Join Dolldom's NYE's party with the characters of NuminaDoll.

 

Found this miniature camera in my Mum's loft. The smallest camera I've ever seen. (That's a tuppence coin for size comparison.) Taken with my 60mm macro lens.

The body is made of Bakelite. On the left you can just see the shutter release and the wind on mechanism. And even such a tiny camera had a reasonable viewfinder! Can't test it as I wouldn't know where to get 16mm film.

Apparently they were given away with a breakfast cereal in the 1930s and did take real photos with 16mm film More info from the Science Museum collection.sciencemuseumgroup.org.uk/objects/co8082111/co...

8th April for the group April 2020 a month in pictures

#12 Something weird for the group 52 in 2020

On the heels of Tuesday’s release of the first images from NASA’s James Webb Space Telescope, data from the telescope’s commissioning period is now being released on the Space Telescope Science Institute’s Mikulski Archive for Space Telescopes. The data includes images of Jupiter and images and spectra of several asteroids, captured to test the telescope’s instruments before science operations officially began July 12. The data demonstrates Webb’s to track solar system targets and produce images and spectra with unprecedented detail.

 

“Combined with the deep field images released the other day, these images of Jupiter demonstrate the full grasp of what Webb can observe, from the faintest, most distant observable galaxies to planets in our own cosmic backyard that you can see with the naked eye from your actual backyard,” said Bryan Holler, a scientist at the Space Telescope Science Institute in Baltimore, who helped plan these observations.

 

Read more: blogs.nasa.gov/webb/2022/07/14/webb-images-of-jupiter-and...

 

Clearly visible at left is Europa, a moon with a probable ocean below its thick icy crust, and the target of NASA’s forthcoming Europa Clipper mission. What’s more, Europa’s shadow can be seen to the left of the Great Red Spot. Other visible moons in these images include Thebe and Metis.

 

This image - Left: Jupiter, center, and its moons Europa, Thebe, and Metis are seen through the James Webb Space Telescope’s NIRCam instrument 2.12 micron filter. Right: Jupiter and Europa, Thebe, and Metis are seen through NIRCam’s 3.23 micron filter. Credits: NASA, ESA, CSA, and B. Holler and J. Stansberry (STScI)

 

Image description: Two views of Jupiter are side by side in this image, both with dark purple backgrounds that contrast with the orange glow of the planet in the infrared. On the left Jupiter's stripes are visible as well as several moons. On the right the bands are not as visible but they shows more of the moons. The moons are spots of orange, except Europa, which is so bright it has a black spot at center, where its light has flooded the detectors.

   

This has been a rough winter. Minnesota is experiencing the snowiest February ever recorded. We seem to have a storm every three days or so. On Feb. 12 the Minnesota Commercial Belt Job is heading north through the wind swept snow with two B39-8Es heading for New Brighton.

It’s hard to avoid guilt of not shooting during carnival, when once again you are not in the mood for partying. This one was taken on the very last day of carnival, when guilt finally won. In response (revenge?), I decided to point my camera to those who were not there for the party, pretending that just like me they were not in the mood.

Originally built as Georgia Railroad 6051 and designated Franklin M Garrett Spirit of Atlanta. It was on hand for the role out of Western and Atlantic Locomotive #12 'The Texas' after it's restoration at the North Carolina Transportation Museum. CSX now has the Western and Atlantic Trackage.

La 402.107 è titolare dell'Intercity 727 Roma-Palermo qui ripreso in corsa nella vecchia stazione di San Nicola Varco d'Eboli alle porte di Battipaglia. (29/12/12)

 

The E402.107 leads the southbound Intercity train 727 from Rome to Palermo near Battipaglia (Salerno) in an old station now used only as switching point along the southern tirrenic line. (2012-12-29)

Photographed in Tanzania, Africa - From a safari vehicle, no cover

 

Click on the image or press the L key to view at larger size

 

Returned from our fourth visit to Africa, 02/19/20 to 03/10/20 on 03/11/20. One week each in Kenya, Tanzania and South Africa. About 9 days after our return, we and all Californians got the order to shelter-in-place which should give me plenty of time to sort through the thousands of photos I took, hoping against hope to find at least 1% good ones. :-)

=======================

From Wikipedia: The lesser flamingo (Phoeniconaias minor) is a species of flamingo occurring in sub-Saharan Africa, with another population in India. Birds are occasionally reported from further north, but these are generally considered vagrants.

 

Characteristics:

The lesser flamingo is the smallest species of flamingo, though it is a tall and large bird by most standards. The species can weigh from 1.2 to 2.7 kg (2.6 to 6.0 lb). The standing height is around 80 to 90 cm (31 to 35 in). The total length (from beak to tail) and wingspan are in the same range of measurements, from 90 to 105 cm (35 to 41 in). Most of the plumage is pinkish white. The clearest difference between this species and the greater flamingo, the only other Old World species of flamingo, is the much more extensive black on the bill. Size is less helpful unless the species are together, since the sexes of each species also differ in height.

 

The lesser flamingo may be the most numerous species of flamingo, with a population that (at its peak) probably numbered up to two million individual birds. This species feeds primarily on Spirulina, algae which grow only in very alkaline lakes. Presence of flamingo groups near water bodies is indication of sodic alkaline water which is not suitable for irrigation use. Although blue-green in colour, the algae contain the photosynthetic pigments that give the birds their pink colour. Their deep bill is specialised for filtering tiny food items.

 

Lesser flamingos are prey to a variety of species, including marabou stork, baboon, African fish eagle, African wildcat, and African golden wolf.

 

Conservation:

Despite being the most numerous species of flamingo, it is classified as near threatened due to its declining population and the low number of breeding sites, some of which are threatened by human activities.

 

The population in the two key East African lakes, Nakuru and Bogoria, have been adversely affected in recent years by suspected heavy metal poisoning, while its primary African breeding area in Lake Natron is currently under threat by a proposed soda ash plant by Tata Chemicals.[11] The only breeding site in South Africa, situated at Kamfers Dam, is threatened by pollution and encroaching development.[12]

 

The lesser flamingo is one of the species to which the Agreement on the Conservation of African-Eurasian Migratory Waterbirds applies.

  

6D6A0774-1_fCAFlkr

 

en.wikipedia.org/wiki/MediaCityUK

  

MediaCityUK is a 200-acre (81 ha) mixed-use property development site on the banks of the Manchester Ship Canal in Salford and Trafford, Greater Manchester, England. The project is being developed by Peel Media, and its principal tenants are media organisations and the University of Salford. The land occupied by the development was part of the Port of Manchester and Manchester Docks.

 

The BBC signalled its intention to move jobs to Manchester in 2004, and the Salford Quays site was chosen in 2006. The Peel Group was granted planning permission to develop the site in 2007, and construction of the development, with its own energy generation plant and communications network, began the same year. Based in Quay House, the principal tenant is the BBC, whose move marks a large-scale decentralisation from London. ITV Studios UK and international television production company ITV Granada completed the first phase of its move to MediaCityUK in March 2013. The Studios on Broadway houses seven high-definition studios, claimed to be the largest such facility in Europe.

 

MediaCityUK is to be developed in two phases. The 36-acre (15 ha) first phase was completed in 2011, and the second is dependent on its success. Metrolink, Greater Manchester's light-rail system, was extended to MediaCityUK with the opening of the MediaCityUK Metrolink station on 20 September 2010 and further extensions are planned. Road access was improved by the construction of Broadway Link Road.

  

Location

  

Salford Quays, at the eastern end of the Manchester Ship Canal on the site of the former Manchester Docks, became one of the first and largest urban regeneration projects in the United Kingdom after the closure of the dockyards in 1982.[1] It forms part of an area known as The Quays, a joint tourism initiative between Salford City Council and Trafford Borough Council, which also encompasses Trafford Wharf and Old Trafford, on the Manchester side of the ship canal. As well as Salford Quays, The Quays development includes The Lowry Arts Centre and the Imperial War Museum North.[2]

 

A total of 200 acres (81 ha) of land have been earmarked for the development of MediaCityUK.[3] The first phase of MediaCityUK's development was primarily focused on a 36-acre (15 ha) site at Pier 9 of Salford Quays.[4] In 2010 it was announced that an ITV production centre would be built on Trafford Wharf in the Metropolitan Borough of Trafford.[5]

  

Background

  

In 2003 reports emerged that, as part of the plans for the renewal of its Royal Charter, the BBC was considering moving whole channels or strands of production from London to Manchester.[6] Early discussions involved a plan where the BBC would move to a new media village proposed by Granada Television at its Bonded Warehouse site at Granada Studios in the city.[7][8]

 

