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Church of St. Mawnan and St. Stephen
, Mawnan is a Grade II* listed[1] parish church in the Church of England Diocese of Truro in Mawnan, Cornwall, England, UK.
The church dates from the 13th century with the tower dating from the 14th and 15th centuries. It was restored in 1827 when the north wall was rebuilt. The chancel roof was restored by the vicar in 1861 and a further restoration took place in 1879 to 1880 under the direction of the architect James Piers St Aubyn.[2] It was by then in a ruinous state and no longer possible to worship within.[3] In the 1880 restoration considerable portions of the north and south walls were rebuilt, and several new windows were inserted. The chancel and east window of the north aisle were filled with stained glass, and in the north-east corner a new window of coloured glass was inserted in memory of M. Nowell Peters who died in 1880. The contractor for the restoration was Messrs May of Pool, and it cost £1,500. The church reopened on 30 June 1880. ( Source Wikipedia )
The patron saint is Mawan, Mawnan or Mawganus, who appears to have settled in the neighbourhood in the 6th century.
I haven't done any serious street photography using my smartphone for a long time. The weather today was nice, but I conveniently left my DSLR at home, so I had no choice but to use my smartphone. I prefer the DSLR, if only because it's so much faster and easier (for me at least) to use, but the smartphone camera has some advantages: 1) it's there and you have it; 2) it's silent; and 3) it's compact and easier to conceal. I don't like how the background is horribly overexposed... oh well.
Even today, almost 2000 years after its construction, the breathtaking pantheon is a remarkable building to see. The spectacular design, proportions, elegance and harmony are a striking reminder of the architecture of the great Roman Empire. When Michelangelo saw this wonder for the first time he said that it looks more like the work of angels, not humans.
1 The word Pantheon is a Greek adjective meaning “honor all Gods”. In fact the pantheon was first built as a temple to all gods.
2 It is the best preserved Ancient Roman monument. It is a bit of a mystery how the Pantheon managed to survive barbarian raids when all the rest of Roman monuments had been shattered. Its turning into a church in 609 AD has a lot to do with it in later time, but also the structure itself is way ahead of its time. In fact, the exact composition of the material is still unknown and appears to be structurally similar to modern day concrete! Whatever the reasons are, the Pantheon is the only structure of its age and size that has successfully survived the damage of time and gravity, still intact with all its splendor and beauty.
3 The exact age of the pantheon remains unknown. The Roman legend tells that the original Pantheon was built on the very site and was dedicated to Romulus, their mythological founder, after he ascended to heaven from that site. Most historians claim that Emperor Augustus right hand, Agrippa, built the first Pantheon in 27 BC. It burned in the great fire of 80 AD, was rebuilt by Emperor Domitian, but was struck by lightning and burned again in 110 AD. The Pantheon as we know it today was built in 120 AD by Emperor Hadrian Who was passionate with architecture and designed it together with Apollodorus of Damascus, a famous Greek architect of the time who unfortunately was executed by order of the Emperor, because of an argument about the design of the temple…
sundial-rome-on-segwayA lighting effect can be viewed on April 21when the midday sun strikes a metal grille above the doorway, saturating the courtyard outside with light
interior-pantheon-rome-on-segway
old-pantheon-rome-on-segway
pantheon-night-rome-on-segway
perfect-proportions-rome-on-segway
sundial-rome-on-segway
4 The most fascinating part of the Pantheon is its giant dome, with its famous hole in the top (The eye of the Pantheon, or oculus). The dome was the largest in the world for 1300 years and until today it remains the largest unsupported dome in the world! The diameter of the dome is 43.30 meters or 142ft (for comparison, the United States Capitol dome is 96 feet in diameter) and is in perfect proportion with the Pantheon by the fact that the distance from the floor to the top of the dome is exactly equal to its diameter.
The great architectural achievement was due to the massive weight of the large dome. Roman engineers lightened the dome as much as possible; not only its thickness progressively decreases, but the materials used in the upper part of the dome were lighter with internal spaces within the dome walls. The decrease in thickness has the effect that while the interior of the ceiling is spherical, its exterior is slightly “flattened”. It is larger than the dome of St. Peter’s basilica but since it seems flattened from the outside it is hard to get a full sense of its dimension. The hole (oculus), 7.8 meters in diameter, is the only source of light and is the connection between the temple and the gods above. Rain occasionally fall through it, but the floor is slanted and drains the water if it manages to hit the floor. In practice, rain seldom falls inside the dome.
5 The interior has the shape of a cylinder covered by a half of a sphere; the height of the cylinder is equal to the radius of the sphere, and is 43.3 meters (142ft) . There are no windows inside but the large oculus! The Pantheon now contains the tombs of the famous artist Raphael and of several Italian Kings and poets. The marble floor, which features a design consisting of a series of geometric patterns, is still the ancient Roman original. The history of Pantheon was forever changed during the reign of Pope Urban VIII, who melted down every scrap of bronze located upon the ceiling, outraging a great deal of Roman citizens.
6 The 16 massive Corinthian columns supporting the portico weigh 60 tons each. They are 39 feet (11.8 m) tall, five feet (1.5 m) in diameter and brought all the way from Egypt. These columns were dragged more than 100 km from the quarry to the Nile river on wooden sledges. They were floated by barge down the Nile River when the water level was high during the spring floods, and then transferred to vessels to cross the Mediterranean Sea to the Roman port of Ostia. There, they were transferred back onto barges and pulled up the Tiber River to Rome. The Columns support a triangle pediment with an inscription attributing the Pantheon to Marcus Agrippa (“M•AGRIPPA•L•F•COS•TERTIUM•FECIT” meaning “It was built by Marcos Agrippa in his third consulate”). It is the only remain from the original temple built by Agrippa and it is believed that Hadrian left it as a gesture to his predecessor when he rebuilt the pantheon.
7 A lighting effect can be viewed on April 21 when the midday sun strikes a metal grille above the doorway, saturating the courtyard outside with light. The Romans celebrated April 21 as the founding date of the city, and the impressive sight of their Emperor standing at the entrance of the Pantheon surrounded by light coming from inside the pantheon might have been seen as something that, in effect, raised their emperor to the level of the gods and invited him in to join them.
8 In the year 609 The Pantheon was the first pagan temple to be transformed into a church and therefore it was saved from being destroyed during the middle Ages. Today it is a church dedicated to St. Mary of the Martyrs. None the less it is called the Pantheon by virtually everybody and it seems to exist independent of religious rule but more of a tribute to the past.
9 In front of the Pantheon is the beautiful “Fountain of the Pantheon”. It was designed by famous architecture Giacomo Della Porta in 1575 and sculpted out of marble by Leonardo Sormani. In 1711, Pope Clement XI requested that the fountain be modified and had Filippo Barignoni design a new layout, which included a different basin, made of stone, and the obelisk of Ramses II set in the centre on a plinth with four dolphins decorating the base.
3d printed baby Groot from Guardians of the Galaxy 2. It was 3d sculpted by Byambaa but painted by me.
Even today, almost 2000 years after its construction, the breathtaking pantheon is a remarkable building to see. The spectacular design, proportions, elegance and harmony are a striking reminder of the architecture of the great Roman Empire. When Michelangelo saw this wonder for the first time he said that it looks more like the work of angels, not humans.
1 The word Pantheon is a Greek adjective meaning “honor all Gods”. In fact the pantheon was first built as a temple to all gods.
2 It is the best preserved Ancient Roman monument. It is a bit of a mystery how the Pantheon managed to survive barbarian raids when all the rest of Roman monuments had been shattered. Its turning into a church in 609 AD has a lot to do with it in later time, but also the structure itself is way ahead of its time. In fact, the exact composition of the material is still unknown and appears to be structurally similar to modern day concrete! Whatever the reasons are, the Pantheon is the only structure of its age and size that has successfully survived the damage of time and gravity, still intact with all its splendor and beauty.
3 The exact age of the pantheon remains unknown. The Roman legend tells that the original Pantheon was built on the very site and was dedicated to Romulus, their mythological founder, after he ascended to heaven from that site. Most historians claim that Emperor Augustus right hand, Agrippa, built the first Pantheon in 27 BC. It burned in the great fire of 80 AD, was rebuilt by Emperor Domitian, but was struck by lightning and burned again in 110 AD. The Pantheon as we know it today was built in 120 AD by Emperor Hadrian Who was passionate with architecture and designed it together with Apollodorus of Damascus, a famous Greek architect of the time who unfortunately was executed by order of the Emperor, because of an argument about the design of the temple…
sundial-rome-on-segwayA lighting effect can be viewed on April 21when the midday sun strikes a metal grille above the doorway, saturating the courtyard outside with light
interior-pantheon-rome-on-segway
old-pantheon-rome-on-segway
pantheon-night-rome-on-segway
perfect-proportions-rome-on-segway
sundial-rome-on-segway
4 The most fascinating part of the Pantheon is its giant dome, with its famous hole in the top (The eye of the Pantheon, or oculus). The dome was the largest in the world for 1300 years and until today it remains the largest unsupported dome in the world! The diameter of the dome is 43.30 meters or 142ft (for comparison, the United States Capitol dome is 96 feet in diameter) and is in perfect proportion with the Pantheon by the fact that the distance from the floor to the top of the dome is exactly equal to its diameter.
The great architectural achievement was due to the massive weight of the large dome. Roman engineers lightened the dome as much as possible; not only its thickness progressively decreases, but the materials used in the upper part of the dome were lighter with internal spaces within the dome walls. The decrease in thickness has the effect that while the interior of the ceiling is spherical, its exterior is slightly “flattened”. It is larger than the dome of St. Peter’s basilica but since it seems flattened from the outside it is hard to get a full sense of its dimension. The hole (oculus), 7.8 meters in diameter, is the only source of light and is the connection between the temple and the gods above. Rain occasionally fall through it, but the floor is slanted and drains the water if it manages to hit the floor. In practice, rain seldom falls inside the dome.
5 The interior has the shape of a cylinder covered by a half of a sphere; the height of the cylinder is equal to the radius of the sphere, and is 43.3 meters (142ft) . There are no windows inside but the large oculus! The Pantheon now contains the tombs of the famous artist Raphael and of several Italian Kings and poets. The marble floor, which features a design consisting of a series of geometric patterns, is still the ancient Roman original. The history of Pantheon was forever changed during the reign of Pope Urban VIII, who melted down every scrap of bronze located upon the ceiling, outraging a great deal of Roman citizens.
6 The 16 massive Corinthian columns supporting the portico weigh 60 tons each. They are 39 feet (11.8 m) tall, five feet (1.5 m) in diameter and brought all the way from Egypt. These columns were dragged more than 100 km from the quarry to the Nile river on wooden sledges. They were floated by barge down the Nile River when the water level was high during the spring floods, and then transferred to vessels to cross the Mediterranean Sea to the Roman port of Ostia. There, they were transferred back onto barges and pulled up the Tiber River to Rome. The Columns support a triangle pediment with an inscription attributing the Pantheon to Marcus Agrippa (“M•AGRIPPA•L•F•COS•TERTIUM•FECIT” meaning “It was built by Marcos Agrippa in his third consulate”). It is the only remain from the original temple built by Agrippa and it is believed that Hadrian left it as a gesture to his predecessor when he rebuilt the pantheon.
7 A lighting effect can be viewed on April 21 when the midday sun strikes a metal grille above the doorway, saturating the courtyard outside with light. The Romans celebrated April 21 as the founding date of the city, and the impressive sight of their Emperor standing at the entrance of the Pantheon surrounded by light coming from inside the pantheon might have been seen as something that, in effect, raised their emperor to the level of the gods and invited him in to join them.
8 In the year 609 The Pantheon was the first pagan temple to be transformed into a church and therefore it was saved from being destroyed during the middle Ages. Today it is a church dedicated to St. Mary of the Martyrs. None the less it is called the Pantheon by virtually everybody and it seems to exist independent of religious rule but more of a tribute to the past.
9 In front of the Pantheon is the beautiful “Fountain of the Pantheon”. It was designed by famous architecture Giacomo Della Porta in 1575 and sculpted out of marble by Leonardo Sormani. In 1711, Pope Clement XI requested that the fountain be modified and had Filippo Barignoni design a new layout, which included a different basin, made of stone, and the obelisk of Ramses II set in the centre on a plinth with four dolphins decorating the base.
I wanted to emulate my previous shot's setup outdoors; so that's just what I did. The only difference in this shot's setup and the indoor portrait is the addition of a reflector that served two purposes:
1) It blocked the sun from hitting my face.
