lots of obstacles to negotiate and the developers have really thought about where they are placed and how you’ll need to get around them. Finding the escape formula may not be enough though. There are other hazards on the screen that will be out to get you, besides the laws of gravity and physics. The second chapter introduces the concept of darkness and fear. This has a tendency to creep up on you from the left of the screen unless you turn to face it. Even then, it will only retreat so far and you’ll face a race against it to get to where you need to be. Get swallowed up by this darkness and it’s level over.

In BetweenThere are other aspects to the obstacles too. It’s not just about moving the character. Some levels introduce a green normality area, where the right stick will not allow you to change the focus of gravity. It will, however, still affect the strange face-blocks that materialise when you stand on the blue platform switches. These can then be manipulated around the gaming area with the right stick to solve another puzzle, or part puzzle. Getting this wrong can be frustrating and if I’m honest, you’ll die lots of times before you’ll get it right. It can be immensely frustrating to get just close enough to the glowing portal to escape, only to slightly mistime a jump or drop and have to start from the beginning. On the larger levels, luckily, there are checkpoints to restart from but even they are devilish to get to.

So, the levels are well-designed, if devious, and the graphics are atmospheric. The transitions between level chapters gives a nice balance to the storyline, although the story does seem to jump between childhood memories and present day a little too much. This doesn’t make much difference to the way the game is played though. One good thing is that once a chapter is unlocked you can attempt the levels in any order. Handy if you’re stuck on a particularly tricky screen. To unlock the next chapter, you’ll need to complete a specific number of levels in each chapter. In the Tutorial, I didn’t notice that it had skipped to the next chapter, leaving three levels untouched, until I delved back into the Tutorial chapter. Just something to bear in mind if you want to beat all of the puzzles In Between has to offer.

The audio in-game is a little odd. There are certain areas of some levels that will trigger an explanation or voice-over but other than that, it’s ambient background stuff for the most part. It lends well to the overall feel, but it’s fairly unremarkable to say the least. I’m not expecting thumping techno, given the nature of the game, but a soundtrack that’s a little more memorable might have been preferred. The cut-scenes for In Between have more in the way of speech with some interaction, but little else to promote the backstory.

In BetweenOverall then, In Between is a very slick, atmospheric puzzle platformer, with a twist. That twist allows more three or four dimensional thinking when it comes to solving the puzzles that it offers. The graphics and animation are well executed and the gameplay itself, while often infuriatingly unforgiving, rewards with a sense of achievement when each level is complete. Bear in mind that with just 60 levels, if you’re particularly adept at non-lateral thinking, this might just be too short. If not, then you’re staring down the barrel of a fiendish puzzler that will keep you swearing at it for hours.

Thanks to Gentlymad, Headup Games and Xbox for supporting TiX

  • Eerily atmospheric graphics
  • Challenging level designs
  • No limit on the amount of attempts

  • Levels can be too challenging
  • Precision required or you'll die
  • Storyline is a little confusing

In Between is the touching story of a man caught in his own mind thanks to a cruel twist of fate. You’ll journey with him through to the other side by completing very tricky but well considered levels. If you like your puzzles devious and non-lateral, you’ll love it.

A lifelong gamer, staring at the wrong side of the forties, I'm a huge Halo series fan. Started gaming way back in the days of the Amstrad CPC464. Midlander through birth, married with son, COD virgin, so be gentle. Twitter: @PhilK_TiX


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Terms of Trade

In these conditions unless the context otherwise requires:

  • Company means Thomson’s Suits Ltd
  • Buyer means the person, or company buying the goods from the Company.
  • Products and/or services mean the products and/or services being purchased by the Buyer from the Company.
  • Contract means the contract between the Company and the Buyer for the purchase of the goods.
  • Date of the contract means where the contract arises from a quotation given by the Company, i) the date of acceptance of the order by the Company; or ii) Where the contract arises from a quotation given by the Company, the date upon written notification of acceptance of the quotation is received by the Company.
  • Contract price means the price of goods as agreed between the Buyer and the Company.
  • Person includes a corporation, association, firm, company, partnership or individual. Quotation shall mean price on offer for a fixed term. Manager is the companies appointed decision maker.
  • PPSA means the Personal Property Securities Act 1999.

The Buyer may request a Quotation from the Company setting out the price and quantity of the Goods to be supplied. If the Quotation is acceptable to the Buyer, the Buyer may place an order within an acceptable timeframe.

If any instruction is received by the Company from the Buyer for the supply of products and/or services, it shall constitute acceptance of the terms and conditions contained herein. Upon acceptance of these terms and conditions by the Buyer, the terms and conditions are definitive and binding.

4.Terms and Conditions

These terms and conditions and any subsequent terms and conditions issued by the Company shall apply to all orders for the goods and the services made by the Buyer after the date and time at which these conditions are first delivered or sent by email or facsimile to, or otherwise brought to the notice of, any employee, staff member or representative of the Buyer. It shall be the Buyer’s responsibility to ensure that these conditions are promptly brought to the attention of the appropriate staff of the Buyer, and accordingly any order made by the Buyer after the date and time described above in this clause shall be deemed to be an acceptance of these conditions.

  1. The Price shall be as indicated on invoices provided by the Company to the Buyer in respect of products and/ or services supplied; or
  2. The Price shall be the Price of the Company’s current Price at the date of delivery of any goods.
  3. Time for payment for the products and/or services shall be of the essence and will be stated on the invoice, quotation, tender documents, work authorisation form or any other work commencement forms. If no time is stated then payment shall be due on delivery of any goods.
  4. The Buyer agrees that the cost Price shall be determined by the Company, and shall take into consideration “one-off” costs such as design and production.
  5. The Company reserves the right to implement a surcharge for alterations to specifications of products after the order has been placed.

6.Payment, Late Payment, Default of Payment and Consequences of Default of Payment

  1. The method of payment will be made by cash, or by cheque, or by bank cheque, or by direct credit, or by any other method as agreed to between the Buyer and the Company.
  2. Subject to any provision to the contrary in the Contract, payment (being cash unless otherwise arranged in advance and confirmed in writing by [insert your name or employees name here] or his appointee) shall be received on or before the [insert day here – this is commonly between twenty and thirty days of the invoice date] of the month following the date of the Company’s invoice to the Buyer, which shall be issued promptly on or after delivery of the goods.
  3. Late payment shall incur interest at the rate of [insert interest rate here – be aware the average interest range is from 10% to 20%, but can vary depending on industry] per annum calculated on a daily basis. This shall be payable on any monies outstanding under the Contract from the date payment was due until the date payment is received by the Company, but without prejudice to the Company’s other rights or remedies in respect of the Buyer’s default in failing to make payment on the due date.
  4. Without prejudice to any other remedies the Company may have, if at any time the Buyer is in breach of any obligation (including those relating to payment), the Company may suspend or terminate the supply of Goods to the Buyer and any of its other obligations under the terms and conditions. The Company will not be liable to the Buyer for any loss or damage the Buyer suffers because the Company exercised its rights under this clause.
  5. In the event that:
    1. any money payable to the Company becomes overdue, or in the Company’s opinion the Buyer will be unable to meet its payments as they fall due; or
    2. the Buyer becomes insolvent, convenes a meeting with its creditors or proposes or enters into an arrangement with creditors, or makes an assignment for the benefit of its creditors; or
    3. a receiver, manager, liquidator (provisional or otherwise) or similar person is appointed in respect of the Buyer or any asset of the Buyer; then without prejudice to the Company’s other remedies at law
    4. the Company shall be entitled to cancel all or any part of any order of the Buyer that remains unperformed in addition to, and without prejudice to any other remedies; and all amounts owing to the Company shall, whether or not due for payment, immediately become payable.

  1. The Contract constitutes a security interest in the goods supplied by the Company to the Buyer for the purposes of the PPSA as security for payment by the Buyer of all amounts due under the Contract, including any future amounts.
  2. The Buyer agrees to promptly execute and deliver to the Company all assignments, transfers and other agreements and documents and do anything else which the Company may deem appropriate to perfect the Company’s security interest over the Buyer, or obtain the priority required by the Company or register (and renew registration) a financing statement for a security interest in favour of the Company.
  3. To the extent that Part 9 of the PPSA applies, the Buyer agrees that the provisions of sections 114(1)(a), 120, 122, 133 and 134 of the PPSA which are for the Buyer’s benefit, or place any obligations on the Company in the Buyer’s favour, will not apply; and where the Company has rights in addition to those in Part 9 of the PPSA, those rights will continue to apply.
  4. To the extent that Part 9 of the PPSA applies, without limiting anything in the previous paragraph, the Buyer hereby waives its rights under sections 116, 120(2), 121, 125, 126, 127, 129 and 131 of the PPSA, and its rights to receive a copy of a verification statement under section 148 of the PPSA in respect of any financing statement or financing change statement registered by the Company.
  5. The Buyer agrees to treat the security interest in the goods as a continuing and subsisting security with priority over a registered general security interest and any unsecured creditors, regardless of whether the goods have become fixtures at any time before payment has been made for them.

