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The Pic Blanc cable car ascends to the 3300m summit, Alpe D'Huez.
Non-watermarked prints and licensing available on all images, contact: flanders.r.a@gmail.com
A towpath is a road or trail on the bank of a river, canal, or other inland waterway. The purpose of a towpath is to allow a land vehicle, beasts of burden, or a team of human pullers to tow a boat, often a barge. This mode of transport was common where sailing was impractical due to tunnels and bridges, unfavourable winds, or the narrowness of the channel.
After the Industrial Revolution, towing became obsolete when engines were fitted on boats and when railway transportation superseded the slow towing method. Since then, many of these towpaths have been converted to multi-use trails. They are still named towpaths - although they are now only occasionally used for the purpose of towing boats.
Early use of inland waterway transport used the rivers, and while barges could use sails to assist their passage when winds were favourable or the river was wide enough to allow tacking, in many cases this was not possible, and gangs of men were used to bow-haul the boats. As river banks were often privately owned, such teams worked their way along the river banks as best they could, but this was far from satisfactory. On British rivers such as the River Severn, the situation was improved by the creation of towing path companies in the late 1700s. The companies built towing paths along the banks of the river, and four such companies improved a section of 24 miles (39 km) in this way between Bewdley and Coalbrookdale. They were not universally popular, however, as tolls were charged for their use, to recoup the capital cost, and this was resented on rivers where barge traffic had previously been free.
With the advent of artificial canals, most of them were constructed with towpaths suitable for horses. Many rivers were improved by artificial cuts, and this often gave an opportunity to construct a towing path at the same time. Even so, the River Don Navigation was improved from Tinsley to Rotherham in 1751, but the horse towing path was not completed on this section until 1822. On the River Avon between Stratford-upon-Avon and Tewkesbury, a towpath was never provided, and bow-hauling continued until the 1860s, when steam tugs were introduced.
While towing paths were most convenient when they stayed on one side of a canal, there were occasions where it had to change sides, often because of opposition from landowners. Thus the towpath on the Chesterfield Canal changes to the south bank while it passes through the Osberton Estate, as the Foljambes, who lived in Osberton Hall, did not want boatmen passing too close to their residence. On canals, one solution to the problem of getting the horse to the other side was the roving bridge or turnover bridge, where the horse ascended the ramp on one side, crossed the bridge, descended a cirular ramp on the other side of the river but the same side of the bridge, and then passed through the bridge hole to continue on its way. This had the benefit that the rope did not have to be detached while the transfer took place. Where the towpath reached a lock, which was spanned by a footbridge at its tail, the southerm section of the Stratford-on-Avon Canal used split bridges so that the horse line did not have to be detached. The rope passed through a small gap at the centre of the bridge between its two halves.
One problem with the horse towing path where it passed under a bridge was abrasion of the rope on the bridge arch. This resulted in deep grooves being cut in the fabric of the bridge, and in many cases, the structure was protected by cast iron plates, attached to the faces of the arch. These too soon developed deep grooves, but could be more easily replaced than the stonework of the bridge. While bridges could be constructed over relatively narrow canals, they were more costly on wide navigable rivers, and in many cases horse ferries were provided, to enable the horse to reach the next stretch of towpath. In more recent times, this has provided difficulties for walkers, where an attractive river-side walk cannot be followed because the towpath changes sides and the ferry is no more.
Not all haulage was by horses, and an experiment was carried out on the Middlewich Branch of the Shropshire Union Canal in 1888. Following suggestions by Francis W. Webb, the Mechanical Engineer for the London and North Western Railway at Crewe Works, rails were laid along a 1-mile (1.6 km) stretch of the towpath near Worleston, and a small steam locomotive borrowed from Crewe Works was used to tow boats. The locomotive ran on 18 in (457 mm) gauge tracks, and was similar to Pet, which is preserved in the National Railway Museum at York. It pulled trains of two and four boats at 7 mph (11 km/h), and experiments were also tried with eight boats. The canal's engineer, G. R. Webb, produced a report on the expected costs of laying rails along the towpaths, but nothing more was heard of the project, and the advent of steam and diesel powered boats offered a much simpler solution. The mules which assist ships through the locks of the Panama Canal are a modern example of the concept.
Towpaths are popular with cyclists and equestrians because they are mostly flat and long. In snowy winters they are popular with cross-country skiers and snowmobile users.
Although historically not designed or used as towpaths, acequia ditch banks also are popular recreational trails.