Proposals to relocate 1,800 jobs to Manchester were unveiled by BBC Director General, Mark Thompson, in December 2004. The BBC justified the move as its spending per head was low in Manchester, it had low approval ratings in the north and its facilities at New Broadcasting House needed replacing.[9][10] An initial list of 18 sites was narrowed to a short-list of four during 2005, two in Manchester – one at Quay Street, close to Granada Studios, and one on Whitworth Street and two in Salford – one close to the Manchester Arena and one at Pier 9 on Salford Quays.[11] The site at Salford Quays was chosen in June 2006 and the move north was conditional on a satisfactory licence fee settlement from the government.[12]

 

The chosen site was the last undeveloped site at Manchester Docks, an area that had been subject to considerable investment and was emerging as a tourist destination, residential and commercial centre. The vision of the developers Peel Group, Salford City Council, the Central Salford Urban Regeneration Company and the Northwest Regional Development Agency was to create a significant new media city capable of competing on a global scale with developments in Copenhagen and Singapore.[3]

 

Salford City Council granted planning consent for an outline application for a multi-use development on the site involving residential, retail and studio and office space in October 2006[13] and consent for a detailed planning application followed in May 2007.[14] In the same month, the BBC Trust approved moving five London-based departments to the development.[15] The departments to be moved were Sport, Children's, Learning, Future Media and Technology and Radio Five Live.[16]

 

Construction started in 2007 with the site owner, Peel Group as developer and Bovis Lend Lease as contractor.[17] The media facilities opened in stages from 2007. The first facility being the Pie Factory, which was located in a refurbished bakery. It featured three large sound stages suitable for drama productions and commercials.[18][19] In January 2011 Peel Media received planning permission to convert on-site offices used by Bovis Lend Lease during the construction of the first phase into the Greenhouse.[20]

 

The first trial show took place in November 2010 in Studio HQ2.[21] The half-hour test show featured a power failure and a fire drill, which involved a full evacuation of the audience and crew.[21] The first programme filmed at MediaCityUK was Don't Scare the Hare in February 2011, and the first to transfer was A Question of Sport, the same month.[22] BBC employees started transferring to the development in May 2011, a process that will take 36 weeks. BBC Director General Mark Thompson confirmed that up to a further 1,000 jobs could be created or transferred to the site.[23][24] In January 2012 the BBC was accused of not supporting the community by MP, Hazel Blears, after it was reported that only 26 of 680 jobs created at the development had gone to residents of Salford.[25]

 

Channel 4 has expressed an interest in moving some activities to MediaCityUK.[26] The BBC has stated that either BBC One or BBC Two could move to MediaCityUK by 2015 if the confirmed moves are successful.[27]

  

Buildings and facilities

  

Traditional street names are not used in the development. The main thoroughfares are styled blue, white, pink, yellow, orange, purple and green where street furniture and coloured ambient lighting will be colour-coded to match. A stylised map of the site has been devised. Landscape architects, Gillespies regenerated the brownfield site to create public spaces.[28] The focal point is a piazza and landscaped park, which stretches to the ship canal around which the buildings are located. The piazza's two distinct areas, The Green and The Stage are capable of holding events for up to 6500 people.[29] In front of The Studios there is a free-standing big screen, which is viewable from the piazza.[30]

  

The BBC occupy three buildings: Bridge House, Dock House, and Quay House, all designed by architects Wilkinson Eyre. With simple forms intended to harmonise with their waterfront settings, the buildings provide 450,000 square feet (42,000 m2) of accommodation.[31]

Quay House is the BBC's 135,000-square-foot (12,500 m2) main building from where BBC Breakfast, Match of the Day, BBC Radio 5 Live, North West Tonight and BBC Radio Manchester are broadcast.[32] This facility alone is twice the size of BBC Television Centre at 58,700-square-foot (5,450 m2) and four times the size of available studio space at ITV's The London Studios 31,416-square-foot (2,918.6 m2).

Bridge House is where Blue Peter, Mastermind, Dragons Den, CBBC, and BBC Bitesize are produced.[32]

Dock House contains the BBC's Research & Development and Religion & Ethics departments.[32] In November 2011 BBC Radio 6 Music teams moved from New Broadcasting House into Dock House, where some programmes for BBC Radio 4 are made.[33]

The Orange Tower is an 11-storey building, designed by architects Sheppard Robson. It is a glazed structure with four types of cladding, including one made of folded aluminium in a diamond pattern. It houses departments from the University of Salford on three floors and on seven floors, staff from ITV Granada.[34][35]

The Studios on Broadway,[36] contains seven high-definition studios, claimed by Peel Media to be the largest such facility in Europe.[37] The largest studio has an area of 12,500 square feet (1,160 m2), making it one of the biggest in western Europe.[17] Fitting began in 2010 at a cost of £22 million, in time for the BBC's move in summer 2011.[38] The seven studios vary in size; the large studios are on the ground floor, and the smaller studios on the first floor. The larger of the two audio studios, sitting on hydraulic jacks to insulate it from noise generated in the surrounding studios, is dedicated to the BBC Philharmonic Orchestra.[39] The studio block contains offices and the glass-fronted, 16-storey Holiday Inn hotel.[40]

The Pie Factory occupies the former Freshbake factory, which after closing in 2006, was converted by Peel Media into a TV, film and commercial production facility. The bakery's facilities were renovated into three sound stages, anxilliary and office space. It opened in 2007 and was the first working studio complex at MediaCityUK.[39][41]

The Greenhouse designed by architects Stephenson Bell, is a refurbished three-storey office block that has been converted into small, flexible office suites for small companies in the media and creative industries.[20]

TheHeart and NumberOne are the residential elements of the development, providing 378 apartments in two tower blocks. TheHeart is a 22-storey apartment building on the quayside and NumberOne, another 22-storey building, is next to the studio facilities.[39]

   

The opening swing footbridge at Salford Quays links MediaCityUK with Trafford Wharf on the southern bank of the ship canal. It was designed by Wilkinson Eyre in association with Gifford. The bridge's main span is 213 feet (65 m) when open and provides a 157-foot (48 m) wide navigation channel accommodating ships' superstructures up to 66 feet (20 m) in height. The developers specified it to be “a unique and memorable landmark”. Its visibility is created by a curved bridge deck with an offset pivot mast and array of supporting cables in a fan or sail shape. It has seating benches and is lit at night.[42][43] The bridge, constructed with funding from the Northwest Regional Development Agency, is the final link in a circular walking route connecting the development with The Lowry and Imperial War Museum North. It was officially opened by Rowan Williams and John Sentamu, the Archbishops of Canterbury and York, and was opened to the public in May 2011 after landscaping works were completed.[44]

 

The development is powered by a gas-powered trigeneration energy plant producing electricity for cooling and heating using water from the ship canal. It is more than twice as efficient as conventional grid electricity and helped the development gain BREEAM sustainable community status.[30] The communications network is one of the most advanced in the world, with more than 20 million metres of fibre optic cable capable of delivering the internet speeds required for media production.[45]

 

The architecture at MediaCity has been criticised by the editor of Building Design magazine, Ellis Woodman who describes it as "a crazed accumulation of development in which every aimlessly gesticulating building sports at least three different cladding treatments. The overriding sense is one of extreme anxiety on the part of the architect. Quite how the BBC has stooped this low is hard to fathom."[46] The development was awarded the Carbuncle Cup by Building Design for the worst new building in 2011.[47] Owen Hatherley writing in The Guardian criticised the development as "an enclave, easily closed off from the life of the rest of the city".[48]

  

Tenants

  

BBC

  

Approximately 2,300 BBC staff will be employed at MediaCity.[49] In July 2010 it was announced that the BBC Breakfast programme would move to Salford Quays.[50] It is claimed that the development will create up to 10,000 jobs and add £1bn to the regional economy over 5 years.[51] In 2009 the BBC estimated that the move would cost up to £1 billion[52] but in May 2011, Director General Mark Thompson claimed the cost of moving was much less.[53]

 

BBC North is one of eight national business divisions of the BBC based here, others are BBC Breakfast, BBC Children's, BBC Radio 5 Live, BBC Research, BBC Sport, BBC Learning and the BBC Philharmonic. BBC North West has also relocated to the site.