2) It provided a little bit a fill light.
strobist: 1 White Lightning x1600, above camera, diffused by a 22" PCB HOBD with diffusion cover in place. 2 White Lightning Ultrazap 1600s, camera left and right, behind subject, diffused by stripboxes. Strobes triggered via Cybersyncs and Cyber Commander; powered via Vagabond IIs. Setup shot here.
Title: It! The Terror From Beyond Space
Year Of Release: 1958
Running Time: 69 minutes
DVD Released By: MGM Home Entertainment
Directed By: Edward L. Cahn
Writing Credits: Jerome Bixby
Starring: Marshall Thompson, Shawn Smith, Kim Spalding, Ann Doran, Dabbs Greer, Paul Langton, Robert Bice
Taglines:
1. It breathes, it hunts…It Kills!
2. IT!...Reaches through space!...Scoops up men and women!...Gorges on blood!
3. The revelation shocker of things to come!
Alternate Titles:
It! The Vampire from Beyond Space (1958)
The Terror from Beyond Space (1958).
Review Date: 12.12.04 (updated 1.1.10)
The film opens with a thundering musical theme and a title that threatens to bust out of the screen and into our third spatial dimension. After the credits end, we get a view of the Martian surface. In the distance we see the wreckage of a crashed rocket ship. A voice belonging to Colonel Edward Carruthers begins to narrate, relating how the ship he commanded cracked up on landing six months previously and how he is now the only survivor from that doomed expedition, the crew encountering some strange force on the Red planet they came to know only as death. The camera slowly pans over the landscape and a second rocket ship is revealed, albeit intact and standing erect. Carruthers says that he will now be going back to face his superiors on Earth and possibly another kind of death.
Now we see the capitol building in Washington D.C., which quickly fades to a door marked, “Science advisory committee. Division of interplanetary exploration.” No doubt down the hall are the offices for the division on Radiation-Enlarged Insects and Lizards. Inside this room a government official is conducting a press conference and releasing information on the second rocket ship sent to Mars. He talks about how Colonel Carruthers has been found alive, but is the only survivor from the initial expedition. The Colonel will be returned to Earth to face trial for the murders of the rest of the first ship’s crew.
Back on Mars, we see the Challenge-142 preparing to lift off. Before they can depart, Van Heusen notices an open compartment. It seems Lt. Calder was dumping some crates (littering) and forgot to close it. The open hatch is closed remotely, but as it slides shut, an ominous shadow moving about nearby alerts us to the fact that something has managed to get aboard while it was open. We hear a few growls and even get a close up of IT’s feet as it moves about. I gotta say, this guy needs some serious corrective footwear. Talk about a slewfoot! What is even more hilarious is that the shadow we see on the wall seems to be made by the actor in the monster suit, but not the monster mask. His facial features seem pretty clear in silhouette.
After a name check, Van Heusen begins the launch countdown at ten, while strapped into what appears to be a lawn chair! Where was the budget blown for this ship? No trash recycling systems and cheap chairs! The contractor must have spent it somewhere, but it obviously wasn’t on this ship!
Once in space and safely on the way home, Van Heusen (who will henceforth be referred to simply as Van – some of the characters did it, why not me) begins acting like an asshole, ridiculing Carruther’s story of a monster. He tells Carruthers (seemingly with great delight) that they have enough evidence to put him in front of a firing squad. They head up one level and Van shows him a human skull they found on the surface of Mars. Dental records revealed it to be a Frank Kenner, one of Carruther’s crew. The skull has an obvious bullet hole in it and Van says, “There’s only one kind of a monster that uses bullets.” There is an ominous musical cue. Carruthers walks away and the film fades out.
Sometime later the crew is cleaning up after a meal. Correction: the women are cleaning up after a meal. Yes, in this futuristic year of 1973, women – despite being doctors and presumably vital members of the crew – are still assigned the laborious task of cleaning up after meals and making sure all the lazy, fat-ass males have fresh, hot coffee in their cups and are supplied with cigarettes. I wonder if these guys made them cook the meal as well.
So this group has finished a meal and are relaxing. The usual light banter is exchanged before the topic of Colonel Carruthers and his monster comes up. Royce (the other Royce will always be referred to as Doctor Royce for purposes of this review) says that he doesn’t disbelieve or believe the story. Along about that time Carruthers arrives and is greeted with a smart-ass comment from Van. He gets some coffee from Ann and retreats back up one level. Van then states that before they reach Earth, he will have Carruthers’ confession on tape. What is he going to do, beat it out of him?
Some more time passes and Ann brings Carruthers a plate of food. She admits that she has only heard the story of what happened to the crew of the Challenge-141 from Van and would like to hear it straight from Carruthers. He relates to her how they landed, went out exploring and then got caught in a sandstorm. Something in the storm began taking the crew and in the confusion shots were fired, one apparently killing Kenner by mistake. Carruthers was the only one who made it back to the ship. Subsequent searches turned up no signs of his crew or the thing that took them.
Van continues to act like a dick. Ann - with whom he seems to have some sort of relationship beyond work - tells him that he owes it to Carruthers to treat him like a fellow officer and not an animal, and that it is not his place to decide whether he is guilty.
More time passes. Royce and Carruthers are playing chess while Van looks on, smoking a cigarette. Calder is nearby scribbling in a notebook – probably “I won’t leave outer hatches open before lift-off” a hundred times, enforced by Van for his lamebrain mistake. Elsewhere, Keinholz is sitting alone at a desk, looking bored. He hears their stowaway bumbling around the cargo hold. He goes to investigate and is killed, the attack shown as shadows on a wall. The monster lifts Keinholz over his head and brings him smashing to the floor, where he proceeds to pelt the unfortunate crewmen with a barrage of blows…or in this case, cartwheeling its arms and bitch-slapping the guy to death.
Above, Carruthers has heard the commotion and wonders what is going on. No one else seems to have heard anything. He still insists on performing a head count and when Keinholz comes up missing, everyone begins searching the ship for him. While everyone is split up, Gino Finelli is captured by the beast when he stops to pilfer some cigarettes from a storage locker.
Everyone convenes again and Van is in disbelief as there just isn’t a place on the ship a man could hide. Carruthers asks where Gino is and Bob says that he was right behind him. He looks back down the ladder to the deck below and calls out to Gino, but all is silent below. He, Van and Carruthers all go back down where they find Gino’s unused cigarette on the floor, but no Gino. Now everyone is calling out for Gino in addition to Keinholz. Soon after, Keinholz’s body is located in an air duct.
Everyone comes running and arrives as Keinholz is removed from the duct. Bob wonders if Gino is inside the duct, but Carruthers looks and sees nothing. Major Purdue volunteers to go in to look for Gino as he claims to know the layout. He crawls on in, but doesn’t see anything at first. Then he re-orients himself and sees Gino at the end of the passage. Gino is looking pretty bad, like he was in a fight with an Avon lady who applied her make-up samples to him. Purdue yells out that he found Gino and begins to crawl toward him. He shakes Gino, trying to rouse him but Gino just shakes his head limply. Then there is a shadowy movement nearby and IT arrives on the scene, no doubt pissed to find someone playing with his food. IT growls and claws at Purdue, who screams before pulling out a revolver and squeezing off a few shots. This makes the monster roar and outside in the storage room, Carruther’s face is one of dread – he knows that roar all too well, it seems.
Purdue comes barreling out of the duct and Carruthers sneaks a glance inside before he and Van replace the cover over the entrance. Bob, naturally has a fit, upset that his brother is being left behind. He is removed by Royce and Carruthers yells to the cowering women to run and get a head start. A head start for where? You’re on a spaceship, not the open plains of Iowa. Carruthers then spots a crate of grenades and suggests that they wire them up to the hatches, thus blowing IT up if it decides to leave the duct. So Van, Carruthers and Calder wire up these grenades, then gather up Keinholz’s body (which seemed to magically aid them in picking itself off the floor) and retreat to one of the upper levels.
Next we see a table loaded with guns, rifles and ammunition. It looks like a NRA convention! It is at this point that I must point out the sheer stupidity of these people. They are on a spaceship, which is traveling through the vacuum of space. Rupturing the hull of the ship in any way would be extraordinarily bad. I’d imagine that great pains would be taken to minimize the chances that such an event ever took place. Yet these fools insist on firing projectile weapons within the confines of the ship. Not only that, but they have grenades ready to detonate below. Now, what kind of tests did these people have to pass in order to be selected for this mission? Cuz smarts don’t seem to be a requisite. Not once does any one of them stop to consider the chances that such an explosion might actually harm the bloody ship! No, they just fire away. Either these people are colossal idiots, or they are confident in the construction and engineering of the ship – but given the lawn chairs adorning the place, I would not exactly be willing to bet my life on the latter possibility.
So the men are taking stock of the weapons while the ladies apply the most idiotic looking bandage to Purdue’s head. Royce tries to console Bob by telling him there was nothing they could have done for Gino, but Bob is pissed that they didn’t even try to rescue his brother.
Meanwhile, Van is asking Carruthers if he knows what IT is. This must have just galled the guy to no end. Here he was all ready to break Carruthers and get a confession, and now he must admit that the other man was right all along. Time passes and the gang is pacing up and down, waiting for IT to leave the ducts and trip the grenade trap. They all gather around the intercom and listen as IT busts through the grate covering the duct and sets off the grenades. All those grenades detonate and we are treated to an explosion that looks like it was made by a box of firecrackers.
They still hear the monster growling, so they know that the plan has failed. Without a word, they hoist their firearms, open the central stair hatch and head down to investigate further…well, all the guys do. The women stay up above, no doubt prepping coffee. The guys gather around the door to C and open it up. A lot of smoke passes through the doorway, obscuring their vision. Calder, who is carrying the biggest gun, goes in first. Well, actually Van was in the lead, but when he couldn’t get the lights activated, he motions for Calder to go first. Chickenshit bastard. Calder barely gets through the door when IT lunges out of the smoke, grabs his rifle and bends it, Superman-style, over its head. Calder, Royce and Bob then run like hell up the stairs while Van and Carruthers fire their pistols at the beast. They retreat up the stairs, firing all the way, while IT tears the door to C compartment open wide enough to get through. Once safely up the stairs, the crew closes the central stair hatch.
Next gas grenades are used in an attempt to kill the beast. This fails to work as well and Van comes out of the engagement with an injured foot, scraped up something bad when the monster grabbed him.
Dr. Royce has completed the autopsy on Keinholz, discovering that “there is not a molecule of oxygen or a drop of water” left in his body. Blood, bone marrow, glandular secretions – everything, is gone. She theorizes that since there are no puncture marks on the body, that this was accomplished through some type of osmosis process. Keep in mind that the Human body is sixty to seventy percent water. Now, we got a pretty good view of the dead Keinholz earlier. Sure, his body was shriveled, but if all the moisture in his body had been removed, then would not he have looked more like a dried up prune, and been the size of a cabbage patch doll? Van Heusen hasn’t joined the cadaver club yet, though his wound is infected and nothing Dr. Royce can do helps it any.
They open the central hatch and peer down. IT is two levels down, but they can see it breaking through the center hatch onto the level directly below them, which will grant it access to the next level. They realize that if IT can get through the center hatches, they are royally SCREWED. Ann approaches Carruthers and tells him that he was right and they were all wrong. They hold hands and share a Kodak moment.
Royce pipes in about now with an idea he and Bob have worked out. He proposes that two men exit through the control room airlock and then space walk down the side of the ship and re-enter through the airlock on the motor level – below the current location of the creature. This would enable them to surprise the monster, but they aren’t sure what to surprise it with. Carruthers says he’s been thinking and has an idea, so he and Calder suit up and make their way down the hull to the bottom of the ship. They reach the airlock on the motor level and the others above begin talking loud at the proper time, distracting the monster from what is occurring below it. Carruthers and Calder sneak out onto the motor level and set an electrical trap on the stairs that lead to the upper level where IT is located.
The two then take cover behind some induction pumps and open the center hatch, which is noticed by the creature. It begins to descend the stairs and when it gets to the appropriate spot – ZAP. Nothing. The monster is not affected. Carruthers is able to make it safely to the airlock, but Calder takes a blow to the head that tears his vinyl “helmet” and stumbles back, his foot getting caught and the fall breaking his leg. He fires up an acetylene torch and uses it to fend off the monster every time it gets to close to his hiding spot.
Carruthers returns to the others where they try and think of a way to rescue Calder, who can be heard over the radio. Meanwhile the Doctor approaches Royce and tells him that the alien bacteria are attacking bone marrow, resulting in a leukemia-type condition. The drugs she has been using are working too slowly and she needs fresh blood to keep Van and Purdue alive – but there is no more on this level. They will need to descend to the cargo level and retrieve some more.
