View allAll Photos Tagged Associate
The associated video with this picture series is Our Trip to Crete on YouTube.
This part of our adventures on our Grand Tour of Europe is in episode four of the Take Flight with Scott video series on YouTube. Please join us there for even more content from this trip. Part four is our time on Crete, Greece with our teen nieces Madeline and Emily, including a trip to the ruins in Ancient Aptera, and a visit to the freshwater flowing through Glyka Nera Beach.
Also, you can follow my personal ZiffedTraveler Instagram or the TakeFlight with Scott Instagram pages for more content and news. We are on Facebook, too.
Amedeo Modigliani
Italian, 1884 - 1920
Woman with a Necklace, 1917
Oil on canvas
(closeup)
Amedeo Clemente Modigliani (July 12, 1884 – January 24, 1920) was a Jewish-Italian painter and sculptor who pursued his career for the most part in France. Modigliani was born in Livorno, Italy and began his artistic studies in Italy before moving to Paris in 1906. Influenced by the artists in his circle of friends and associates, by a range of genres and movements, and by primitive art, Modigliani's oeuvre was nonetheless unique and idiosyncratic. He died in Paris of tubercular meningitis—exacerbated by a lifestyle of excess—at the age of 35.
Early life
Modigliani was born into a Jewish family in Livorno, Italy.
Livorno was still a relatively new city, by Italian standards, in the late nineteenth century. The city on the Tyrrhenian coast dates from around 1600, when it was transformed from a swampy village into a seaport. The Livorno that Modigliani knew was a bustling centre of commerce focused upon seafaring and shipwrighting, but its cultural history lay in being a refuge for those persecuted for their religion. His own maternal great-great-grandfather was one Solomon Garsin, a Jew who had immigrated to Livorno in the eighteenth century as a religious refugee.
Modigliani was the fourth child of Flaminio Modigliani and his wife, Eugenia Garsin. His father was in the money-changing business, but when the business went bankrupt, the family lived in dire poverty. In fact, Amedeo's birth saved the family from certain ruin, as, according to an ancient law, creditors could not seize the bed of a pregnant woman or a mother with a newborn child. When bailiffs entered the family home, just as Eugenia went into labour, the family protected their most valuable assets by piling them on top of the expectant mother.
Modigliani had a particularly close relationship with his mother, who taught her son at home until he was ten. Beset with health problems after a bout of typhoid at the age of fourteen, two years later he contracted the tuberculosis which would affect him for the rest of his life. To help him recover from his many childhood illnesses, she took him to Naples in Southern Italy, where the warmer weather was conducive to his convalescence.
His mother was, in many ways, instrumental in his ability to pursue art as a vocation. When he was eleven years of age, she had noted in her diary that:
“The child's character is still so unformed that I cannot say what I think of it. He behaves like a spoiled child, but he does not lack intelligence. We shall have to wait and see what is inside this chrysalis. Perhaps an artist?"
Art student years
Modigliani is known to have drawn and painted from a very early age, and thought himself "already a painter", his mother wrote, even before beginning formal studies. Despite her misgivings that launching him on a course of studying art would impinge upon his other studies, his mother indulged the young Modigliani's passion for the subject.
At the age of fourteen, while sick with the typhoid fever, he raved in his delirium that he wanted, above all else, to see the paintings in the Palazzo Pitti and the Uffizi in Florence. As Livorno's local museum only housed a sparse few paintings by the Italian Renaissance masters, the tales he had heard about the great works held in Florence intrigued him, and it was a source of considerable despair to him, in his sickened state, that he might never get the chance to view them in person. His mother promised that she would take him to Florence herself, the moment he was recovered. Not only did she fulfil this promise, but she also undertook to enroll him with the best painting master in Livorno, Guglielmo Micheli.
Micheli and the Macchiaioli
Modigliani worked in the studio of Micheli from 1898 to 1900. Here his earliest formal artistic instruction took place in an atmosphere deeply steeped in a study of the styles and themes of nineteenth-century Italian art. In his earliest Parisian work, traces of this influence, and that of his studies of Renaissance art, can still be seen: artists such as Giovanni Boldini figure just as much in this nascent work as do those of Toulouse-Lautrec.
Modigliani showed great promise while with Micheli, and only ceased his studies when he was forced to, by the onset of tuberculosis.
In 1901, whilst in Rome, Modigliani admired the work of Domenico Morelli, a painter of melodramatic Biblical studies and scenes from great literature. It is ironic that he should be so struck by Morelli, as this painter had served as an inspiration for a group of iconoclasts who went by the title, the Macchiaioli (from macchia—"dash of colour", or, more derogatively, "stain"), and Modigliani had already been exposed to the influences of the Macchiaioli. This minor, localised art movement was possessed of a need to react against the bourgeois stylings of the academic genre painters. While sympathetically connected to (and actually pre-dating) the French Impressionists, the Macchiaioli did not make the same impact upon international art culture as did the followers of Monet, and are today largely forgotten outside of Italy.
Modigliani's connection with the movement was through Micheli, his first art teacher. Micheli was not only a Macchiaioli himself, but had been a pupil of the famous Giovanni Fattori, a founder of the movement. Micheli's work, however, was so fashionable and the genre so commonplace that the young Modigliani reacted against it, preferring to ignore the obsession with landscape that, as with French Impressionism, characterised the movement. Micheli also tried to encourage his pupils to paint en plein air, but Modigliani never really got a taste for this style of working, sketching in cafes, but preferring to paint indoors, and especially in his own studio. Even when compelled to paint landscapes (three are known to exist), Modigliani chose a proto-Cubist palette more akin to Cézanne than to the Macchiaioli.
While with Micheli, Modigliani not only studied landscape, but also portraiture, still-life, and the nude. His fellow students recall that the latter was where he displayed his greatest talent, and apparently this was not an entirely academic pursuit for the teenager: when not painting nudes, he was occupied with seducing the household maid.
Despite his rejection of the Macchiaioli approach, Modigliani nonetheless found favour with his teacher, who referred to him as "Superman", a pet name reflecting the fact that Modigliani was not only quite adept at his art, but also that he regularly quoted from Nietzsche's Thus Spake Zarathustra. Fattori himself would often visit the studio, and approved of the young artist's innovations.
In 1902, Modigliani continued what was to be a life-long infatuation with life drawing, enrolling in the Accademia di Belle Arti (Scuola Libera di Nudo, or "Free School of Nude Studies") in Florence. A year later while still suffering from tuberculosis, he moved to Venice, where he registered to study at the Istituto di Belle Arti.
It is in Venice that he first smoked hashish and, rather than studying, began to spend time frequenting disreputable parts of the city. The impact of these lifestyle choices upon his developing artistic style is open to conjecture, although these choices do seem to be more than simple teenage rebellion, or the cliched hedonism and bohemianism that was almost expected of artists of the time; his pursuit of the seedier side of life appears to have roots in his appreciation of radical philosophies, such as those of Nietzsche.
Early literary influences
Having been exposed to erudite philosophical literature as a young boy under the tutelage of Isaco Garsin, his maternal grandfather, he continued to read and be influenced through his art studies by the writings of Nietzsche, Baudelaire, Carduzzi, Comte de Lautréamont, and others, and developed the belief that the only route to true creativity was through defiance and disorder.
Letters that he wrote from his 'sabbatical' in Capri in 1901 clearly indicate that he is being more and more influenced by the thinking of Nietzsche. In these letters, he advised friend Oscar Ghiglia,
“(hold sacred all) which can exalt and excite your intelligence... (and) ... seek to provoke ... and to perpetuate ... these fertile stimuli, because they can push the intelligence to its maximum creative power.”
The work of Lautréamont was equally influential at this time. This doomed poet's Les Chants de Maldoror became the seminal work for the Parisian Surrealists of Modigliani's generation, and the book became Modigliani's favourite to the extent that he learnt it by heart. The poetry of Lautréamont is characterised by the juxtaposition of fantastical elements, and by sadistic imagery; the fact that Modigliani was so taken by this text in his early teens gives a good indication of his developing tastes. Baudelaire and D'Annunzio similarly appealed to the young artist, with their interest in corrupted beauty, and the expression of that insight through Symbolist imagery.
Modigliani wrote to Ghiglia extensively from Capri, where his mother had taken him to assist in his recovery from the tuberculosis. These letters are a sounding board for the developing ideas brewing in Modigliani's mind. Ghiglia was seven years Modigliani's senior, and it is likely that it was he who showed the young man the limits of his horizons in Livorno. Like all precocious teenagers, Modigliani preferred the company of older companions, and Ghiglia's role in his adolescence was to be a sympathetic ear as he worked himself out, principally in the convoluted letters that he regularly sent, and which survive today.
“Dear friend
I write to pour myself out to you and to affirm myself to myself. I am the prey of great powers that surge forth and then disintegrate... A bourgeois told me today - insulted me - that I or at least my brain was lazy. It did me good. I should like such a warning every morning upon awakening: but they cannot understand us nor can they understand life...”
