Childebert III

Childebert III, called the Just, was the son of Theuderic III and Clotilda and sole king of the Franks. He was but a puppet of the mayor of the palace, Pepin of Heristal, though his placita show him making judicial decisions of his own will against the Arnulfing clan, his nickname has no comprehensible justification except as a result of these judgements, but the Liber Historiae Francorum calls him a "famous man" and "the glorious lord of good memory, the just king." He had a son named Dagobert, who succeeded him, as Dagobert III but his wife was not Edonne, the invention of fantasists. It is possible, though not that Chlothar IV was his son, he spent his entire life in a royal villa on the Oise. In 708, during his reign of sixteen years, the bishop of Avranches, Saint Aubert, founded the monastery of Mont-Saint-Michel at the urging of the Archangel Michael. Upon his death on 23 April 711, southern Gaul began to grow independent: Burgundy under Bishop Savaric of Auxerre, Aquitaine under Duke Odo the Great, Provence under Antenor.

He died at St Etienne, France. He was buried in the church of St Stephen near Compiègne. From Merovingians to Carolingians: Dynastic Change in Frankia. Pfister, Christian. "Childebert". Encyclopædia Britannica. 6. P. 137

Church of Our Lady of the Assumption, Villamelendro de Valdavia

The Church of Nuestra Señora de la Asunción is a temple of worship Catholic Church and predominantly baroque style located in Villamelendro de Valdavia, belonging to the municipality of Villasila de Valdavia, province of Palencia, autonomous community of Castilla y León, Spain. The Fuero de Villasila y Villamelendro granted by Alfonso VIII in 1180 attests to the existence of both towns at least since the 12th century, with the priests of both parishes coming to Carrión to request this privilege, it is therefore not surprising. In fact, two different axes of symmetry can be seen; the part of the presbytery presents a different alignment from the rest of the nave, so it can be deduced, being closer to the village, that this is the oldest part over which the rest of the building was enlarged. On 21 February 1527, during the general chapter of the Order of Santiago, which took place in Valladolid, and, presided over by Carlos I of Spain, the examination of the books of the visitation carried out in Old Castile by Lope Sánchez Becerra and Juan Alonso, a priest of Montemolín, was begun.

Among them are those relating to the Hospital de las Tiendas and of Villamartin, referring to the fact that each half box marco must be paid for in silver for the Church tabernacle, with destiny to Villasila and Villamelendro, as well as to find out if the rights that the Order could have had on an old well and houses, are still in force. As a result of the 1549 pastoral visit to the church of Santa María de Villamelendro, documentation was left about the works that were being carried out at that time where the work of the Cantabrian master stonemason is accredited Juan de la Cuesta natural from Secadura, in the church of Nuestra Señora de la Asunción, the bulk of the current church building, it is known that during these works, Juan de la Cuesta collaborated with Pedro de Argadero, a neighbor of Carrión de los Condes in the execution of the same, the latter being in charge of making the wooden structure over the vaults on which the roof rests, since the visitor read a knowledge that Juan de la Cuesta de Pedro de Argadero, a neighbor of Carrión, was making the body of the temple.

There are other construction phases. Both the portico and its paving, as well as a revision of the buttresses and sacristy, seem to respond to works that took place after the Juan de la Cuesta factory. In 1771, Manuel Jacinto de Bringas, mayor of the province of Toro, created a file for the Count of Aranda detailing the state of the congregations and brotherhoods in the towns of this jurisdiction. Villasila and Villamelendro are included in this report, with 4 Brotherhoods, 6 Guardianships and 6493 reales de vellón provided for these celebrations as both sacred and profane expenses. A work of brick and stonework, with a modern belfry tower at the foot made of plastered brick, it replaced the old masonry and brick tower with a hipped roof and two loopholes in the mid-20th century, as it threatened ruin. Gate with a brick semicircular arch on the Epistle side; this is preceded by a portico with an access door with lowered arch flanked on the left and right with openings, lintels to sardinel. Although they would have been open, they were blinded after their construction to protect the parishioners who congregated in the atrium from the cold.