In Britain, most canals were owned by private companies, and the towpaths were deemed to be private, for the benefit of legitimate users of the canal. The nationalisation of the canal system in 1948 did not result in the towpaths becoming public rights of way, and subsequent legislation, such as the Transport Act of 1968, which defined the government's obligations to the maintenance of the inland waterways for which it was now responsible, did not include any commitment to maintain towpaths for use by anyone. However, some ten years later British Waterways started to relax the rule that a permit was required to give access to a towpath, and began to encourage leisure usage by walkers, anglers and in some areas, cyclists. The British Waterways Act of 1995 still did not enshrine any right of public access, although it did encourage recreational access of all kinds to the network, although the steady development of the leisure use of the canals and the decline of commercial traffic had resulted in a general acceptance that towpaths are open to everyone, and not just boat users. The concept of free access to towpaths is one of the proposals that will be enshrined in the legistation to transfer responsibility for the English and Welsh canals from British Waterways to the Canal & River Trust in 2012.
Not all towpaths are suitable for use by cyclists, but where they are, and the canal is owned by British Waterways, a permit is required. There is no charge for a permit, but it acts as an opportunity to inform cyclists about safe and unsafe areas to cycle. Some areas including London are exempt from this policy, but are covered instead by the London Towpath Code of Conduct. There is also a Two Tings policy in place, requiring bikes used on a towpath to be fitted with a bell, which should be rung twice when approaching pedestrians. Parts of some towpaths have been incorporated into the National Cycle Network, and in most cases this has resulted in the surface being improved.[
Thanks, Wikipedia
at the American Institute of Aeronautics and Astronautics’s ASCEND conference at Caesars Forum on Tuesday, Nov. 16, 2021, in Las Vegas. (Photo by David Becker)
Detail of the Ascension of Christ by Theodora Salusbury in the north aisle at Narborough. This stunning window was created in 1929 and exhibits the artist's penchant for bold design and exquisitely streaky glass, where several shades are captured in a single piece, showing the care which she lavished on selecting the best materials. The only thing missing is her usual signature emblem, a peacock, though the inscription at the base appears to have been renewed since, suggested it may have been lost when this occurred.
All Saints church in Narborough is an impressive building on a fairly large scale. The tower dates back to the 14th century but the rest of the building was heavily restored and partially rebuilt in Victorian times.
The interior is also impressively grand but largely the creation of 19th century restoration and 'improvement', and the furnishings are nearly all from this time (except for the medieval font). The full complement of stained glass windows is also very much Victorian, except for the most notable piece, a beautiful Arts & Crafts Ascension in the north aisle by noted local glass artist Theodora Salusbury.
The church is normally locked outside of services.
Nate celebrates his first successful climb of the day. 朋友從剛才攀過的岩壁頂端揮手慶祝當日第一個成功征服的攀岩路線.
Zeiss Ikon Super Ikonta 532/16 + Kodak Ektar
One of my favorites from my first day attempting smoke photos. It was a lot more work than I expected to get the lighting and air currents right for these shots!
Foto de teste tirada com um Huawei ASCEND P7 para ter uma ideia das capacidades fotográficas deste smartphone Android.
Vê o nosso teste completo ao Huawei ASCEND P7 em www.revolucaodigital.net
DRS Class 88s nos. 88009 'Diana' and 88004 'Pandora' are seen powering through Scout Green on the long, arduous climb up to Shap summit, working 4S43 the 06:25 Daventry to Mossend liner, fortuitously (for us at least) running about an hour late!
Light was in a very awkward place (though we only realised that once we were committed to the location) but happy with this one regardless.
These images have been created for the exhibition 'North Lyell Mining Disaster,' from the original archive image below.
Tasmanian Archive and Heritage Office: NS3245/1/288
TAHO images may be freely used for research or private study purposes. They may also be shared on private websites or blogs. When using or sharing the images please ensure that a clear attribution is included.
For commercial use, please contact the Tasmanian Archive and Heritage Office
An automatic staircase in the main station of Leipzig/Germany.
The building of the main station also houses a mall with 142 shops, making it one of the most visited spots in Leipzig.
FG-1D Corsair taking of from the Military Aviation Museum.
To view a hi-res version and for more information visit my website: Warbirds Over the Beach 2014
Nero: the Man Behind the Myth
(May - Oct 2021)
Nero is known as one of Rome's most infamous rulers, notorious for his cruelty, debauchery and madness.
The last male descendant of the emperor Augustus, Nero succeeded to the throne in AD 54 aged just 16 and died a violent death at 30. His turbulent rule saw momentous events including the Great Fire of Rome, Boudicca's rebellion in Britain, the execution of his own mother and first wife, grand projects and extravagant excesses.