Paris
Arrival
In 1906 Modigliani moved to Paris, then the focal point of the avant-garde. In fact, his arrival at the epicentre of artistic experimentation coincided with the arrival of two other foreigners who were also to leave their marks upon the art world: Gino Severini and Juan Gris.
He settled in Le Bateau-Lavoir, a commune for penniless artists in Montmartre, renting himself a studio in Rue Caulaincourt. Even though this artists' quarter of Montmartre was characterised by generalised poverty, Modigliani himself presented - initially, at least - as one would expect the son of a family trying to maintain the appearances of its lost financial standing to present: his wardrobe was dapper without ostentation, and the studio he rented was appointed in a style appropriate to someone with a finely attuned taste in plush drapery and Renaissance reproductions. He soon made efforts to assume the guise of the bohemian artist, but, even in his brown corduroys, scarlet scarf and large black hat, he continued to appear as if he were slumming it, having fallen upon harder times.
When he first arrived in Paris, he wrote home regularly to his mother, he sketched his nudes at the Colarossi school, and he drank wine in moderation. He was at that time considered by those who knew him as a bit reserved, verging on the asocial. He is noted to have commented, upon meeting Picasso who, at the time, was wearing his trademark workmen's clothes, that even though the man was a genius, that did not excuse his uncouth appearance.
Transformation
Within a year of arriving in Paris, however, his demeanour and reputation had changed dramatically. He transformed himself from a dapper academician artist into a sort of prince of vagabonds.
The poet and journalist Louis Latourette, upon visiting the artist's previously well-appointed studio after his transformation, discovered the place in upheaval, the Renaissance reproductions discarded from the walls, the plush drapes in disarray. Modigliani was already an alcoholic and a drug addict by this time, and his studio reflected this. Modigliani's behaviour at this time sheds some light upon his developing style as an artist, in that the studio had become almost a sacrificial effigy for all that he resented about the academic art that had marked his life and his training up to that point.
Not only did he remove all the trappings of his bourgeois heritage from his studio, but he also set about destroying practically all of his own early work. He explained this extraordinary course of actions to his astonished neighbours thus:
“Childish baubles, done when I was a dirty bourgeois."
The motivation for this violent rejection of his earlier self is the subject of considerable speculation. The self-destructive tendencies may have stemmed from his tuberculosis and the knowledge (or presumption) that the disease had essentially marked him for an early death; within the artists' quarter, many faced the same sentence, and the typical response was to set about enjoying life while it lasted, principally by indulging in self-destructive actions. For Modigliani such behavior may have been a response to a lack of recognition; it is known that he sought the company of other alcoholic artists such as Utrillo and Soutine, seeking acceptance and validation for his work from his colleagues.
Modigliani's behavior stood out even in these Bohemian surroundings: he carried on frequent affairs, drank heavily, and used absinthe and hashish. While drunk he would sometimes strip himself naked at social gatherings. He became the epitome of the tragic artist, creating a posthumous legend almost as well-known as that of Vincent van Gogh.
During the 1920s, in the wake of Modigliani's career and spurred on by comments by Andre Salmon crediting hashish and absinthe with the genesis of Modigliani's style, many hopefuls tried to emulate his 'success' by embarking on a path of substance abuse and bohemian excess. Salmon claimed—erroneously—that whereas Modigliani was a totally pedestrian artist when sober,
“...from the day that he abandoned himself to certain forms of debauchery, an unexpected light came upon him, transforming his art. From that day on, he became one who must be counted among the masters of living art.”
While this propaganda served as a rallying cry to those with a romantic longing to be a tragic, doomed artist, these strategies did not produce unique artistic insights or techniques in those who did not already have them.
In fact, art historians suggest that it is entirely possible for Modigliani to have achieved even greater artistic heights had he not been immured in, and destroyed by, his own self-indulgences. We can only speculate what he might have accomplished had he emerged intact from his self-destructive explorations.
Output
During his early years in Paris, Modigliani worked at a furious pace. He was constantly sketching, making as many as a hundred drawings a day. However, many of his works were lost - destroyed by him as inferior, left behind in his frequent changes of address, or given to girlfriends who did not keep them.
He was first influenced by Henri de Toulouse-Lautrec, but around 1907 he became fascinated with the work of Paul Cézanne. Eventually he developed his own unique style, one that cannot be adequately categorized with other artists.
He met the first serious love of his life, Russian poet Anna Akhmatova, in 1910, when he was 26. They had studios in the same building, and although 21-year-old Anna was recently married, they began an affair. Tall (Modigliani was only 5 foot 5 inches) with dark hair (like Modigliani's), pale skin and grey-green eyes, she embodied Modigliani's aesthetic ideal and the pair became engrossed in each other. After a year, however, Anna returned to her husband.
Experiments with sculpture
In 1909, Modigliani returned home to Livorno, sickly and tired from his wild lifestyle. Soon he was back in Paris, this time renting a studio in Montparnasse. He originally saw himself as a sculptor rather than a painter, and was encouraged to continue after Paul Guillaume, an ambitious young art dealer, took an interest in his work and introduced him to sculptor Constantin Brancusi.
Although a series of Modigliani's sculptures were exhibited in the Salon d'Automne of 1912, he abruptly abandoned sculpting and focused solely on his painting.
Question of influences
In Modigliani's art, there is evidence of the influence of primitive art from Africa and Cambodia which he may have seen in the Musée de l'Homme, but his stylisations are just as likely to have been the result of his being surrounded by Mediaeval sculpture during his studies in Northern Italy (there is no recorded information from Modigliani himself, as there is with Picasso and others, to confirm the contention that he was influenced by either ethnic or any other kind of sculpture). A possible interest in African tribal masks seems to be evident in his portraits. In both his painting and sculpture, the sitters' faces resemble ancient Egyptian painting in their flat and masklike appearance, with distinctive almond eyes, pursed mouths, twisted noses, and elongated necks. However these same chacteristics are shared by Medieval European sculpture and painting.
Modigliani painted a series of portraits of contemporary artists and friends in Montparnasse: Chaim Soutine, Moise Kisling, Pablo Picasso, Diego Rivera, Marie "Marevna" Vorobyev-Stebeslka, Juan Gris, Max Jacob, Blaise Cendrars, and Jean Cocteau, all sat for stylized renditions.
At the outset of World War I, Modigliani tried to enlist in the army but was refused because of his poor health.
The war years
Known as Modì, which roughly translates as 'morbid' or 'moribund', by many Parisians, but as Dedo to his family and friends, Modigliani was a handsome man, and attracted much female attention.
Women came and went until Beatrice Hastings entered his life. She stayed with him for almost two years, was the subject for several of his portraits, including Madame Pompadour, and the object of much of his drunken wrath.
When the British painter Nina Hamnett arrived in Montparnasse in 1914, on her first evening there the smiling man at the next table in the café introduced himself as Modigliani; painter and Jew. They became great friends.
In 1916, Modigliani befriended the Polish poet and art dealer Leopold Zborovski and his wife Anna.
Jeanne Hébuterne
The following summer, the Russian sculptor Chana Orloff introduced him to a beautiful 19-year-old art student named Jeanne Hébuterne who had posed for Foujita. From a conservative bourgeois background, Hébuterne was renounced by her devout Roman Catholic family for her liaison with the painter, whom they saw as little more than a debauched derelict, and, worse yet, a Jew. Despite her family's objections, soon they were living together, and although Hébuterne was the love of his life, their public scenes became more renowned than Modigliani's individual drunken exhibitions.
On December 3, 1917, Modigliani's first one-man exhibition opened at the Berthe Weill Gallery. The chief of the Paris police was scandalized by Modigliani's nudes and forced him to close the exhibition within a few hours after its opening.
After he and Hébuterne moved to Nice, she became pregnant and on November 29, 1918 gave birth to a daughter whom they named Jeanne (1918-1984).
Nice
During a trip to Nice, conceived and organized by Leopold Zborovski, Modigliani, Tsuguharu Foujita and other artists tried to sell their works to rich tourists. Modigliani managed to sell a few pictures but only for a few francs each. Despite this, during this time he produced most of the paintings that later became his most popular and valued works.
During his lifetime he sold a number of his works, but never for any great amount of money. What funds he did receive soon vanished for his habits.
In May of 1919 he returned to Paris, where, with Hébuterne and their daughter, he rented an apartment in the rue de la Grande Chaumière. While there, both Jeanne Hébuterne and Amedeo Modigliani painted portraits of each other, and of themselves.
Last days
Although he continued to paint, Modigliani's health was deteriorating rapidly, and his alcohol-induced blackouts became more frequent.
In 1920, after not hearing from him for several days, his downstairs neighbor checked on the family and found Modigliani in bed delirious and holding onto Hébuterne who was nearly nine months pregnant. They summoned a doctor, but little could be done because Modigliani was dying of the then-incurable disease tubercular meningitis.
Modigliani died on January 24, 1920. There was an enormous funeral, attended by many from the artistic communities in Montmartre and Montparnasse.
Hébuterne was taken to her parents' home, where, inconsolable, she threw herself out of a fifth-floor window two days after Modigliani's death, killing herself and her unborn child. Modigliani was interred in Père Lachaise Cemetery. Hébuterne was buried at the Cimetière de Bagneux near Paris, and it was not until 1930 that her embittered family allowed her body to be moved to rest beside Modigliani.
