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The most powerful rocket engines ever used were the F-1 engines used to power NASA’s Saturn 5 booster rocket during the Apollo missions. Here are the remains of F-1s used to launch Apollo 12 and 16, on view only at The Museum of Flight.
Apollo. final plaster model. 1996.
Apolo. Modelo final em gesso (português).
Apolo. modelo final en yeso ( español).
Apolo. modello finale dell'intonaco (italiano).
Century VI quatrain 33
His hand finally through the bloody ALUS,
He will be unable to protect himself by sea,
Between two rivers he will fear the military hand,
The black and angry one will make him repent of it.
From the Workshop production of Apollo part two at the Center Theater Group: From the workshop production of Apollo Part Two: Ensemble members perform before an ever shifting arena of boxes full of files, data and detritus from the Apollo project in Nancy Keystone's World Premiere multimedia exploration of the intersection between the space race and the civil rights movement in Apollo, blasting off at Portland Center Stage January 13th through February 8th, 2009. Tickets, blogs, info and more at www.pcs.org.
Photo by Efren Delgadillo, Jr.
Apollo Flaying Marsyas (A.6-1967) is one of two life-sized marble sculptures that were originally commissioned by the King of Poland and Elector of Saxony, Augustus the Strong from the Venetian sculptor Antonio Corradini (b.1668; d.1752) between 1723 and 1728 for the gardens of the Höllandisches Palais in Dresden.
[V&A website]
The Victoria & Albert Museum originated with the Great Exhibition of 1851; a collection was established to show applied art and science. The collection was initially shown at Marlborough House, followed by Somerset House (both in 1852). In 1855 plans began for a South Kensington site, with the new location opened in 1857. The development of the collection meant that eventually more development of the building was needed - in 1899, the foundation stone for the current site was laid (Victoria's last public engagement) and the site was formally named the Victoria and Albert Museum.
development drawing, heavily 'inspired' by the apollo 13 mission patch
funky scan... www.flickr.com/photos/matt_in_a_field/391348525/
Some shots from today's dress rehearsal for the presentation startling next week.
As usual a fine job on the lighting by the crew there, making a bit easier.
More details:
An old friend took me to The Lost Gardens of Apollo around the second month of my Second Life. Quite frankly, I was stunned at that time. I had never been to such a magical place before except in my imagination. At the time, I thought the place must stretch between a minimum of (4) sims. There were so many places there to see and visit.
The floating pools, the towers, the gardens, all the pathways leading to cuddle zones and the buildings and walkways kept you there for hours. And with a loved one, you could experience a dreamy, exotic place for romance and exploration...
Xavier and I went back to Dane Zander's Lost Gardens to revisit the place. We both love Salsa y Boleros, the elegant ballroom on the platforms. This was the place of our first date so we went back in holiday clothes to reminisce about that time. And we couldn't help but explore the sim again.
Sometimes, when you go back to a place, the experience isn't quite the same. You've been there and the impact isn't quite as strong, but going back to Apollo's... well, the impact is still there. We stayed for hours. The Lost Gardens holds and mesmerizes you. The place is magic without the bling. An elegance in design and purpose, The Lost Gardens of Apollo is one of the finest sim builds on the entire grid. This is a sim to be preserved... no matter what virtual world you are in.
Apollo. final plaster model. 1996.
Apolo. Modelo final em gesso (português).
Apolo. modelo final en yeso ( español).
Apolo. modello finale dell'intonaco (italiano).
Century VI quatrain 33
His hand finally through the bloody ALUS,
He will be unable to protect himself by sea,
Between two rivers he will fear the military hand,
The black and angry one will make him repent of it.
Eventim Apollo, Hammersmith. Opened as the Gaumont Palace in March 1932, having been long planned (from 1925) with initially the Davis family as promoters, but latterly Gaumont British. It was designed by Robert Cromie, and had 3,487 seats in stalls and balcony levels, plus standing room for a further 225. It is art deco in style, with panels by Newbury A. Trent. The Gaumont was equipped with a 35ft deep stage, full fly tower with 28 double purchase counterweight lines, a 64ft wide proscenium arch, and 20 dressing rooms. There is an 4 rank / 15 rank Compton organ, reinstated in 2005 after many years in storage. The Gaumont was renamed Odeon in 1962, regular films ceased in 1984, but sometimes occasionally play dates. It became the Apollo in 1992, and has been taken over by various companies over the years (Clear Channel; MAMA; HMV; Stage C) but is currently owned by CTS Eventim. As the finest surviving work by Robert Cromie, and (together with the Plaza Stockport), one of the greatest, and least altered 1930s super cinemas, the Apollo is grade 2* listed, and had a major refurbishment (Foster Wilson Architects) in the summer of 2013, uncovering and restoring many decorative features of the building. The Apollo is regularly featured on film and television, from "The Smallest Show on Earth" (1956 feature film) to "Live From The Apollo" regular TV Stand-up recording (18, and counting, series beginning 2004). Taken on a visit arranged by the Cinema Theatre Association.
cinematreasures.org/theaters/3774
London Borough of Hammersmith & Fulham, West London, Greater London, England - Eventim Apollo Theatre, Queen Caroline Street / Talgarth Road / Fulham Palace Road
April 2024
The Apollo Theatre in the Belvidere North State Street Historic District (1921). It became an X-rated theater in 1971, but was converted back to a regular movie theater three years later.