8.Governing laws

These Terms of Trade will be interpreted in accordance with applicable government legislation, which will have exclusive legal jurisdiction over any dispute in relation to the products and/or services or these Terms of Trade.

9.Dispute resolution

The Company will endeavour to resolve any dispute between the Buyer and itself without the need for Court proceedings. Any such attempt is without legal prejudice.

10.Reservation of title

Ownership and title of the goods remains with The Company until the purchased price and all other monies owing by the Buyer, under the contract or any other contract to The Company, have been paid in full.

The Company warrants that it will repair or make good any defects in the goods, if written notice of the claim is received by the Company within seven (7) days from the date the goods were delivered. No claim shall be accepted under such warranty if any attempt to repair the defective goods is made by any person not authorised by the Company, or if the defective goods have been modified or incorrectly stored, maintained or used. If the Company elects to repair or replace any defective goods, such work shall be undertaken at such place as the Company may reasonably specify and the Buyer shall be responsible at its cost and risk for shipment of the defective goods to the place specified.

The Company shall not be liable for any loss of any kind whatsoever suffered by the Buyer as a result of any breach of any of the Company’s obligations under the contract, including any cancellation of the contract or any negligence on the part of the Company, its servants, agents or contractors, nor shall the Company be liable for any loss, damage or injury caused to the Buyer’s servants, agents, contractors, buyers, visitors, tenants, trespassers or other persons. The Buyer shall indemnify the Company against any claim by any such person.

13.Privacy policy

We do not share personal details about any of our customers with any third party.

Apart from the details collected on the login page (name, address, phone number, e-mail address), we also record all customer transactions. This enables us to be able to respond quickly to your queries regarding product ordered or returned. It also enables us to send you information of the most relevant offers to you.
From time to time we may wish to contact you to inform you of upcoming sales or special offers.

If you don’t wish to be contacted by us just click on the “don’t e-mail me” button on the registration page.


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Thoroughbred Daily News
Shaman Ghost Ghostzapper - Getback Time, by Gilded Time
Adena Springs Paris, KY | 2012 | Entered Stud 2018 | 2019 Fee $7,500

Black Type Library

The Black Type Library allows users to look at a prescribed period of Black Type races–from one day to any time in the past 20 years.

The default setting is the past 7 days, listed in order by Grade, from Grade 1 to 2, 3, Listed and Black Type. You may re-order this in any way, for any time period, choosing to view by sire, dam, damsire, date, race name, etc., by using the dropdown menus at the top of the page, or by clicking on the column headers.

Clicking on a race brings up the race detail; clicking on a horse or sire brings up all of that horse’s Black Type wins with the time period you have chosen. Links are also available for Equibase race charts, sales information, catalogue pages, and pedigrees for winners of Grade or Group 1/2/3 races.

Alphabetical Sire Quicklists
Click for a quick review of Black Type-placed progeny alphabetically listed by Sire.

Use the following criteria to refine your information search. Leaving a field blank will declude it from the criteria.

Country Location:

Tracks will refresh.

By Track:
Type Horse Name:
Type Sire Name:
Broodmare Sire:
Race Type:
Sort By:
Date Track Race Grade Finish Purse Horse Sire Dam Sire Resources
03/31/2019 TAM Stonehedge Farm South Sophomore Fillies S. 3 $115,000 f, 3 Here Comes Jackie Handsome Mike Mecke Chart
02/09/2019 FG Shantel Lanerie Memorial Overnight S. 3 $60,000 f, 3 Naughty Me Handsome Mike Indian Charlie Chart
11/10/2018 GPW Juvenile Turf S. 2 $75,000 c, 2 Lucky Mike Handsome Mike Hook and Ladder Chart


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Skip to main content

Times of the Islands Magazine

Laser Treatment for Postmenopausal Women: MonaLisa Touch Restores Vaginal Health

Jun 25, 2018 08:00AM
It’s a painful topic that most women don’t like to talk about.

It’s called vaginal atrophy, or thinning of the vaginal walls, leading to dryness, burning, painful intercourse and lack of muscle tone. About 40 percent of women over the age of 50 have vaginal atrophy, which also affects breast cancer survivors and women who have undergone hysterectomies.

Caroline, who lives in Southwest Florida, is one of those women.

The 55-year-old mother underwent a hysterectomy 10 years ago and was prepared for the hot flashes, tiredness and vaginal dryness that occurs in menopause.

“But nobody told me about the pain I would experience during intimacy. I thought this is the way it is going to be for the rest of my life. I’m too young for that,” she says.

“Until now, all we could really offer women was estrogen replacement therapy in the form of a pill or cream, but those options have side effects,” says Dr. Rex Stubbs, obstetrician-gynecologist with Physicians’ Primary Care of Southwest Florida. “And estrogen replacement isn’t an option at all for breast cancer survivors.”

Another option is now available that physicians and their patients are calling “life-changing.” The MonaLisa Touch is a laser treatment that promises to restore vaginal health in three treatments.

Caroline and her husband are believers.

“MonaLisa Touch has changed my life. After just one treatment, I had huge results. It has given me back the quality of life I didn’t have before,” she says.

“Our patients have experienced overwhelmingly positive and almost immediate results,” says Dr. Kevin Fleishman, obstetrician-gynecologist with Physicians’ Primary Care of Southwest Florida. “The women show a high, statistically significant improvement in symptoms, including dryness, pain, itching and painful intercourse."

No anesthesia is needed and there is no downtime for the patient, according to both Dr. Stubbs and Dr. Fleishman.

Physicians’ Primary Care of Southwest Florida is the only medical practice in Lee County to offer MonaLisa Touch. The laser treatment is an in-office procedure available at their OB-GYN office in Fort Myers. Consultation appointments also may be made at the Cape Coral office.

Patients undergo a brief laser treatment to the vaginal wall to promote production of new collagen, which thickens the vaginal skin, increasing moisture and lubrication that restores the vagina to a state similar to before menopause.

Three treatments are required, spaced six weeks apart. Insurance does not currently cover the treatments, which cost $1,800 for all three. The procedure then is done once annually.

All of the obstetricians-gynecologists at Physicians’ Primary Care of Southwest Florida are trained in the new technology and have administered the treatment to hundreds of Southwest Florida women who are reporting immediate improvement in vaginal dryness and painful intercourse.

“This is a delicate subject,” Caroline says. “We women get together, we don’t talk about things like this. This needs to be talked about because there is a solution—and MonaLisa Touch is it.”

Physicians Primary Care of Southwest Florida

9021 Park Royal Drive, Fort Myers; 1265 Viscaya Parkway, Cape Coral

Written by Susan Bennett, a Southwest Florida public relations and marketing professional and guest contributor to TOTI Media.


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Oxford- A City Guide

Oxford is a city and local government district in Oxfordshire, England,
With a population of 134,248 (2001 census). It is home to the
University of Oxford, the oldest university in the English-speaking
World. It is known as the "city of dreaming spires", a term coined by
Matthew Arnold in reference to the harmonious architecture of the
University buildings. The Oxford suburb of Cowley has a long history of
Carmaking, and still produces BMW MINIs.

Oxford was first employed in Saxon times, and was initially known as
"Oxenaforda". It began with the foundations of St Frideswide's nunnery
In the 8th century. The University of Oxford is first mentioned in 12th
Century records. Oxford's earliest colleges were University College
(1249), Balliol (1263) and Merton (1264).

During the English Civil War, Oxford housed the court of Charles I in
1642, after the king was expelled from London, although there was
Strong support in the town for the Parliamentaryarian cause. In the 19th
Century the controversial surrounding the Oxford Movement in the Anglican
Church drew attention to the city as a focus of theological thought.
Oxford's Town Hall was built by Henry T. Hare, the foundation stone was
Laid on 6 July 1893 and opened by the future King Edward VII on 12 May
1897. By the early 20th century Oxford was experiencing rapid
Industrial and population growth, with the printing and publishing
Industries becoming well established by the 1920s.