Modigliani died penniless and destitute—managing only one solo exhibition in his life and giving his work away in exchange for meals in restaurants. Had he lived through the 1920s when American buyers flooded Paris, his fortunes might well have changed. Since his death his reputation has soared. Nine novels, a play, a documentary and three feature films have been devoted to his life.
Nethergate, Dundee
A.I.- Generate Article:
Dundee has actually been associated with penguins for a long time. One reason for this association is the RRS Discovery, a ship now located at Dundee’s waterfront. Its first ever mission was to the British National Antarctica, which happens to be the home of the penguin. As a result of the ship’s successful mission, which saw the first sighting of an emperor penguin alongside extensive scientific research, the bird has become an important symbol of Dundee’s many explorers and inventors.
In addition to this historical association, there are also five penguin sculptures located at City Churches in Dundee that have become a firm favorite with the Dundee public. Sculpted by Angela Hunter, these penguins are regularly dressed up to join in city occasions such as graduation, charity fundraising events, Christmas celebrations and Royal visits.
The associated video with this picture series is Our Trip to Crete on YouTube.
This part of our adventures on our Grand Tour of Europe is in episode four of the Take Flight with Scott video series on YouTube. Please join us there for even more content from this trip. Part four is our time on Crete, Greece with our teen nieces Madeline and Emily, including a trip to the ruins in Ancient Aptera, and a visit to the freshwater flowing through Glyka Nera Beach.
Also, you can follow my personal ZiffedTraveler Instagram or the TakeFlight with Scott Instagram pages for more content and news. We are on Facebook, too.
The associated video with this picture series is Our Trip to Crete on YouTube.
This part of our adventures on our Grand Tour of Europe is in episode three of the Take Flight with Scott video series on YouTube. Please join us there for even more content from this trip. Part one is our time on Crete, Greece with our teen nieces Madeline and Emily.
Also, you can follow my personal ZiffedTraveler Instagram or the TakeFlight with Scott Instagram pages for more content and news. We are on Facebook, too.
Many of you might associate Cleanaway with Australia or the UK but they also had quite a strong presence in Germany. I found this one on the Wayback machine, Cleanaway Germany was sadly sold to the Sulo Group back in 2005 who later sold to Veolia in 2007. Cleanaway of course still exists but only in Australia after they sold off everything except the Australian operations to Veolia. Apart from Australia, Cleanaway was mainly operating in the UK and Germany before 2005 but also in a few other countries. Another thing that is interesting to note is that Cleanaway was the company that bought WMI Germany in 2000, while other parts of WMX’s overseas subsidiaries where sold to Sita like WMI Sweden or WMI Australia (PWM), WMI Germany was bought by Cleanaway, that’s how they strengthened their operations in Germany.
Associated Picture Archive Post on WLTMTB - wltmauc.blogspot.co.uk/2014/03/picture-archive-post-21.html
The active nucleus and some glowing outflows associated with it in the galaxy Markarian 78. I worked together with Dr. Mitchell Revalski on this one. Together I feel like we were able to pick the right datasets to really eke out as much detail as possible for the ionized (glowing) outflows, which are shown in blue. There were some old FOC data in the archive that I myself was too skeptical to try using, but after some encouragement from Mitch it turned out it was actually the best. Other noticeable features include dark dust, shown here in dark brown and orange colors.
Anyway, this may seem like a meager offering compared to other imagery from Hubble, but it's safe to say it's currently the best image (as of this writing) of Mrk 78's nucleus.
An arXiv link to the paper on this object is here!
Data from the following proposals were used to create this image. Two proposals from the late 90's and one from 2019. Glad the archive is so well maintained that it is possible to easily combine chronologically disparate datasets.
archive.stsci.edu/proposal_search.php?mission=hst&id=...
archive.stsci.edu/proposal_search.php?mission=hst&id=...
archive.stsci.edu/proposal_search.php?mission=hst&id=...
This ended up being a two color orange/cyan image, and the cyan channel is a bit unusual, comprised of data combined from the STIS/CCD 50CCD filter and FOC/96 F502M filter. Neither dataset provided full coverage, so each image makes up for what is missing in the other, and what features showed up in both were similar enough to create a smooth and coherent image despite being from totally different instruments and not quite similar filters.
Orange: ACS/WFC F814W
Cyan: STIS/CCD 50CCD + FOC/96 F502M
North is up.
Strangely beautiful and agile, the SPRIGGANS are adept at magic and deadly in combat. Their affinity for nature means they are also often surrounded by other woodland creatures, making them all the more dangerous - elder scrolls
~
Found around cairns, cromlechs, and ancient barrows, they guard buried treasure, but are also responsible for bringing storms and the destruction of buildings and crops. Like piskies, they may also abduct children.
~
A spriggan is a legendary creature from Cornish folklore. Spriggans are particularly associated with West Penwith in Cornwall.
~
ailayers edited vis gimp&pixlr
The associated video with this picture series is Our Trip to Crete on YouTube.
This part of our adventures on our Grand Tour of Europe is in episode three of the Take Flight with Scott video series on YouTube. Please join us there for even more content from this trip. Part one is our time on Crete, Greece with our teen nieces Madeline and Emily.
Also, you can follow my personal ZiffedTraveler Instagram or the TakeFlight with Scott Instagram pages for more content and news. We are on Facebook, too.
The Bonfire Memorial embodies many layers of meaning associated with the Aggie Spirit—a deep sense of belonging, a strong spirit of teamwork and leadership and an enduring sense of tradition that unites thousands. The Bonfire Memorial celebrates the tradition, history and spirit of Texas A&M, and the dedication of those involved in the tragic collapse of the 1999 Bonfire. Uniting Aggies past, present and future, the Memorial is comprised of three design elements.
The Tradition Plaza marks the entrance to the memorial and reflects on the activities that bring Aggies together. Spirit Wall separates the outer world from the intimate experience of the memorial, while the Last Corps Trip Wall recites the poem traditionally read prior to the lighting of Bonfire each year.
The History Walk portrays the 90 years of Bonfire preceding the 1999 collapse. The granite timeline is comprised of 89 stones arranged in a north-south line and begins with 1909, the first year Bonfire was built on campus. The amber light and notch in each stone recalls the fire glow of Bonfire each November. A break in the time line in 1963 signifies the year John F. Kennedy was assassinated and the only year that Bonfire did not burn. Three previous Bonfire-related deaths are remembered on the time line in the years they occurred.
The Spirit Ring surrounds the site of the 1999 Bonfire and represents the Aggie Spirit that unites individuals into something greater than themselves. The twelve portals are oriented toward the hometowns of those who perished in the collapse. From different backgrounds, communities and beliefs, these students converged on this field, along with many of their fellow Aggies to celebrate the Aggie Spirit. Twenty-seven stones with bronze inlays representing the injured students connect these portals to complete the circle, recalling the Aggie Ring and the ring of Aggies who reunited to celebrate the Bonfire tradition year after year. Each bronze element symbolizes an Aggie, the ring itself represents the common bond connecting each one to the Aggie Spirit. Stepping into one of the oversized gateways on the circle, the visitor symbolically fills the void left by one of the twelve Aggies, embodying the spirit of the 12th Man.
For Aggies who participated in Bonfire, the meaning and power of the Aggie Spirit is understood. The Bonfire Memorial seeks to share that understanding with respect, remembrance and spirit.
Vessel Details
Name:STORM SIREN II
Flag: United Kingdom
MMSI:232056713
Call sign:MPUF7
AIS transponder class:Class B
General vessel type:Pilot Vessel
Previously
Name:RNLI LIFEBOAT 12-13 Keep Fit Association
Flag: United Kingdom
MMSI:232004395
Call sign:VQP19
AIS transponder class:Class A
General vessel type:SAR
O/N: 1170
Built:1990
All-weather Lifeboat Centre in Poole
On Station 1991–2021 Filey, North Yorkshire
2021–2024 Relief fleet
N/B: Sold May 2024. Pilot Boat with Teignmouth Harbour Authority
Lifeboat category:
All-weather Lifeboat
Name:Mersey Class
Operator: Royal National Lifeboat Institution
Preceded by:Rother Class & Oakley Class
Succeeded by:Shannon Class
Cost£350,000
Completed:38
Active:10
Retired:28
Year introduced to the RNLI fleet: 1988
Last built: 1993
Launch type: Carriage, slipway or afloat
Crew: 6
Survivor capacity:
Self-righting – 21
Non self-righting – 43
Maximum speed: 17 knots (20 mph; 31 km/h)
Manoeuvrability: Propellers and rudders in partial tunnels in the hull
Range:240 nmi (440 km)
Endurance:10.25 hours approx. at cruising speed
Length: 11.62m
Beam / width: 4m
Draught / depth: 1.02m
Displacement / weight: 14.3 tonnes (maximum)
Fuel capacity: 1,110 litres
Engines
2 x Caterpillar 3208T 10.4 litre V6 turbocharged 280hp diesel engines, propulsion via Twin Disc MG506-1 gearboxes, shafts and propellers
Steering positions
2 – an elevated upper steering position for 360º views and one inside the wheelhouse
Construction: Aluminium or fibre-reinforced composite (FRC)
Number in fleet: Currently 12 in total, 7 at stations and 5 in repair or awaiting disposal
Identification
All lifeboats have a unique identification number.