  

ITV Granada

  

ITV Granada was interested in relocating but negotiations with the developers, Peel Media, were abandoned in 2009 amid a financial dispute.[54] After a change of management at ITV Granada, talks resumed in January 2010[55] and in December the decision to move to MediaCityUK was announced.[56] A production facility will be constructed on Trafford Wharf to house the Coronation Street sets that will be transferred from Granada Studios by 2013.[57] In March 2013, Granada Reports was broadcast from MediaCityUK signifying the completion of the initial phase of its migration from the Granada Studios in Quay Street.[58]

  

Satellite Information Services

  

Satellite Information Services (SIS) has occupied an office at The Pie Factory since 2006 and in 2010 formed a joint venture with Peel to manage the studios.[39][59] In 2011 SIS announced it would move its headquarters from London and awarded a £3 million contract to S3 Satcom and SATCOM Technologies for the provision of a nine earth station broadcast teleport on Trafford Wharf.[60][61] SIS announced the launch of its teleport in July 2012 and opened offices in the Blue Tower a month later.[62][63][64]

  

University of Salford

  

The University of Salford moved its media-related teaching and research to the MediaCityUK site in October 2011.[65] The move will controversially cost the university more than £2.25 million in rent per annum until 2020.[66]

  

Others

  

There is a diverse mix of about 40 service companies, along with small companies offering ancillary services such as casting and camera hire, occupying The Pie Factory and The Greenhouse.[18][67] Antix Productions moved into offices in The Greenhouse in 2011.[68] In 2012 the Rugby Football League will open an office in The Greenhouse to facilitate the administration of the 2013 Rugby League World Cup.[69]

 

In 2008, Hope High School in Salford was taken over by Oasis Community Learning, an evangelical Christian organisation,[70] and renamed Oasis Academy MediaCityUK; its new premises in Salford Quays, on the edge of the MediaCity UK site, were completed in September 2012.[71] UTC@MediaCityUK, a University Technical College backed by the University of Salford, The Lowry and the Aldridge Foundation, specialising in the creative, media and music industries will open in October 2014.[72]

  

Transport

  

The MediaCityUK Metrolink station opened on 20 September 2010,[73] part of the Metrolink light-rail system serving Greater Manchester. It lies at the end of a 360-metre (0.22 mi) spur from the Eccles line, which was built as part of Phase 3 of the Metrolink expansion project. Trams run to Piccadilly via Harbour City and Cornbrook.

 

Vehicular access to the Quays has been improved by the construction of Broadway Link Road, which links the site to the M602 motorway at junction 2, and by the provision of car parking. The high-rise 2116 space multi-storey car park was completed in August 2009. It is a pre-cast curved structure clad in a mixture of aluminium mesh panels and shaded aluminium tiles, comprising 11 floors of parking above the development's energy centre and commercial units.[74]

 

Stagecoach Manchester provides the high-frequency "City Connect" bus service linking MediaCityUK to East Didsbury, Manchester city centre, Salford Central and Salford Crescent railway stations, the University of Salford and Salford Shopping Centre.[75]

 

Footpaths and cycleways to Manchester city centre and 300 cycle racks encourage healthy and green ways of accessing the site.

   

.::WoW Skins::. 2016 Melissa

Comes with Omega ADV APPL. and SLINK hands & feets Appliers

Taxi:

maps.secondlife.com/secondlife/Birch%20Island/129/127/27

 

Dress:

K Creations Natasha Dress Star Green

Taxi

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Hair:

eXxEsS : X-MAS 2015 (Free Gift)

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THE FROZZEN FAIR 2015

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netlifeschaukasten.blogspot.de/2015/12/the-frozzen-fair-2...

She was such a good girl being up on that hay bale. Right behind that bush there was a dog barking in it's garden, so it was quite the challenge to get Missy to focus on staying put lol.

The UK is having a "mini heat wave" this week, It was certainly hot out on our walk today.

en.wikipedia.org/wiki/Kanchi_Kailasanathar_Temple

  

The kanchi Kailasanathar temple is the oldest structure in Kanchipuram.[1] Located in Tamil Nadu, India, it is a Hindu temple in the Dravidian architectural style. It is dedicated to the Lord Shiva, and is known for its historical importance. The temple was built from 685-705AD by a Rajasimha (Narasimhavarman II) ruler of the Pallava Dynasty. The low-slung sandstone compound contains a large number of carvings, including many half-animal deities which were popular during the early Dravidian architectural period.[2] The structure contains 58 small shrines which are dedicated to various forms of Shiva. These are built into niches on the inner face of the high compound wall of the circumambulatory passage.[3] The temple is one of the most prominent tourist attractions of the city.[4]

The temple has retained the Pallava architecture in its original stylized form with influence of the later styles developed by the Chola Dynasty and Vijayanagara Emperors.[3] It is of stone built architecture unlike the rock cut architecture built into hallowed caves or carved into rock outcrops as in Mahabalipuram. The tall gopuram (tower) is to the left and the temple complex is to the right.[12] The temple's foundations are made of granite, which could withstand the weight of the temple, while the superstructure, including the carvings, are all made of sandstone. Initially, only the main sanctuary existed with pyramidal vimana and a detached mandapa (main hall)

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CONSTRUCTIVE CRITICISM/SUGGESTIONS ARE ALWAYS WELCOME

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the 50mm project nr: 12

the goal: make 50 shots at 50mm.

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© All Rights Reserved - No Usage Allowed in Any Form Without the Written Consent of the photographer.

 

check out my website www.chrisvandolleweerd.com

 

this picture is even better when you press L

  

Black 5 No. 44932 passes Crane Field soon after leaving Hellifield with 'The Waverley' from Carlisle to York.

Port Credit

Mississauga, Ontario

 

www.modernmississauga.com/main/2020/8/12/the-history-of-m...

•650 bhp, 6,496 cc DOHC 60-degree V-12

• The third of only 20 examples built

• Fewer than 1,000 miles from new

• One of the rarest Lamborghinis ever produced

• Sold for $1,320,000 by RM Sotheby's

mwmgraphics.blogspot.fr/2013/12/the-z-detroit-100-mural.html

en.wikipedia.org/wiki/Common_moorhen

  

The common moorhen (Gallinula chloropus) (also known as the swamp chicken[2]) is a bird species in the family Rallidae. It is distributed across many parts of the Old World.[3]

 

The common moorhen lives around well-vegetated marshes, ponds, canals and other wetlands. The species is not found in the polar regions or many tropical rainforests. Elsewhere it is likely the most common rail species, except for the Eurasian coot in some regions.

 

The closely related common gallinule of the New World has been recognized as a separate species by most authorities,[3] starting with the American Ornithologists' Union and the International Ornithological Committee in 2011.

  

Name

  

The name mor-hen has been recorded in English since the 13th century.[5] The word moor here is an old sense meaning marsh;[5] the species is not usually found in moorland. An older name, common waterhen, is more descriptive of the bird's habitat.

 

A "watercock" is not a male "waterhen" but the rail species Gallicrex cinerea, not closely related to the common moorhen. "Water rail" usually refers to Rallus aquaticus, again not closely related.

 

The scientific name Gallinula chloropus comes from the Latin Gallinula (a small hen or chicken) and the Greek chloropus (khloros χλωρός green or yellow, pous πούς foot).

  

Description and ecology

  

The moorhen is a distinctive species, with dark plumage apart from the white undertail, yellow legs and a red frontal shield. The young are browner and lack the red shield. The frontal shield of the adult has a rounded top and fairly parallel sides; the tailward margin of the red unfeathered area is a smooth waving line. In the related common gallinule of the Americas, the frontal shield has a fairly straight top and is less wide towards the bill, giving a marked indentation to the back margin of the red area.

 

The common moorhen gives a wide range of gargling calls and will emit loud hisses when threatened.[7] A midsized to large rail, it can range from 30 to 38 cm (12 to 15 in) in length and span 50 to 62 cm (20 to 24 in) across the wings. The body mass of this species can range from 192 to 500 g (6.8 to 17.6 oz).[8][9]

  

This is a common breeding bird in marsh environments and well-vegetated lakes. Populations in areas where the waters freeze, such as eastern Europe, will migrate to more temperate climes. This species will consume a wide variety of vegetable material and small aquatic creatures. They forage beside or in the water, sometimes walking on lilypads or upending in the water to feed. They are often secretive, but can become tame in some areas. Despite loss of habitat in parts of its range, the common moorhen remains plentiful and widespread.

 

The birds are territorial during breeding season. The nest is a basket built on the ground in dense vegetation. Laying starts in spring, between mid-March and mid-May in Northern hemisphere temperate regions. About 8 eggs are usually laid per female early in the season; a brood later in the year usually has only 5–8 or fewer eggs. Nests may be re-used by different females. Incubation lasts about three weeks. Both parents incubate and feed the young. These fledge after 40–50 days, become independent usually a few weeks thereafter, and may raise their first brood the next spring. When threatened, the young may cling to the parents' body, after which the adult birds fly away to safety, carrying their offspring with them.[7][10]

 

On a global scale – all subspecies taken together – the common moorhen is as abundant as its vernacular name implies. It is therefore considered a species of Least Concern by the IUCN.[1] However, small populations may be prone to extinction. The population of Palau, belonging to the widespread subspecies G. c. orientalis and locally known as debar (a generic term also used for ducks and meaning roughly "waterfowl"), is very rare, and apparently the birds are hunted by locals. Most of the population on the archipelago occurs on Angaur and Peleliu, while the species is probably already gone from Koror. In the Lake Ngardok wetlands of Babeldaob, a few dozen still occur, but the total number of common moorhens on Palau is about in the same region as the Guam population: fewer than 100 adult birds (usually fewer than 50) have been encountered in any survey.[11]

 

The common moorhen is one of the birds (the other is the Eurasian coot, Fulica atra) from which the cyclocoelid flatworm parasite Cyclocoelum mutabile was first described.[12] The bird is also parasitised by the moorhen flea, Dasypsyllus gallinulae.[13]

  

Subspecies

  

Five subspecies are today considered valid; several more have been described that are now considered junior synonyms. Most are not very readily recognizable, as differences are rather subtle and often clinal. Usually, the location of a sighting is the most reliable indication as to subspecies identification, but the migratory tendencies of this species make identifications based on location not completely reliable. In addition to the extant subspecies listed below, an undescribed form from the Early Pleistocene is recorded from Dursunlu in Turkey.