Places of interest

Oxford has numerous major tourist attractions, many belonging to the
University and colleges. As well as several famous institutions, the
Town center is home to Carfax Tower and a historical themed ride, The
Oxford Story. In the summer, punting on the Thames (sometimes called
The Isis as it flows through Oxford) and the Cherwell is popular.
Other notable attractions include:

  • Christ Church Cathedral
  • The Church of St Mary the Virgin (the University Church)
  • Martyrs' Memorial
  • Ashmolean Museum
  • Pitt Rivers Museum
  • Museum of Natural History
  • Museum of the History of Science
  • Science Oxford
  • University buildings
  • The University Parks
  • The University Botanic Garden
  • Cornmarket Street, Oxford
  • Turl Street, Oxford
  • Little Clarendon Street
  • Oxford Covered Market
  • Westgate Shopping Center
  • Museums and Art Galleries

    Oxford has a large number of museums and galleries open for public.
    Following are the world famous and a major tourist spot in Oxford:

  • Ashmolean Museum, Britain's oldest museum
  • Pitt Rivers Museum
  • Museum of Natural History, home of (the remains of) the Oxford Dodo
  • Museum of the History of Science, in Britain's oldest purpose-built
    Museum building
  • Museum of Oxford
  • Museum of Modern Art
  • Science Oxford
  • Shopping

    Golden Cross, an arcade of first-class shops and boutiques, lies
    Between Cornmarket Street and the Covered Market. Parts of the colorful
    Gallery date from the 12th century. Many buildings remain from the
    Medieval era, along with some 15th- and 17th-century structures. The
    Market also has a reputation as the Covent Garden of Oxford, with live
    Entertainment on Saturday mornings in summer. In its way, Alice's Shop,
    Played an important role in English literature, it functioned as a
    General store (selling brooms, hardware, and the like) during the
    Period that Lewis Carroll, at the time a professor of mathematics at
    Christ Church College, was composing Alice in Wonderland.

    It is
    Believed to have been the model for important settings within the book.
    Today, the place is a favorite stopover of Lewis Carroll fans from as
    Far away as Japan, who gobble up commemorative pencils, chess sets,
    Party favors, bookmarks, and in rare cases, original editions of some
    Of Carroll's works. The Bodleian Library Shop, specializes in Oxford
    Souvenirs, from books and paperweights to Oxford banners and coffee
    Mugs. Castell & Son (The Varsity Shop), is the best outlet in
    Oxford for clothing emblazoned with the Oxford logo or heraldic symbol.

    Food and Drink

    Oxford offers European and Middle-East and Asian cuisine. Some of the
    Restaurants are:

  • Cherwell Boathouse Restaurant
  • Gee's Restaurant
  • Le Manoir aux Quat 'Saisons
  • Rosamund the Fair
  • Al-Salam
  • Browns.
  • Exceed these restaurants Oxford hosts some traditional and historic pubs

  • The Eagle and Child
  • The Turf Tavern
  • The Lamb and Flag
  • The Bear
  • Education

    The University of Oxford, located in the city of Oxford, England, is
    The oldest university in the English-speaking world.
    Events and organizations and institutions officially associated with the
    University include:

  • Worcester College, Backs of medieval cottages
  • The Oxford Union Society
  • The Oxford University Press, the world's oldest and largest
    University press
  • The Bodleian Library
  • Major Research Libraries (including the Sackler Library)
  • Oxford University Department for Continuing Education
  • The Taylor Institution
  • The Oxford University Student Union
  • Oxford University Newman Society – Catholic speaker society
  • The OICCU, the undergraduate Christian union
  • The Oxford University Museum of Natural History (sometimes called
    The Oxford University Museum)
  • The Pitt Rivers Museum
  • The Ashmolean Museum
  • The Bate Collection
  • Oxford Botanic Garden and Harcourt Arboretum
  • Oxford University Sports Federation
  • Oxford University Boat Club
  • The O'Reilly Theater
  • Moser Theater
  • Rothermere American Institute
  • Said Business School
  • The Ruskin School of Drawing and Fine Art
  • Computing Laboratory
  • Isis Innovation
  • Sports

    Oxford City FC and Milton United FC among others are two famous
    Football club and play regular club and league matches. Oxford
    Cavaliers Rugby League Club is the rugby club playing for Oxford city.
    Drayton Leisure Golf Driving Range is the golf course with 9 HOLE (PAR
    3) COURSE and 6 HOLES FLOODLIT. As a city in UK it has a number of
    Cricket teams and hosts tournaments like Bernard Tollett Oxfordshire
    Cup, National Cricket Club Championship, The Cricketer National Village
    Championship etc

    Tours and Sightseeing

    There are a number of tour operators in Oxford. The tourist information
    Center is also very helpful to find out a way to enjoy the visit
    Of Oxford.

    Hotels and Accommodations

    Accommodations in Oxford are limited, although recently, motels have
    Sprouted on theirts – good for those who want modern amenities.
    In addition, if you have a car, you may want to consider country houses
    Or small B & Bs on the outskirts of town
    Some of the notable hotels are:

  • Victoria House
  • Cotswold Lodge
    Classic Hotel
  • Westwood Country
    Hotel Ltd
  • Holiday Inn Oxford
  • The Oxford Hotel
  • Oxford Thames
    Four Pillars Hotel
  • Express by
    Holiday Inn Oxford Kassam Stadium
  • The Bat &
    Ball Inn
  • The Upper Reaches
  • Abingdon Four
    Pillars Hotel
  • Oxfordshire Inn
  • Days Inn Hotel Oxford
  • The Plow at Clifton Hampden
  • Marlborough Arms Hotel
  • Macdonald Bear Hotel
  • White Hart Hotel
  • Transport

    Oxford is located some 50 miles (80 km) north west of London; The
    Cities are linked by the M40 motorway, which also links northwards to

    Rail connections include services to London (Paddington), Bournemouth,
    Worcester (via the Cotswold Line), and Bicester. The city also has
    Regular train services northwards to Birmingham, Coventry and the
    North. The railway service connecting Oxford and Cambridge, known as
    The Varsity Line, was discontinued in 1968.
    The Oxford Canal connects to the River Thames at Oxford.

    Oxford Airport at Kidlington offers business and general aviation
    Local bus services are large provided by the Oxford Bus Company and
    Stagecoach South Midlands.


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Camping on the Côte

Flying to your family holiday destination may have its advantages in terms of speed, but there’s a lot to be said for taking the scenic route by car.

For a start, the ferry journey isn’t the trial that it used to be in days gone by. I have some sickly childhood memories of seemingly interminable sailings of a ship creaking and lurching its way across choppy waters to France, but doing it today is a very different experience.

We went on Brittany Ferries’ flagship the Pont Aven. The experience is far more like a luxury cruise than a perfunctory ferry. There are bars and restaurants that don’t rip off the captive sea-faring customer, interior and exterior lounge decks and, to complete that pampered feeling, there’s even a swimming pool. As there were five of us in the family, we went for a deluxe cabin. The extra space was fantastic – you get a large window (rather than a porthole), separate bathroom and toilet, television and dvd player. Moreover, they wake you up and feed you by bringing you breakfast in the morning.

So it’s with a refreshing start that we arrived on French soil early on a quiet Sunday morning. It was a perfect day for driving 800km (to our overnight destination in Clermont-Ferrand), taking our time along France’s impressively expansive motorway network. There are superb picnicking facilities at aires every 30km or so and we made optimum use of them, stopping regularly to brew coffee (we had packed our own camping stove), eat and refresh in the increasingly warm air.

Stopping for eats at one of the great “aires” on the French motorway system

Fréjus is situated roughly midway between Cannes and St Tropez so you can’t get much more Riviera than that. This stretch of coastline – also known as the Cote d’Azur – is densely populated and initial impressions may be rather unromantic as you negotiate your way from the busy A8 motorway, through roundabouts and past one huge shopping centre after another.

Our campsite – Le Montourey – was located down a very quiet road and surrounded on three sides by fields. The sites quiet location seemed unusual enough as most other campsites in the area are located in busier spots just off the aforementioned roundabout/dual carriageway/shopping centre settlements. Although the initial impression was that it was a bit lost, this is no bad thing as it turns out, as peace and quiet are not easy to come by in the Fréjus area close to the beach.