The first part indicates the class. Mersey class lifeboats start with 12 because they are almost 12m in length.
The numbers after the dash refer to the build number. So the first Mersey built was given the number 12-001.
A build number with three digits indicates a hull constructed of aluminium. Two digits indicate a hull constructed of fibre-reinforced composite (FRC).
Communications and navigation
VHF (very high frequency) and MF (medium frequency) radio with digital selective calling (DSC)
VHF direction finder (DF)
global positioning system (GPS) with electronic chart system
radar..
The Rivergate Tower is a 454 ft tall skyscraper in downtown Tampa, Florida with 31 floors. It is also known as the Sykes building and commonly referred to as the Beer Can Building.
Building Facts:
The architects of this skyscraper were recognized with an Honor Award from the American Institute of Architects in 1993.
The building is one of the tallest limestone structures in the world.
At sunset, the building's limestone facade glows yellow-orange over the Tampa skyline.
The building's cylindrical design was intended to look like a lighthouse on the Tampa skyline.
The building's only exterior lighting are two skyward facing lights, which further the building's lighthouse symbolism.
Concentric circles located in the building's lobby mark distances of time and space.
Despite the building's apparent cylindrical design, a linear grid wraps around the building's facade.
The building's measurements and numerical seaquences are based on the Fibonacci series (where each number is the sum of the two preceding numbers).
The building's 1,880 windows and 13 feet from floor to floor resemble the building's mathematical basis on the Fibonacci series.
The building was built as the NCNB state headquarters, which was formerly located in the city of Miami.
At the base of the tower are two 6-story cubes where bank tellers used to work.
The building's top five floors have thin rose-colored glass notches that offer views over the city.
The building has floor to ceiling windows with a thick concrete band horizontally separating them, which gives the appearance of two smaller windows.
The building has a 26-foot high entrance way that faces the park across.
Ever since its grand opening City Center has become the centerpiece of downtown West Palm Beach. The City Center complex includes the City Hall (150,000 GSF, including the City’s Commission Chambers), the Mandel Public Library (85,000 GSF, including a 150-seat auditorium, children’s library, and teen library), the Palm Beach Photographic Centre and Museum (35,000 GSF) and a parking garage for 300 cars with charging stations for electric vehicles.
Song + Associates originally conducted a space-needs study in 1997 to program the future functions of City Center as part of Phase I for the project. Once funding was established years later, Song + Associates validated the study by providing necessary program modifications to reflect the city’s growth and reorganization. We also developed new programs for those departments that were not part of the original study. This phase of the project consisted of weekly meetings with the library staff, Photographic Centre staff, and each of the 22 departments within City Hall in order to understand the workflow, workspaces, support spaces, and department adjacencies. After the programming and master planning was completed then came the design to create a civic connection space for the public all in one convenient location.
Awards:
Urban Land Institute Vision Award, 2010
International Downtown Association Award of Distinction, 2009
American City & County Crown Community Award, 2009
Credit for the data above is given to the following websites:
www.songandassociates.com/city-center
www.pbcgov.org/papa/Asps/PropertyDetail/PropertyDetail.as...
www.emporis.com/buildings/1202161/west-palm-beach-city-ce...
© All Rights Reserved - you may not use this image in any form without my prior permission.
It's known from very few localities, in the Central Andes of Colombia, on the east slope in southern Ecuador, and in north central Peru. It's habit is in subtropical to temperate zones, 2000-2700. Undergrowth of humid montane forest, generally associated with Chusquea bamboo.
Come with us and enjoy all the magic of the birds
REFORD GARDENS | LES JARDINS DE METIS
Spectacular view associated with wind gust.
Beautiful flowers at Reford Gardens.
Visit : www.refordgardens.com/
VERTICAL LINE GARDEN 2017
Julia Jamrozik, Coryn Kempster
Buffalo, United States.
Visit: www.ck-jj.com
From the plaque:
Drawing on the formal language of historical garden design, and the contemporary means of mass-produced safety and construction material, the project is a strong graphic intervention that aims to produce an abstract field.
Defining a geometric zone out of tightly spaced parallel lines of stretched commercial barrier tape , the installation introduces ordered man-made elements into the cultivated natural environment of the Reford Gardens. Through this juxtaposition, a dialogue between the two spheres is created based on the shared theme of protection and necessary safe-guarding while questioning the definition of what is truly natural.
As one approaches and then walks around and through the installation the changing viewpoint will allow the shifting of the tape lines in space and thus varied views of the overall composition. Further the movement of the lines with the changing of the climate, the wind and the sun will ensure a dynamic optical and auditory engagement for the audience. As visitors enter and inhabit the space by occupying the provided loungers, the fluctuating appearance of the installation is further enhanced.
In the 2015 version of the garden, we have decided to alter the colours of the field and provide and to provide canpy elements which will not only provide shade but also give a different experiential perspective of the banner tape.
--------------------------------------------------------------------------------------
Texte de la plaque:
S'appuyant sur le langage formel de la conception du jardin historique, sur des moyens modernes de sécutité et sur des matériaux de construction produits en massa, le projet se veut une intervention graphique cherchant à créer un champs abstrait.
Des lignes parallèles de rubans de sécurité étroitement espacés définissent une zone géométrique. Cette installation d’éléments ordonnés prend place dans un milieu d’aspect naturel. Par cette juxtaposition, un dialogue entre les deux se crée basé sur le thème commun de la protection et de la sauvegarde , tout en s’interrogeant sur la définition de ce qui est vraiment naturel.
En s’approchant, en marchant autour et au travers le jardin, le point de vue change, ce qui permet le déplacement des lignes dans l’espace pour offrir de nouvelles perspectives sur la composition globale. Outre le mouvement des lignes, les changements de climat, le vent et le soleil procurent aux visiteurs des expériences visuelles et auditives dynamiques. Lorsque les visiteurs entrent et habitent l’espace en s’assoyant sur les chaises, l’aspect fluctuant de l’installation est renforcé.
Dans la version 2015 du jardin, les couleurs des rubans sont différentes et trois canopées ont été ajoutés. Ce qui va non seulement fournir de l’ombre mais aussi offrir une perspective expérientielle différente sur les rubans de sécurité.
------------------------------------------------------------------------------------------
Visit : www.refordgardens.com/
From Wikipedia:
Elsie Stephen Meighen - born January 22, 1872, Perth, Ontario - and Robert Wilson Reford - born in 1867, Montreal - got married on June 12, 1894.
Elsie Reford was a pioneer of Canadian horticulture, creating one of the largest private gardens in Canada on her estate, Estevan Lodge in eastern Québec. Located in Grand-Métis on the south shore of the St. Lawrence River, her gardens have been open to the public since 1962 and operate under the name Les Jardins de Métis and Reford Gardens.
Born January 22, 1872 at Perth, Ontario, Elsie Reford was the eldest of three children born to Robert Meighen and Elsie Stephen. Coming from modest backgrounds themselves, Elsie’s parents ensured that their children received a good education. After being educated in Montreal, she was sent to finishing school in Dresden and Paris, returning to Montreal fluent in both German and French, and ready to take her place in society.
She married Robert Wilson Reford on June 12, 1894. She gave birth to two sons, Bruce in 1895 and Eric in 1900. Robert and Elsie Reford were, by many accounts, an ideal couple. In 1902, they built a house on Drummond Street in Montreal. They both loved the outdoors and they spend several weeks a year in a log cabin they built at Lac Caribou, south of Rimouski. In the autumn they hunted for caribou, deer, and ducks. They returned in winter to ski and snowshoe. Elsie Reford also liked to ride. She had learned as a girl and spent many hours riding on the slopes of Mount Royal. And of course, there was salmon-fishing – a sport at which she excelled.
In her day, she was known for her civic, social, and political activism. She was engaged in philanthropic activities, particularly for the Montreal Maternity Hospital and she was also the moving force behind the creation of the Women’s Canadian Club of Montreal, the first women club in Canada. She believed it important that the women become involved in debates over the great issues of the day, « something beyond the local gossip of the hour ». Her acquaintance with Lord Grey, the Governor-General of Canada from 1904 to 1911, led to her involvement in organizing, in 1908, Québec City’s tercentennial celebrations. The event was one of many to which she devoted herself in building bridges with French-Canadian community.
During the First World War, she joined her two sons in England and did volunteer work at the War Office, translating documents from German into English. After the war, she was active in the Victorian Order of Nurses, the Montreal Council of Social Agencies, and the National Association of Conservative Women.
In 1925 at the age of 53 years, Elsie Reford was operated for appendicitis and during her convalescence, her doctor counselled against fishing, fearing that she did not have the strength to return to the river.”Why not take up gardening?” he said, thinking this a more suitable pastime for a convalescent woman of a certain age. That is why she began laying out the gardens and supervising their construction. The gardens would take ten years to build, and would extend over more than twenty acres.