   

Originally dating to around 1320, the building is important because it has most of its original features; successive owners effected relatively few changes to the main structure, after the completion of the quadrangle with a new chapel in the 16th century. Pevsner described it as "the most complete small medieval manor house in the county", and it remains an example that shows how such houses would have looked in the Middle Ages. Unlike most courtyard houses of its type, which have had a range demolished, so that the house looks outward, Nicholas Cooper observes that Ightham Mote wholly surrounds its courtyard and looks inward, into it, offering little information externally.[9] The construction is of "Kentish ragstone and dull red brick,"[10] the buildings of the courtyard having originally been built of timber and subsequently rebuilt in stone.[11]

  

The moat of Ightham Mote

The house has more than 70 rooms, all arranged around a central courtyard, "the confines circumscribed by the moat."[10] The house is surrounded on all sides by a square moat, crossed by three bridges. The earliest surviving evidence is for a house of the early 14th century, with the great hall, to which were attached, at the high, or dais end, the chapel, crypt and two solars. The courtyard was completely enclosed by increments on its restricted moated site, and the battlemented tower was constructed in the 15th century. Very little of the 14th century survives on the exterior behind rebuilding and refacing of the 15th and 16th centuries.

 

The structures include unusual and distinctive elements, such as the porter's squint, a narrow slit in the wall designed to enable a gatekeeper to examine a visitor's credentials before opening the gate. An open loggia with a fifteenth-century gallery above, connects the main accommodations with the gatehouse range. The courtyard contains a large, 19th century dog kennel.[12] The house contains two chapels; the New Chapel, of c.1520, having a barrel roof decorated with Tudor roses. [13] Parts of the interior were remodelled by Richard Norman Shaw.[14] wikipedia

 

16th century-late 19th century

The house remained in the Selby family for nearly 300 years.[3] Sir William was succeeded by his nephew, also Sir William, who is notable for handing over the keys of Berwick-upon-Tweed to James I on his way south to succeed to the throne.[4] He married Dorothy Bonham of West Malling but had no children. The Selbys continued until the mid-19th century when the line faltered with Elizabeth Selby, the widow of a Thomas who disinherited his only son.[5] During her reclusive tenure, Joseph Nash drew the house for his multi-volume illustrated history Mansions of England in the Olden Time, published in the 1840s.[6] The house passed to a cousin, Prideaux John Selby, a distinguished naturalist, sportsman and scientist. On his death in 1867, he left Ightham Mote to a daughter, Mrs Lewis Marianne Bigge. Her second husband, Robert Luard, changed his name to Luard-Selby. Ightham Mote was rented-out in 1887 to American Railroad magnate William Jackson Palmer and his family. For three years Ightham Mote became a centre for the artists and writers of the Aesthetic Movement with visitors including John Singer Sargent, Henry James, and Ellen Terry. When Mrs Bigge died in 1889, the executors of her son Charles Selby-Bigge, a Shropshire land agent, put the house up for sale in July 1889.[6]

 

Late 19th century-21st century

The Mote was purchased by Thomas Colyer-Fergusson.[6] He and his wife brought up their six children at the Mote. In 1890-1891, he carried out much repair and restoration, which allowed the survival of the house after centuries of neglect.[7] Ightham Mote was opened to the public one afternoon a week in the early 20th century.[7]

 

Sir Thomas Colyer-Fergusson's third son, Riversdale, died aged 21 in 1917 in the Third Battle of Ypres, and won a posthumous Victoria Cross. A wooden cross in the New Chapel is in his memory. The oldest brother, Max, was killed at the age of 49 in a bombing raid on an army driving school near Tidworth in 1940 during World War II. One of the three daughters, Mary (called Polly) married Walter Monckton.

 

On Sir Thomas's death in 1951, the property and the baronetcy passed to Max's son, James. The high costs of upkeep and repair of the house led him to sell the house and auction most of the contents. The sale took place in October 1951 and lasted three days. It was suggested that the house be demolished to harvest the lead on the roofs, or that it be divided into flats. Three local men purchased the house: William Durling, John Goodwin and John Baldock. They paid £5,500 for the freehold, in the hope of being able to secure the future of the house.[8]

 

In 1953, Ightham Mote was purchased by Charles Henry Robinson, an American of Portland, Maine, United States. He had known the property when stationed nearby during the Second World War. He lived there for only fourteen weeks a year for tax reasons. He made many urgent repairs, and partly refurnished the house with 17th-century English pieces. In 1965, he announced that he would give Ightham Mote and its contents to the National Trust. He died in 1985 and his ashes were immured just outside the crypt. The National Trust took possession in that year.[8]

 

In 1989, the National Trust began an ambitious conservation project that involved dismantling much of the building and recording its construction methods before rebuilding it. During this process, the effects of centuries of ageing, weathering, and the destructive effect of the deathwatch beetle were highlighted. The project ended in 2004 after revealing numerous examples of structural and ornamental features which had been covered up by later additions.[1]

It was a dark sky night Point Pelee National Park on August 12. The park was open all night for the Perseid Meteor Shower with volunteers from Royal Astronomical Society of Canada. It was a great night with an unbelievable turnout. The west beach was filled with people watching the night sky and the meteor shower. multi-image panorama of the milky way over Point Pelee National Park. Sony A7rII Samyang 14mm f2.8. Exposure f2.8, iso5000, 15 seconds. Stitched in Lightroom and minor fixes including removing planes done in Photoshop CC.

#pointpeleenationalpark #rasc #nightsky #milkyway #stars #sonyalpha

Colosseum

Following, a text, in english, from the Wikipedia the Free Encyclopedia:

The Colosseum, or the Coliseum, originally the Flavian Amphitheatre (Latin: Amphitheatrum Flavium, Italian Anfiteatro Flavio or Colosseo), is an elliptical amphitheatre in the centre of the city of Rome, Italy, the largest ever built in the Roman Empire. It is considered one of the greatest works of Roman architecture and Roman engineering.

Occupying a site just east of the Roman Forum, its construction started between 70 and 72 AD[1] under the emperor Vespasian and was completed in 80 AD under Titus,[2] with further modifications being made during Domitian's reign (81–96).[3] The name "Amphitheatrum Flavium" derives from both Vespasian's and Titus's family name (Flavius, from the gens Flavia).

Capable of seating 50,000 spectators,[1][4][5] the Colosseum was used for gladiatorial contests and public spectacles such as mock sea battles, animal hunts, executions, re-enactments of famous battles, and dramas based on Classical mythology. The building ceased to be used for entertainment in the early medieval era. It was later reused for such purposes as housing, workshops, quarters for a religious order, a fortress, a quarry, and a Christian shrine.

Although in the 21st century it stays partially ruined because of damage caused by devastating earthquakes and stone-robbers, the Colosseum is an iconic symbol of Imperial Rome. It is one of Rome's most popular tourist attractions and still has close connections with the Roman Catholic Church, as each Good Friday the Pope leads a torchlit "Way of the Cross" procession that starts in the area around the Colosseum.[6]

The Colosseum is also depicted on the Italian version of the five-cent euro coin.

The Colosseum's original Latin name was Amphitheatrum Flavium, often anglicized as Flavian Amphitheater. The building was constructed by emperors of the Flavian dynasty, hence its original name, after the reign of Emperor Nero.[7] This name is still used in modern English, but generally the structure is better known as the Colosseum. In antiquity, Romans may have referred to the Colosseum by the unofficial name Amphitheatrum Caesareum; this name could have been strictly poetic.[8][9] This name was not exclusive to the Colosseum; Vespasian and Titus, builders of the Colosseum, also constructed an amphitheater of the same name in Puteoli (modern Pozzuoli).[10]

The name Colosseum has long been believed to be derived from a colossal statue of Nero nearby.[3] (the statue of Nero itself being named after one of the original ancient wonders, the Colossus of Rhodes[citation needed]. This statue was later remodeled by Nero's successors into the likeness of Helios (Sol) or Apollo, the sun god, by adding the appropriate solar crown. Nero's head was also replaced several times with the heads of succeeding emperors. Despite its pagan links, the statue remained standing well into the medieval era and was credited with magical powers. It came to be seen as an iconic symbol of the permanence of Rome.