The site was relatively small with approximately 180 places, but it had all the necessary ingredients: swimming pool with baby pool fully supervised and secure, two water slides, washing facilities, football pitches, tennis courts, shops, bar and daily fun activities for younger ones with nightly shows. Our boys, being aged 10 to 14, were just beyond the latter attractions, but they loved the pool and water slides to where they rushed off after breakfast, making friends with other campers, before playing soccer and/ or swimming in the evening.

The nearest Lidl (they seem to be absolutely everywhere) was just a 5-minute drive while the much larger Carrefour hypermarket was slightly further away (about ten minutes by car) in a vast suburban retail area that had Décathlon (a wonderful source of good-value sports shopping) a whole plethora of specialised retail outlets and an Irish pub named Le Connemara.

Something else that’s a short drive away is the centre of Fréjus itself. Amidst all the built-up that surrounds it, you can easily forget that Fréjus centre is a charming old Provencal town with an illustrious Roman past.

Parking up or getting a local bus into the centre is well worth the effort. You get a real sense of the Cote d’Azur chic strolling through its ochre-tinged hot streets; the scents of the flowers and herbs of the Midi mixed with sun cream and expensive perfumes of passers-by.

Entering the remains of the Roman Arena at Frejus

The Roman ruins are quite impressive and it was in Fréjus that the Roman military elite used to holiday. The amphitheatre is in a fairly ruinous state with many sections of it sectioned off for the public’s protection, but you do get an impression as you enter this mini-coliseum of the excitement and importance that it represented all those centuries ago.

The beaches are clean and well-tended and we found them to be not as overcrowded as we had expected. We tended to go for St Aygulf beach immediately to the west of Fréjus. It’s very long and wide enough to accommodate the many thousands who frequent it, as is the large public car park beside it and across the road from it.

The Beach at Agay offers a real hint of the Riviera of the 1950s

If you’re looking for a more relaxed atmosphere, you won’t do much better than the 25-minute drive east to Agay. Here, the beach is set in a cove just before the village itself. It’s one of the few places along the French Riviera coast that you can get a clear view of the sparsely-populated Esterel hills that form a rich red backdrop to the scene that gives a strong hint of what the Cote was like in its quieter heyday. Having bought snorkelling gear for all the family at Décathlon, we spent a couple of great afternoons finning around en famille amongst the spectacular large shoals of fish.

During the summer months, there are plenty of markets in the surrounding towns and villages by day and also by night. St Raphaël – just down the road from Fréjus – closes off half of its main waterfront street for a large market of local crafts, toys and foodstuffs open until late, with accompanying amusements to amuse the children. We wandered around for a couple of hours, savouring the evening buzz of the holiday crowd in night-time temperatures of 25˚.

Driving any great distance along the coast is not to be recommended during the summer. Although Fréjus is midway between Cannes and St Tropez, the former is a far more feasible journey to undertake than the latter. St Tropez is one of those places whose erstwhile charm has been swamped by over-popularity and over-development. Its situation at the end of a peninsula means that attempting to drive in summer is to be avoided at all costs unless being stuck in a day-long traffic jam in 35˚ is your idea of fun.

It’s far more fun to go for a drive east towards the Italian border along the motorway. It’s a spectacularly beautiful drive between mountains and sparkling blue sea as the road takes you by towns that are all worth visiting, including Cannes, Antibes and Nice. In a little over an hour, you’re in Monte Carlo. Only someone with the hardest heart could not get a rush of James Bond-like emotions as your family car chicanes into the clean and groovy principality – all the more so when you’re accompanied by your Bond girl and Bond children.

Dining al fresco in Frejus

Most days, we tended not to stray too far. The camp site and its facilities offered a nice balance of relaxation and entertainment for all the family and we quickly settled into a routine of camp site in the morning and beach in the afternoon. After that, it was mostly a case of gathering essential supplies of food and drink before stocking with extra rations for long road home.

Getting There:
– Conor Power was a guest of Brittany Ferries. Sailings are once weekly from Cork to Roscoff from April to October inclusive. For more information, see or telephone (021) 4277 801.
– Motorway tolls in France average around €5 for every 100km, except in Brittany, where the motorways are not tolled.

Staying There:
– We stayed at Siblu’s Le Montourey campsite, 83600 Fréjus, France. For further details, see or call 0818 27 4099.
– Our en-route stop was at the Hôtel des Puys, 16 Place Delille, 63000 Clermont-Ferrand, France. Tel 0033 473919206.

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Building a bright future together

Karen's Class

There are 8 of us in our class. We are a very busy, hard working class.

On Mondays we all like going to ASDA to buy our cookery and break things.

On Tuesdays some of us go horse riding and some of us play rugby. We all do cookery.

On Wednesday everyone’s favourite activity is afternoon clubs when we all go to different clubs.

Everyone loves Thursdays because we go swimming at Aurora in Bangor. Although some of us enjoy the café more than actual swimming!

Friday we like meeting up with all our friends in Secondary and Sixth Form at assembly. Before lunch we go to the gym and work very hard on all the machines. By the end of the week we are all exhausted!


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Chicago Home Inspector

Total Formula Home Inspection

P.O. Box 663

Smiths, Al. 36877

Veteran Owned

Stucco Repair

The term "stucco" is used to describe a type of exterior plaster applied as a two-or-three part coating directly onto masonry, or applied over wood or metal lath to a log or wood frame structure. Stucco is found in many forms on historic structures throughout the United States. It is so common, in fact, that it frequently goes unnoticed, and is often disguised or used to imitate another material. Historic stucco is also sometimes incorrectly viewed as a sacrificial coating, and consequently removed to reveal stone, brick or logs that historically were never intended to be exposed. Age and lack of maintenance hasten the deterioration of many historic stucco buildings. Like most historic building materials, stucco is at the mercy of the elements, and even though it is a protective coating, it is particularly susceptible to water damage.

Stucco is a material of deceptive simplicity: in most cases its repair should not be undertaken by a property owner unfamiliar with the art of plastering. Successful stucco repair requires the skill and experience of a professional plasterer. Although several stucco mixes are representative of different periods are provided here for reference Each project is unique, with its own set of problems that require individual solutions

Historical Background

Stucco has been used since ancient times. Still widely used throughout the world, it is one of the most common of traditional building materials. Up until the late 1800's, stucco, like mortar, was primarily lime-based, but the popularization of portland cement changed the composition of stucco, as well as mortar, to a harder material. Historically, the term "plaster" has often been interchangeable with "stucco"; the term is still favored by many, particularly when referring to the traditional lime-based coating. By the nineteenth century "stucco," although originally denoting fine interior ornamental plasterwork, had gained wide acceptance in the United States to describe exterior plastering. "Render" and "rendering" are also terms used to describe stucco, especially in Great Britain. Other historic treatments and coatings related to stucco in that they consist at least in part of a similarly plastic or malleable material include: parging and pargeting, wattle and daub, "cob" or chalk mud, pise de terre, rammed earth, briquete entre poteaux or bousillage, half-timbering, and adobe. All of these are regional variations on traditional mixtures of mud, clay, lime, chalk, cement, gravel or straw. Many are still used today.

Revival Styles Promote Use of Stucco

The introduction of the many revival styles of architecture around the turn of the twentieth century, combined with the improvement and increased availability of portland cement resulted in a "craze" for stucco as a building material in the United States. Beginning about 1890 and gaining momentum into the 1930s and 1940s, stucco was associated with certain historic architectural styles, including: Prairie; Art Deco, and Art Moderne; Spanish Colonial, Mission, Pueblo, Mediterranean, English Cotswold Cottage, and Tudor Revival styles; as well as the ubiquitous bungalow and "four-square" house. The fad for Spanish Colonial Revival, and other variations on this theme, was especially important in furthering stucco as a building material in the United States during this period, since stucco clearly looked like adobe.

Although stucco buildings were especially prevalent in California, the Southwest and Florida, ostensibly because of their Spanish heritage, this period also spawned stucco-coated, revival-style buildings all over the United States and Canada. The popularity of stucco as a cheap, and readily available material meant that by the 1920s, it was used for an increasing variety of building types. Resort hotels, apartment buildings, private mansions and movie theaters, railroad stations, and even gas stations and tourist courts took advantage of the "romance" of period styles, and adopted the stucco construction that had become synonymous with these styles.