Elsie Reford had to overcome many difficulties in bringing her garden to life. First among them were the allergies that sometimes left her bedridden for days on end. The second obstacle was the property itself. Estevan was first and foremost a fishing lodge. The site was chosen because of its proximity to a salmon river and its dramatic views – not for the quality of the soil.
To counter-act nature’s deficiencies, she created soil for each of the plants she had selected, bringing peat and sand from nearby farms. This exchange was fortuitous to the local farmers, suffering through the Great Depression. Then, as now, the gardens provided much-needed work to an area with high unemployment. Elsie Reford’s genius as a gardener was born of the knowledge she developed of the needs of plants. Over the course of her long life, she became an expert plantsman. By the end of her life, Elsie Reford was able to counsel other gardeners, writing in the journals of the Royal Horticultural Society and the North American Lily Society. Elsie Reford was not a landscape architect and had no training of any kind as a garden designer. While she collected and appreciated art, she claimed no talents as an artist.
Elsie Stephen Reford died at her Drummond Street home on November 8, 1967 in her ninety-sixth year.
In 1995, the Reford Gardens ("Jardins de Métis") in Grand-Métis were designated a National Historic Site of Canada, as being an excellent Canadian example of the English-inspired garden.(Wikipedia)
Visit : en.wikipedia.org/wiki/Elsie_Reford
Visit : www.refordgardens.com/
LES JARDINS DE MÉTIS
Créés par Elsie Reford de 1926 à 1958, ces jardins témoignent de façon remarquable de l’art paysager à l’anglaise. Disposés dans un cadre naturel, un ensemble de jardins exhibent fleurs vivaces, arbres et arbustes. Le jardin des pommetiers, les rocailles et l’Allée royale évoquent l’œuvre de cette dame passionnée d’horticulture. Agrémenté d’un ruisseau et de sentiers sinueux, ce site jouit d’un microclimat favorable à la croissance d’espèces uniques au Canada. Les pavots bleus et les lis, privilégiés par Mme Reford, y fleurissent toujours et contribuent , avec d’autres plantes exotiques et indigènes, à l’harmonie de ces lieux.
Created by Elsie Reford between 1926 and 1958, these gardens are an inspired example of the English art of the garden. Woven into a natural setting, a series of gardens display perennials, trees and shrubs. A crab-apple orchard, a rock garden, and the Long Walk are also the legacy of this dedicated horticulturist. A microclimate favours the growth of species found nowhere else in Canada, while the stream and winding paths add to the charm. Elsie Reford’s beloved blue poppies and lilies still bloom and contribute, with other exotic and indigenous plants, to the harmony of the site.
Commission des lieux et monuments historiques du Canada
Historic Sites and Monuments Board of Canada.
Gouvernement du Canada – Government of Canada
© Copyright
This photo and all those in my Photostream are protected by copyright. No one may reproduce, copy, transmit or manipulate them without my written permission.
The associated video with this picture series is Our Trip to Crete on YouTube.
This part of our adventures on our Grand Tour of Europe is in episode three of the Take Flight with Scott video series on YouTube. Please join us there for even more content from this trip. Part one is our time on Crete, Greece with our teen nieces Madeline and Emily.
Also, you can follow my personal ZiffedTraveler Instagram or the TakeFlight with Scott Instagram pages for more content and news. We are on Facebook, too.
Commer Truck,
Farm dump associated with Leaghur Station, Lake Mungo National Park, Willandra Lakes World Heritage Area,
nr Balranald, NSW, Australia
Photo taken on occasion of Charles Sturt University's residential school 2012 for the subject 'Heritage Site Management' (PKM397) (map of the route).
The truck indeed shows up on satellite images (see Google Earth) at these coords: 33°37'8.13"S 143° 2'12.78"E
© Dirk HR Spennemann 2012, All Rights Reserved
-------------------------------------------------------------------------------------------------------
Image made EXPLORE on 23 April 2012. Max position: 141
-----------------------------------------------------------------------------------------------------
=====================================================================
Comments and faves are very welcome, but please do not post any gaudy, large group
invites or animated images. They will be deleted. Thanks...
=====================================================================
If you ever wondered how ASDA Supermarkets got their name, just look at the destination box on this former Southern National 1954 Bristol LS5G with ECW B41F body. It was photographed in Leeds Road, Wakefield in June 1976, returning to its Lofthouse base, after its daily afternoon staff bus run into Wakefield from an ASsociated DAiries factory.
Holyroodhouse Palace, Edinburgh, Scotland.
Founded as a monastery in 1128, the Palace of Holyroodhouse in Edinburgh is The Queen's official residence in Scotland. Situated at the end of the Royal Mile, the Palace of Holyroodhouse is closely associated with Scotland's turbulent past, including Mary, Queen of Scots, who lived here between 1561 and 1567. Successive kings and queens have made the Palace of Holyroodhouse the premier royal residence in Scotland.
For video, please visit youtu.be/RCcZ9vdxbCc?list=UULJqdxR1UK1Pzk7FSwTSneg
Preserved 1967 Associated Equipment Company (AEC) Routemaster Double Decker Bus RML2722 SMK722F at work as the Wilkin and Sons Tiptree Cream Tea Bus at the Osea Leisure Park near Heybridge Basin and the town of Maldon in the County of Essex (UK).
RML2722 SMK722F entered service for London Transport in November 1967 and was withdrawn by London United in January 2004.
RML2722 SMK722F was converted into The Tiptree Cream Tea Bus in 2018 and is fully operational/road legal.
en.wikipedia.org/wiki/AEC_Routemaster
www.flickr.com/photos/stuart166axe/tags/routemaster/
My Bus and Coach album flic.kr/s/aHsjJgWqCA
Photograph taken by and copyright of my regular photostream contributor David and is posted here with very kind permission.
The associated video with this picture series is Our Trip to Crete on YouTube.
This part of our adventures on our Grand Tour of Europe is in episode three of the Take Flight with Scott video series on YouTube. Please join us there for even more content from this trip. Part one is our time on Crete, Greece with our teen nieces Madeline and Emily.
Also, you can follow my personal ZiffedTraveler Instagram or the TakeFlight with Scott Instagram pages for more content and news. We are on Facebook, too.
Through its subsidiary Associated Co-operative Creameries (ACC), the Cooperative Wholesale Society was a major player in the UK milk industry until the sale of its assets to Cheshire-based Dairy Farmers of Britain in 2004. ACC had been a subsidiary of the North Eastern Co-operative Society based in Gateshead and assumed nationwide responsibility for milk production and distribution within the CWS following its acquisition of the previously separate regional co-operatives in1992. Its distinction blue and white vehicles could be seen collecting fresh milk from local farms, and delivering the processed product to wholesale and retail customers. I have no evidence that the company operated Scanias but this fictional two-axle 111 is typical of the smaller tankers used for collecting milk from farms with restricted access. Thanks to Martin Vonk for the base image (17-Dec-18).
All rights reserved. Not to be posted on Facebook or anywhere else without my prior written permission. Please follow the link below for additional information about my Flickr images:
www.flickr.com/photos/northernblue109/6046035749/in/set-7...
For a few days now, my thoughts have been on intimacy. I've been pondering it. What is it? How do I guard my heart and still be intimate with someone?
The secular culture has perverted the meaning of the word, and that bothers me. I know that intimacy is simply being close to or vulnerable with someone. One may be intimate with his or her deepest friends. One may be intimate with his or her family. One also may be uncomfortably intimate with someone he or she is forced to stand really close to in an outrageous line on Black Friday.
Intimacy is...tough, because, in the case of friends, family, and other relationships, there is an amount of trust involved. There is vulnerability involved. There is a deeper connection than surface-level involved. Reality and truth are involved. It's hard, and the truth is that sometimes you and I will get hurt. We'll want to return to the smiles of surface-level because it is safe there. Our hearts and the deepest things about us are not in danger there. I've found, however, that intimacy is essential. If we stay surface-level, we'll never know what lies in deeper waters. Something beautiful may be waiting in those deeper waters, but if we're too scared to swim down, we will never know it.
I've always thought that I am pretty good about being real with people and not putting up that surface-level front. A few days ago, my eyes were opened, though, when, in a conversation, I revealed something from deep within myself to the person I was talking to and the person sort-of balked. Not that it was some horrible memory or something. I was simply revealing a desire from my heart. I could tell that this person was taken a bit off guard, and I was embarrassed. And do you know what I did? I consciously returned to the surface-level. I did not want to be embarrassed anymore.
One thing I have observed is that people expect you to be surface-level. They expect conversations to go as follows: "Hey! How are you?" "I'm fine. How are you?" "I'm good." With smiling faces, you are expected to part ways, and neither of you know any more about each other than you did at the beginning of the conversation. On the inside, though, each of us truly has something worthwhile to say. We have hurts that are raging and battles being fought. We have celebrations to share and stories untold. We have treasures inside of us that we don't need to hide. Surface-level is not going to show forth the gold and silver, diamonds and pearls that are at the bottom of the sea. Intimacy is essential. Take time to actually connect with someone. Listen to his or her words. I can guarantee that, just as you and I have something to say, other people do, too.