Apollo. final plaster model. 1996.
Apolo. Modelo final em gesso (português).
Apolo. modelo final en yeso ( español).
Apolo. modello finale dell'intonaco (italiano).
Century VI quatrain 33
His hand finally through the bloody ALUS,
He will be unable to protect himself by sea,
Between two rivers he will fear the military hand,
The black and angry one will make him repent of it.
Apollo. final plaster model. 1996.
Apolo. Modelo final em gesso (português).
Apolo. modelo final en yeso ( español).
Apolo. modello finale dell'intonaco (italiano).
Century VI quatrain 33
His hand finally through the bloody ALUS,
He will be unable to protect himself by sea,
Between two rivers he will fear the military hand,
The black and angry one will make him repent of it.
Apollo. final plaster model. 1996.
Apolo. Modelo final em gesso (português).
Apolo. modelo final en yeso ( español).
Apolo. modello finale dell'intonaco (italiano).
Century VI quatrain 33
His hand finally through the bloody ALUS,
He will be unable to protect himself by sea,
Between two rivers he will fear the military hand,
The black and angry one will make him repent of it.
Apollo waiting hopefully by the back door. Unfortunately for him, I was headed for the front! But he figured it out and did finally get in.
Apollo-Era astronaut transfer van. Used to transfer astronauts in their flight suits from the control centre to the launch pad, from the Apollo mission era until the early 1980's. On display at Kennedy Space Center, Titusville Florida.
Apollo II 25 Inertial Reference Integrating Gyro (IRIG). It was installed in the Apollo guidance system. It was designed at the MIT Instrumentation Lab in Cambridge, Mass., and manufactured by the AC Spark Plug Division of General Motors in Milwaukee, Wisconsin
Copy of Apollo Sauroktonos, Roman, 1st-2nd century, marble, H: 1.49m, Louvre, Ma441. photo by Marie-Lan Nguyen, 2010. commons.wikimedia.org/wiki/File:Apollo_Sauroktonos_Louvre...
Apollo. final plaster model. 1996.
Apolo. Modelo final em gesso (português).
Apolo. modelo final en yeso ( español).
Apolo. modello finale dell'intonaco (italiano).
Century VI quatrain 33
His hand finally through the bloody ALUS,
He will be unable to protect himself by sea,
Between two rivers he will fear the military hand,
The black and angry one will make him repent of it.
"Apollo 13 Recovery Area -- Apollo 13 CMP, John L. Swigert, Jr.,
climbs into the rescue net suspended from an unseen helicopter while James A. Lovell, Jr. (center), CDR, awaits his turn. They, along with LMP Fred W. Haise, Jr., circled the Moon during their abbreviated space mission and splashed down at 1:07 p.m. EST today in the Pacific Ocean, only four miles from the USS Iwo Jima, prime recovery ship. Onboard technical difficulties cancelled the planned lunar exploration by Lovell and Haise in the Fra Mauro region."
-- caption for NASA photo No. 108-KSC-70P193, release date April 17, 1970.
Piombino Apollo
Discovered in 1832 in a wreck off the Tuscan coast, near Piombino, this statue of Apollo is one of the few surviving original Greek bronze statues.
This work, carried out according to the technique of lost wax casting, retains copper inlays on the eyebrows, lips and nipples. The eyes were reported in another material.
The hieratic posture, the arms slightly folded and the left leg advanced recall the male nudes of the late sixth century BC. However, the modeling of the back, the hair treatment and other details doesn't allow recognizing the Apollo of Piombino as an original creation of the sixth century.
The appearance and the stylistic treatment of the work indicate, rather, that it is an archaic "pastiche", strongly influenced by the memory of the archaic kouroi.
The dating of the Apollo's statue was, however, hotly debated. A tablet of lead, found inside the statue during its restoration in 1842 and now lost, reported the engraved names of two sculptors of Tyre and Rhodes active in the first century BC and, probably, the authors of the statue.
Despite this historical reference, the work has long been considered an archaic creation of the second half of the fifth century BC. In 1977, a statue similar to our Apollo both in size both in style, was unearthed at Pompeii, in the villa of C. Julius Polybius. This finding confirms the hypothesis, now widely accepted, of a "pastiche" created at the end of the Hellenistic period for a roman customer greedy of Greek sculptures, mostly used to adorn gardens and villas.
Greek bronze sculpture
Late Hellenistic period
1st century BC
From Piombino, Livorno
Paris, Musée du Louvre