In the 8th century, a famous epigram attributed to the Venerable Bede celebrated the symbolic significance of the statue in a prophecy that is variously quoted: Quamdiu stat Colisæus, stat et Roma; quando cadet colisæus, cadet et Roma; quando cadet Roma, cadet et mundus ("as long as the Colossus stands, so shall Rome; when the Colossus falls, Rome shall fall; when Rome falls, so falls the world").[11] This is often mistranslated to refer to the Colosseum rather than the Colossus (as in, for instance, Byron's poem Childe Harold's Pilgrimage). However, at the time that the Pseudo-Bede wrote, the masculine noun coliseus was applied to the statue rather than to what was still known as the Flavian amphitheatre.

The Colossus did eventually fall, possibly being pulled down to reuse its bronze. By the year 1000 the name "Colosseum" had been coined to refer to the amphitheatre. The statue itself was largely forgotten and only its base survives, situated between the Colosseum and the nearby Temple of Venus and Roma.[12]

The name further evolved to Coliseum during the Middle Ages. In Italy, the amphitheatre is still known as il Colosseo, and other Romance languages have come to use similar forms such as le Colisée (French), el Coliseo (Spanish) and o Coliseu (Portuguese).

Construction of the Colosseum began under the rule of the Emperor Vespasian[3] in around 70–72AD. The site chosen was a flat area on the floor of a low valley between the Caelian, Esquiline and Palatine Hills, through which a canalised stream ran. By the 2nd century BC the area was densely inhabited. It was devastated by the Great Fire of Rome in AD 64, following which Nero seized much of the area to add to his personal domain. He built the grandiose Domus Aurea on the site, in front of which he created an artificial lake surrounded by pavilions, gardens and porticoes. The existing Aqua Claudia aqueduct was extended to supply water to the area and the gigantic bronze Colossus of Nero was set up nearby at the entrance to the Domus Aurea.[12]

Although the Colossus was preserved, much of the Domus Aurea was torn down. The lake was filled in and the land reused as the location for the new Flavian Amphitheatre. Gladiatorial schools and other support buildings were constructed nearby within the former grounds of the Domus Aurea. According to a reconstructed inscription found on the site, "the emperor Vespasian ordered this new amphitheatre to be erected from his general's share of the booty." This is thought to refer to the vast quantity of treasure seized by the Romans following their victory in the Great Jewish Revolt in 70AD. The Colosseum can be thus interpreted as a great triumphal monument built in the Roman tradition of celebrating great victories[12], placating the Roman people instead of returning soldiers. Vespasian's decision to build the Colosseum on the site of Nero's lake can also be seen as a populist gesture of returning to the people an area of the city which Nero had appropriated for his own use. In contrast to many other amphitheatres, which were located on the outskirts of a city, the Colosseum was constructed in the city centre; in effect, placing it both literally and symbolically at the heart of Rome.

The Colosseum had been completed up to the third story by the time of Vespasian's death in 79. The top level was finished and the building inaugurated by his son, Titus, in 80.[3] Dio Cassius recounts that over 9,000 wild animals were killed during the inaugural games of the amphitheatre. The building was remodelled further under Vespasian's younger son, the newly designated Emperor Domitian, who constructed the hypogeum, a series of underground tunnels used to house animals and slaves. He also added a gallery to the top of the Colosseum to increase its seating capacity.

In 217, the Colosseum was badly damaged by a major fire (caused by lightning, according to Dio Cassius[13]) which destroyed the wooden upper levels of the amphitheatre's interior. It was not fully repaired until about 240 and underwent further repairs in 250 or 252 and again in 320. An inscription records the restoration of various parts of the Colosseum under Theodosius II and Valentinian III (reigned 425–455), possibly to repair damage caused by a major earthquake in 443; more work followed in 484[14] and 508. The arena continued to be used for contests well into the 6th century, with gladiatorial fights last mentioned around 435. Animal hunts continued until at least 523, when Anicius Maximus celebrated his consulship with some venationes, criticised by King Theodoric the Great for their high cost.

The Colosseum underwent several radical changes of use during the medieval period. By the late 6th century a small church had been built into the structure of the amphitheatre, though this apparently did not confer any particular religious significance on the building as a whole. The arena was converted into a cemetery. The numerous vaulted spaces in the arcades under the seating were converted into housing and workshops, and are recorded as still being rented out as late as the 12th century. Around 1200 the Frangipani family took over the Colosseum and fortified it, apparently using it as a castle.

Severe damage was inflicted on the Colosseum by the great earthquake in 1349, causing the outer south side, lying on a less stable alluvional terrain, to collapse. Much of the tumbled stone was reused to build palaces, churches, hospitals and other buildings elsewhere in Rome. A religious order moved into the northern third of the Colosseum in the mid-14th century and continued to inhabit it until as late as the early 19th century. The interior of the amphitheatre was extensively stripped of stone, which was reused elsewhere, or (in the case of the marble façade) was burned to make quicklime.[12] The bronze clamps which held the stonework together were pried or hacked out of the walls, leaving numerous pockmarks which still scar the building today.

During the 16th and 17th century, Church officials sought a productive role for the vast derelict hulk of the Colosseum. Pope Sixtus V (1585–1590) planned to turn the building into a wool factory to provide employment for Rome's prostitutes, though this proposal fell through with his premature death.[15] In 1671 Cardinal Altieri authorized its use for bullfights; a public outcry caused the idea to be hastily abandoned.

In 1749, Pope Benedict XIV endorsed as official Church policy the view that the Colosseum was a sacred site where early Christians had been martyred. He forbade the use of the Colosseum as a quarry and consecrated the building to the Passion of Christ and installed Stations of the Cross, declaring it sanctified by the blood of the Christian martyrs who perished there (see Christians and the Colosseum). However there is no historical evidence to support Benedict's claim, nor is there even any evidence that anyone prior to the 16th century suggested this might be the case; the Catholic Encyclopedia concludes that there are no historical grounds for the supposition. Later popes initiated various stabilization and restoration projects, removing the extensive vegetation which had overgrown the structure and threatened to damage it further. The façade was reinforced with triangular brick wedges in 1807 and 1827, and the interior was repaired in 1831, 1846 and in the 1930s. The arena substructure was partly excavated in 1810–1814 and 1874 and was fully exposed under Benito Mussolini in the 1930s.

The Colosseum is today one of Rome's most popular tourist attractions, receiving millions of visitors annually. The effects of pollution and general deterioration over time prompted a major restoration programme carried out between 1993 and 2000, at a cost of 40 billion Italian lire ($19.3m / €20.6m at 2000 prices). In recent years it has become a symbol of the international campaign against capital punishment, which was abolished in Italy in 1948. Several anti–death penalty demonstrations took place in front of the Colosseum in 2000. Since that time, as a gesture against the death penalty, the local authorities of Rome change the color of the Colosseum's night time illumination from white to gold whenever a person condemned to the death penalty anywhere in the world gets their sentence commuted or is released,[16] or if a jurisdiction abolishes the death penalty. Most recently, the Colosseum was illuminated in gold when capital punishment was abolished in the American state of New Mexico in April 2009.

Because of the ruined state of the interior, it is impractical to use the Colosseum to host large events; only a few hundred spectators can be accommodated in temporary seating. However, much larger concerts have been held just outside, using the Colosseum as a backdrop. Performers who have played at the Colosseum in recent years have included Ray Charles (May 2002),[18] Paul McCartney (May 2003),[19] Elton John (September 2005),[20] and Billy Joel (July 2006).

Exterior

Unlike earlier Greek theatres that were built into hillsides, the Colosseum is an entirely free-standing structure. It derives its basic exterior and interior architecture from that of two Roman theatres back to back. It is elliptical in plan and is 189 meters (615 ft / 640 Roman feet) long, and 156 meters (510 ft / 528 Roman feet) wide, with a base area of 6 acres (24,000 m2). The height of the outer wall is 48 meters (157 ft / 165 Roman feet). The perimeter originally measured 545 meters (1,788 ft / 1,835 Roman feet). The central arena is an oval 87 m (287 ft) long and 55 m (180 ft) wide, surrounded by a wall 5 m (15 ft) high, above which rose tiers of seating.

The outer wall is estimated to have required over 100,000 cubic meters (131,000 cu yd) of travertine stone which were set without mortar held together by 300 tons of iron clamps.[12] However, it has suffered extensive damage over the centuries, with large segments having collapsed following earthquakes. The north side of the perimeter wall is still standing; the distinctive triangular brick wedges at each end are modern additions, having been constructed in the early 19th century to shore up the wall. The remainder of the present-day exterior of the Colosseum is in fact the original interior wall.

The surviving part of the outer wall's monumental façade comprises three stories of superimposed arcades surmounted by a podium on which stands a tall attic, both of which are pierced by windows interspersed at regular intervals. The arcades are framed by half-columns of the Tuscan, Ionic, and Corinthian orders, while the attic is decorated with Corinthian pilasters.[21] Each of the arches in the second- and third-floor arcades framed statues, probably honoring divinities and other figures from Classical mythology.