~ In the Pursuit of Innocence, Whitney
The associated video with this picture series is Our Trip to Crete on YouTube.
This part of our adventures on our Grand Tour of Europe is in episode three of the Take Flight with Scott video series on YouTube. Please join us there for even more content from this trip. Part one is our time on Crete, Greece with our teen nieces Madeline and Emily.
Also, you can follow my personal ZiffedTraveler Instagram or the TakeFlight with Scott Instagram pages for more content and news. We are on Facebook, too.
Loews Miami Beach Hotel, 1601 Collins Avenue, Miami Beach, Florida, U.S.A. / Architect: Nichols Brosch Sandoval & Associates, Inc. / Completed: 1998
NASA Associate Administrator for the Space Operations Mission Directorate (SpaceOps), Kathy Lueders, speaks during a NASA town hall to discuss the reorganization of the Human Exploration and Operations Mission Directorate into two mission directorates: SpaceOps and the Exploration Systems Development Mission Directorate (ESDMD), Tuesday, Sept. 21, 2021 at the Mary W. Jackson NASA Headquarters building in Washington. As head of SpaceOps, Kathy Lueders will lead launch and space operations including the International Space Station, the commercialization of low-Earth orbit, and eventually operations on and around the Moon. Associate Administrator of ESDMD, Jim Free, will lead efforts to define and manage systems development for programs critical to NASA’s Artemis program and the planning of NASA’s Moon to Mars exploration. Photo Credit: (NASA/Aubrey Gemignani)
British Railways Associated Rail Technologies class 142 ‘Pacer’ two car diesel-mechanical railbus unit number 142001 (55542, 55592) of Newton Heath Traction Maintenance Depot passes beneath Lever Street footbridge (bridge number 53) in Bolton on the Up Main line forming the 13:06 Bolton to Manchester Victoria (2J56). 13:10, Sunday 1st June 1986
(1/500, F5.6)
Note, 142001 was built by Associated Rail Technologies (a consortium of Leyland Vehicles Limited who built the body and British Rail Engineering Limited who built the underframe) at British Rail Engineering Limited’s Litchurch Lane works in Derby in 1985 for British Railways as number 142001
Behind the train, located by the Up Main line is the closed Bolton East Junction signal box, a Lancashire & Yorkshire Railway Company standard design fitted with a 145 lever Lancashire & Yorkshire Railway Company Tappet frame which opened on 29th June 1902, replacing an 1871-built earlier signal box located between the signal box and Lever Street bridge. The lever frame was reduced to 88 levers in 1979 and the signal box closed on 8th December 1985, when signalling of Bolton station passed to Bolton power signal box
Ref no JJ/06910
This Associated "Flying A" service station is quite indicative of the mid '30s architecture. Octagonal floor plan and sweeping, circular awning. Right in step with the drive-in diners popping up everywhere.
The lighting captured in this rare night shot is positively memorizing. Imagine the soft glow the incandescent awning lights cast, in contrast to the bright neon signage. The warm glow from the gas pump globes and all. What a special time for architecture and lighting.
The Mount Elliott Mining Complex is an aggregation of the remnants of copper mining and smelting operations from the early 20th century and the associated former mining township of Selwyn. The earliest copper mining at Mount Elliott was in 1906 with smelting operations commencing shortly after. Significant upgrades to the mining and smelting operations occurred under the management of W.R. Corbould during 1909 - 1910. Following these upgrades and increases in production, the Selwyn Township grew quickly and had 1500 residents by 1918. The Mount Elliott Company took over other companies on the Cloncurry field in the 1920s, including the Mount Cuthbert and Kuridala smelters. Mount Elliott operations were taken over by Mount Isa Mines in 1943 to ensure the supply of copper during World War Two. The Mount Elliott Company was eventually liquidated in 1953.
The Mount Elliott Smelter:
The existence of copper in the Leichhardt River area of north western Queensland had been known since Ernest Henry discovered the Great Australia Mine in 1867 at Cloncurry. In 1899 James Elliott discovered copper on the conical hill that became Mount Elliott, but having no capital to develop the mine, he sold an interest to James Morphett, a pastoralist of Fort Constantine station near Cloncurry. Morphett, being drought stricken, in turn sold out to John Moffat of Irvinebank, the most successful mining promoter in Queensland at the time.
Plentiful capital and cheap transport were prerequisites for developing the Cloncurry field, which had stagnated for forty years. Without capital it was impossible to explore and prove ore-bodies; without proof of large reserves of wealth it was futile to build a railway; and without a railway it was hazardous to invest capital in finding large reserves of ore. The mining investor or the railway builder had to break the impasse.
In 1906 - 1907 copper averaged £87 a ton on the London market, the highest price for thirty years, and the Cloncurry field grew. The railway was extended west of Richmond in 1905 - 1906 by the Government and mines were floated on the Melbourne Stock Exchange. At Mount Elliott a prospecting shaft had been sunk and on the 1st of August 1906 a Cornish boiler and winding plant were installed on the site.
Mount Elliott Limited was floated in Melbourne on the 13th of July 1906. In 1907 it was taken over by British and French interests and restructured. Combining with its competitor, Hampden Cloncurry Copper Mines Limited, Mount Elliott formed a special company to finance and construct the railway from Cloncurry to Malbon, Kuridala (then Friezeland) and Mount Elliott (later Selwyn). This new company then entered into an agreement with the Queensland Railways Department in July 1908.
The railway, which was known as the 'Syndicate Railway', aroused opposition in 1908 from the trade unions and Labor movement generally, who contended that railways should be State-owned. However, the Hampden-Mount Elliott Railway Bill was passed by the Queensland Parliament and assented to on the 21st of April 1908; construction finished in December 1910. The railway terminated at the Mount Elliott smelter.
By 1907 the main underlie shaft had been sunk and construction of the smelters was underway using a second-hand water-jacket blast furnace and converters. At this time, W.H. Corbould was appointed general manager of Mount Elliott Limited.
The second-hand blast furnace and converters were commissioned or 'blown in' in May 1909, but were problematic causing hold-ups. Corbould referred to the equipment in use as being the 'worst collection of worn-out junk he had ever come across'. Corbould soon convinced his directors to scrap the plant and let him design new works.
Corbould was a metallurgist and geologist as well as mine/smelter manager. He foresaw a need to obtain control and thereby ensure a reliable supply of ore from a cross-section of mines in the region. He also saw a need to implement an effective strategy to manage the economies of smelting low-grade ore. Smelting operations in the region were made difficult by the technical and economic problems posed by the deterioration in the grade of ore. Corbould resolved the issue by a process of blending ores with different chemical properties, increasing the throughput capacity of the smelter and by championing the unification of smelting operations in the region. In 1912, Corbould acquired Hampden Consols Mine at Kuridala for Mount Elliott Limited, followed with the purchases of other small mines in the district.
Walkers Limited of Maryborough was commissioned to manufacture a new 200 ton water jacket furnace for the smelters. An air compressor and blower for the smelters were constructed in the powerhouse and an electric motor and dynamo provided power for the crane and lighting for the smelter and mine.
The new smelter was blown in September 1910, a month after the first train arrived, and it ran well, producing 2040 tons of blister copper by the end of the year. The new smelting plant made it possible to cope with low-grade sulphide ores at Mount Elliott. The use of 1000 tons of low-grade sulphide ores bought from the Hampden Consols Mine in 1911 made it clear that if a supply of higher sulphur ore could be obtained and blended, performance, and economy would improve. Accordingly, the company bought a number of smaller mines in the district in 1912.
Corbould mined with cut and fill stoping but a young Mines Inspector condemned the system, ordered it dismantled and replaced with square set timbering. In 1911, after gradual movement in stopes on the No. 3 level, the smelter was closed for two months. Nevertheless, 5447 tons of blister copper was produced in 1911, rising to 6690 tons in 1912 - the company's best year. Many of the surviving structures at the site were built at this time.
Troubles for Mount Elliott started in 1913. In February, a fire at the Consols Mine closed it for months. In June, a thirteen week strike closed the whole operation, severely depleting the workforce. The year 1913 was also bad for industrial accidents in the area, possibly due to inexperienced people replacing the strikers. Nevertheless, the company paid generous dividends that year.
At the end of 1914 smelting ceased for more than a year due to shortage of ore. Although 3200 tons of blister copper was produced in 1913, production fell to 1840 tons in 1914 and the workforce dwindled to only 40 men. For the second half of 1915 and early 1916 the smelter treated ore railed south from Mount Cuthbert. At the end of July 1916 the smelting plant at Selwyn was dismantled except for the flue chambers and stacks. A new furnace with a capacity of 500 tons per day was built, a large amount of second-hand equipment was obtained and the converters were increased in size.
After the enlarged furnace was commissioned in June 1917, continuing industrial unrest retarded production which amounted to only 1000 tons of copper that year. The point of contention was the efficiency of the new smelter which processed twice as much ore while employing fewer men. The company decided to close down the smelter in October and reduce the size of the furnace, the largest in Australia, from 6.5m to 5.5m. In the meantime the price of copper had almost doubled from 1916 due to wartime consumption of munitions.