Drawing on the latest research, this major exhibition questions the traditional narrative of the ruthless tyrant and eccentric performer, revealing a different Nero, a populist leader at a time of great change in Roman society.
Through some 200 spectacular objects, from the imperial palace in Rome to the streets of Pompeii, follow the young emperor’s rise and fall and make up your own mind about Nero. Was he a young, inexperienced ruler trying his best in a divided society, or the merciless, matricidal megalomaniac history has painted him to be?
Nero was the 5th emperor of Rome and the last of Rome’s first dynasty, the Julio-Claudians, founded by Augustus (the adopted son of Julius Caesar). Nero is known as one of Rome’s most infamous rulers, notorious for his cruelty and debauchery. He ascended to power in AD 54 aged just 16 and died at 30. He ruled at a time of great social and political change, overseeing momentous events such as the Great Fire of Rome and Boudica’s rebellion in Britain. He allegedly killed his mother and two of his wives, only cared about his art and had very little interest in ruling the empire.
Most of what we know about Nero comes from the surviving works of three historians – Tacitus, Suetonius and Cassius Dio. All written decades after Nero’s death, their accounts have long shaped our understanding of this emperor’s rule. However, far from being impartial narrators presenting objective accounts of past events, these authors and their sources wrote with a very clear agenda in mind. Nero’s demise brought forward a period of chaos and civil war – one that ended only when a new dynasty seized power, the Flavians. Authors writing under the Flavians all had an interest in legitimising the new ruling family by portraying the last of the Julio-Claudians in the worst possible light, turning history into propaganda. These accounts became the ‘historical’ sources used by later historians, therefore perpetuating a fabricated image of Nero, which has survived all the way to the present.
Nero was born Lucius Domitius Ahenobarbus on 15 December AD 37.
He was the son of Gnaeus Domitius Ahenobarbus and Agrippina the Younger. Both Gnaeus and Agrippina were the grandchildren of Augustus, making Nero Augustus’ great, great grandson with a strong claim to power.
Nero was only two years old when his mother was exiled and three when his father died. His inheritance was taken from him and he was sent to live with his aunt. However, Nero’s fate changed again when Claudius became emperor, restoring the boy’s property and recalling his mother Agrippina from exile.
In AD 49 the emperor Claudius married Agrippina, and adopted Nero the following year. It is at this point that Lucius Domitius Ahenobarbus changed his name to Nero Claudius Caesar Drusus Germanicus. In Roman times it was normal to change your name when adopted, abandoning your family name in favour of your adoptive father’s. Nero was a common name among members of the Claudian family, especially in Claudius’ branch.
Nero and Agrippina offered Claudius a politically useful link back to Augustus, strengthening his position.
Claudius appeared to favour Nero over his natural son, Britannicus, marking Nero as the designated heir.
When Claudius died in AD 54, Nero became emperor just two months before turning 17.
As he was supported by both the army and the senate, his rise to power was smooth. His mother Agrippina exerted a significant influence, especially at the beginning of his rule.
The Roman historians Tacitus, Suetonius and Cassius Dio all claim that Nero, fed up with Agrippina’s interference, decided to kill her.
Given the lack of eyewitnesses, there is no way of knowing if or how this happened. However, this did not stop historians from fabricating dramatic stories of Agrippina’s murder, asserting that Nero tried (and failed) to kill her with a boat engineered to sink, before sending his men to do the job.
Agrippina allegedly told them to stab her in the womb that bore Nero, her last words clearly borrowed from stage plays.
It is entirely possible, as claimed by Nero himself, that Agrippina chose (or was more likely forced) to take her own life after her plot against her son was discovered.
Early in his rule, Nero had to contend with a rebellion in the newly conquered province of Britain.
In AD 60–61, Queen Boudica of the Iceni tribe led a revolt against the Romans, attacking and laying waste to important Roman settlements. The possible causes of the rebellion were numerous – the greed of the Romans exploiting the newly conquered territories, the recalling of loans made to local leaders, ongoing conflict in Wales and, above all, violence against the family of Prasutagus, Boudica’s husband and king of the Iceni.
Boudica and the rebels destroyed Colchester, London and St Albans before being heavily defeated by Roman troops. After the uprising, the governor of Britain Suetonius Paulinus introduced harsher laws against the Britons, until Nero replaced him with the more conciliatory governor Publius Petronius Turpilianus.
The marriage between Nero and Octavia, aged 15 and 13/14 at the time, was arranged by their parents in order to further legitimise Nero’s claim to the throne. Octavia was the daughter of the emperor Claudius from a previous marriage, so when Claudius married Agrippina and adopted her son Nero, Nero and Octavia became brother and sister. In order to arrange their marriage, Octavia had to be adopted into another family.
