Ralf - phone home ...

Large On Black

One shot up close, showing that the gas plant is actually pretty complex.

Canon 450D, Sigma 10-20mm @ 10mm, f/8.0, 2x30sec and ISO400

Spc. Christine Martínez and Spc. Joshua Curtis look around the Shoppette of the new Dagger Complex Community Support Facility in Darmstadt. The facility, which was inaugurated Nov. 18, includes the Shoppette, a barber shop, a full-service Army Post Office, and will soon have an ATM. It is deliberately located outside the Dagger Complex proper to allow easy access by all customers, including area retirees. The Dagger Complex is one of the two military facilities to remain operational in Darmstadt after the inactivation of the Darmstadt Garrison Sept. 30. The ceremony also marks the transfer of responsibility for the Dagger Complex, which staffed by members of the 66th MI Brigade, to USAG Wiesbaden.

Photo by Juan R. Meléndez Jr.; Nov. 18, 2008

(Jataí - GO, 31/05/2022) Ato alusivo ao aniversário de 127 anos da cidade de Jataí e à entrega da 1ª etapa Complexo Esportivo JK.

Foto: Estevam Costa/PR

A celebration of the new on-campus Kress Family Outdoor Recreation Complex with project donors, UW-Green Bay students, University leadership and other members took place on Monday, Nov. 13 when ceremonial turf was rolled out for the soccer field.

Montréal

The Pashupatinath Temple (Nepali: पशुपतिनाथ मन्दिर) is a famous, sacred Hindu temple dedicated to Pashupatinath and is located on the banks of the Bagmati River 5 kilometres north-east of Kathmandu Valley in the eastern city of Kathmandu, the capital of Nepal. This temple is considered one of the sacred temples of Hindu faith. The temple serves as the seat of the national deity, Lord Pashupatinath. This temple complex is on UNESCO World Heritage Sites's list Since 1979. This "extensive Hindu temple precinct" is a "sprawling collection of temples, ashrams, images and inscriptions raised over the centuries along the banks of the sacred Bagmati river" and is included as one of the seven monument groups in UNESCO's designation of Kathmandu Valley as a cultural heritage site. One of the major Festivals of the temple is Maha Shivaratri on which day over 700,000 devotees visit here.

The twelve Jyotirlinga (in India) are the body and the Jyotirlinga at Pashupatinath in Kathmandu (Nepal) is the head over this body.

The temple is one of the 275 Paadal Petra Sthalams (Holy Abodes of Shiva) on the continent. Kotirudra Samhita, Chapter 11 on the Shivalingas of the North, in Shiva Purana mentions this Shivalinga as the bestower of all wishes.

HISTORY

The temple was erected anew in the 15th century by Lichhavi King Shupuspa after the previous building had been consumed by termites. Countless further temples have been erected around this two -storied temple. These include the Vaishnav temple complex with a Ram temple from the 14th century and the Guhyeshwari Temple mentioned in an 11th-century manuscript.

LEGEND ABOUT THE TEMPLE ORIGIN

Pashupatinath Temple is the oldest Hindu temple in Kathmandu. It is not known for certain when Pashupatinath Temple was founded. But according to Nepal Mahatmaya and Himvatkhanda, the deity here gained great fame there as Pashupati, the Lord of all Pashus, which are living as well as non-living beings. Pashupatinath Temple's existence dates back to 400 A.D. The richly-ornamented pagoda houses the sacred linga or holy symbol of Lord Shiva. There are many legends describing as to how the temple of Lord Pashupatinath came to existence here. Some of them are narrated below:

THE COW LEGEND

Legend says that Lord Shiva once took the form of an antelope and sported unknown in the forest on Bagmati river's east bank. The gods later caught up with him, and grabbing him by the horn, forced him to resume his divine form. The broken horn was worshipped as a linga but overtime it was buried and lost. Centuries later an astonished herdsmen found one of his cows showering the earth with milk. Digging deep at the site, he discovered the divine linga of Pashupatinath.

THE LINCHCHAVI LEGEND

According to Gopalraj Vamsavali, the oldest ever chronicle in Nepal, this temple was built by Supuspa Deva, a Linchchhavi King, who according to the stone inscription erected by Jayadeva 11 in the courtyard of Pashupatinath in 753 AD, happened to be the ruler 39 generations before Manadeva (464-505 AD).