A Practical Building Material

Stucco has traditionally been popular for a variety of reasons. It was an inexpensive material that could simulate finely dressed stonework, especially when "scored" or "lined" in the European tradition. A stucco coating over a less finished and less costly substrate such as rubblestone, fieldstone, brick, log or wood frame, gave the building the appearance of being a more expensive and important structure. As a weather-repellent coating, stucco protected the building from wind and rain penetration, and also offered a certain amount of fire protection. While stucco was usually applied during construction as part of the building design, particularly over rubblestone or fieldstone, in some instances it was added later to protect the structure, or when a rise in the owner's social status demanded a comparable rise in his standard of living.

Composition of Historic Stucco

Before the mid-to-late nineteenth century, stucco consisted primarily of hydrated or slaked lime, water and sand, with straw or animal hair included as a binder. Natural cements were frequently used in stucco mixes after their discovery in the United States during the 1820s. Portland cement was first manufactured in the United States in 1871, and it gradually replaced natural cement. After about 1900, most stucco was composed primarily of portland cement, mixed with some lime. With the addition of portland cement, stucco became even more versatile and durable. No longer used just as a coating for a substantial material like masonry or log, stucco could now be applied over wood or metal lath attached to a light wood frame. With this increased strength, stucco ceased to be just a veneer and became a more integral part of the building structure.

Today, gypsum, which is hydrated calcium sulfate or sulfate of lime, has to a great extent replaced lime Gypsum is preferred because it hardens faster and has less shrinkage than lime. Lime is generally used only in the finish coat in contemporary stucco work.

The composition of stucco depended on local custom and available materials. Stucco often contained substantial amounts of mud or clay, marble or brick dust, or even sawdust, and an array of additives ranging from animal blood or urine, to eggs, keratin or gluesize (animal hooves and horns), varnish, wheat paste, sugar, salt, sodium silicate, alum, tallow, linseed oil, beeswax, and wine, beer, or rye whiskey. Waxes, fats and oils were included to introduce water-repellent properties, sugary materials reduced the amount of water needed and slowed down the setting time, and alcohol acted as an air entrainer. All of these additives contributed to the strength and durability of the stucco.

The appearance of much stucco was determined by the color of the sand--or sometimes burnt clay--used in the mix, but often stucco was also tinted with natural pigments, or the surface whitewashed or color-washed after stuccoing was completed. Brick dust could provide color, and other coloring materials that were not affected by lime, mostly mineral pigments, could be added to the mix for the final finish coat. Stucco was also marbled or marbleized--stained to look like stone by diluting oil of vitriol (sulfuric acid) with water, and mixing this with a yellow ochre, or another color. As the twentieth century progressed, manufactured or synthetic pigments were added at the factory to some prepared stucco mixes.

Methods of Application

Stucco is applied directly, without lath, to masonry substrates such as brick, stone, concrete or hollow tile. But on wood structures, stucco, like its interior counterpart plaster, must be applied over lath in order to obtain an adequate key to hold the stucco. Thus, when applied over a log structure, stucco is laid on horizontal wood lath that has been nailed on vertical wood furring strips attached to the logs. If it is applied over a wood frame structure, stucco may be applied to wood or metal lath nailed directly to the wood frame; it may also be placed on lath that has been attached to furring strips. The furring strips are themselves laid over building paper covering the wood sheathing.

Wood lath was gradually superseded by expanded metal lath introduced in the late-nineteenth and early-twentieth century. When stuccoing over a stone or brick substrate, it was customary to cut back or rake out the mortar joints if they were not already recessed by natural weathering or erosion, and sometimes the bricks themselves were gouged to provide a key for the stucco. This helped provide the necessary bond for the stucco to remain attached to the masonry, much like the key provided by wood or metal lath on frame buildings.

Like interior wall plaster, stucco has traditionally been applied as a multiple-layer process, sometimes consisting of two coats, but more commonly as three. Whether applied directly to a masonry substrate or onto wood or metal lath, this consists of a first "scratch" or "pricking-up" coat, followed by a second scratch coat, sometimes referred to as a "floating" or "brown" coat, followed finally by the "finishing" coat. Up until the late-nineteenth century, the first and the second coats were of much the same composition, generally consisting of lime, or natural cement, sand, perhaps clay, and one or more of the additives previously mentioned. Straw or animal hair was usually added to the first coat as a binder. The third, or finishing coat, consisted primarily of a very fine mesh grade of lime and sand, and sometimes pigment. As already noted, after the 1820s, natural cement was also a common ingredient in stucco until it was replaced by portland cement. Both masonry and wood lath must be kept wet or damp to ensure a good bond with the stucco. Wetting these materials helps to prevent them from pulling moisture out of the stucco too rapidly, which results in cracking, loss of bond, and generally poor quality stuccowork.

Traditional Stucco Finishes

Until the early-twentieth century when a variety of novelty finishes or textures were introduced, the last coat of stucco was commonly given a smooth, troweled finish, and then scored or lined in imitation of ashlar. The illusion of masonry joints was sometimes enhanced by a thin line of white lime putty, graphite, or some other pigment. Some nineteenth century buildings feature a water table or raised foundation of roughcast stucco that differentiates it from the stucco surface above, which is smooth and scored. Other novelty or textured finishes associated with the "period" or revival styles of the early-twentieth century include: the English cottage finish, adobe and Spanish, pebble-dashed or dry-dash surface, fan and sponge texture, reticulated and vermiculated, roughcast (or wet dash), and sgraffito.

Regular Maintenance

Although A. J. Downing alluded to stuccoed houses in Pennsylvania that had survived for over a century in relatively good condition, historic stucco is inherently not a particularly permanent or long-lasting building material. Regular maintenance is required to keep it in good condition. Unfortunately, many older or historic buildings are not always accorded this kind of care.

Because building owners knew stucco to be a protective, but also somewhat fragile coating, they employed a variety of means to prolong its usefulness. The most common treatment was to whitewash stucco, often annually. The lime in the whitewash offered protection and stability and helped to harden the stucco. Most importantly, it filled hairline cracks before they could develop into larger cracks and let in moisture. To improve water repellency, stucco buildings were also sometimes coated with paraffin, another type of wax, or other stucco-like coatings, such as oil mastics.

Assessing Damage

Most stucco deterioration is the result of water infiltration into the building structure, either through the roof, around chimneys, window and door openings, or excessive ground water or moisture penetrating through, or splashing up from the foundation. Potential causes of deterioration include: ground settlement lintel and door frame settlement, inadequate or leaking gutters and downspouts, intrusive vegetation, moisture migration within walls due to interior condensation and humidity, vapor drive problems caused by furnace, bathroom and kitchen vents, and rising damp resulting from excessive ground water and poor drainage around the foundation. Water infiltration will cause wood lath to rot, and metal lath and nails to rust, which eventually will cause stucco to lose its bond and pull away from its substrate.

After the cause of deterioration has been identified, any necessary repairs to the building should be made first before repairing the stucco. Such work is likely to include repairs designed to keep excessive water away from the stucco, such as roof, gutter, downspout and flashing repairs, improving drainage, and redirecting rainwater runoff and splash-back away from the building. Horizontal areas such as the tops of parapet walls or chimneys are particularly vulnerable to water infiltration, and may require modifications to their original design, such as the addition of flashing to correct the problem.

Previous repairs inexpertly carried out may have caused additional deterioration, particularly if executed in portland cement, which tends to be very rigid, and therefore incompatible with early, mostly soft lime-based stucco that is more "flexible." Incompatible repairs, external vibration caused by traffic or construction, or building settlement can also result in cracks which permit the entrance of water and cause the stucco to fail.

Before beginning any stucco repair, an assessment of the stucco should be undertaken to determine the extent of the damage, and how much must be replaced or repaired. Testing should be carried out systematically on all elevations of the building to determine the overall condition of the stucco. Some areas in need of repair will be clearly evidenced by missing sections of stucco or stucco layers. Bulging or cracked areas are obvious places to begin. Unsound, punky or soft areas that have lost their key will echo with a hollow sound when tapped gently with a wooden or acrylic hammer or mallet.