The new furnace commenced on the 16th of January 1918 and 77,482 tons of ore were smelted yielding 3580 tons of blister copper which were sent to the Bowen refinery before export to Britain. Local coal and coke supply was a problem and materials were being sourced from the distant Bowen Colliery. The smelter had a good run for almost a year except for a strike in July and another in December, which caused Corbould to close down the plant until New Year. In 1919, following relaxation of wartime controls by the British Metal Corporation, the copper price plunged from about £110 per ton at the start of the year to £75 per ton in April, dashing the company's optimism regarding treatment of low grade ores. The smelter finally closed after two months operation and most employees were laid off.
For much of the period 1919 to 1922, Corbould was in England trying to raise capital to reorganise the company's operations but he failed and resigned from the company in 1922. The Mount Elliott Company took over the assets of the other companies on the Cloncurry field in the 1920s - Mount Cuthbert in 1925 and Kuridala in 1926. Mount Isa Mines bought the Mount Elliott plant and machinery, including the three smelters, in 1943 for £2,300, enabling them to start copper production in the middle of the Second World War. The Mount Elliott Company was finally liquidated in 1953.
In 1950 A.E. Powell took up the Mount Elliott Reward Claim at Selwyn and worked close to the old smelter buildings. An open cut mine commenced at Starra, south of Mount Elliott and Selwyn, in 1988 and is Australia's third largest copper producer producing copper-gold concentrates from flotation and gold bullion from carbon-in-leach processing.
Profitable copper-gold ore bodies were recently proved at depth beneath the Mount Elliott smelter and old underground workings by Cyprus Gold Australia Pty Ltd. These deposits were subsequently acquired by Arimco Mining Pty Ltd for underground development which commenced in July 1993. A decline tunnel portal, ore and overburden dumps now occupy a large area of the Maggie Creek valley south-west of the smelter which was formerly the site of early miner's camps.
The Old Selwyn Township:
In 1907, the first hotel, run by H. Williams, was opened at the site. The township was surveyed later, around 1910, by the Mines Department. The town was to be situated north of the mine and smelter operations adjacent the railway, about 1.5km distant. It took its name from the nearby Selwyn Ranges which were named, during Burke's expedition, after the Victorian Government Geologist, A.R. Selwyn. The town has also been known by the name of Mount Elliott, after the nearby mines and smelter.
Many of the residents either worked at the Mount Elliott Mine and Smelter or worked in the service industries which grew around the mining and smelting operations. Little documentation exists about the everyday life of the town's residents. Surrounding sheep and cattle stations, however, meant that meat was available cheaply and vegetables grown in the area were delivered to the township by horse and cart. Imported commodities were, however, expensive.
By 1910 the town had four hotels. There was also an aerated water manufacturer, three stores, four fruiterers, a butcher, baker, saddler, garage, police, hospital, banks, post office (officially from 1906 to 1928, then unofficially until 1975) and a railway station. There was even an orchestra of ten players in 1912. The population of Selwyn rose from 1000 in 1911 to 1500 in 1918, before gradually declining.
Source: Queensland Heritage Register.
The associated video with this picture series is Our Trip to Crete on YouTube.
This part of our adventures on our Grand Tour of Europe is in episode four of the Take Flight with Scott video series on YouTube. Please join us there for even more content from this trip. Part four is our time on Crete, Greece with our teen nieces Madeline and Emily, including a trip to the ruins in Ancient Aptera, and a visit to the freshwater flowing through Glyka Nera Beach.
Also, you can follow my personal ZiffedTraveler Instagram or the TakeFlight with Scott Instagram pages for more content and news. We are on Facebook, too.
Moonta Mines and the Hughes Enginehouse.
After the May 1861 race between Hughes’ man William Horn and Patrick Ryan and his associates to register the Moonta mining lease a lengthy legal process began for the validation of Walter Watson Hughes’ mining rights to the site. Although the legal battle was not settled until 1864 Hughes acted quickly and formed the Tipara Mineral Association, later the Moonta Mining association, with himself, Edward Stirling, John Taylor, Robert Barr Smith, (Sir)Thomas Elder, G Waterhouse and G. Hall. Hundreds of Cornish miners were attracted to the town directly from Cornwall although some came from Kapunda. The government resumed some parts of Hughes’ pastoral lease to lay out the towns of Kadina and the port of Wallaroo. Moonta was surveyed and town blocks sold in April 1863. As they sold quickly most Moonta settlers lived in cottages and shanties on the mining leasehold lands in settlements such as Hamley Flat, Moonta Mines, Yelta, Cross Roads etc. By 1870 the population of Moonta reached 10,000 people with 6,000 on the mining lease lands. Coal was shipped in to the Moonta mines from Newcastle as it was needed to fire the boiler houses and the water pumps for the mine. The copper lodes were up to 700 metres below the surface although most worked lodes were less than 300 metres below the surface and the main lodes were named Elder’s lode, Elder West lode, Beddomes lode, Greens lode and Fergusson lode. Each lode had one or more deep shafts with the main ones being Washington’s shaft, Stirling’s shaft, Taylor’s shaft and Hughes’ shaft etc. There were a number of enginehouses across Moonta mines Hughes’s, Richman’s and Elder’s. Hughes enginehouse had Smith’s (Robert Barr Smith), Hughes, Elders, Duncan and Bennetts shafts nearby. Next to the enginehouse was the boilerhouse which created steam for the enginehouse which pumped water out of the deep shafts. Nearby was a winching house to winch items and miners down the shafts but mainly to bring ore to the surface. Nearby were the settling tanks for water pumped from the shafts, the concentration plant and the crushing plant. These processes and structures were needed near most mine shafts. Also near Hughes enginehouse were the stables and the workshops for the repair and in some cases manufacture of equipment etc. 300 men and boys were employed in Hughes workshops alone.
The Hughes’ engine house serviced Smith’s, Waterhouse’s and Elder’s shafts and others and it was primarily responsible to pumping water out of mine shafts. Hughe’s 60 inch Cornish beam pumping engine was installed in a fine stone building in 1865 and it operated continuously without any major break down from then until the mine closure in 1923. It required constant works to keep fire up to the boilers. It could pump water from a depth of 700 metres (2,500 feet) with four strokes of the pump a minute. Near this main shaft were workshops, the mine offices, the manager’s residence (Captain Hancock) etc. In other areas of the mine works were the brick kiln, the assay office, the powder magazine, processing plants and several major areas for the tailings debris bought to the surface from the mine shafts. The Hughes enginehouse was built of limestone and still remains but without the pump. Near it are the ruins of Elder’s enginehouse and the Hughes water pool or reservoir. Captain Hancock managed the Hughes’ mines from 1864 to 1898. Under his management the mine grew quickly with 1,200 men and boys employed as early as 1865.
Across the main road are the remains of Richman’s enginehouse, Richman’s Tailings Heap which can be climbed, the compressor house and the crushing plant etc. Richman’s enginehouse which was built from 1867 to 1869 was mainly used to power the crushing and dressing machinery of Taylor’s Shaft the deepest shaft on the Moonta fields. Taylor’s shaft which descended 2,520 feet beneath the surface had its water pumped out by the Hughes enginehouse from some distance away. The ruins of the crushing and concentrating plants beside Taylor’s shaft are quite impressive. Some of the ruins of the crusher house erected in 1869 in local stone remain beside Richman’s enginehouse. All mining required explosives, mainly gun powder and later dynamite and the ruins of the Moonta Mines explosives magazine still exist near the old Moonta Mines School.
In 1890 the Wallaroo and Moonta Mines amalgamated. The combined companies employed on average around 1,900 people a year in the mines and smelters. The peak year for employment was 1906 when the company hired 2,700 men. This followed a disastrous fire in 1904 when the large Taylor Shaft and poppet was destroyed by fire. There were three main shafts operating at the Wallaroo Mines by 1906, the Boors, Hughes and Office shafts. Between 1860 and 1923 when the mine finally closed down the Wallaroo Mine alone produced almost £10,000 million worth of copper and the combined mine with Moonta produced over £20,000 million worth of copper. After the closure of the mine buildings were stripped of anything saleable and most were demolished. As the population dwindled the cottages on the mining lease land were generally demolished but a few still remain. At Moonta Mines a few non-mining buildings remain the government school (1877-1968) now the National Trust Museum, Moonta Mines Methodist Church (1865) with a seating capacity of 1,250 parishioners and a typical miner’s cottage (1870) now a National Trust museum. At East Moonta there is a former Methodist Church built in 1872.
Sir Walter Watson Hughes.