Royce is preparing to make a run for the blood and Bob decides that it his “turn” now to go. What is this, a ride? I suppose he feels the need to do something in helping kill the monster that murdered his brother. Carruthers decides to accompany them. Calder promises to keep them apprised of the creature’s movements via the intercom. A shadow on the wall tells us that IT is still dragging dead Gino around, and has wandered into the reactor room. After Calder reports this, it gives Carruthers an idea. He remotely closes the reactor room door and asks Calder what the monster does. When no odd behavior is reported, the three men make their descent in search of the blood supply.
Meanwhile Van has awoken again and is trying to get up from his cot. The women try to restrain him but he yells and pushes past them. He has an idea – by unsealing the reactor, the radiation will kill the monster. He flips some controls while the ladies still try and talk sense into him. In the reactor room, the creature is banging on the door to get out when the reactor is unsealed and it gets a face full of radiation. The women call down to warn the men what has happened, inciting Carruthers and Royce to speed things up. Below, Bob is helping Calder up the stairs when IT breaks out of the reactor room. Calder dives back into his hiding spot and Bob fires off his pistol at the beast. He then tries to run up the stairs, but IT is too fast. The monster reaches up and grabs him, pulling him down to the floor and bitch-slapping him to death. Royce and Carruthers haul ass back up the stairs with the blood, having to leave Bob behind. They get back to the laboratory level and then everyone heads on up to the topmost level – the control room.
Everyone is now huddled on the highest level. For some IDIOTIC reason, Carruthers is carrying a bazooka. A bazooka! They pile some heavy crates over the hatch in the floor, hoping to keep IT from busting up through the opening. Nearby Ann and Van are talking and the ever more disconcerted Colonel is remarking on Ann is now “with” Carruthers and how it happened out of the blue. She tries to dismiss it and wants to talk about it later, but he insists that there may be no later considering how their situation is degenerating rapidly. She walks off to help Carruthers and Van continues to mutter to Dr. Royce.
They contact Calder down below, who is still alive. He can see the monster still bumbling around on the motor level. About now IT has decided to find out where everyone else has gone. IT ascends the stairs to the first storage level and begins banging around. Calder warns Carruthers that IT is on its way up. The gang up top makes ready, turning the lights off and preparing for the last fight. Carruthers tells Calder to make his way to the airlock now that IT is no longer nearby and hide there. Then Carruthers picks up the bazooka again and aims it at the hatch.
While waiting, Carruthers happens to glance at a dial on a nearby instrument panel and notices that the oxygen consumption on the ship is far in excess of what it should be. He points this out to Royce and the two theorize that it is due to the monster. With the thin air on Mars it would need a gigantic lung capacity and has thus been hogging all the oxygen on the ship with its Darth Vader breathing style. Carruthers suggest letting all the air out of the ship to kill it. Royce agrees, saying they can build it back up for themselves later.
A mad rush is on now, everyone trying to get into his or her space suit. The monster tears his way up onto the laboratory level, doesn’t even hesitate and then heads up the latter to the top level. IT bangs on the hatch, causing all the boxes sitting atop it to topple over, and then IT peels back the metal of the hatch like wrapping paper and pokes up through the opening like a jack-in-the-box. Everyone has their spacesuits on now, but Carruthers cannot reach the controls to release the air because the monster is in the way. He calls to Royce, who is now holding the bazooka, to drive it back down so he can make his way to the proper control panel. Royce fires the bazooka, but the rocket just bounces off the monster before bouncing around the floor some. No detonation at all! It must have been a dud. Carruthers is trying to reach the controls, but the monster is preventing him from getting too close. Van then jumps up, runs to the controls and hits the correct button. The airlock doors open and the air begins rushing out. The monster has grabbed Van and no doubt given him the squish treatment, as when next we see Van, he is stretched out on the floor.
The ship begins diving. Well, not really…but given that the emergency klaxon blaring away to warn everyone of decompression and air loss sounds just like the diving bell in some old WWII movie, and one can see why it seems like the ship is diving. Everyone hangs on for dear life. Papers start flying around the room, but very few actually get blown out the airlock. The monster growls, writhes around and finally stops moving as the last of the air is removed. Carruthers checks on both IT and Van, but both are still and quiet. I have to wonder how Van didn’t get blown out. Everyone was hanging on, but Van was out cold (or dead). It seems the monster is finally dead. Everyone seems relieved, and the camera zooms in on Ann and Carruthers as they hold hands before fading out…
…Into ANOTHER freakin’ shot of the ship flying through space (number nine). This fades into the room in Washington D.C. that we saw at the very beginning of the film. The same government official is conducting another press release. He has more information to add to the story he gave to the reporters the previous evening. He reads a message from the Challenge-142 received less than an hour ago:
“This is Eric Royce talking. Of the nineteen men and women who have set foot upon the planet Mars, six will return.”
Six? Let’s see…Carruthers, Ann, Royce, Dr. Royce, Purdue and…Calder, I suppose. Calder was hiding in the airlock on the motor level while Van Heusen got beat up by the monster and was laying there pretty still at the end, so I guess he was the one who died. The message continues:
“There is no longer a question of murder, but of an alien and elemental lifeforce. A planet so cruel, so hostile, that man may have to find it necessary to bypass it in his endeavor to explore and understand the universe.”
Well, at least Carruthers has been cleared, but Royce makes out like the planet Mars is so damn dangerous. Excuse me, but were not you guys all safe until you got back on the ship? The planet seemed pretty harmless. It is the native life that proved to be so deadly. Big difference. The message (and the movie) concludes:
“Another name for Mars…is death.”
Fade out. The End.
Structurally, this movie is most similar to The Thing From Another World in that it deals with a small group of people trapped struggling to prevail against a deadly organism from another planet bound and determined to make a snack of them all. Aside from the opening and closing segments set on Earth (which most people conclude were added in order to stretch out the film’s running time) the movie never leaves the crew of the Challenge-142. Once things get rolling, the movie rarely lets up and moves along at a brisk pace, rapidly pushing its characters through one bad situation and into another. While not as intense as later films would be, the approach taken works very well and the viewer begins to detect the sense of danger and desperation that builds as the film progresses.
Sadly, the character development that was so well executed in the Howard Hawk’s The Thing From Another World, is sorely and quite obviously lacking here. We are quickly introduced to a number of people, who for the most part, will be expanded upon very little and examined only long enough to form the vaguest of impressions. With the exception of Carruthers and Van Heusen, who these people are and what motivates them was just not important to the producers. Those two are plainly set up to be at odds with each other, though the conflict is really all on the part of Van Heusen, who is resolute in his belief of Carruther’s guilt. Yet, the film sets up this adversarial dynamic and goes no where with it. Early on during the monster’s rampage, Van Heusen takes a hit and is restricted to bed for the rest of the film, offering up only smartass remarks and a failed attempt at killing the creature thereafter. I suppose one could say that Van Heusen was shown to be in error when it came to the veracity of Carruthers’ story, and that he was pushed aside to make room for latter to take the lead and redeem himself. There could not be two leaders, so one was removed.
While the characters might not be the most fleshed out in film history, they certainly make up for it with their actions. After viewing this movie, one has to wonder what kind of idiots these people truly were. How they ever graduated from some type of training program and granted a position on a ship to Mars is beyond me. In fact, the entire organization seems lacking. There is just so much that betrays them as morons. Like smoking. These people are nicotine fiends who are lighting up non-stop. Someone missing? Have a smoke. The monster kills someone? Have a smoke. Time running out and death looking certain? Have a freaking smoke! I must say that the Challenge-142 must have one HELL of an air recycling system. These folks have the oxygen scrubbers working overtime with all the smoke they exhale.
On top of that, these guys are gun toting, trigger-happy morons who make the Montana militia groups look like the boy scouts. They start squeezing off rounds at the drop of a hat, no worries about ricocheting bullets or friendly fire. I guess the ship, on top of having a first rate air recycling system, also has the sturdiest hull ever manufactured by mankind. It must have, as these guys don’t give a single thought to accidentally rupturing the hull. And they don’t stop with guns! They haul out grenades by the dozen and detonate them and then move on up to firing a bazooka in their ship’s control room!
As far as visual FX are concerned, this film doesn’t have too many. What we do see is adequately done by the standards of the day. The most ambitious shot is the view of Carruthers and Calder walking down the side of the ship as it traverses the stars. Back then it might have looked awesome, but now it is very easy to notice that the actors don’t seem to be covering any ground, despite taking numerous steps as well as the obvious signs of matting them into the footage of the rocket. I’d venture to say that the best looking thing we see, though it is just for a few seconds at the film’s beginning, is the painting that represents the surface of Mars. Sure, it looks nothing like what Mars really looks like, but it is still executed pretty darn well.
Now we come to the one aspect that is both one of the best as well as one of the worst things about the movie: The monster. The monster costume is a glaring source of both potential embarrassment and possible fun. The costume is a rather bulky, rubber affair that bends in all the wrong places, heightening the “cheese” factor and lending a certain air of ridiculousness to the film. The way it lumbers, stumbles and plods around the ship is laughable considering the dire circumstances and danger it supposedly represents. The face is static, except for the tongue that is often protruding from the sizable mouth. This effect was produced by the actor’s chin pushing the “tongue” through the creature’s maw.
Since the movie was filmed on a mere handful of sets, with a single set used to represent the various central chambers of the ship – just re-dressed for each one, director Cahn makes good use of the limited space he has. Thanks to the camera work and the set dressing, the ship comes across as being fairly good sized. Another thing he does rather well in conjunction with cinematographer Kenneth Peach is to hide the monster and utilize shadows to create an atmosphere of dread and creepiness. Whether this was done for artistic reasons or to help hide the often silly-looking monster suit is open for debate, but since the creature is shown quite well on several occasions, and the suit holds up pretty darn well to scrutiny, I personally believe it was the former. There are numerous occasions where all we see is the beast’s shadow on the wall, or a foot moving across the floor. More than one assault on a Human is shown as nothing more than shadows on a wall, which, while lessening the onscreen violence, only makes the attacks more horrifying. This method really helps in firing the imagination, as what the mind conjures up is almost always more frightening than what we ultimately see on screen.
Still, despite all the apparent flaws...indeed, perhaps because of those very flaws, this film has a sizable “fun” quotient. Taking it too seriously will only lessen the enjoyment derived from the proceedings. An enormous grain of salt, along with a large suspension of disbelief will come in handy here, and will help transform the film from an “old 50’s monster movie” into a “classic B-Movie experience.”
The purple of EMR's turbostars sure does look good in the summer sunshine! This is not one of the dreaded /5s but a far nicer /2!
It will be a shame when these are refurbished as the declassified 1st Class compartments on these units is rather comfy. With the rate the /5s are being done at though, I imagine it will stick around for a little while longer though...
The Harpy Eagle (Harpia harpyja), sometimes known as the American Harpy Eagle, is a Neotropical species of eagle. This species was first described by Linnaeus in his Systema naturae in 1758 as Vultur harpyja.[2] It is the only member of the genus Harpia.
It is the largest and most powerful raptor found in the Americas, usually inhabiting tropical lowland rainforests in the upper (emergent) canopy layer.This species is an actively hunting carnivore. Its main prey are tree-dwelling mammals such as monkeys, coatis, and sloths; it may also attack other bird species such as macaws. The talons are extremely powerful and assist with suppressing prey. The Harpy Eagle can exert a pressure of 42 kgf/cm² (4.1 MPa or 530lbf/in2) with its talons.[3] It can also lift more than three-quarters of its body weight.
A pair of Harpy Eagles lays two white eggs in a large stick nest high in a tree, and raise one chick every 2–3 years. After the first chick hatches, the second egg is ignored and fails to hatch. The chick fledges in 6 months, but the parents continue to feed it for another 6 to 10 months.
Its name references the harpies from Ancient Greek mythology. These were wind spirits that took the dead to Hades, and were said to have a body like an eagle and the face of a human.
Lindos (/ˈlɪndɒs/; Greek: Λίνδος) is an archaeological site, a town and a former municipality on the island of Rhodes, in the Dodecanese, Greece. Since the 2011 local government reform it is part of the municipality Rhodes, of which it is a municipal unit.[2] It lies on the east coast of the island. It is about 50 km south of the town of Rhodes and its fine beaches make it a popular tourist and holiday destination. Lindos is situated in a large bay and faces the fishing village and small resort of Haraki.
History[edit]
Lindos was founded by the Dorians led by the king Tlepolemus of Rhodes, who arrived in about the 10th century BC. It was one of six Dorian cities in the area known as the Dorian Hexapolis. The eastern location of Rhodes made it a natural meeting place between the Greeks and the Phoenicians, and by the 8th century Lindos was a major trading centre. In the 6th century it was ruled by Cleobulus, one of the Seven Sages of Greece. The importance of Lindos declined after the foundation of the city of Rhodes in the late 5th century.