Two hundred and forty mast corbels were positioned around the top of the attic. They originally supported a retractable awning, known as the velarium, that kept the sun and rain off spectators. This consisted of a canvas-covered, net-like structure made of ropes, with a hole in the center.[3] It covered two-thirds of the arena, and sloped down towards the center to catch the wind and provide a breeze for the audience. Sailors, specially enlisted from the Roman naval headquarters at Misenum and housed in the nearby Castra Misenatium, were used to work the velarium.[22]

The Colosseum's huge crowd capacity made it essential that the venue could be filled or evacuated quickly. Its architects adopted solutions very similar to those used in modern stadiums to deal with the same problem. The amphitheatre was ringed by eighty entrances at ground level, 76 of which were used by ordinary spectators.[3] Each entrance and exit was numbered, as was each staircase. The northern main entrance was reserved for the Roman Emperor and his aides, whilst the other three axial entrances were most likely used by the elite. All four axial entrances were richly decorated with painted stucco reliefs, of which fragments survive. Many of the original outer entrances have disappeared with the collapse of the perimeter wall, but entrances XXIII (23) to LIV (54) still survive.[12]

Spectators were given tickets in the form of numbered pottery shards, which directed them to the appropriate section and row. They accessed their seats via vomitoria (singular vomitorium), passageways that opened into a tier of seats from below or behind. These quickly dispersed people into their seats and, upon conclusion of the event or in an emergency evacuation, could permit their exit within only a few minutes. The name vomitoria derived from the Latin word for a rapid discharge, from which English derives the word vomit.

Interior

According to the Codex-Calendar of 354, the Colosseum could accommodate 87,000 people, although modern estimates put the figure at around 50,000. They were seated in a tiered arrangement that reflected the rigidly stratified nature of Roman society. Special boxes were provided at the north and south ends respectively for the Emperor and the Vestal Virgins, providing the best views of the arena. Flanking them at the same level was a broad platform or podium for the senatorial class, who were allowed to bring their own chairs. The names of some 5th century senators can still be seen carved into the stonework, presumably reserving areas for their use.

The tier above the senators, known as the maenianum primum, was occupied by the non-senatorial noble class or knights (equites). The next level up, the maenianum secundum, was originally reserved for ordinary Roman citizens (plebians) and was divided into two sections. The lower part (the immum) was for wealthy citizens, while the upper part (the summum) was for poor citizens. Specific sectors were provided for other social groups: for instance, boys with their tutors, soldiers on leave, foreign dignitaries, scribes, heralds, priests and so on. Stone (and later marble) seating was provided for the citizens and nobles, who presumably would have brought their own cushions with them. Inscriptions identified the areas reserved for specific groups.

Another level, the maenianum secundum in legneis, was added at the very top of the building during the reign of Domitian. This comprised a gallery for the common poor, slaves and women. It would have been either standing room only, or would have had very steep wooden benches. Some groups were banned altogether from the Colosseum, notably gravediggers, actors and former gladiators.

Each tier was divided into sections (maeniana) by curved passages and low walls (praecinctiones or baltei), and were subdivided into cunei, or wedges, by the steps and aisles from the vomitoria. Each row (gradus) of seats was numbered, permitting each individual seat to be exactly designated by its gradus, cuneus, and number.

The arena itself was 83 meters by 48 meters (272 ft by 157 ft / 280 by 163 Roman feet).[12] It comprised a wooden floor covered by sand (the Latin word for sand is harena or arena), covering an elaborate underground structure called the hypogeum (literally meaning "underground"). Little now remains of the original arena floor, but the hypogeum is still clearly visible. It consisted of a two-level subterranean network of tunnels and cages beneath the arena where gladiators and animals were held before contests began. Eighty vertical shafts provided instant access to the arena for caged animals and scenery pieces concealed underneath; larger hinged platforms, called hegmata, provided access for elephants and the like. It was restructured on numerous occasions; at least twelve different phases of construction can be seen.[12]

The hypogeum was connected by underground tunnels to a number of points outside the Colosseum. Animals and performers were brought through the tunnel from nearby stables, with the gladiators' barracks at the Ludus Magnus to the east also being connected by tunnels. Separate tunnels were provided for the Emperor and the Vestal Virgins to permit them to enter and exit the Colosseum without needing to pass through the crowds.[12]

Substantial quantities of machinery also existed in the hypogeum. Elevators and pulleys raised and lowered scenery and props, as well as lifting caged animals to the surface for release. There is evidence for the existence of major hydraulic mechanisms[12] and according to ancient accounts, it was possible to flood the arena rapidly, presumably via a connection to a nearby aqueduct.

The Colosseum and its activities supported a substantial industry in the area. In addition to the amphitheatre itself, many other buildings nearby were linked to the games. Immediately to the east is the remains of the Ludus Magnus, a training school for gladiators. This was connected to the Colosseum by an underground passage, to allow easy access for the gladiators. The Ludus Magnus had its own miniature training arena, which was itself a popular attraction for Roman spectators. Other training schools were in the same area, including the Ludus Matutinus (Morning School), where fighters of animals were trained, plus the Dacian and Gallic Schools.

Also nearby were the Armamentarium, comprising an armory to store weapons; the Summum Choragium, where machinery was stored; the Sanitarium, which had facilities to treat wounded gladiators; and the Spoliarium, where bodies of dead gladiators were stripped of their armor and disposed of.

Around the perimeter of the Colosseum, at a distance of 18 m (59 ft) from the perimeter, was a series of tall stone posts, with five remaining on the eastern side. Various explanations have been advanced for their presence; they may have been a religious boundary, or an outer boundary for ticket checks, or an anchor for the velarium or awning.

Right next to the Colosseum is also the Arch of Constantine.

he Colosseum was used to host gladiatorial shows as well as a variety of other events. The shows, called munera, were always given by private individuals rather than the state. They had a strong religious element but were also demonstrations of power and family prestige, and were immensely popular with the population. Another popular type of show was the animal hunt, or venatio. This utilized a great variety of wild beasts, mainly imported from Africa and the Middle East, and included creatures such as rhinoceros, hippopotamuses, elephants, giraffes, aurochs, wisents, barbary lions, panthers, leopards, bears, caspian tigers, crocodiles and ostriches. Battles and hunts were often staged amid elaborate sets with movable trees and buildings. Such events were occasionally on a huge scale; Trajan is said to have celebrated his victories in Dacia in 107 with contests involving 11,000 animals and 10,000 gladiators over the course of 123 days.

During the early days of the Colosseum, ancient writers recorded that the building was used for naumachiae (more properly known as navalia proelia) or simulated sea battles. Accounts of the inaugural games held by Titus in AD 80 describe it being filled with water for a display of specially trained swimming horses and bulls. There is also an account of a re-enactment of a famous sea battle between the Corcyrean (Corfiot) Greeks and the Corinthians. This has been the subject of some debate among historians; although providing the water would not have been a problem, it is unclear how the arena could have been waterproofed, nor would there have been enough space in the arena for the warships to move around. It has been suggested that the reports either have the location wrong, or that the Colosseum originally featured a wide floodable channel down its central axis (which would later have been replaced by the hypogeum).[12]

Sylvae or recreations of natural scenes were also held in the arena. Painters, technicians and architects would construct a simulation of a forest with real trees and bushes planted in the arena's floor. Animals would be introduced to populate the scene for the delight of the crowd. Such scenes might be used simply to display a natural environment for the urban population, or could otherwise be used as the backdrop for hunts or dramas depicting episodes from mythology. They were also occasionally used for executions in which the hero of the story — played by a condemned person — was killed in one of various gruesome but mythologically authentic ways, such as being mauled by beasts or burned to death.

The Colosseum today is now a major tourist attraction in Rome with thousands of tourists each year paying to view the interior arena, though entrance for EU citizens is partially subsidised, and under-18 and over-65 EU citizens' entrances are free.[24] There is now a museum dedicated to Eros located in the upper floor of the outer wall of the building. Part of the arena floor has been re-floored. Beneath the Colosseum, a network of subterranean passageways once used to transport wild animals and gladiators to the arena opened to the public in summer 2010.[25]

The Colosseum is also the site of Roman Catholic ceremonies in the 20th and 21st centuries. For instance, Pope Benedict XVI leads the Stations of the Cross called the Scriptural Way of the Cross (which calls for more meditation) at the Colosseum[26][27] on Good Fridays.

In the Middle Ages, the Colosseum was clearly not regarded as a sacred site. Its use as a fortress and then a quarry demonstrates how little spiritual importance was attached to it, at a time when sites associated with martyrs were highly venerated. It was not included in the itineraries compiled for the use of pilgrims nor in works such as the 12th century Mirabilia Urbis Romae ("Marvels of the City of Rome"), which claims the Circus Flaminius — but not the Colosseum — as the site of martyrdoms. Part of the structure was inhabited by a Christian order, but apparently not for any particular religious reason.