Identifying the Stucco Type

Analysis of the historic stucco will provide useful information on its primary ingredients and their proportions, and will help to ensure that the new replacement stucco will duplicate the old in strength, composition, color and texture as closely as possible. However, unless authentic, period restoration is required, it may not be worthwhile, nor in many instances possible, to attempt to duplicate all of the ingredients (particularly some of the additives), in creating the new stucco mortar. Some items are no longer available, and others, notably sand and lime--the major components of traditional stucco--have changed radically over time. For example, most sand used in contemporary masonry work is manufactured sand, because river sand, which was used historically, is difficult to obtain today in many parts of the country. The physical and visual qualities of manufactured sand versus river sand, are quite different, and this affects the way stucco works, as well as the way it looks. The same is true of lime, which is frequently replaced by gypsum in modern stucco mixes. And even if identification of all the items in the historic stucco mix were possible, the analysis would still not reveal how the original stucco was mixed and applied.

There are, however, simple tests that can be carried out on a small piece of stucco to determine its basic makeup. A dilute solution of hydrochloric (muriatic) acid will dissolve lime-based stucco, but not portland cement. Although the use of portland cement became common after 1900, there are no precise cutoff dates, as stuccoing practices varied among individual plasterers, and from region to region. Some plasterers began using portland cement in the 1880s, but others may have continued to favor lime stucco well into the early twentieth century. While it is safe to assume that a late-eighteenth or early-nineteenth century stucco is lime-based, late-nineteenth or early-twentieth century stucco may be based on either lime or portland cement. Another important factor to take into consideration is that an early lime-stucco building is likely to have been repaired many times over the ensuing years, and it is probable that at least some of these patches consist of portland cement.

Planning the Repair

Once the extent of damage has been determined, a number of repair options may be considered. Small hairline cracks usually are not serious and may be sealed with a thin slurry coat consisting of the finish coat ingredients, or even with a coat of paint or whitewash.

Commercially available caulking compounds are not suitable materials for patching hairline cracks. Because their consistency and texture is unlike that of stucco, they tend to weather differently, and attract more dirt; as a result, repairs made with caulking compounds may be highly visible, and unsightly. Larger cracks will have to be cut out in preparation for more extensive repair. Most stucco repairs will require the skill and expertise of a professional plasterer.

In the interest of saving or preserving as much as possible of the historic stucco, patching rather than wholesale replacement is preferable. When repairing heavily textured surfaces, it is not usually necessary to replace an entire wall section, as the textured finish, if well-executed, tends to conceal patches, and helps them to blend in with the existing stucco. However, because of the nature of smooth-finished stucco, patching a number of small areas scattered over one elevation may not be a successful repair approach unless the stucco has been previously painted, or is to be painted following the repair work. On unpainted stucco such patches are hard to conceal, because they may not match exactly or blend in with the rest of the historic stucco surface. For this reason it is recommended, if possible, that stucco repair be carried out in a contained or well-defined area, or if the stucco is scored, the repair patch should be "squared-off" in such a way as to follow existing scoring. In some cases, especially in a highly visible location, it may be preferable to restucco an entire wall section or feature. In this way, any differences between the patched area and the historic surface will not be so readily apparent.

Repair of historic stucco generally follows most of the same principles used in plaster repair. First, all deteriorated, severely cracked and loose stucco should be removed down to the lath (assuming that the lath is securely attached to the substrate), or down to the masonry if the stucco is directly applied to a masonry substrate. A clean surface is necessary to obtain a good bond between the stucco and substrate. The areas to be patched should be cleaned of all debris with a bristle brush, and all plant growth, dirt, loose paint, oil or grease should be removed. If necessary, brick or stone mortar joints should then be raked out to a depth of approximately 5/8" to ensure a good bond between the substrate and the new stucco.

To obtain a neat repair, the area to be patched should be squared-off with a butt joint, using a cold chisel, a hatchet, a diamond blade saw, or a masonry bit. Sometimes it may be preferable to leave the area to be patched in an irregular shape which may result in a less conspicuous patch. Proper preparation of the area to be patched requires very sharp tools, and extreme caution on the part of the plasterer not to break keys of surrounding good stucco by "over-sounding" when removing deteriorated stucco.

To ensure a firm bond, the new patch must not overlap the old stucco. If the stucco has lost its bond or key from wood lath, or the lath has deteriorated or come loose from the substrate, a decision must be made whether to try to reattach the old lath, to replace deteriorated lath with new wood lath, or to leave the historic wood lath in place and supplement it with modern expanded metal lath. Unless authenticity is important, it is generally preferable (and easier) to nail new metal lath over the old wood lath to support the patch. Metal lath that is no longer securely fastened to the substrate may be removed and replaced in kind, or left in place, and supplemented with new wire lath.

When repairing lime-based stucco applied directly to masonry, the new stucco should be applied in the same manner, directly onto the stone or brick. The stucco will bond onto the masonry itself without the addition of lath because of the irregularities in the masonry or those of its mortar joints, or because its surface has been scratched, scored or otherwise roughened to provide an additional key. Cutting out the old stucco at a diagonal angle may also help secure the bond between the new and the old stucco. For the most part it is not advisable to insert metal lath when restuccoing historic masonry in sound condition, as it can hasten deterioration of the repair work. Not only will attaching the lath damage the masonry, but the slightest moisture penetration can cause metal lath to rust. This will cause metal to expand, eventually resulting in spalling of the stucco, and possibly the masonry substrate too.

If the area to be patched is properly cleaned and prepared, a bonding agent is usually not necessary. However, a bonding agent may be useful when repairing hairline cracks, or when dealing with substrates that do not offer a good bonding surface. These may include dense stone or brick, previously painted or stuccoed masonry, or spalling brick substrates. A good mechanical bond is always preferable to reliance on bonding agents. Bonding agents should not be used on a wall that is likely to remain damp or where large amounts of salts are present. Many bonding agents do not survive well under such conditions, and their use could jeopardize the longevity of the stucco repair.

A stucco mix compatible with the historic stucco should be selected after analyzing the existing stucco. It can be adapted from a standard traditional mix of the period, or based on one of the mixes included here. Stucco consisting mostly of portland cement generally will not be physically compatible with the softer, more flexible lime-rich historic stuccos used throughout the eighteenth and much of the nineteenth centuries. The differing expansion and contraction rates of lime stucco and portland cement stucco will normally cause the stucco to crack. Choosing a stucco mix that is durable and compatible with the historic stucco on the building is likely to involve considerable trial and error, and probably will require a number of test samples, and even more if it is necessary to match the color. It is best to let the stucco test samples weather as long as possible--ideally one year, or at least through a change of seasons, in order to study the durability of the mix and its compatibility with the existing stucco, as well as the weathering of the tint if the building will not be painted and color match is an important factor.

If the test samples are not executed on the building, they should be placed next to the stucco remaining on the building to compare the color, texture and composition of the samples with the original. The number and thickness of stucco coats used in the repair should also match the original.

After thoroughly dampening the masonry or wood lath, the first, scratch coat should be applied to the masonry substrate, or wood or metal lath, in a thickness that corresponds to the original if extant, or generally about 1/4" to 3/8". The scratch coat should be scratched or crosshatched with a comb to provide a key to hold the second coat. It usually takes 24-72 hours, and longer in cold weather, for each coat to dry before the next coat can be applied. The second coat should be about the same thickness as the first, and the total thickness of the first two coats should generally not exceed about 5/8". This second or leveling coat should be roughened using a wood float with a nail protruding to provide a key for the final or finish coat. The finish coat, about 1/4" thick, is applied after the previous coat has initially set. If this is not feasible, the base coat should be thoroughly dampened when the finish coat is applied later. The finish coat should be worked to match the texture of the original stucco.

Colors and Tints for Historic Stucco Repair

The color of most early stucco was supplied by the aggregate included in the mix--usually the sand. Sometimes natural pigments were added to the mix, and eighteenth and nineteenth-century scored stucco was often marbleized or painted in imitation of marble or granite. Stucco was also frequently coated with whitewash or a colorwash. This tradition later evolved into the use of paint, its popularity depending on the vagaries of fashion as much as a means of concealing repairs. Because most of the early colors were derived from nature, the resultant stucco tints tended to ne mostly earth-toned. This was true until the advent of brightly colored stucco in the early decades of the twentieth century. This was the so-called "Jazz Plaster" developed by O.A. Malone, the "man who put color into California," and who founded the California Stone Products Corporation in 1927. California Stucco was revolutionary for its time as the first stucco/plaster to contain colored pigment in its pre-packaged factory mix.