In classical times the acropolis of Lindos was dominated by the massive temple of Athena Lindia, which attained its final form in around 300 BC. In Hellenistic and Roman times the temple precinct grew as more buildings were added. In early medieval times these buildings fell into disuse, and in the 14th century they were partly overlaid by a massive fortress built on the acropolis by the Knights of St John to defend the island against the Ottomans.
Acropolis[edit]
Above the modern town rises the acropolis of Lindos, a natural citadel which was fortified successively by the Greeks, the Romans, the Byzantines, the Knights of St John and the Ottomans. This makes the site difficult to excavate and interpret archaeologically. The acropolis offers spectacular views of the surrounding harbours and coastline.
On the acropolis of Lindos today parts of the following buildings may still be seen:
Rhodian trireme
The Doric Temple of Athena Lindia, dating from about 300 BC, built on the site of an earlier temple. Inside the temple is the table of offerings and the base of the cult statue of Athena.
The Propylaea of the Sanctuary, also dating from the 4th century BC. A monumental staircase leads to a D-shaped stoa and a wall with five door openings.
The Hellenistic stoa with lateral projecting wings, dating from about 200 BC. The stoa was 87 metres long and consisted of 42 columns.
The well-known relief of a Rhodian trireme (warship) cut into the rock at the foot of the steps leading to the acropolis. On the bow stood a statue of General Hagesander, the work of the sculptor Pythokritos. The relief dates from about 180 BC.
The Hellenistic staircase (2nd century BC) leading to the main archaeological area of the acropolis.
Remains of a Roman temple, possibly dedicated to the Emperor Diocletian and dating from about 300 AD.
The Acropolis is surrounded by a Hellenistic wall contemporary with the Propylaea and the stairway leading to the entrance to the site. A Roman inscription says that the wall and square towers were repaired at the expense of P Aelius Hagetor, the priest of Athena in the 2nd century AD.
The Castle of the Knights of St John, built some time before 1317 on the foundations of older Byzantine fortifications. The walls and towers follow the natural conformation of the cliff. A pentagonal tower on the south side commanded the harbour, the settlement and the road from the south of the island. There was a large round tower on the east facing the sea and two more, one round and the other on a corner, on the northeast side of the enceinte. Today one of the towers at the southwest corner and one to the west survive.
The Greek Orthodox Church of St John, dating from the 13th or 14th century and built on the ruins of a previous church, which may have been built as early as the 6th century.
Some scenes of the well-known film, The Guns of Navarone, were filmed here.
This image was scanned from a photograph in an album dating from World War 2. It was taken during the North African campaign.
The album was purchased from an op shop by one of our members and is held in the Sir Edgeworth David Memorial Museum. Unfortunately, we do not know who took the photos, or who owned the album, so if you have any information about this, please contact us.
The original photo was taken prior to 1955 and so is out of copyright. You are free to use it, but we would appreciate your acknowledging our efforts in the attribution.
If you have any information about this photograph, please contact us.
Pt. 2
It started snowing on the afternoon of the 8th and continued through the 9th of February, which brought the birds flocking to the feeders :)
Lindos (/ˈlɪndɒs/; Greek: Λίνδος) is an archaeological site, a town and a former municipality on the island of Rhodes, in the Dodecanese, Greece. Since the 2011 local government reform it is part of the municipality Rhodes, of which it is a municipal unit.[2] It lies on the east coast of the island. It is about 50 km south of the town of Rhodes and its fine beaches make it a popular tourist and holiday destination. Lindos is situated in a large bay and faces the fishing village and small resort of Haraki.
History[edit]
Lindos was founded by the Dorians led by the king Tlepolemus of Rhodes, who arrived in about the 10th century BC. It was one of six Dorian cities in the area known as the Dorian Hexapolis. The eastern location of Rhodes made it a natural meeting place between the Greeks and the Phoenicians, and by the 8th century Lindos was a major trading centre. In the 6th century it was ruled by Cleobulus, one of the Seven Sages of Greece. The importance of Lindos declined after the foundation of the city of Rhodes in the late 5th century.
In classical times the acropolis of Lindos was dominated by the massive temple of Athena Lindia, which attained its final form in around 300 BC. In Hellenistic and Roman times the temple precinct grew as more buildings were added. In early medieval times these buildings fell into disuse, and in the 14th century they were partly overlaid by a massive fortress built on the acropolis by the Knights of St John to defend the island against the Ottomans.
Acropolis[edit]
Above the modern town rises the acropolis of Lindos, a natural citadel which was fortified successively by the Greeks, the Romans, the Byzantines, the Knights of St John and the Ottomans. This makes the site difficult to excavate and interpret archaeologically. The acropolis offers spectacular views of the surrounding harbours and coastline.
On the acropolis of Lindos today parts of the following buildings may still be seen:
Rhodian trireme
The Doric Temple of Athena Lindia, dating from about 300 BC, built on the site of an earlier temple. Inside the temple is the table of offerings and the base of the cult statue of Athena.
The Propylaea of the Sanctuary, also dating from the 4th century BC. A monumental staircase leads to a D-shaped stoa and a wall with five door openings.
The Hellenistic stoa with lateral projecting wings, dating from about 200 BC. The stoa was 87 metres long and consisted of 42 columns.
The well-known relief of a Rhodian trireme (warship) cut into the rock at the foot of the steps leading to the acropolis. On the bow stood a statue of General Hagesander, the work of the sculptor Pythokritos. The relief dates from about 180 BC.
The Hellenistic staircase (2nd century BC) leading to the main archaeological area of the acropolis.
Remains of a Roman temple, possibly dedicated to the Emperor Diocletian and dating from about 300 AD.
The Acropolis is surrounded by a Hellenistic wall contemporary with the Propylaea and the stairway leading to the entrance to the site. A Roman inscription says that the wall and square towers were repaired at the expense of P Aelius Hagetor, the priest of Athena in the 2nd century AD.
The Castle of the Knights of St John, built some time before 1317 on the foundations of older Byzantine fortifications. The walls and towers follow the natural conformation of the cliff. A pentagonal tower on the south side commanded the harbour, the settlement and the road from the south of the island. There was a large round tower on the east facing the sea and two more, one round and the other on a corner, on the northeast side of the enceinte. Today one of the towers at the southwest corner and one to the west survive.
The Greek Orthodox Church of St John, dating from the 13th or 14th century and built on the ruins of a previous church, which may have been built as early as the 6th century.
Some scenes of the well-known film, The Guns of Navarone, were filmed here.
Don Mueang International Airport (Thai: ท่าอากาศยานดอนเมือง, IPA: [dɔ̄ːn.mɯ̄aŋ], or colloquially as Thai: สนามบินดอนเมือง, IPA: [sā.nǎːm.bīn.dɔ̄ːn.mɯ̄aŋ]) (IATA: DMK, ICAO: VTBD) (aka Bangkok International Airport) is one of two international airports serving Greater Bangkok, the other one being Suvarnabhumi Airport (BKK).
The airport is considered to be one of the world's oldest international airports and Asia's oldest operating airport.[2] It was officially opened as a Royal Thai Air Force base on 27 March 1914, although it had been in use earlier. Commercial flights began in 1924, making it one of the world's oldest commercial airports. The first commercial flight was an arrival by KLM Royal Dutch Airlines.[3] Don Mueang Airport was closed and replaced by the new Suvarnabhumi Airport in 2006, before reopening on 24 March 2007 after renovations. Since the opening of the new airport, it has become a regional commuter flight hub and the de facto low-cost airline hub. In 2015, it became the world's largest low cost carrier airport.[4]
Don Mueang was an important hub of Asia and the hub of Thai Airways International prior to its closure. At its peak, it served most[clarification needed] air traffic for the entire country, with 80 airlines operating 160,000 flights and handling over 38 million passengers and 700,000 tons of cargo in 2004. It was then the 14th busiest airport in the world and 2nd in Asia by passenger volume. Currently, Don Mueang is the main hub for Nok Air, Thai AirAsia, Thai Lion Air, and Orient Thai Airlines.
Don Mueang International Airport has two terminals. Terminal 1 is used for international flights and Terminal 2 for domestic flights. The opening of Terminal 2 has raised the airport's capacity to 30 million passengers per year.[21]
Total passenger traffic through Don Mueang jumped 40.7 percent to 30.3 million in 2015, with international numbers rising 53.1 percent to 9.17 million and domestic passengers increasing 35.9 percent to 21.1 million. Aircraft movements rose by 29.8 percent to 224,074, including 158,804 domestic (up 26.2 percent) and 65,270 international (up 39.3 percent).[28]
The Jubilee River is a hydraulic channel in southern England. It is 11.6 km (7.2 mi) long[1] and is on average 45 metres (148 feet) wide.[2] It was constructed in the late 1990s and early 2000s to take overflow from the River Thames and so alleviate flooding to areas in and around the towns of Maidenhead, Windsor, and Eton in the counties of Berkshire and Buckinghamshire. It achieves this by taking water from the left (eastern) bank of the Thames upstream of Boulter's Lock near Maidenhead and returning it downstream of Eton
Beng Mealea or Bung Mealea (Khmer: ប្រាសាទបឹងមាលា, its name means "lotus pond"[1]) is a temple in the Angkor Wat style located 40 km east of the main group of temples at Angkor, Cambodia, on the ancient royal highway to Preah Khan Kompong Svay.
The temple[edit]
Map of Beng Mealea, from a drawing by Leon de Beylie (1849-1910). In red the partially equipped path used to visit the temple.
It was built as a Hindu temple, but there are some carvings depicting buddhist motifs.[1] Its primary material is sandstone and it is largely unrestored, with trees and thick brush thriving amidst its towers and courtyards and many of its stones lying in great heaps. For years it was difficult to reach, but a road recently built to the temple complex of Koh Ker passes Beng Mealea and more visitors are coming to the site, as it is 77 km from Siem Reap by road.
The corridor in the temple.
The history of the temple is unknown and it can be dated only by its architectural style, identical to Angkor Wat, so scholars assumed it was built during the reign of king Suryavarman II in the early 12th century.[1] Smaller in size than Angkor Wat, the king's main monument, Beng Mealea nonetheless ranks among the Khmer empire's larger temples: the gallery which forms the outer enclosure of the temple is 181 m by 152 m.[2] It was the center of a town, surrounded by a moat 1025 m by 875 m large and 45 m wide.[1]
Beng Mealea is oriented toward the east, but has entranceways from the other three cardinal directions. The basic layout is three enclosing galleries around a central sanctuary, collapsed at present. The enclosures are tied with "cruciform cloisters", like Angkor Wat. Structures known as libraries lie to the right and left of the avenue that leads in from the east. There is extensive carving of scenes from Hindu mythology, including the Churning of the Sea of Milk and Vishnu being borne by the bird god Garuda. Causeways have long balustrades formed by bodies of the seven-headed Naga serpent.
It was built mostly of sandstone: Beng Mealea is only 7 km far from the angkorian sandstone quarries of Phnom Kulen, as the crow flies. Presumably sandstone blocks used for Angkor were transported along artificial water canals and passed from here.[1] Despite of lack of information, the quality of architecture and decorations has drawn the attention of French scholars just from its discovery.[3][4][5]
World Heritage Status[edit]
This site was added to the UNESCO World Heritage Tentative List on September 1, 1992 in the Cultural category [1].
The Gateway of India is a monument built during the 20th century in Mumbai City of Maharashtra state in Western India.[2] It is located on the waterfront in the Apollo Bunder area in South Mumbai and overlooks the Arabian Sea.[3][4] The structure is a basalt arch, 26 metres (85 feet) high. It lies at the end of Chhatrapati Shivaji Marg at the water's edge in Mumbai Harbour.[5] It was a crude jetty used by the fishing community which was later renovated and used as a landing place for British governors and other prominent people. In earlier times, it would have been the first structure that visitors arriving by boat in Mumbai would have seen.[6][7] The Gateway has also been referred to as the Taj Mahal of Mumbai,[8] and is the city's top tourist attraction.[9] The structure was erected to commemorate the landing of King George V and Queen Mary at Apollo Bunder, when they visited India in 1911. Built in Indo-Saracenic style, the foundation stone for the Gateway of India was laid on 31 March 1911. The final design of George Wittet was sanctioned in 1914 and the construction of the monument was completed in 1924. The Gateway was later the ceremonial entrance to India for Viceroys and the new Governors of Bombay.[10] It served to allow entry and access to India.[11]
One of the Adult Ospreys finally seems to relent and brings a fish to the nest. While they'd been all around that day, this was the first time one of the adults came to the nest, and it had been at least three hours. Unfortunately for Juvenile #2, it flew RIGHT OVER the nest with that fish, taunting the little one to fly after it, and landed in a nearby tree.
