Peter Sagan jokes with former teammate Vincenzo Nibali as the Italian takes part in a post-stage interview at the Tour de France Peter Sagan really is just all about the banter. When he’s not pinching podium girls’ backsides he is trying to convince the sprinters to form a breakaway at the Tour de France. Hours after that breakaway gag, Sagan was at it again, this time getting in on Vincenzo Nibali‘s post-race television interview. Nibali and Sagan are former teammates from their time at Liquigas, with whom Sagan won his first of three green jerseys at the Tour de France in 2012. While waiting for his turn in front of the cameras after stage four, Sagan chose not stand patiently in line, but instead went up behind Nibali and peer over his shoulder and nod along with everything he was saying. “He’s a great friend,” Nibali said after realising that the Slovak was mimicking him. Both riders have made fine starts to the Tour so far – Nibali sits comfortably in 13th position overall, while Sagan has two podium finishes on stages two and four.

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Or our architects will work with you to create a bespoke home unlike any other. With our Gold Standard Building System you can rest assured knowing that your home will be built to the highest specifications available in the market today. 3500 x 4275 x 1062 mm Oxburgh Hall, Norfolk (Accredited Museum) Oxburgh Hall, Norfolk, East of England, National Trust The Oxburgh altarpiece was acquired to adorn the 19th century Chapel, celebrating the Bedingfelds’ Catholic faith. It was only after the relaxation of laws against Catholicism that such an imposing object could be displayed. Composite altarpiece, The Oxburgh Retable, Flemish School, early 16th century and painted panels, almost certainly by Pieter Coecke van Aelst (1502-1550) who entered the Antwerp Guild of Painters in 1527, inscribed on the hems of two of the garments of the figures: MOREA, and YOLRWORPIN. The ‘hand’ mark of Antwerp is stamped into several of the carved sections of the retable, and its ‘burcht’, or castle (guaranteeing the quality of the polychromy), appears twice below the hinges of the painted wings.

Made up of a carved triptych showing scenes of the Passion and from the life of St James of Compostella. Enclosed by painted wings which act as doors, resting on a carved and gilded altar-table and tabernacle. Of three elements - at the bottom, the altar table carved on the front with The Mocking of Christ, The Deposition and The Flagellation. In the middle, a semi-octagonal sacrament tabernacle, flanked by panels painted with scenes from the life of St Catherine. At the top, a retable or triptych, probably made in Antwerp in 1520-1530. The carved scenes depict, in the centre, The Crucifixion, flanked by The Road to Calvary and The Deposition. In the lower register are Pilate, and possibly Caiaphas. The painted wings show more scenes from the Passion story and from the life of St James of Compostela on the inside and on the outside the four Fathers of the Church. A wooden and metal armature has been installed by NT to ensure structural stability with the wings open. The tabernacle was originally topped by a tall pinnacled 'exposition throne' or aedicule set against red curtains, this was replaced in the 1860's by the retable.

Made for an unknown location; reputedly acquired by Sir Henry Bedingfeld, 6th Bt (1800-62) in Bruges, where his sister was a nun for nearly fifty years but possibly really obtained (like some of his furniture) by him from the Belgian woodcarver (responsible for the added figures?) and dealer, Malfait, to replace the upper part of the neo-Gothic tabernacle originally installed in the Chapel when it was built (1835-37); or even by Sir Henry Bedingfeld, 7th Bt (1830-1902), since the widow of the 8th Bt - yet another Sir Henry (1860-1941) - claimed that her husband remembered its arrival at King’s Lynn [which has caused Christa Grössinger to say that it was bought in King’s Lynn in the 1860s - this seems the most probable, since it seems unlikely that the 6th Bt, who had only had the tabernacle made less than thirty years before his death, should have swept it away so soon; it is still visible in Matilda Bedingfeld’s watercolour of the interior of the Chapel, done shortly before her marriage to Captain Neville in 1855];

thence, by descent, in situ, until bought by the National Trust in 1982, with the aid of grants from the National Art Collections Fund, The National Heritage Memorial Fund, and the Victoria & Albert Museum-administered purchase support fund Pieter Coecke van Aelst the elder (Aalst 1502 - Brussels 1550), furniture designer and maker Grössinger 1992 Christa Grössinger, North European Panel Paintings: A Catalogue of Netherlandish and German Paintings before 1600 in English Churches and Colleges, London 1992, pp.171-77 Woods 1988 Kim Woods, Netherlandish carved wooden altarpieces of the fifteenth and early sixteenth centuries in Britain, unpublished PhD thesis, Courtauld Institute of Art, University of London, 1988, pp.227-236 Maddison 1984 John Maddison, “The Oxburgh altarpiece,” National Art Collections Fund Review (1984), pp.145-6 Wainwright 1993 Clive Wainwright, “Oxburgh Hall, Norfolk. I,” Country Life 09 December 1993, pp.40-3.Country Life 16 December 1993, pp.48-51