When patching or repairing a historic stucco surface known to have been tinted, it may be possible to determine through visual or microscopic analysis whether the source of the coloring is sand, cement, or pigment. Although some pigments or aggregates used traditionally may no longer be available, a sufficiently close color-match can generally be approximately using sand, natural or mineral pigments, or a combination of these. Obtaining such a match will require testing and comparing the color of the dried test samples with the original. Successfully combining pigments in the dry stucco mix prepared for the finish coat requires considerable skill. The amount of pigment must be carefully measured for each batch of stucco. Overworking the mix can make the pigment separate from the lime. Changing the amount of water added to the mix, or using water to apply the tinted finish coat, will also affect the color of the stucco when it dries.

Generally, the color obtained by hand-mixing these ingredients will provide a sufficiently close match to cover an entire wall or an area distinct enough from the rest of the structure that the color differences will not be obvious. However, it may not work for small patches conspicuously located on a primary elevation, where color differences will be especially noticeable. In these instances, it may be necessary to conceal the repairs by painting the entire patched elevation, or even the whole building.

Many stucco buildings have been painted over the years and will require repainting after the stucco repairs have been made. Limewash or cement-based paint, latex paint, or oil-based paint are appropriate coatings for stucco buildings. The most important factor to consider when repainting a previously painted or coated surface is that the new paint be compatible with any coating already on the surface. In preparation for repainting, all loose or peeling paint or other coating material not firmly adhered to the stucco must be removed by hand-scraping or natural bristle brushes. The surface should then be cleaned.

Cement-based paints, most of which today contain some portland cement and are really a type of limewash, have traditionally been used on stucco buildings. The ingredients were easily obtainable. Furthermore, the lime in such paints actually bonded or joined with the stucco and provided a very durable coating. In many regions, whitewash was applied annually during spring cleaning. Modern, commercially available premixed masonry and mineral-based paints may also be used on historic stucco buildings.

If the structure must be painted for the first time to conceal repairs, almost any of these coatings may be acceptable depending on the situation. Latex paint, for example, may be applied to slightly damp walls or where there is an excess of moisture, but latex paint will not stick to chalky or powdery areas. Oil-based, or alkyd paints must be applied only to dry walls; new stucco must cure up to a year before it can be painted with oil-based paint.

Contemporary Stucco Products

There are many contemporary stucco products on the market today. Many of them are not compatible, either physically or visually, with historic stucco buildings. Such products should be considered for use only after consulting with a historic masonry specialist. However, some of these prepackaged tinted stucco coatings may be suitable for use on stucco buildings dating from the late-nineteenth or early-twentieth century, as long as the color and texture are appropriate for the period and style of the building. While some masonry contractors may, as a matter of course, suggest that a water-repellent coating be applied after repairing old stucco, in most cases this should not be necessary, since color washes and paints serve the same purpose, and stucco itself is a protective coating.

Cleaning Historic Stucco Surfaces

Historic stucco buildings often exhibit multiple layers of paint or limewash. Although some stucco surfaces may be cleaned by water washing, the relative success of this procedure depends on two factors: the surface texture of the stucco, and the type of dirt to be removed. If simply removing airborne dirt, smooth unpainted stucco, and heavily-textured painted stucco may sometimes be cleaned using a low-pressure water wash, supplemented by scrubbing with soft natural bristle brushes, and possibly non-ionic detergents. Organic plant material, such as algae and mold, and metallic stains may be removed from stucco using poultices and appropriate solvents. Although these same methods may be employed to clean unpainted roughcast, pebble-dash, or any stucco surface featuring exposed aggregate, due to the surface irregularities, it may be difficult to remove dirt, without also removing portions of the decorative textured surface. Difficulty in cleaning these surfaces may explain why so many of these textured surfaces have been painted.

When Total Replacement is Necessary

Complete replacement of the historic stucco with new stucco of either a traditional or modern mix will probably be necessary only in cases of extreme deterioration-- that is, a loss of bond on over 40-50 percent of the stucco surface. Another reason for total removal might be that the physical and visual integrity of the historic stucco has been so compromised by prior incompatible and ill-conceived repairs that patching would not be successful.

When stucco no longer exists on a building there is more flexibility in choosing a suitable mix for the replacement. Since compatibility of old and new stucco will not be an issue, the most important factors to consider are durability, color, texture and finish. Depending on the construction and substrate of the building, in some instances it may be acceptable to use a relatively strong cement-based stucco mortar. This is certainly true for many late-nineteenth and early-twentieth century buildings, and may even be appropriate to use on some stone substrates even if the original mortar would have been weaker, as long as the historic visual qualities noted above have been replicated. Generally, the best principle to follow for a masonry building is that the stucco mix, whether for repair or replacement of historic stucco, should be somewhat weaker than the masonry to which it is to be applied in order not to damage the substrate.

General Guidance for Historic Stucco Repair

A skilled professional plasterer will be familiar with the properties of materials involved in stucco repair and will be able to avoid some of the pitfalls that would hinder someone less experienced. General suggestions for successful stucco repair parallel those involving restoration and repair of historic mortar or plaster. In addition, the following principles are important to remember:

Historic Stucco Textures

Most of the oldest stucco in the U.S. dating prior to the late-nineteenth century, will generally have a smooth, troweled finish (sometimes called a sand or float finish), possibly scored to resemble ashlar masonry units. Scoring may be incised to simulate masonry joints, the scored lines may be emphasized by black or white penciling, or the lines may simply be drawn or painted on the surface of the stucco. In some regions, at least as early as the first decades of the nineteenth century, it was not uncommon to use a roughcast finish on the foundation or base of an otherwise smooth-surfaced building. Roughcast was also used as an overall stucco finish for some outbuildings, and other less important types of structures.

A wide variety of decorative surface textures may be found on revival style stucco buildings, particularly residential architecture. These styles evolved in the late-nineteenth century and peaked in popularity in the early decades of the twentieth century. Frank Lloyd Wright favored a smooth finish stucco, which was imitated on much of the Prairie style architecture inspired by his work. Some of the more picturesque surface textures include: English Cottage or English Cotswold finish; sponge finish; fan texture; adobe finish; and Spanish or Italian finish. Many of these finishes and countless other regional and personalized variations on them are still in use.

The most common early-twentieth century stucco finishes are often found on bungalow-style houses, and include: spatter or spatterdash (sometimes called roughcast, harling, or wetdash), and pebble-dash or drydash. The spatterdash finish is applied by throwing the stucco mortar against the wall using a whisk broom or a stiff fiber brush, and it requires considerable skill on the part of the plasterer to achieve a consistently rough wall surface. The mortar used to obtain this texture is usually composed simply of a regular sand, lime, and cement mortar, although it may sometimes contain small pebbles or crushed stone aggregate, which replaces one-half the normal sand content. The pebble-dash or drydash finish is accomplished manually by the plasterer throwing or "dashing" dry pebbles (about 1/8" to 1/4" in size), onto a coat of stucco freshly applied by another plasterer. The pebbles must be thrown at the wall with a scoop with sufficient force and skill that they will stick to the stuccoed wall. A more even or uniform surface can be achieved by patting the stones down with a wooden float. This finish may also be created using a texturing machine.

Stucco on historic buildings is especially vulnerable not only to the wear of time and exposure to the elements, but also at the hands of well-intentioned "restorers," who may want to remove stucco from eighteenth and nineteenth century structures, to expose what they believe to be the original or more "historic" brick, stone or log underneath. Historic stucco is a character-defining feature and should be considered an important historic building material, significant in its own right. While many eighteenth and nineteenth century buildings were stuccoed at the time of construction, others were stuccoed later for reasons of fashion or practicality. As such, it is likely that this stucco has acquired significance over time, as part of the history and evolution of a building. Thus, even later, non-historic stucco should be retained in most instances; and similar logic dictates that new stucco should not be applied to a historic building that was not stuccoed previously. When repairing historic stucco, the new stucco should duplicate the old as closely as possible in strength, composition, color and texture.

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Mikkel Kessler has been forced out of the Super Six World Boxing Classic boxing tournament and now Allan Green will take on Glen Johnson for the WBA and WBC super middleweight titles, they will be fighting it out for the Semi Final berth in the competition. Green is 10 year younger than johnson which give him advantage interms of agility and he will be looking to get into the semis by defeating him on November 2010. But many do believe that Johnson have a very god boxing record under his belt and he might use his experince to his best to make it to the next round of this big competition. You can watch live action of this match here, links will be available closer to startof the match.