This image was scanned from a photograph in an album dating from World War 2. It was taken during the North African campaign.
The album was purchased from an op shop by one of our members and is held in the Sir Edgeworth David Memorial Museum. Unfortunately, we do not know who took the photos, or who owned the album, so if you have any information about this, please contact us.
The original photo was taken prior to 1955 and so is out of copyright. You are free to use it, but we would appreciate your acknowledging our efforts in the attribution.
If you have any information about this photograph, please contact us.
Fort Geldria or Fort Geldaria, located in Pulicat, Tamil Nadu, was the seat of the Dutch Republic's first settlement in India, and the capital of Dutch Coromandel.[1] It was built by the Dutch East India Company in 1613 and became the local governmental centre in 1616.[2] It was named for Geldria, the native province of Wemmer van Berchem, the General Director of the company.[3] Regularly protected by a garrison of 80 to 90 men,[4] Fort Geldria was the only fortification in the Indian empire;[5] all other positions of the Dutch Company were trading posts.
This image was scanned from a photograph in an album dating from World War 2. It was taken during the North African campaign.
The album was purchased from an op shop by one of our members and is held in the Sir Edgeworth David Memorial Museum. Unfortunately, we do not know who took the photos, or who owned the album, so if you have any information about this, please contact us.
The original photo was taken prior to 1955 and so is out of copyright. You are free to use it, but we would appreciate your acknowledging our efforts in the attribution.
If you have any information about this photograph, please contact us.
Day 1 of a trip from Adelaide to Kangaroo Island South Australia 10/04/2019
Kangaroo Island Sealink operates a daily ferry service from mainland South Australia to Penneshaw, a major town on Kangaroo Island. The ferry departs from the town of Cape Jervis, which is a 90-minute drive south of Adelaide (or take Sealink's shuttle bus service). Daily flights also transfer passengers from Adelaide to Kangaroo Island with the airline Regional Express. The island is surprisingly large, being 155 kilometres (96 miles) long and 55 kilometres (35 miles) at its widest; you'll need at least a weekend to explore it
Walk among rare sea lions
The Seal Bay Conservation Park on Kangaroo Island's south coast is the only place in the world where you can walk among endangered Australian sea lions. You can walk along a 900-metre (2950-foot) wooden boardwalk on a Boardwalk Tour and see the animals on the sand and in the surf, or you can take a guided 45-minute Seal Bay Experience tour onto the beach itself.
Where the wild things are...
Even though a third of Kangaroo Island is national park, you don’t have to be in one to see its famous wildlife. Across the island, kangaroos, Tammar wallabies, Rosenberg’s goannas, koalas, echidnas, Australian fur seals and long-nosed fur seals roam free. In addition, the island is home to over 250 species of birds, including Little Penguins and one of the world’s largest birds of prey, the magnificent Wedge Tailed Eagle.
Kangaroo Island is also the world’s only sanctuary for Ligurian bees. Introduced from Italy in the late 1800s, the bee has created a thriving honey industry.
Flinders Chase National Park dominates the western end of the island, and although 326 square kilometres in size, has just four permanent residents, all of whom are Park Rangers. It’s also home to some of the island’s most spectacular sights, like Remarkable Rocks, Admirals Arch and Cape du Couedic Lighthouse.
Koalas are arguably Australia’s cutest native marsupials. They spend most of the day resting and eating high up in eucalyptus trees. If you fancy giving a koala a cuddle just like Chris, then the best way to encounter them is with a visit to Kangaroo Island Wildlife Park near the centre of the island. Another great way to spot koalas is by taking a guided or self-guided stroll down the Hanson Bay Wildlife Sanctuary Koala walk located along the south-west coast.
The Australian sea lion (Neophoca cinerea), also known as the Australian sea-lion or Australian sealion, is a species of sea lion that is the only endemic pinniped in Australia.[2] It is currently monotypic in the genus Neophoca, with the extinct Pleistocene New Zealand sea lion Neophoca palatina the only known congener.[3] These sea lions are sparsely distributed through Houtman Arbrolhos Islands (28°S., 114°E.) in Western Australia and The Pages Islands (35°46’S., 138°18’E) in southern Australia. With a population estimated at around 14,730 animals, the Wildlife Conservation Act of Western Australia (1950) has listed them as “in need of special protection”. Their Conservation status is listed as endangered. These pinnipeds are specifically known for their abnormal breeding cycles, which are varied between a 5-month breeding cycle and a 17- to 18-month aseasonal breeding cycle, compared to other pinnipeds which fit into a 12-month reproductive cycle.[2] Females are either silver or fawn with a cream underbelly and males are dark chocolate brown with a yellow mane and are bigger than the females.
Bologna or Bulåggna; pronounced [buˈləɲɲa] in the Bolognese dialect of Emiliano-Romagnolo language) is the capital city of Emilia-Romagna, in the Po Valley of Northern Italy. The city lies between the Po River and the Apennine Mountains, more specifically, between the Reno River and the Savena River. It is the seventh largest city in terms of population and it is the heart of a metropolitan area (officially recognized by the Italian government as a metropolitan city) of about 1,000,000 inhabitants. The urban sprawl of Bologna – Modena, whose metropolises are adjoining, is continuously expanding. Home to the oldest university in the world, University of Bologna, founded in 1088, Bologna hosts numerous students who enrich the social and cultural life of the city. Famous for its towers and lengthy porticoes, it has a well-preserved historical downtown (one of the largest in Italy) thanks to a careful restoration and conservation policy which began at the end of the 1970s, on the heels of serious damage done by the urban demolition at the end of the 19th century as well as that caused by wars. The city, the first settlements of which date back to at least one millennium before Christ, has always been an important urban center, first under the Etruscans (Velzna/Felsina) and the Celts (Bona), then under the Romans (Bononia), then again in the Middle Ages, as a free municipality (for one century it was the fifth largest European city based on population). An important cultural and artistic center, it is rarely recognized as such, as it does not possess a world renowned "masterpiece" that would attract tourists en masse; that having been said, its artistic importance and its importance in terms of landmarks can be contributed to homogenous mixture of monuments and architectural examples (medieval towers, antique buildings, churches, the layout of its historical center) as well as works of art which are the result of a first class architectural and artistic history. Bologna is also an important crossroads of the roads and trains of Northern Italy, where many important mechanical, electronic and nutritional industries have their headquarters. According to the most recent data gathered by the European Regional Economic Growth Index (E-REGI) of 2009, Bologna is the first Italian city and the 47th European city in terms of its economic growth rate.[2] It is home to prestigious cultural, economic and political institutions as well as one of the most impressive trade fair districts in Europe. In 2000 it was declared European capital of culture[3] and in 2006, a UNESCO “city of music”. The city of Bologna was selected to participate in the Universal Exposition of Shanghai 2010 together with 45 other cities from around the world.[4] Bologna is also one of the richest cities in Italy, often ranking as one of the top cities in terms of quality of life in the country: it was ranked 5th in 2006, and 12th in 2007, out of 103 Italian cities.[5] Bologna is a lively and cosmopolitan Italian college city, and it has spectacular history, art, cuisine, music and culture.
Clandon Park House is an early 18th-century grade I listed Palladian mansion in West Clandon, near Guildford in Surrey.[2]
It stands in the south east corner of Clandon Park, a 220-hectare (540-acre) agricultural parkland estate which has been the seat of the Earls of Onslow for over two centuries. The house and gardens were gifted to the National Trust in 1956,[3] but the rest of the park remains in private ownership.[4] Some of the house's contents have also been acquired by the Trust in lieu of estate duty.[5]
Construction of the house, designed by Italian architect Giacomo Leoni, began about 1730, and the interiors were finished by continental sculptors and plasterers in the 1740s. It replaced an Elizabethan house. The park was landscaped by Lancelot 'Capability' Brown in 1781, and there are two formal gardens on either side of the house. Nearby is a Māori meeting house, one of only three outside New Zealand, that was brought to England in the late 19th century. After being transferred to the National Trust, the house underwent restoration before it was opened to the public, and later became a wedding venue and filming location for period dramas.
The house was badly damaged by fire in April 2015, probably caused by an electrical fault in the basement, leaving it "essentially a shell". Thousands of historic artefacts, paintings, and items of furniture were lost in what has been described as a national tragedy. In January 2016, the National Trust announced that some of the principal rooms on the ground floor would be fully restored to the original 18th-century designs, and upper floors will be used for exhibitions and events.
History[edit]
The estate and Elizabethan house, together with Temple Court Farm at Merrow, was purchased in 1641 from Sir Richard Weston of nearby Sutton Place,[6] by Sir Richard Onslow, MP for Surrey in the Long Parliament and great-grandfather of Thomas Onslow, 2nd Baron Onslow, who rebuilt it. Many members of the Onslow family followed political careers; three of them, including Arthur Onslow, were Speakers of the House of Commons. Their portraits would later hang in the Speaker's Parlour at Clandon House.[7]
Engraving of the house, showing the west front and deer park, c. 1824
The house was built, or perhaps thoroughly rebuilt, in about 1730–33 (the latter date is on rainwater heads) by Thomas Onslow, 2nd Baron Onslow to the design of the Venetian architect Giacomo Leoni. It is a rectangular building of red brick and stone dressings. Clandon House interiors, completed in the 1740s, featured a two-storey Marble Hall, containing marble chimney pieces by the Flemish sculptor Michael Rysbrack, and a rococo plasterwork ceiling by Italian-Swiss artists Giuseppe Artari and Bagutti.[8]
Clandon Park was landscaped by Lancelot 'Capability' Brown in 1776–81, replacing a French garden and transforming part of a disused canal into an ornamental lake.[9] A porte-cochère was added to the principal facade in 1876. A sunken Dutch garden was created by Frances, Countess of Onslow at the north front of the house in the late 19th century. In 1895, the house was investigated for paranormal activity by the Marquess of Bute and Ada Goodrich Freer on behalf of the Society for Psychical Research. During World War I, the Onslow family created and managed a hospital in Clandon House for the war injured.
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Where to get it:
Taken in Gabriel Park, Portland, Oregon.
Wikipedia:
C/2006 P1, also known as Comet McNaught, is a comet that was discovered on August 7, 2006 in Australia by Robert H. McNaught. It will make Perihelion on January 12, 2007, and has become visible to the naked eye. It is visible near Venus, Aquila, and Ophiuchus during sunrise or sunset in the northern hemisphere. At magnitude -2, it is currently the brightest comet visible since Comet West in 1975, making it the 4th brightest comet seen in 70 years. [1]. After passing the sun later this month, it will become visible in the southern hemisphere, possibly as a much brighter object than it already is now.
Nasa.
Patmos (Greek, Πάτμος; Italian: Patmo) is a small Greek island in the Aegean Sea. One of the northernmost islands of the Dodecanese complex,[2]) it has a population of 2,998 and an area of 34.05 km2 (13.15 sq mi). The highest point is Profitis Ilias, 269 metres (883 ft) above sea level. The Municipality of Patmos, which includes the offshore islands of Arkoi (pop. 44), Marathos (pop. 5), and several uninhabited islets, has a total population of 3,047 (2011 census) [3] and a combined land area of 45.039 square kilometres (17.390 sq mi). It is part of the Kalymnos regional unit.
Patmos' main communities are Chora (the capital city), and Skala, the only commercial port. Other settlements are Grikou and Kampos. The churches and communities on Patmos are of the Eastern Orthodox tradition. In 1999, the island's historic center Chora, along with the Monastery of Saint John the Theologian and the Cave of the Apocalypse, were declared World Heritage Sites by UNESCO.[4] The monastery was founded by Saint Christodulos.[5] Patmos is also home to the Patmian School, a notable Greek seminary.
Patmos is mentioned in the New Testament Book of Revelation. The book's introduction states that its author, John, was on Patmos when he was given (and recorded) a vision from Jesus. Early Christian tradition identified this writer John of Patmos as John the Apostle, though some modern scholars are uncertain. As such, Patmos is a destination for Christian pilgrimage. Visitors can see the cave where John is said to have received his Revelation (the Cave of the Apocalypse), and several monasteries on the island are dedicated to Saint John.