Their marriage was not a happy one. According to ancient writers, Nero had various affairs until his lover Poppaea Sabina convinced him to divorce his wife. Octavia was first exiled then executed in AD 62 on adultery charges. According to ancient writers, her banishment and death caused great unrest among the public, who sympathised with the dutiful Octavia.
No further motives were offered for Octavia’s death other than Nero’s passion for Poppaea, and we will probably never know what transpired at court. The fact that Octavia couldn’t produce an heir while Poppaea was pregnant with Nero’s daughter likely played an important role in deciding Octavia’s fate.
On 19 July AD 64, a fire started close to the Circus Maximus. The flames soon encompassed the entire city of Rome and the fire raged for nine days. Only four of the 14 districts of the capital were spared, while three were completely destroyed.
Rome had already been razed by flames – and would be again in its long history – but this event was so severe it came to be known as the Great Fire of Rome.
Later historians blamed Nero for the event, claiming that he set the capital ablaze in order to clear land for the construction of a vast new palace. According to Suetonius and Cassius Dio, Nero took in the view of the burning city from the imperial residence while playing the lyre and singing about the fall of Troy. This story, however, is fictional.
Tacitus, the only historian who was actually alive at the time of the Great Fire of Rome (although only 8 years old), wrote that Nero was not even in Rome when the fire started, but returned to the capital and led the relief efforts.
Tacitus, Suetonius and Cassius Dio all describe Nero as being blinded by passion for his wife Poppaea, yet they accuse him of killing her, allegedly by kicking her in an outburst of rage while she was pregnant.
Interestingly, pregnant women being kicked to death by enraged husbands is a recurring theme in ancient literature, used to explore the (self) destructive tendencies of autocrats. The Greek writer Herodotus tells the story of how the Persian king Cambyses kicked his pregnant wife in the stomach, causing her death. A similar episode is told of Periander, tyrant of Corinth. Nero is just one of many allegedly ‘mad’ tyrants for which this literary convention was used.
Poppaea probably died from complications connected with her pregnancy and not at Nero’s hands. She was given a lavish funeral and was deified.
Centred on greater Iran, the Parthian empire was a major political and cultural power and a long-standing enemy of Rome. The two powers had long been contending for control over the buffer state of Armenia and open conflict sparked again during Nero’s rule. The Parthian War started in AD 58 and, after initial victories and following set-backs, ended in AD 63 when a diplomatic solution was reached between Nero and the Parthian king Vologases I.
According to this settlement Tiridates, brother of the Parthian king, would rule over Armenia, but only after having travelled all the way to Rome to be crowned by Nero.
The journey lasted 9 months, Tiridates’ retinue included 3,000 Parthian horsemen and many Roman soldiers. The coronation ceremony took place in the summer of AD 66 and the day was celebrated with much pomp: all the people of Rome saw the new king of Armenia kneeling in front of Nero. This was the Golden Day of Nero’s rule
In AD 68, Vindex, the governor of Gaul (France), rebelled against Nero and declared his support for Galba, the governor of Spain. Vindex was defeated in battle by troops loyal to Nero, yet Galba started gaining more military support.
It was at this point that Nero lost the support of Rome’s people due to a grain shortage, caused by a rebellious commander who cut the crucial food supply from Egypt to the capital. Abandoned by the people and declared an enemy of the state by the senate, Nero tried to flee Rome and eventually committed suicide.
Following his death, Nero’s memory was condemned (a practice called damnatio memoriae) and the images of the emperor were destroyed, removed or reworked. However, Nero was still given an expensive funeral and for a long time people decorated his tomb with flowers, some even believing he was still alive.
After Nero’s death, civil war ensued. At the end of the so-called ‘Year of the Four Emperors’ (AD 69), Vespasian became emperor and started a new dynasty: the Flavians.
[Francesca Bologna, curator, for British Museum]
Taken in the British Museum
The first of the scanned Provia 100 slides. Best viewed huge, I left this at full resolution (which comes in around 19 megapixels) for anyone that wants to see all the detail. For a sense of scale, notice the fly that helpfully landed between the two figures on the right. These are not large figures, about 6-7" tall (15cm for those of you whose system of measurement isn't still stuck in the 17th century).
I think I've said before that you can usually tell when someone has pushed color contrast too far in a BCS panel by when the figures start to turn purple -- auto color routines tend to do that. I haven't gone completely overboard here, but further than I usually would, because when I did I noticed the faded snake with arms on the left, above the faded sheep. Hmmm.