Glen Johnson defeated Allan Green by TKO

Date: 6 November 2010, Time:

Johnson have just entered into this competition and he has a wonderfull chance of getting into the Semi Final after he came in as a Replacment for the Michael Kessler. Both the boxer have 0 points on the table and a win could give them a super oppertunity to get into the Semi Final of the Tournament. Everthing in the build is suggesting a easy win for Green but with all of his experience in fighting against some of the biggest names in Boxing Johnson can still pull up a surprise and get a huge win over Green on the day. Please comeback here just before the match begins on 6th November to watch it online on you PC.

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Saturday, September 29, 2012

TPD Sergeants receive specialized training.

On September 28th, 2012 newly promoted Transit Police Sergeants Benjamin Carrasco,  John Donahue, Paul Petrucelli and Robert Vitale successfully completed 2 weeks of intense specialized training for First Line Supervisor's at Roger Williams University.  All Transit Police supervisory personnel attend the course upon being promoted, this course provides the new supervisor with tools they will utilize to best serve officers who work with them, the Department as a whole and most importantly the public.
(center) Sgt.Donahue


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Friday, August 15, 2014

Novi, MI Senior Pictures | Connor Class of 2015

Sports pictures are my favorite! We had such a great time at Novi's brand new football field and Walnut Creek Country Club.  Connor is awesome and did such a great job humoring his mom and me :)

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Breakout Trading in All Market Conditions

Monday, November 15, 2010

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Finding a trading system that will operate well in all market conditions is the stuff of dreams for many traders. But break out trading, as described here, comes very close to being a system that does exactly that. You see, many trading systems, such as trend trading systems, are designed to identify a trend and [...]

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Our team is ready to help you.

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Learn how to become one of the new generation of sales professionals with characteristics of honesty, trustworthiness, and competence. Read More →
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We will help you plan and prepare to reduce your customers concerns, reduce objections and improve your average success levels Read More →


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Imagine a whole week to quietly explore the beautiful wild mountains of the Brecon Beacons National Park.

This is a week spent on ancient drover routes across the hills where you will share the spectacular landscape only with wild ponies and sheep, and enjoying panoramic views as you gallop over wide open commons.

“This really is world-class trail riding right here on our doorstep!”

As well as stunning natural wilderness, trails can also include historical interest such as the oldest pub in Wales, the ancient monastery at Llanthony, or the quaint ‘Book Capital of the World’ market town Hay-on-Wye.

Each day we stop for at a traditional inn or cafe for a hearty lunch, or enjoy a picnic while our horses take a well deserved break and a grass picnic of their own!

As our trails increase in distance and challenge over the week, the second half of the week is spent away from our base at the Blaenau, so that we can explore the far reaches of the park.

We spend 2 nights away at friendly B&Bs, and enjoy dinner in local pubs, while our horses overnight in fields nearby. This is an exciting and challenging week, and therefore not suitable for novice riders. National Park Trail weeks start on Sundays for most of the season, and on a Saturday during the high season.

Day 1: Riders arrive, settle in, meet the horses and have dinner.

Days 2 and 3  is spent exploring the local Black Mountains, riding between 10- 15 miles a day, stopping for lunch at country inns or remote picnic spots, before returning to the Blaenau each night for a well-earned dinner and comfortable bed. You can change horses each day, and youâ€™ll see your stamina and skill increase.

Horse Riding Holidays Wales Brecon Beacons Weekends Short breaks Welsh cobsDays 4, 5 and 6 sees us pack up the saddlebags, throw your stuff (carefully!) into the Land-rover, and set off over the ridge towards the very edge of Wales, and Hay-on-Wye.

After a long climb over Rhiw Trumau, we are rewarded with fantastic views back over the Rhiangol valley that we have ridden over for the past three days. We then head down an old coach road to the Red Lion Inn at Llanbedr for lunch.

After lunch we follow a valley path in the shadow of Sugarloaf Mountain to Forest Coal Pit, then ride across Bryn Arw finishing the day at the Skirrid Inn, the oldest pub in Wales, near Abergavenny. The horses are turned out, and a cup of tea and slice of delicious cake awaits tired riders!

Guests stay in a comfortable B&B (your luggage has been delivered already by our land-rover) and dine at the Skirrid Inn, allegedly the oldest pub in Wales!

The next day we ride up Hatteral Ridge on the ancient border between England and Wales, the famous Offa’s Dyke path which stretches from one end of Wales to the other, named after King Offa who built it in the 6th century.  You will earn glorious views of the green fields of Herefordshire in England to one side, and on the other the vastness of Wales and the Black Mountains.

Along the top of the ridge between England and Wales there are endless canters to be enjoyed.

We may drop down into Herefordshire to visit the Goat Company farm where there is the chance to buy Angora clothes, blankets and rugs – don’t miss out on a pair of mohair socks!

We then ride up on to the Black Hill before descending Hay Bluff and Cusop Dingle towards our bed (and field!) in Hay on Wye. Horse Riding Holidays Wales Brecon Beacons Weekends Short breaks Welsh cobs

The next day our route back into the Black Mountains takes us into the Wye Valley, where we visit the Three Horseshoes in Felindre for lunch.

After lunch the horses are keen to head back to the Blaenau, and you will be treated to a sensational gallop across Felindre Common to finish off the trip.

Dinner on the final night is always a celebratory affair.

Final day: Riders leave after breakfast, having said goodbye and thank you to their horses.

This really is world-class trail riding right here on our doorstep!

Please do have a look at our facebook page where we upload plenty of pictures from each trail that we complete as the season goes on as they will give you a real idea of what our holidays are like! Just click on the little green F down the side of this page.

Please use the form to get in touch regarding our horse riding holidays, weekends or short breaks.

Please fill in all relevant details and we will then get in touch asap to confirm things with you and send you payment details. We are a small, family-run business so it may take a few days to get back to you. A deposit secures your place, with the balance due a month before your holiday.

Alternatively, please call Paul or Emily on 01874 711500 anytime. Please do leave a message if we’re not there as we are often out riding or on the yard, and we’ll get back to you asap.

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We offer a range of longer horse riding holidays across Wales, for riders of varying abilities, including our flagship ride, the Trans Wales Trail.

The trail riding here in the Brecon Beacons and beyond is absolutely world class, so why not take a few days or longer, and treat yourself to a horse riding holiday to remember, without the hassle of flying overseas. All of our holidays are fully inclusive of day-long rides each day, all accommodation and all meals – we take care of everything so you really can kick back and kick on!

Black Mountain Horse Riding Trail

Black Mountains Explorer

2-6 days of local trail riding exploring the remote and beautiful Black Mountains, returning to The Blaenau each evening. Suitable for all levels of rider. Stay for a week or just a few days.

* From £360 for a  fully-inclusive 2 day break.

Horse riding trail illustration

National Park Trail Holiday

5 days of exciting, challenging riding in the Black Mountains – 2 days of local trails followed by a fully-supported guided 3 day trail ride known as the ‘Hay Triangle’.  These trails are more challenging, and ideal for the intermediate rider.

* From £1200 per week.

Hay triangle horse riding illustration

Hay Triangle / Hay Loop

Up the stakes with our two or three day fully-supported and guided trail rides through the beautiful Black Mountains, offering endless open canters and gallops, and stunning views. Epic trail rides for the time-limited!

* from £420 for 2 days.

Trail illustration

Trans Wales Trail Holiday – the TWT

A truly world-class trail riding holiday – join us for the ultimate riding experience, crossing almost the length and breadth of Wales from the Black Mountains to the Irish sea, using little-used tracks across some of the most beautiful and undiscovered country in Britain.

* From £1400 per week.

We like to pride ourselves on standing out from the crowd.

Riders often leave here telling us they’ve never experienced riding like it on any other horse riding holiday.

If your experience of trekking up until now has been to get your horse in line and stay there nose-to-tail, you’ll be pleasantly surprised at how different our approach is. Our horses are forward-going, well schooled and sociable.

At Transwales Horseback Trails, riders are encouraged to build a relationship with their horse, and we’ll help you catch, groom and tack up at the beginning of the day.

Our horses are beautiful, fine, fit Welsh cobs who will surprise you with their sureness of foot and superb balance. Compact, intelligent and strong, they are ideally suited to the hills and mountains that surround us. The terrain is varied and includes open moor-land, thick forests, picturesque country lanes and narrow mountain ridges.

During your holiday here, there is plenty of opportunity for fast canters and gallops, and even the chance to jump logs and ditches – all optional of course!