Clandon Park House is an early 18th-century grade I listed Palladian mansion in West Clandon, near Guildford in Surrey.[2]
It stands in the south east corner of Clandon Park, a 220-hectare (540-acre) agricultural parkland estate which has been the seat of the Earls of Onslow for over two centuries. The house and gardens were gifted to the National Trust in 1956,[3] but the rest of the park remains in private ownership.[4] Some of the house's contents have also been acquired by the Trust in lieu of estate duty.[5]
Construction of the house, designed by Italian architect Giacomo Leoni, began about 1730, and the interiors were finished by continental sculptors and plasterers in the 1740s. It replaced an Elizabethan house. The park was landscaped by Lancelot 'Capability' Brown in 1781, and there are two formal gardens on either side of the house. Nearby is a Māori meeting house, one of only three outside New Zealand, that was brought to England in the late 19th century. After being transferred to the National Trust, the house underwent restoration before it was opened to the public, and later became a wedding venue and filming location for period dramas.
The house was badly damaged by fire in April 2015, probably caused by an electrical fault in the basement, leaving it "essentially a shell". Thousands of historic artefacts, paintings, and items of furniture were lost in what has been described as a national tragedy. In January 2016, the National Trust announced that some of the principal rooms on the ground floor would be fully restored to the original 18th-century designs, and upper floors will be used for exhibitions and events.
History[edit]
The estate and Elizabethan house, together with Temple Court Farm at Merrow, was purchased in 1641 from Sir Richard Weston of nearby Sutton Place,[6] by Sir Richard Onslow, MP for Surrey in the Long Parliament and great-grandfather of Thomas Onslow, 2nd Baron Onslow, who rebuilt it. Many members of the Onslow family followed political careers; three of them, including Arthur Onslow, were Speakers of the House of Commons. Their portraits would later hang in the Speaker's Parlour at Clandon House.[7]
Engraving of the house, showing the west front and deer park, c. 1824
The house was built, or perhaps thoroughly rebuilt, in about 1730–33 (the latter date is on rainwater heads) by Thomas Onslow, 2nd Baron Onslow to the design of the Venetian architect Giacomo Leoni. It is a rectangular building of red brick and stone dressings. Clandon House interiors, completed in the 1740s, featured a two-storey Marble Hall, containing marble chimney pieces by the Flemish sculptor Michael Rysbrack, and a rococo plasterwork ceiling by Italian-Swiss artists Giuseppe Artari and Bagutti.[8]
Clandon Park was landscaped by Lancelot 'Capability' Brown in 1776–81, replacing a French garden and transforming part of a disused canal into an ornamental lake.[9] A porte-cochère was added to the principal facade in 1876. A sunken Dutch garden was created by Frances, Countess of Onslow at the north front of the house in the late 19th century. In 1895, the house was investigated for paranormal activity by the Marquess of Bute and Ada Goodrich Freer on behalf of the Society for Psychical Research. During World War I, the Onslow family created and managed a hospital in Clandon House for the war injured.
Blankie first arrived in our family shortly after the birth of our first daughter, over a decade ago. Back then, he was clean, smooth and bright - he was covered in broad stripes, and each of these was a different primary colour. Just perfect for a bed in a nursery.
Daugher #1 slept under him, but showed him precious little notice other than that. Ditto for daughter #2. It appeared that Blankie was doomed to a purely functional existence, providing an invaluable night time service, but never being treasured. Being appreciated, but never being loved.
That was, until daughter #3 arrived. For she not only slept under Blankie, she slept with him (for, indeed, he became a personified 'he' under daughter #3's care). Then he started to go everywhere with her. She snuggled him, she played with him, and she dragged him across the floor, the ground and wherever she wandered. He was always with her.
As a result, Blankie started to suffer from a bit of wear a tear. First, his stuffy started to come apart. Then so did his seams. And then his stuffing fell out of his gapping seams. He started to fray around the edges, then in the middle.
Many times Blankie has been to the Blankie hospital (otherwise known as Granny's) where the Blankie Doctor (otherwise known as Granny) has stitched, sowed and repaired him over and over again. He's now about half the size he once was, as he has had to have been folded over numerous times in the repair process. All his stuffing has long since disappeared. His primary colours are faded and jaded.
But he is still loved as much as he ever was, however raggedy he may look. And tonight, he will be snuggled tightly as he drifts slowly and peacefully off to sleep...
Some people think this sort of building is beautiful. When I look at a box like this I think:
(1) It was designed for the cover of a trendoid architecture magazine that hit the newsstands in the 1950s. It -wasn't- designed for the people who have to live or work inside.
(2) It seals off the people inside from everything outside, turning a cold sterile shoulder to the fresh air, the neighborhood, the city.
The 20th Century's over. Time to move on from the modernist mistake.
(I took this photo in response to Thomas Hawk and others being hassled by security guards who told them they were not allowed to photograph this building from a public place. Details: tinyurl.com/8ctyg)
The Hiroshima Peace Memorial (広島平和記念碑 Hiroshima Heiwa Kinenhi), originally the Hiroshima Prefectural Industrial Promotion Hall, and now commonly called the Genbaku Dome, Atomic Bomb Dome or A-Bomb Dome (原爆ドーム Genbaku Dōmu), is part of the Hiroshima Peace Memorial Park in Hiroshima, Japan and was designated a UNESCO World Heritage Site in 1996.[1] The ruin of the hall serves as a memorial to the people who were killed in the atomic bombing of Hiroshima on 6 August 1945. Over 70,000 people were killed instantly, and another 70,000 suffered fatal injuries from the radiation.[2]
The Product Exhibition Hall building was originally designed by the Czech architect Jan Letzel. The design included a distinctive dome at the highest part of the building. It was completed in April 1915 and was named the Hiroshima Prefectural Commercial Exhibition (HMI).[2] It was formally opened to the public in August that year. In 1921, the name was changed to the Hiroshima Prefectural Products Exhibition Hall, and again, in 1933, to the Hiroshima Prefectural Industrial Promotion Hall. The building was located in the large business district next to the Aioi Bridge and was primarily used for arts and educational exhibitions.[3]
At 8:15 a.m. on 6 August 1945, the first atomic bomb to be used in war – was dropped by the United States Army Air Forces from the Enola Gay, a B-29 bomber. The force of the atomic bomb effectively obliterated the city of Hiroshima, Japan.[4]
Earlier, on 25 July, General Carl Spaatz, commander of the United States Strategic Air Forces in the Pacific, received orders to deliver a "special bomb" attack on selected cities in Japan.[5] The first target city chosen was Hiroshima, which had an important port on southern Honshu and was headquarters of the Japanese Second General Army with 40,000 military personnel in the city.[5] The bomb was assembled in secret and loaded on the Enola Gay. It consisted of a uranium isotope 235 core shielded by hundreds of kilograms of lead. The bomb, code named "Little Boy", possessed a force equivalent to 15,000 tons of TNT. The plane dropped Little Boy over the city at 8:15:17 a.m. local time on 6 August 1945. Within 43 seconds of being dropped, it detonated over the city, missing its target by 240 m (790 ft). Intended for the Aioi Bridge, the bomb instead exploded directly over the Shima Hospital, which was very near to the Genbaku Dome. Because the explosion was almost directly overhead, the building was able to retain its shape.[6] The building's vertical columns were able to resist the nearly vertical downward force of the blast, and parts of the concrete and brick outer walls remained intact. The center of the blast occurred 150 m (490 ft) horizontally and 600 m (2,000 ft) vertically from the Dome. Everyone inside the building was killed instantly.[7][8]
April is nationally recognized as Sexual Assault Awareness and Prevention Month. This year 2nd Brigade Combat Team, 10th Mountain Division is renewing its stand against sexual assault and harassment through the "It's Our Duty" campaign, a series of videos created in solidarity of SAAPM and survivors of sexual violence. It's our duty to prevent sexual assault and sexual harassment.
Patmos (Greek, Πάτμος; Italian: Patmo) is a small Greek island in the Aegean Sea. One of the northernmost islands of the Dodecanese complex,[2]) it has a population of 2,998 and an area of 34.05 km2 (13.15 sq mi). The highest point is Profitis Ilias, 269 metres (883 ft) above sea level. The Municipality of Patmos, which includes the offshore islands of Arkoi (pop. 44), Marathos (pop. 5), and several uninhabited islets, has a total population of 3,047 (2011 census) [3] and a combined land area of 45.039 square kilometres (17.390 sq mi). It is part of the Kalymnos regional unit.
Patmos' main communities are Chora (the capital city), and Skala, the only commercial port. Other settlements are Grikou and Kampos. The churches and communities on Patmos are of the Eastern Orthodox tradition. In 1999, the island's historic center Chora, along with the Monastery of Saint John the Theologian and the Cave of the Apocalypse, were declared World Heritage Sites by UNESCO.[4] The monastery was founded by Saint Christodulos.[5] Patmos is also home to the Patmian School, a notable Greek seminary.
Patmos is mentioned in the New Testament Book of Revelation. The book's introduction states that its author, John, was on Patmos when he was given (and recorded) a vision from Jesus. Early Christian tradition identified this writer John of Patmos as John the Apostle, though some modern scholars are uncertain. As such, Patmos is a destination for Christian pilgrimage. Visitors can see the cave where John is said to have received his Revelation (the Cave of the Apocalypse), and several monasteries on the island are dedicated to Saint John.
Camden Street is a street in Dublin 2. It links Ranelagh/Rathmines (Dublin 6) to the southern city centre of Dublin. There is an Upper (southern end) and Lower (northern end) Camden St.
A prominent company located on Upper Camden St for over a century was Earley and Company (1861–1975). They were ecclesiastical furnishings and stained glass manufacturers and retailers. The firm was one of the largest and most prestigious ecclesiastical decorators both in Ireland and the U.K.
There were two cinemas on the street: The Camden Cinema and the Theatre De Luxe. The Camden Cinema was located at 55 Upper Camden St., where the headquarters of Concern Worldwide is now located. It closed around 1912. The Theatre De Luxe was opened in 1912 by Maurice Elliman, a Jew who escaped the pogroms in Eastern Europe. The first building was designed by Frederick Hayes, MRIAI, and built by George Squire & Co. It was enlarged and rebuilt in 1920. The exterior was remodelled in Art deco style in 1934. It closed in 1975. The building is now a hotel (Hotel De Luxe) and a night-club.
A few days ago we took her to get fixed. Today in the morning we noticed she was acting funny and whimpering. My mom and older sister rushed her to the vet and they diagnosed her with Parvo (Canine parvovirus type 2). It's a virus transmitted from dog to dog and most likely was given to her when we left her at the vet to be fixed. Fatality rate is high but so are our hopes. I suppose all we can do now is wait. We've had her for 6 months or so now, she's just a baby...
Update: She passed away earlier this week.
In this photo the white background was caused by the dog funnel the vet put on her after being fixed.
Click View On Black to view full version.
-Shot with Nikon D90 + Nikon 105mm f/2.8G ED-IF AF-S VR.
-Adobe Photoshop used for softening.
-Cropped.
Ferstel
(Pictures you can see by clicking on the link at the end of page!)
Ferstel and Café Central, by Rudolf von Alt, left the men's alley (Herrengasse - Street of the Lords), right Strauchgasse
Danube mermaid fountain in a courtyard of the Palais Ferstel
Shopping arcade of the Freyung to Herrengasse
Entrance to Ferstel of the Freyung, right the Palais Harrach, left the palace Hardegg
The Ferstel is a building in the first district of Vienna, Inner City, with the addresses Strauchgasse 2-4, 14 Lord Street (Herrengasse) and Freyung 2. It was established as a national bank and stock exchange building, the denomination Palais is unhistoric.
History
In 1855, the entire estate between Freyung, Strauchgasse and Herrengasse was by Franz Xaver Imperial Count von Abensperg and Traun to the k.k. Privileged Austrian National Bank sold. This banking institution was previously domiciled in the Herrengasse 17/ Bankgasse. The progressive industrialization and the with it associated economic expansion also implied a rapid development of monetary transactions and banking, so that the current premises soon no longer have been sufficient. This problem could only be solved by a new building, in which also should be housed a stock exchange hall.
According to the desire of the then Governor of the National Bank, Franz von Pipitz, the new building was supposed to be carried out with strict observance of the economy and avoiding a worthless luxury with solidity and artistic as well as technical completion. The building should offer room for the National Bank, the stock market, a cafe and - a novel idea for Vienna - a bazaar.
The commissioned architect, Heinrich von Ferstel, demonstrated in the coping with the irregular surface area with highest conceivable effective use of space his state-of-the art talent. The practical requirements combine themselves with the actually artistic to a masterful composition. Ferstel has been able to lay out the rooms of the issuing bank, the two trading floors, the passage with the bazar and the coffee house in accordance with their intended purpose and at the same time to maintain a consistent style.