The space of the portico behind the opening on the right was used as liturgical storage from some time after its erection until its restoration in 2012, when this storage was amortized. These works were focused on the recovery of the portico roof, cleaning of the interior facade and replacement of the adobe wall of the East enclosure by a thermo-clay wall. During the foundation of this wall, remains of skulls from bodies buried outside the church were found. From that moment on, the atrium recovers the original space, except for the vanos that are glazed, bringing the original clarity to the interior, but offering protection from the atmospheric elements; when cleaning the floor of the space freed up by this storage area, it was found that the stones perceptible in the area of the doorway continued towards this side of the portico. This is another record with 6 arms similar to that of the entrance. A motif repeated in so many church entrances in the area and which could correspond to some kind of protective sun symbol at the time of the entrance to the temple.

An ashlar appeared, reused as a footing for a buttress of reinforcement after the work of Juan de la Cuesta, with a series of grooves that after the analysis of the experts of the Fundación de Santa María la Real of Aguilar de Campóo, determined that it was a Renaissance moulding reused at a time than the main work. The grooves, 15 in all, are finished off with a semicircle at the top, between the grooves there seems to be a kind of rope column. In 2014, the gate, damaged by these works to refurbish the atrium, was restored by removing several layers of paint that had accumulated over the centuries. At least 4 shades were found, from grey, through light green, to light brown and dark brown. In the process of restoration, two more crosses were found to have been kicked, carved on the outside of the left door. A nail from the Ferrería de El Pobal in Muskiz was used, as well as two other restored nails from local constructions that show a four-lobed exterior. Outside, we should point out the relief of a cruz patada, on one of the ashlars of the sacristy.

This motif of a kicked cross is repeated on several doorways in the Palencia and Burgundy areas, with the cross always in the same position to the right of the main door

Promised Land (Queensr├┐che album)

Promised Land is the fifth studio album by the American heavy metal band Queensrÿche and their highest charting record to date. It was released by EMI on October 1994, four years after their successful Empire album; the album was re-released on June 2003 in a remastered edition with bonus tracks. The songs on this album are tied together by the themes of success and aging, reflections on American society and how that shapes our goals and dreams in life; the album opens with "9.28 a.m.", a musique concrète sequence put together by drummer Scott Rockenfield. The band wanted to have a cool intro, cinematic and moody, Rockenfield was given complete freedom to make something. Rockenfield went out to record natural sounds using a portable ADAT tape recorder, which he sent through a rack of effects in his apartment and started designing his own sound effects out of it; some of the recorded sounds appear on other tracks on the record, such as the sound of a train on "Disconnected". "9.28 a.m." follows a soul from death through the ether into a reincarnation, rebirth, followed by the sound of a crying baby.

The title refers to the time. "9.28 a.m." floats into "I Am I". This song is driven by a heavy riff and Geoff Tate's trademark vocals to a background of percussion instruments. Chris DeGarmo performs sitar parts on this song as well as the guitar solo. After four minutes it merges into "Damaged", a more straightforward heavy rocker. "Out of Mind" and the subsequent "Bridge" are more quiet acoustic pieces, both of whose lyrics were written by Chris DeGarmo. The last one deals with the relationship with his father, who died during the Promised Land sessions; the eight-minute title track is the first track in the Queensrÿche catalogue to be credited to the entire group. It is a rather dark piece, full of Rockenfield tape effects, DeGarmo/Wilton twin guitar work and it marks Tate's first appearance as a saxophonist. On this track, the theme of the album is most present, it ends in a bar scene of people drinking. These sound effects merge into "Disconnected," a rather alienating piece dealing with the American consumerist society.

It features Tate on sax again. The subsequent "Lady Jane" deals with the similar theme of the influence of commercials, it is a heavy ballad featuring DeGarmo on another twin solo. "My Global Mind" is another more straightforward rock song dealing with globalization. After that, "One More Time" is an acoustic rocker, with lyrics much in the vein of the title track; the album's final track, "Someone Else?", features just Tate on vocals and DeGarmo on piano. In July 2014, Guitar World ranked Promised Land at number 23 in their "Superunknown: 50 Iconic Albums That Defined 1994" list. All credits adapted from the original liner notes. QueensrÿcheGeoff Tate – vocals, keyboards Chris DeGarmo – lead & rhythm guitar, cello, sitar Michael Wilton – lead & rhythm guitar Eddie Jacksonbass guitar Scott Rockenfield – drums, tape effectsProductionQueensrÿche - producers, mixing at Bad Animals Studio, Summer 1994 James Barton – producer, mixing Phil Brown – assistant to the producer Tom Hall – engineer Eric Fischer – assistant engineer Matt Gruber – mixing assistant Don Tyler - digital editing Stephen Marcussenmastering Hugh Syme – art direction, illustrations