It appears to have been only in the 16th and 17th centuries that the Colosseum came to be regarded as a Christian site. Pope Pius V (1566–1572) is said to have recommended that pilgrims gather sand from the arena of the Colosseum to serve as a relic, on the grounds that it was impregnated with the blood of martyrs. This seems to have been a minority view until it was popularised nearly a century later by Fioravante Martinelli, who listed the Colosseum at the head of a list of places sacred to the martyrs in his 1653 book Roma ex ethnica sacra.

Martinelli's book evidently had an effect on public opinion; in response to Cardinal Altieri's proposal some years later to turn the Colosseum into a bullring, Carlo Tomassi published a pamphlet in protest against what he regarded as an act of desecration. The ensuing controversy persuaded Pope Clement X to close the Colosseum's external arcades and declare it a sanctuary, though quarrying continued for some time.

At the instance of St. Leonard of Port Maurice, Pope Benedict XIV (1740–1758) forbade the quarrying of the Colosseum and erected Stations of the Cross around the arena, which remained until February 1874. St. Benedict Joseph Labre spent the later years of his life within the walls of the Colosseum, living on alms, prior to his death in 1783. Several 19th century popes funded repair and restoration work on the Colosseum, and it still retains a Christian connection today. Crosses stand in several points around the arena and every Good Friday the Pope leads a Via Crucis procession to the amphitheatre.

 

Coliseu (Colosseo)

A seguir, um texto, em português, da Wikipédia, a enciclopédia livre:

 

O Coliseu, também conhecido como Anfiteatro Flaviano, deve seu nome à expressão latina Colosseum (ou Coliseus, no latim tardio), devido à estátua colossal de Nero, que ficava perto a edificação. Localizado no centro de Roma, é uma excepção de entre os anfiteatros pelo seu volume e relevo arquitectónico. Originalmente capaz de albergar perto de 50 000 pessoas, e com 48 metros de altura, era usado para variados espetáculos. Foi construído a leste do fórum romano e demorou entre 8 a 10 anos a ser construído.

O Coliseu foi utilizado durante aproximadamente 500 anos, tendo sido o último registro efetuado no século VI da nossa era, bastante depois da queda de Roma em 476. O edifício deixou de ser usado para entretenimento no começo da era medieval, mas foi mais tarde usado como habitação, oficina, forte, pedreira, sede de ordens religiosas e templo cristão.

Embora esteja agora em ruínas devido a terremotos e pilhagens, o Coliseu sempre foi visto como símbolo do Império Romano, sendo um dos melhores exemplos da sua arquitectura. Actualmente é uma das maiores atrações turísticas em Roma e em 7 de julho de 2007 foi eleita umas das "Sete maravilhas do mundo moderno". Além disso, o Coliseu ainda tem ligações à igreja, com o Papa a liderar a procissão da Via Sacra até ao Coliseu todas as Sextas-feiras Santas.

O coliseu era um local onde seriam exibidos toda uma série de espectáculos, inseridos nos vários tipos de jogos realizados na urbe. Os combates entre gladiadores, chamados muneras, eram sempre pagos por pessoas individuais em busca de prestígio e poder em vez do estado. A arena (87,5 m por 55 m) possuía um piso de madeira, normalmente coberto de areia para absorver o sangue dos combates (certa vez foi colocada água na representação de uma batalha naval), sob o qual existia um nível subterrâneo com celas e jaulas que tinham acessos diretos para a arena; Alguns detalhes dessa construção, como a cobertura removível que poupava os espectadores do sol, são bastante interessantes, e mostram o refinamento atingido pelos construtores romanos. Formado por cinco anéis concêntricos de arcos e abóbadas, o Coliseu representa bem o avanço introduzido pelos romanos à engenharia de estruturas. Esses arcos são de concreto (de cimento natural) revestidos por alvenaria. Na verdade, a alvenaria era construída simultaneamente e já servia de forma para a concretagem. Outro tipo de espetáculos era a caça de animais, ou venatio, onde eram utilizados animais selvagens importados de África. Os animais mais utilizados eram os grandes felinos como leões, leopardos e panteras, mas animais como rinocerontes, hipopótamos, elefantes, girafas, crocodilos e avestruzes eram também utilizados. As caçadas, tal como as representações de batalhas famosas, eram efetuadas em elaborados cenários onde constavam árvores e edifícios amovíveis.

Estas últimas eram por vezes representadas numa escala gigante; Trajano celebrou a sua vitória em Dácia no ano 107 com concursos envolvendo 11 000 animais e 10 000 gladiadores no decorrer de 123 dias.

Segundo o documentário produzido pelo canal televisivo fechado, History Channel, o Coliseu também era utilizado para a realização de naumaquias, ou batalhas navais. O coliseu era inundado por dutos subterrâneos alimentados pelos aquedutos que traziam água de longe. Passada esta fase, foi construída uma estrutura, que é a que podemos ver hoje nas ruínas do Coliseu, com altura de um prédio de dois andares, onde no passado se concentravam os gladiadores, feras e todo o pessoal que organizava os duelos que ocorreriam na arena. A arena era como um grande palco, feito de madeira, e se chama arena, que em italiano significa areia, porque era jogada areia sob a estrutura de madeira para esconder as imperfeições. Os animais podiam ser inseridos nos duelos a qualquer momento por um esquema de elevadores que surgiam em alguns pontos da arena; o filme "Gladiador" retrata muito bem esta questão dos elevadores. Os estudiosos, há pouco tempo, descobriram uma rede de dutos inundados por baixo da arena do Coliseu. Acredita-se que o Coliseu foi construído onde, outrora, foi o lago do Palácio Dourado de Nero; O imperador Vespasiano escolheu o local da construção para que o mal causado por Nero fosse esquecido por uma construção gloriosa.

Sylvae, ou recreações de cenas naturais eram também realizadas no Coliseu. Pintores, técnicos e arquitectos construiriam simulações de florestas com árvores e arbustos reais plantados no chão da arena. Animais seriam então introduzidos para dar vida à simulação. Esses cenários podiam servir só para agrado do público ou como pano de fundo para caçadas ou dramas representando episódios da mitologia romana, tão autênticos quanto possível, ao ponto de pessoas condenadas fazerem o papel de heróis onde eram mortos de maneiras horríveis mas mitologicamente autênticas, como mutilados por animais ou queimados vivos.

Embora o Coliseu tenha funcionado até ao século VI da nossa Era, foram proibidos os jogos com mortes humanas desde 404, sendo apenas massacrados animais como elefantes, panteras ou leões.

O Coliseu era sobretudo um enorme instrumento de propaganda e difusão da filosofia de toda uma civilização, e tal como era já profetizado pelo monge e historiador inglês Beda na sua obra do século VII "De temporibus liber": "Enquanto o Coliseu se mantiver de pé, Roma permanecerá; quando o Coliseu ruir, Roma ruirá e quando Roma cair, o mundo cairá".

A construção do Coliseu foi iniciada por Vespasiano, nos anos 70 da nossa era. O edifício foi inaugurado por Tito, em 80, embora apenas tivesse sido finalizado poucos anos depois. Empresa colossal, este edifício, inicialmente, poderia sustentar no seu interior cerca de 50 000 espectadores, constando de três andares. Aquando do reinado de Alexandre Severo e Gordiano III, é ampliado com um quarto andar, podendo suster agora cerca de 90 000 espectadores. A grandiosidade deste monumento testemunha verdadeiramente o poder e esplendor de Roma na época dos Flávios.

Os jogos inaugurais do Coliseu tiveram lugar ano 80, sob o mandato de Tito, para celebrar a finalização da construção. Depois do curto reinado de Tito começar com vários meses de desastres, incluindo a erupção do Monte Vesúvio, um incêndio em Roma, e um surto de peste, o mesmo imperador inaugurou o edifício com uns jogos pródigos que duraram mais de cem dias, talvez para tentar apaziguar o público romano e os deuses. Nesses jogos de cem dias terão ocorrido combates de gladiadores, venationes (lutas de animais), execuções, batalhas navais, caçadas e outros divertimentos numa escala sem precedentes.

O Coliseu, como não se encontrava inserido numa zona de encosta, enterrado, tal como normalmente sucede com a generalidade dos teatros e anfiteatros romanos, possuía um “anel” artificial de rocha à sua volta, para garantir sustentação e, ao mesmo tempo, esta substrutura serve como ornamento ao edifício e como condicionador da entrada dos espectadores. Tal como foi referido anteriormente, possuía três pisos, sendo mais tarde adicionado um outro. É construído em mármore, pedra travertina, ladrilho e tufo (pedra calcária com grandes poros). A sua planta elíptica mede dois eixos que se estendem aproximadamente de 190 m por 155 m. A fachada compõe-se de arcadas decoradas com colunas dóricas, jónicas e coríntias, de acordo com o pavimento em que se encontravam. Esta subdivisão deve-se ao facto de ser uma construção essencialmente vertical, criando assim uma diversificação do espaço.