He was an advocate of the "Materialbaues" (material building) as it clearly is reflected in the ashlar building of the banking institution. Base, pillars and stairs were fashioned of Wöllersdorfer stone, façade elements such as balconies, cornices, structurings as well as stone banisters of the hard white stone of Emperor Kaiser quarry (Kaisersteinbruch), while the walls were made of -Sankt Margarethen limestone. The inner rooms have been luxuriously formed, with wood paneling, leather wallpaper, Stuccolustro and rich ornamental painting.
The facade of the corner front Strauchgasse/Herrengasse received twelve sculptures by Hanns Gasser as decoration, they symbolized the peoples of the monarchy. The mighty round arch at the exit Freyung were closed with wrought-iron bare gates, because the first used locksmith could not meet the demands of Ferstel, the work was transferred to a silversmith.
1860 the National Bank and the stock exchange could move into the in 1859 completed construction. The following year was placed in the glass-covered passage the Danube mermaid fountain, whose design stems also of Ferstel. Anton von Fernkorn has created the sculptural decoration with an artistic sensitivity. Above the marble fountain basin rises a column crowned by a bronze statue, the Danube female with flowing hair, holding a fish in its hand. Below are arranged around the column three also in bronze cast figures: merchant, fisherman and shipbuilder, so those professions that have to do with the water. The total cost of the building, the interior included, amounted to the enormous sum of 1.897.600 guilders.
The originally planned use of the building remained only a few years preserved. The Stock Exchange with the premises no longer had sufficient space: in 1872 it moved to a provisional solution, 1877 at Schottenring a new Stock Exchange building opened. The National Bank moved 1925 into a yet 1913 planned, spacious new building.
The building was in Second World War battered gravely particularly on the main facade. In the 1960s was located in the former Stock Exchange a basketball training hall, the entire building appeared neglected.
1971 dealt the President of the Federal Monuments Office, Walter Frodl, with the severely war damaged banking and stock exchange building in Vienna. The Office for Technical Geology of Otto Casensky furnished an opinion on the stone facade. On the facade Freyung 2 a balcony was originally attached over the entire 15.4 m long front of hard Kaiserstein.
(Usage of Leith lime: Dependent from the consistence and structure of the Leitha lime the usage differed from „Reibsand“ till building material. The Leitha lime stone is a natural stone which can be formed easily and was desired als beautiful stone for buildings in Roman times. The usage of lime stone from Eggenburg in the Bronze age already was verified. This special attribute is the reason why the Leitha lime was taken from sculptors and masons.
The source of lime stone in the Leitha Mountains was important for Austria and especially for Vienna from the cultur historical point of view during the Renaissance and Baroque. At the 19th century the up to 150 stone quarries of the Leitha mountains got many orders form the construction work of the Vienna „Ring road“.
At many buildings of Graz, such as the castle at the Grazer castle hill, the old Joanneum and the Cottage, the Leitha lime stone was used.
Due to the fact that Leitha lime is bond on carbonate in the texture, the alteration through the actual sour rain is heavy. www.geocaching.com/geocache/GC2HKZ9_leithagebirge-leithak...)
This balcony was no longer present and only close to the facade were remnants of the tread plates and the supporting brackets recognizable. In July 1975, followed the reconstruction of the balcony and master stonemason Friedrich Opferkuh received the order to restore the old state am Leithagebirge received the order the old state - of Mannersdorfer stone, armoured concrete or artificial stone.
1975-1982, the building was renovated and re-opened the Café Central. Since then, the privately owned building is called Palais Ferstel. In the former stock exchange halls now meetings and presentations take place; the Café Central is utilizing one of the courtyards.
There is another Capel in Kent, inbetween Dover and Folkestone, to find another was a surprise, but then maybe not so, as there are few other double names in the county.
Anyway, on what should have been a fine and sunny day, the mist and fog that had dogged the trip thus far, refused to lift. But for me, that meant that photoraphing the windows should be better without the sun dazzling.
St Thomas is most well known for the wall paintings which have been uncovered, but for me the most striking thing was the darker stone used for construction than those in East Kent, and with a very different tower too.
The church was open, and well lit inside, as well has having a very large graveyard outside, which enabled me to get a shot of the whole church with the 50mm lens. If only just.
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A Norman church, much rebuilt in the seventeenth century following a storm, and again in the early twentieth century. A twelfth-century window survives in the north wall of the nave, but most of the windows are later. The altar rails are good examples of the seventeenth century whilst the Royal Arms of George II are dated 1739. Most people remember this church for its wall paintings which were rediscovered under layers of whitewash in 1927. These have been dated to the mid-thirteenth century and were painted in two tiers along the north nave wall. If the south wall had not been rebuilt in the later Middle Ages that too might have yielded further murals. Those that survive cover a variety of scenes including a good Entry into Jerusalem, Cain and Abel and the Last Supper. The paintings were restored by Professor Tristram, but luckily he concentrated on conservation of what survived and repainted very little. There are also some later murals to either side of the chancel arch. The church is now cared for by The Churches Conservation Trust.
www.kentchurches.info/church.asp?p=Capel
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The Church of St Thomas à Becket is a redundant Anglican church in the village of Capel, Kent, England. It is recorded in the National Heritage List for England as a designated Grade I listed building,[1] and is under the care of the Churches Conservation Trust.[2] Capel is located 4 miles (6 km) east of Tonbridge, off the B2017 road.[2] It is said that Thomas Becket preached either in the church,[2] or under a yew tree in the churchyard.
The church originated in the Norman era. The chancel arch dates from the 13th century, and the tower and the nave from the 14th or early 15th century. Alterations were made in the 16th century.[1] There was a fire in the tower in 1639, and it had to be partly rebuilt.[2] The chancel and the south wall were refurbished during the 19th century.[1] The church was vested in the Churches Conservation Trust on 8 July 1986.[5] It is open daily for visitors.
The church is constructed in sandstone, and the chancel and north wall have been rendered. The roof is tiled. The plan of the church is simple, consisting of a nave, a chancel with a north vestry, and a relatively large but short tower, through which the church is entered. The tower is in a single stage, and stands on a moulded plinth. It has diagonal buttresses, a battlemented parapet, and a pyramidal roof surmounted by a 20th-century cast iron weathervane. The bell openings are lancets and are louvred, with slit openings beneath them. On the west face of the tower is a plain round-headed doorway, with a double-lancet window above it. In the south wall of the nave are four two- or three-light windows, and in the north wall are two lancet windows. In the south wall of the chancel is a priest's door. The east window dates from the 19th century and is in Early English style.
nside the tower is a porch and a timber staircase. The walls of the interior of the church are lime-washed, and the floors are tiled. On the north wall of the nave are wall paintings probably dating from the 13th century.[1] They depict biblical scenes, including Cain and Abel and Christ's entry into Jerusalem. They were discovered in 1967 and restored by Mrs Eve Baker.[2] Towards the west end of this wall is a niche. The chancel contains a 20th-century stone altar. The communion rails are dated 1662. The oak pulpit dates from the 19th century. The stone font is probably medieval, and consists of an octagonal bowl on a cylindrical shaft. Apart from brass plaques commemorating those who died in the World Wars, the only memorial in the church is a plain marble plaque dated 1834. Above the tower arch is a board painted with the royal arms. Also on the west wall are further boards inscribed with the Lord's Prayer and the Ten Commandments. The stained glass in the east window is dated 1905.
In the churchyard are two chest tombs and 15 headstones, each of which has been designated as a Grade II listed building. One chest tomb is anonymous and dates from the 16th or 17th century.[6] The inscription on the other tomb is illegible, but it is dated 1768.[7] The named single headstones are to Jane and Samuel Brook, dated 1781,[8] to Elizabeth Daniel, dating from the 17th century,[9] to Thomas Larkin and his wife, dated 1769,[10] to John Larkin, dated 1753,[11] to John Millesden, dated 1758,[12] to Elizabeth Relph, dated 1759,[13] to Ann Town dated 1732,[14] and to Ambrose Vineen and his wife, dated 1784.[15] There are pairs of headstones to the Hubble family, dating from the middle of the 18th century,[16] to the Kipping family dated from the 1680s,[17] and to the Mills family from the late 18th century.[18] There are also four illegible or anonymous single headstones.
en.wikipedia.org/wiki/Church_of_St_Thomas_%C3%A0_Becket,_...
North American B-25J Mitchell
Flying Bulls N-6123C
" The Flying Bulls B-25 Mitchell was manufactured in 1945 in Kansas City (USA) and fortunately not used in World War 2.
It was initially used as a test platform – but it landed in an aircraft cemetery in Arizona while still young. There it was acquired by a company that wanted to convert this B-25 into a fire fighting plane – but nothing came of this.
In the eighties, this plane was acquired by an aviation club in Kansas City and was presented at air shows.
It was discovered by the Flying Bulls in the mid-nineties – and finally purchased after careful negotiations. The B-25 was immediately restored from the ground up in the USA and equipped with high-quality parts before it took off to fly over the north Atlantic to Europe in 1997.
It was time in 2001 – the silvery, gleaming Mitchell was moved to its new home, the Flying Bulls. Since then she gleams in Hangar-7 and at many air shows. "
Lindos (/ˈlɪndɒs/; Greek: Λίνδος) is an archaeological site, a town and a former municipality on the island of Rhodes, in the Dodecanese, Greece. Since the 2011 local government reform it is part of the municipality Rhodes, of which it is a municipal unit.[2] It lies on the east coast of the island. It is about 50 km south of the town of Rhodes and its fine beaches make it a popular tourist and holiday destination. Lindos is situated in a large bay and faces the fishing village and small resort of Haraki.
History[edit]
Lindos was founded by the Dorians led by the king Tlepolemus of Rhodes, who arrived in about the 10th century BC. It was one of six Dorian cities in the area known as the Dorian Hexapolis. The eastern location of Rhodes made it a natural meeting place between the Greeks and the Phoenicians, and by the 8th century Lindos was a major trading centre. In the 6th century it was ruled by Cleobulus, one of the Seven Sages of Greece. The importance of Lindos declined after the foundation of the city of Rhodes in the late 5th century.
In classical times the acropolis of Lindos was dominated by the massive temple of Athena Lindia, which attained its final form in around 300 BC. In Hellenistic and Roman times the temple precinct grew as more buildings were added. In early medieval times these buildings fell into disuse, and in the 14th century they were partly overlaid by a massive fortress built on the acropolis by the Knights of St John to defend the island against the Ottomans.
Acropolis[edit]
Above the modern town rises the acropolis of Lindos, a natural citadel which was fortified successively by the Greeks, the Romans, the Byzantines, the Knights of St John and the Ottomans. This makes the site difficult to excavate and interpret archaeologically. The acropolis offers spectacular views of the surrounding harbours and coastline.
On the acropolis of Lindos today parts of the following buildings may still be seen:
Rhodian trireme
The Doric Temple of Athena Lindia, dating from about 300 BC, built on the site of an earlier temple. Inside the temple is the table of offerings and the base of the cult statue of Athena.
The Propylaea of the Sanctuary, also dating from the 4th century BC. A monumental staircase leads to a D-shaped stoa and a wall with five door openings.
The Hellenistic stoa with lateral projecting wings, dating from about 200 BC. The stoa was 87 metres long and consisted of 42 columns.
The well-known relief of a Rhodian trireme (warship) cut into the rock at the foot of the steps leading to the acropolis. On the bow stood a statue of General Hagesander, the work of the sculptor Pythokritos. The relief dates from about 180 BC.
The Hellenistic staircase (2nd century BC) leading to the main archaeological area of the acropolis.
Remains of a Roman temple, possibly dedicated to the Emperor Diocletian and dating from about 300 AD.
The Acropolis is surrounded by a Hellenistic wall contemporary with the Propylaea and the stairway leading to the entrance to the site. A Roman inscription says that the wall and square towers were repaired at the expense of P Aelius Hagetor, the priest of Athena in the 2nd century AD.
The Castle of the Knights of St John, built some time before 1317 on the foundations of older Byzantine fortifications. The walls and towers follow the natural conformation of the cliff. A pentagonal tower on the south side commanded the harbour, the settlement and the road from the south of the island. There was a large round tower on the east facing the sea and two more, one round and the other on a corner, on the northeast side of the enceinte. Today one of the towers at the southwest corner and one to the west survive.
The Greek Orthodox Church of St John, dating from the 13th or 14th century and built on the ruins of a previous church, which may have been built as early as the 6th century.
Some scenes of the well-known film, The Guns of Navarone, were filmed here.