Walter Watson Hughes was born in 1803 in Scotland in Pittenweem near St Andrews in Fife. In his early teens he went to sea and eventually bought his own ship the brig Hero in Calcutta in 1829 when he was 26 years old. He then traded in Asia including the opium trade from Calcutta to China. He established close bonds with his group of sailors on the Hero. He settled in Adelaide in 1841 and married Sophia Richmond later that year and assisted his crew from the Hero to return to England, gather their families and emigrate to SA. Whilst working for a mercantile company he began sheep farming in the Adelaide Hills and amassed some money and a flock of sheep. The workers on his Macclesfield property were all the former sailors of the Hero. In 1843 he also took out a leasehold run of 16 square miles near Wilmington with a flock of 6,000 sheep. In 1846 he took out leasehold lands by the Hummock Ranges and across to the Broughton Plains. In April 1846 he acquired a new leasehold at Hoyleton along the edge of the Clare Hills called The Peak west of Skillogalee Creek. In 1851 he also took out a small mining lease on Yorke Peninsula as he had been running sheep there with his brother-in-law John Duncan. In 1857 he took over the Wallaroo run there from Robert Miller adjoining the Point Riley run held by Edward Stirling. He then organised a great trek of his flock, his workers and their families from Macclesfield to Wallaroo. He instructed his shepherds to look for minerals. Wallaroo was managed by John Duncan as Hughes mainly resided at The Peak. One shepherd John Boor discovered copper at Wallaroo in 1860. Hughes took out mining leases but others soon rushed to the area and also took out mining leases, especially in the area that became Kadina. Hughes became the largest shareholder in his Wallaroo Mining Company which was originally known as Wandilta Mines. In June 1860 the first ship load of copper ore was taken to Port Adelaide at a cost of 8 shillings a ton. By comparison transport of ore from Burra cost 50 shillings per ton at that time. The Wallaroo ores were 20 to 30 % pure copper but some ore were up to 50% pure copper. Bricks and mining equipment was unloaded at Wallaroo for Hughes in September 1860 and over 20 men were working his mines. In August 1860 Hughes visited Burra to entice Cornish miners to Wallaroo. By November 1860 the mine was being worked in conjunction with Elders Stirling and Company (Thomas Elder, Robert Barr Smith, John Taylor and Edward Stirling). Hughes’ early start was not popular with other mining lease holders. Then to further sully Walter Watson Hughes’s reputation another shepherd Patrick Ryan in May 1861 found copper on Hughes leasehold run at what was to become Moonta. This was the mine that produced great wealth and saved and made the fortunes of Hughes and Elder Smith and Co as many believed the Wallaroo mine alone would have bankrupted them all.
Ryan tried to register his mining claim but was too drunk to remember where it was. Hughes then used skulduggery and cunning and registered four mining leases on the next day after Ryan had tried to register one. Some of Ryan’s partners were ready to register the claim the next day but they were “pipped at the post”. When Hughes heard of Ryan’s unsuccessful claim he sent one of his men on horseback overnight to get to the Surveyor General’s Office first before Ryan’s partners. Hughes also had Ryan sign an agreement with him. Hughes also registered a further 26 buffer zone mining rights as well. Some later claimed Hughes had no moral or legal right to these Moonta mining rights but after years of court appeals and legal fighting the Privy Council in England ruled in favour of Hughes. During the legal fight Hughes returned to live in England from 1864 to 1870.
The establishment of the Moonta Mine was life changing for all the five major investors. It was the first mine to return a profit of one million pounds. Once it was operational Hughes bought Torrens Park House, built a grand mansion to replace his simple stone cottage on Hughes Park at Watervale, sailed back to England for a few years, took up leased lands near Lake Eyre and acquired large freehold estates at Watervale and Gum Creek. In Wallaroo he built the first copper smelter in 1861 followed by other furnaces as the Moonta mines grew. Mining operations at Moonta were complex and some shafts exceeded 700 metres in depth. This created problems with water (and heat for the miners) so large pump houses were required such as the Hughes Engine House which still stands, albeit in ruins. The Moonta mine lasted for over sixty years. The Copper Triangle became the largest population centre outside of Adelaide by the 1870s. In the first year of operations the Moonta Mine produced over £100,000 profit. But it had another sixty years of operations after that!
Was Walter Watson Hughes the father of 19th century Aboriginal leader John Sansbury? Walter Watson Hughes worked on leaseholds on Yorke Peninsula from the mid-1840s. He also took out leasehold runs in 1851 at Hoyleton and then Wallaroo in 1857. He never built a substantial homestead on his Wallaroo run which was run by his brother-in-law John Duncan as he lived at The Peak. According to Narrunga oral genealogy John Sansbury who was born in 1854 to “King Tommy” and “Queen Mary” leader of all the clans on Yorke Peninsula was actually the biological son of Walter Watson Hughes. This was never acknowledged by Hughes or ever reported in the white press. When John Sansbury married in a church in 1874 he only listed his father as King Tommy. Presumably this church was at Point Pearce Aboriginal Mission which was established in 1868. A group of nondenominational missionaries led by the Moravians had started mission work with the Aborigines near the copper mines of Moonta in 1867. But Walter Watson Hughes gave a pension for life to King Tommy supposedly as compensation for his lands and King Tommy’s help in the discovery of copper. Or was it a pension to assist in the upbringing of his biological son? We will never know the full truth of this but photographs of John Sansbury in the 1870s certainly show a remarkable resemblance to Walter Watson Hughes. The Hughes name was also taken up by other Narrung people which was very common in the 19th century when Aboriginal people adopted the name of any white person that they worked for. We do know that Walter Watson Hughes and his wife Sophia never had any children of their own. Consequently when he died Hughes left his South Australian freehold lands – Hughes Park at Watervale and Gum Creek station near Booborowie and parts of his fortune to his nephew in South Australia – Sir John Duncan the son of Hughes’ sister who was married to John Duncan. Sir Walter Watson Hughes was buried near his London home in Chertsey, Surrey as was his wife Sophia who died in 1885. Hughes died on New Year’s Day 1887. He was knighted in 1880 for his services and philanthropy to South Australia. Apart from the University he was a substantial donor to the Presbyterian Church which was in Flinders Street. His memorial window in that church donated by his nephew John Duncan was moved to Scots Church North Terrace after the Flinders Street Church was sold to the YMCA in 1956. In 1860 he also donated copper ore specimens to the Gawler museum. When Walter Watson Hughes and Sophia Hughes returned to England in 1874 they both had their portraits painted in London by Miss Margaret Thomas.
Alexander, Amanda CAFNR – Hospitality Management, Associate Teaching Professor, Division of Applied Social Sciences
You usually associate penguins with icebergs, glaciers and snow and Antarctica. But South Africa boasts its own unique penguin colony at Boulders Bay in the West Cape, part of Table Mountain National Park. The penguins put on a quite a show for visitors, as they are accustomed to people. The colony is located adjacent to a residential neighborhood.
The associated video with this picture series is Our Trip to Crete on YouTube.
This part of our adventures on our Grand Tour of Europe is in episode four of the Take Flight with Scott video series on YouTube. Please join us there for even more content from this trip. Part four is our time on Crete, Greece with our teen nieces Madeline and Emily, including a trip to the ruins in Ancient Aptera, and a visit to the freshwater flowing through Glyka Nera Beach.
Also, you can follow my personal ZiffedTraveler Instagram or the TakeFlight with Scott Instagram pages for more content and news. We are on Facebook, too.
The zodiac sign of LEO is associated with the month of July and it is represented by a lion. In most of the standard iconographic compositions, the animal is shown standing, or else depicted seated on its haunches. The animal is usually shown in a landscape and Its tail usually curls over its body and often its mane is displayed. Being that many of the artist and illuminators responsible for these works had never seen a lion, some representations were based on cats and dogs. In the modern horoscope, the zodiac sign of LEO covers the period from about July 22 – August 23.
Link to the "Zodiac sign of LEO" set.
Link to the "Zodiac signs" collection.
Manuscript title: Calendarium (Prayer calendar), Latin Bible selections: Liber Psalmorum, Cantica with prayers; Hymns, etc.
Origin: Germany
Period: 13th/14th
Image source: Cologny, Fondation Martin Bodmer, Cod. Bodmer 30, p. 5r – Calendarium (Prayer calendar), Latin Bible selections: Liber Psalmorum, Cantica with prayers; Hymns, etc. (www.e-codices.unifr.ch/en/cb/0030/5r)
Catacombs below the Roman Colosseum they are subterranean passageways mostly associated with the Roman Empire the where used to move & keep the animals & gladiators before going into the stage , cropped photograph , photograph converted to black and white , Martin’s photographs , Rome , Italy , October 27. 2014
Catacombs below the Roman Colosseum they are subterranean passageways
Catacombs
subterranean passageways
Roman Colosseum
the Roman Empire
St. Peter basilica
Vatican
St. Peter basilica Vatican
The Forum
Panoramic view at Forum ,
Rome
Italy
Martin’s photographs
October 2014
Photograph converted to black and white
Black and white
Black & white
Zwart wit
Zwart en wit
Monochrome
Cropped Photograph
Favourites
Nikon DF
Nikon
DF
Nikon FX format
Walking down the stairs
down a rocky hill in Rome
Stairs
Very steep stairs
To Cappella Sistina sign
Statues of Vestal Virgins
Statues of Vestal Virgins at the Roman Forum
Statues
The Colosseum in Rome
The Colosseum