 

Os assentos eram em mármore e a cavea, escadaria ou arquibancada, dividia-se em três partes, correspondentes às diferentes classes sociais: o podium, para as classes altas; as maeniana, sector destinado à classe média; e os portici, ou pórticos, construídos em madeira, para a plebe e as mulheres. O pulvinar, a tribuna imperial, encontrava-se situada no podium e era balizada pelos assentos reservados aos senadores e magistrados. Rampas no interior do edifício facilitavam o acesso às várias zonas de onde podiam visualizar o espectáculo, sendo protegidos por uma barreira e por uma série de arqueiros posicionados numa passagem de madeira, para o caso de algum acidente. Por cima dos muros ainda são visíveis as mísulas, que sustentavam o velarium, enorme cobertura de lona destinada a proteger do sol os espectadores e, nos subterrâneos, ficavam as jaulas dos animais, bem como todas as celas e galerias necessárias aos serviços do anfiteatro.

O monumento permaneceu como sede principal dos espetáculos da urbe romana até ao período do imperador Honorius, no século V. Danificado por um terremoto no começo do mesmo século, foi alvo de uma extensiva restauração na época de Valentinianus III. Em meados do século XIII, a família Frangipani transformou-o em fortaleza e, ao longo dos séculos XV e XVI, foi por diversas vezes saqueado, perdendo grande parte dos materiais nobres com os quais tinha sido construído.

Os relatos romanos referem-se a cristãos sendo martirizados em locais de Roma descritos pouco pormenorizadamente (no anfiteatro, na arena...), quando Roma tinha numerosos anfiteatros e arenas. Apesar de muito provavelmente o Coliseu não ter sido utilizado para martírios, o Papa Bento XIV consagrou-o no século XVII à Paixão de Cristo e declarou-o lugar sagrado. Os trabalhos de consolidação e restauração parcial do monumento, já há muito em ruínas, foram feitos sobretudo pelos pontífices Gregório XVI e Pio IX, no século XIX.

{1/4" mark}

11.12.09

This is my EtsyMetal Jewelry Challenge-PR 6.12 piece this week.

 

We were supposed to pick something from The Getty museum for inspiration and then make an interpretation to a piece of jewelry.

 

My inspiration:

This is my interpretation of The Getty Museums piece called "Disk with a bird."

I just found something so simple and beautiful in this object. I definately like it more than my interpretation, but I sure did have fun being inspired by it! It is fabricated Copper and Sterling Silver, it is two 1/4" hollow forms, the wheel turns and the bird swings and its little wings move as well. I am sad that this is technically our last challenge but a bit relieved as well.

But now to get working on my Season Finale Part 1 & 2! It is so exciting, please stay tuned!

Please see our EtsyMetal Blog to see all the fabulous participants pieces, they really made some fantastic interpretive pieces this round!

 

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

"Disk with a Bird."

Bruce White Photography

Gift of Barbara and Lawrence Fleischman

Unknown

Greek, 750 - 700 B.C.

Bronze

2 11/16 x 1/2 x 1 1/2 in.

96.AC.70

Dopo anni di impiego nel Sud Italia al traino delle relazioni RTC prima e di quelle ISC poi, le quattro E483 dell'impresa altoatesina sono tornate alla "base", venendo quindi inserite nell'inedito turno regolare fra Verona ed il Brennero, affiancando in questo modo le EU43.

Nella foto, le unità 004 e 002, al traino della 189 907 "Minirex", transitano a Colle Isarco in doppia trazione. (17/3/12)

 

The four RTC E483s were previously employed for many years on the intermodal relations between Milan and the southern Italy, also in service with ISC. With the 2012 the Angel Train's loks returned in Verona to be employed, side by side with the EU43s, on the traction of the RTC trains over the Brenner southern ramp. (2012-03-17)

Used in my blog post for the day. dennissylvesterhurd.blogspot.com/2024/12/the-wrong-bus.html

One day I whistled

A childish happy song

And as I sat there whistling

A red dog came along

 

One day I whistled

A simple melody, a little sad

And when she heard my whistle

Appeared her tilted head

 

No matter when I whistle

Calling for a friendly light

I know I’ll hear her barking

And she’ll never leave my side

 

A friend wrote this. She's really a magician with words.

  

4 Luna's = awesome

Blogged - The Rack - HoD

 

Haus of Darcy: Kyo mesh piercing set…love it!

 

Special price - Saturday 14th Dec 12am, 24 hours only!

  

Replacing an earlier digital photo with a better version 19-Mar-22 (DeNoise AI).

 

'Water Dreaming', Australia World Tail livery. Operated for British Airways by British Regional Airlines.

 

First flown with the Embraer test registration PT-SBQ, this aircraft was delivered to a lessor and leased to BRA British Regional Airlines as G-EMBG in Nov-98 and operated on behalf of British Airways.

 

British Regional was merged into British Airways Citiexpress in Mar-02. Citiexpress was renamed BA Connect in Feb-06. The aircraft was transferred to FlyBe Airlines in Mar-07 when British Airways 'gave away' their loss-making UK regional services.

 

It was returned to the lessor in Jul-07 and leased to Dniproavia (Ukraine) as UR-DNB at the end of Aug-07. In Mar-12 the Ukranian Government 'consolidated' Dniproavia into Aerosvit and operations continued using Aerosvit flight numbers.

 

Both companies ceased operations in early Jan-13 but some services were resumed the following month. Dniproavia was declared bankrupt in Dec-17 and the aircraft was transferred to Windrose Airlines, It was permanently retired in Apr-18.

Credit

debbiejasper16.blogspot.sg/2015/12/the-greatest-glow-of-h...

Although the waterfall was the end goal of today's walk, I felt that there were more interesting things to see on the way to it.

 

Minoh, Japan

Passengers settling down for their journey onboard a Wibault 283 T 12. The 10 to 12-passenger, 143-mph aircraft entered into service with AIR FRANCE in 1934.

so this is called eliza's trip to the moon!!!!! ps it's like two pages! so here are the words if you can't read it XD 1. Good bye earth! 2. puke sound 3.Almost there!!! 4. OMG my first step on the moon! 5.WAIT!!! what is that brown stuff? 6. I THINK IT'S POOP!!!!!! 7. BLUCK! 8.I think I can make it to Saturn where there will be NO poop! 9.I'M BURNING HALP!!!! hey look i'm on the sun! 10 AHHHHHH!!!!!! ahhhhhh...... 11. HUFE! just a dream! 12. the end! ps sorry for the terrible drawings pss this is not serious it's just jokey!

The only image in my personal blog post today. dennissylvesterhurd.blogspot.com/2024/12/the-rain-was-int...

A song sparrow feeds its offspring.

Simpson County, KY, USA.

 

Happy Summer! According to ancient tradition, today, May Day (not the solstice) is the first day of summer.

The solstice is midsummer (as in Shakespeare's Midsummer Night's Dream, which is set on the summer solstice); it's not the first day of summer.

So get outside, today, and celebrate...take a walk in the woods, or just a walk in the park, or do some birdwatching, or go skinny-dipping in a nearby lake, just celebrate... the Traditional First Day of Summer! May 1st, May Day!

edleathers4.blogspot.com/2014/12/the-wheel-of-year.html

  

a May Day hokku

 

Summer arrives;

The chick quietly waits --

Its mouth, open.

 

What are hokku? masashimono.wordpress.com/

 

.

Paste Magazine just named this shot their #1 concert photo of 2012 ...

 

www.pastemagazine.com/blogs/lists/2012/12/the-15-best-liv...

 

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Nikon D90, Tamron 200-400 mm f5.6 LD

This time in digital...

More in: verin-natural.blogspot.com.es/2017/12/the-birds-are-flyin...

Still sitting pretty at 2 minutes past 12, the Royal Liver Building on Liverpool`s waterfront and the new Mann Island buildings in the foreground.

only at little dear. :)

Big Happy Blog post today!

Hektad is a New York City graffiti pioneer. In 1982, at the age of 12, the Bronx native set out to compete with veteran bombers such as Mitch 77 and Chris 217. After an intense 12 year campaign on New York’s streets and transit system, Hektad took a well deserved break to focus on his family. In 2013, he returned with a vengeance. After jumping into what many consider a cluttered and undefined street art scene, Hektad clearly took the lead with his whimsical “Love Drunk” hearts and humorous anecdotes. Currently, Hek is experimenting with many new mediums tinged with traditional graffiti. With this current collection of pieces, it is evident that Hektad is well on his way to securing a permanent spot in the annals of New York street art history. Follow him on IG: hektad._official

 

“The Eye Moment photos by Nolan H. Rhodes”

“Theeyeofthemoment21@gmail.com”

“www.flickr.com/photos/the_eye_of_the_moment”

“Any users, found to replicate, reproduce, circulate, distribute, download, manipulate or otherwise use my images without my written consent will be in breach of copyright laws.”

 

laroseromance.wordpress.com/2014/07/12/the-seasons-story-...

2021.01.12 - The entrance to Langelier's platform under Sherbrooke Street.