Navajo Upper Antelope Canyon is a slot canyon in the American Southwest, on Navajo land east of Lechee, Arizona. It includes five separate, scenic slot canyon sections on the Navajo Reservation, referred to as Upper Antelope Canyon (or The Crack), Rattle Snake Canyon, Owl Canyon, Mountain Sheep Canyon and Lower Antelope Canyon (or The Corkscrew).[2] It is the primary attraction of Lake Powell Navajo Tribal Park, along with a hiking trail to Rainbow Bridge National Monument.
The Navajo name for Upper Antelope Canyon is Tsé bighánílíní, which means 'the place where water runs through the (Slot Canyon) rocks'. Lower Antelope Canyon is Hazdistazí (called "Hasdestwazi" by the Navajo Parks and Recreation Department), or 'spiral rock arches'. Both are in the LeChee Chapter of the Navajo Nation.[4] They are accessible by Navajo guided tour only.[5]
Located southeast of Lower Antelope canyon by the gateway town of Page, Ari. This part of the canyon is chiseled out by millions of years' worth of flood erosion and impactful winds on its sandstone, enough to sculpt out the iconic "X" shape that aptly named the canyon. Canyon X is a relatively new scenic tour and the lesser-known cousin of Upper/Lower Antelope Canyon. Canyon X is a mixture of the characteristics of both the Upper and Lower canyon, with the Upper's feature of pillars of light and the Lower's steepness. Canyon X is also deeper than the other two and brings ample photo opportunities.
Standing over the river on the road bridge a good view can be had of the museum. Never far from graffiti and traffic its a good spot to take a snap or two.
Here is the Wikopedia info:
The curves on the building have been designed to appear random. The architect has been quoted as saying that "the randomness of the curves are designed to catch the light". Designed by Canadian/American architect Frank Gehry and opened to the public in 1997, it was immediately vaulted to prominence as one of the world's most spectacular buildings in the style of Deconstructivism, although Frank Gehry does not associate himself with this architectural movement. Architect Philip Johnson called it "the greatest building of our time".[2]
The museum's design and construction serve as an object lesson in Gehry's style and method. Like much of Gehry's other works, the structure consists of radically sculpted, organic contours. Sited as it is in a port town, it is intended to resemble a ship. Its brilliantly reflective titanium panels resemble fish scales, echoing the other organic life (and, in particular, fish-like) forms that recur commonly in Gehry's designs, as well as the river Nervión upon which the museum sits. Also in typical Gehry fashion, the building is uniquely a product of the period's technology. Computer Aided Three Dimensional Interactive Application (CATIA) and visualizations were used heavily in the structure's design.
Computer simulations of the building's structure made it feasible to build shapes that architects of earlier eras would have found nearly impossible to construct. It is also important to note that while the museum is a spectacular monument from the river, at street level it is quite modest and does not overwhelm its traditional surroundings. The museum was opened as part of a revitalization effort for the city of Bilbao and for the Basque Country. Almost immediately after its opening, the Guggenheim Bilbao became a popular tourist attraction, drawing visitors from around the globe.[2] It was widely credited with "putting Bilbao on the map" and subsequently inspired other structures of similar design across the globe, such as the Cerritos Millennium Library in Cerritos, California.
The building was constructed on time and budget, which is rare for architecture of this type. In an interview in Harvard Design Magazine[3] Gehry explained how he did it. First, he ensured that what he calls the "organization of the artist" prevailed during construction, in order to prevent political and business interests from interfering with the design. Second, he made sure he had a detailed and realistic cost estimate before proceeding. Third, he used CATIA and close collaboration with the individual building trades to control costs during construction.
These are the first Hyper Stereo 3D Screenshots from Crysis 2. It was extremely difficult to create these shots, there is no way I could play the game proper at this Hyper 3D depth created with the iZ3D Driver.
Click here to see a Slideshow of these 3D Screenshots.
www.flickr.com/photos/57605784@N06/sets/72157626366412812...
However Crysis 2 is one of the first 3D games that offers its own Stereoscopic 3D support for use with NVidea 3D Vision and 3D Monitors, which I dont have. It can also output in side by side, which can be recorded.
See my You-Tube channel for live 3D Capture from Crysis, it is at standard depth determined by the Game Creators, not Hyper Stereo.
www.youtube.com/user/XtraDefinition3D?feature=mhum
To see more games played in anaglyph 3D + Tutorial & links to free software, click on the group link below.
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Beng Mealea or Bung Mealea (Khmer: ប្រាសាទបឹងមាលា, its name means "lotus pond"[1]) is a temple in the Angkor Wat style located 40 km east of the main group of temples at Angkor, Cambodia, on the ancient royal highway to Preah Khan Kompong Svay.
The temple[edit]
Map of Beng Mealea, from a drawing by Leon de Beylie (1849-1910). In red the partially equipped path used to visit the temple.
It was built as a Hindu temple, but there are some carvings depicting buddhist motifs.[1] Its primary material is sandstone and it is largely unrestored, with trees and thick brush thriving amidst its towers and courtyards and many of its stones lying in great heaps. For years it was difficult to reach, but a road recently built to the temple complex of Koh Ker passes Beng Mealea and more visitors are coming to the site, as it is 77 km from Siem Reap by road.
The corridor in the temple.
The history of the temple is unknown and it can be dated only by its architectural style, identical to Angkor Wat, so scholars assumed it was built during the reign of king Suryavarman II in the early 12th century.[1] Smaller in size than Angkor Wat, the king's main monument, Beng Mealea nonetheless ranks among the Khmer empire's larger temples: the gallery which forms the outer enclosure of the temple is 181 m by 152 m.[2] It was the center of a town, surrounded by a moat 1025 m by 875 m large and 45 m wide.[1]
Beng Mealea is oriented toward the east, but has entranceways from the other three cardinal directions. The basic layout is three enclosing galleries around a central sanctuary, collapsed at present. The enclosures are tied with "cruciform cloisters", like Angkor Wat. Structures known as libraries lie to the right and left of the avenue that leads in from the east. There is extensive carving of scenes from Hindu mythology, including the Churning of the Sea of Milk and Vishnu being borne by the bird god Garuda. Causeways have long balustrades formed by bodies of the seven-headed Naga serpent.
It was built mostly of sandstone: Beng Mealea is only 7 km far from the angkorian sandstone quarries of Phnom Kulen, as the crow flies. Presumably sandstone blocks used for Angkor were transported along artificial water canals and passed from here.[1] Despite of lack of information, the quality of architecture and decorations has drawn the attention of French scholars just from its discovery.[3][4][5]
World Heritage Status[edit]
This site was added to the UNESCO World Heritage Tentative List on September 1, 1992 in the Cultural category [1].
Zagori (Greek: Ζαγόρι), is a region and a municipality in the Pindus mountains in Epirus, in northwestern Greece. The seat of the municipality is the village Asprangeloi.[2] It has an area of some 1,000 square kilometers and contains 46 villages known as Zagori villages (or Zagorochoria or Zagorohoria), and is in the shape of an upturned equilateral triangle.
Even today, almost 2000 years after its construction, the breathtaking pantheon is a remarkable building to see. The spectacular design, proportions, elegance and harmony are a striking reminder of the architecture of the great Roman Empire. When Michelangelo saw this wonder for the first time he said that it looks more like the work of angels, not humans.
1 The word Pantheon is a Greek adjective meaning “honor all Gods”. In fact the pantheon was first built as a temple to all gods.
2 It is the best preserved Ancient Roman monument. It is a bit of a mystery how the Pantheon managed to survive barbarian raids when all the rest of Roman monuments had been shattered. Its turning into a church in 609 AD has a lot to do with it in later time, but also the structure itself is way ahead of its time. In fact, the exact composition of the material is still unknown and appears to be structurally similar to modern day concrete! Whatever the reasons are, the Pantheon is the only structure of its age and size that has successfully survived the damage of time and gravity, still intact with all its splendor and beauty.
3 The exact age of the pantheon remains unknown. The Roman legend tells that the original Pantheon was built on the very site and was dedicated to Romulus, their mythological founder, after he ascended to heaven from that site. Most historians claim that Emperor Augustus right hand, Agrippa, built the first Pantheon in 27 BC. It burned in the great fire of 80 AD, was rebuilt by Emperor Domitian, but was struck by lightning and burned again in 110 AD. The Pantheon as we know it today was built in 120 AD by Emperor Hadrian Who was passionate with architecture and designed it together with Apollodorus of Damascus, a famous Greek architect of the time who unfortunately was executed by order of the Emperor, because of an argument about the design of the temple…
sundial-rome-on-segwayA lighting effect can be viewed on April 21when the midday sun strikes a metal grille above the doorway, saturating the courtyard outside with light
interior-pantheon-rome-on-segway
old-pantheon-rome-on-segway
pantheon-night-rome-on-segway
perfect-proportions-rome-on-segway
sundial-rome-on-segway
4 The most fascinating part of the Pantheon is its giant dome, with its famous hole in the top (The eye of the Pantheon, or oculus). The dome was the largest in the world for 1300 years and until today it remains the largest unsupported dome in the world! The diameter of the dome is 43.30 meters or 142ft (for comparison, the United States Capitol dome is 96 feet in diameter) and is in perfect proportion with the Pantheon by the fact that the distance from the floor to the top of the dome is exactly equal to its diameter.
The great architectural achievement was due to the massive weight of the large dome. Roman engineers lightened the dome as much as possible; not only its thickness progressively decreases, but the materials used in the upper part of the dome were lighter with internal spaces within the dome walls. The decrease in thickness has the effect that while the interior of the ceiling is spherical, its exterior is slightly “flattened”. It is larger than the dome of St. Peter’s basilica but since it seems flattened from the outside it is hard to get a full sense of its dimension. The hole (oculus), 7.8 meters in diameter, is the only source of light and is the connection between the temple and the gods above. Rain occasionally fall through it, but the floor is slanted and drains the water if it manages to hit the floor. In practice, rain seldom falls inside the dome.
5 The interior has the shape of a cylinder covered by a half of a sphere; the height of the cylinder is equal to the radius of the sphere, and is 43.3 meters (142ft) . There are no windows inside but the large oculus! The Pantheon now contains the tombs of the famous artist Raphael and of several Italian Kings and poets. The marble floor, which features a design consisting of a series of geometric patterns, is still the ancient Roman original. The history of Pantheon was forever changed during the reign of Pope Urban VIII, who melted down every scrap of bronze located upon the ceiling, outraging a great deal of Roman citizens.
6 The 16 massive Corinthian columns supporting the portico weigh 60 tons each. They are 39 feet (11.8 m) tall, five feet (1.5 m) in diameter and brought all the way from Egypt. These columns were dragged more than 100 km from the quarry to the Nile river on wooden sledges. They were floated by barge down the Nile River when the water level was high during the spring floods, and then transferred to vessels to cross the Mediterranean Sea to the Roman port of Ostia. There, they were transferred back onto barges and pulled up the Tiber River to Rome. The Columns support a triangle pediment with an inscription attributing the Pantheon to Marcus Agrippa (“M•AGRIPPA•L•F•COS•TERTIUM•FECIT” meaning “It was built by Marcos Agrippa in his third consulate”). It is the only remain from the original temple built by Agrippa and it is believed that Hadrian left it as a gesture to his predecessor when he rebuilt the pantheon.
7 A lighting effect can be viewed on April 21 when the midday sun strikes a metal grille above the doorway, saturating the courtyard outside with light. The Romans celebrated April 21 as the founding date of the city, and the impressive sight of their Emperor standing at the entrance of the Pantheon surrounded by light coming from inside the pantheon might have been seen as something that, in effect, raised their emperor to the level of the gods and invited him in to join them.
8 In the year 609 The Pantheon was the first pagan temple to be transformed into a church and therefore it was saved from being destroyed during the middle Ages. Today it is a church dedicated to St. Mary of the Martyrs. None the less it is called the Pantheon by virtually everybody and it seems to exist independent of religious rule but more of a tribute to the past.
9 In front of the Pantheon is the beautiful “Fountain of the Pantheon”. It was designed by famous architecture Giacomo Della Porta in 1575 and sculpted out of marble by Leonardo Sormani. In 1711, Pope Clement XI requested that the fountain be modified and had Filippo Barignoni design a new layout, which included a different basin, made of stone, and the obelisk of Ramses II set in the centre on a plinth with four dolphins decorating the base.
This image was scanned from a photograph in an album dating from World War 2. It was taken during the North African campaign.
The album was purchased from an op shop by one of our members and is held in the Sir Edgeworth David Memorial Museum. Unfortunately, we do not know who took the photos, or who owned the album, so if you have any information about this, please contact us.
The original photo was taken prior to 1955 and so is out of copyright. You are free to use it, but we would appreciate your acknowledging our efforts in the attribution.
If you have any information about this photograph, please contact us.