THE DEVALAYA LEGEND

Another chronicle states that Pashupatinath Temple was in the form of Linga shaped Devalaya before Supuspa Deva constructed a five storey temple of Pashupatinath in this place. As the time passed, the need for repairing and renovating this temple arose. It is learnt that this temple was reconstructed by a medieval King named Shivadeva (1099-1126 AD). It was renovated by Ananta Malla adding a roof to it. Thousands of pilgrims from all over the world come to pay homage to this temple, that is also known as 'The Temple of Living Beings'.

OTHER BELIEFS

There are several complex stories involving the origins of Pashupatinath. One story goes, in brief, that Shiva and Parvati came to the Kathmandu Valley and rested by the Bagmati while on a journey. Shiva was so impressed by its beauty and the surrounding forest that he and Parvati changed themselves into deers and walked into the forest. Many spots in the Kathmandu Valley are identified as places where Shiva went during his time as a deer. After a while the people and gods began to search for Shiva. Finally, after various complications, they found him in the forest, but he refused to leave. More complications ensued, but ultimately Shiva announced that, since he had lived by the Bagmati in a deer's form, he would now be known as Pashupatinath, Lord of all animals. It is said that whoever came here and beheld the lingam that appeared there would not be reborn as an animal.

FINDING OF SHIVA LINGA AT PASHIPATINATH TEMPLE

It is said that the wish-fulfilling cow Kamadhenu took shelter in a cave on the Chandravan mountain. Everyday Kamadhenu went down to the place the lingam was sunken into the soil and poured her milk on top of the soil. After ten thousand years some people saw Kamadhenu pouring milk on that same spot everyday, and started to wonder what that would be. So they removed the soil and found the beautiful shining lingam and started worshiping it.

TEMPLE COMPLEX

The area of Pashupatinath encompasses 264 hectare of land including 518 temples and monuments. Main pagoda style temple is located in the fortified courtyard within the complex guarded by Nepal Police and has a police outpost post along with living quarter within. In front of the western door there is a huge statue Nandi bull, in bronze. Along with many temples and shrines of both Vaishnav and saiva tradition.

TEMPLES AND SHRINES IN THE INNER COURTYARD

Vasuki nath temple

Unmatta Bhairav temple

Surya narayan temple

Kirti mukh bhairav shrine

Budanil kantha shrine

Hanuman shrine

184 shivaling shrine

TEMPLES AND SHRINES IN THE OUTER COMPLEX

Ram mandir

Virat swaroop temple

12 jyotirlingha and Pandra Shivalaya

Guhyeshwari Temple

MAIN TEMPLE ARCHITECTURE

This main temple is built in the Nepalese pagoda style of architecture. All the features of pagoda style is founded here like cubic constructions, beautifully carved wooden rafters on which they rest (tundal). The two level roofs are of copper with gold covering. The temple resides on a square base platform with a height of 23m 7 cm from base to pinnacle. It has four main doors, all covered with silver sheets. This temple has a gold pinnacle (Gajur). Inside are two Garbhagrihas, outer and inner. The inner garbhagriha or sanctum sanctorum is where the idol is placed and outer sanctum is an open corridor like space.

THE DEITY

The sacro sanctum, or the main idol is a stone Mukhalinga with a silver yoni base bound with silver serpent. The lingam is one metre high and has faces in four directions. These faces represents various ascepts of Shiva; Sadyojata (also known as Barun), Vamdeva (also known as Ardha nareshwor), Tatpurusha, Aghor & Ishana (imaginative). Facing West, North, East, South and Zenith respectively representing five primary elements namely earth, water, air, light and ether. Each face has tiny protruding hands holding rudraksha mala on right hand and a kamandalu on the other.Unlike other shiva lingams in India and Nepal this pashupati shiva lingam is always Dressed in its golden vastra except during abhishakam, so pouring milk and ganga jal is only possible during abhishakam through the main priests.

PRIESTS

Daily rituals of Pashupatinath are carried out by two sets of priests ;one being the Bhatt priests and other Bhandari. Bhatta or Bhatt are the one who performs the daily ritual and can touch the lingam, where as Bhadaris are the helper and temple care taker priests but are not qualified perform pooja rituals or to touch the deity.

Bhatta or Bhat are highly educated Vedic bhramin Scholars from Brahmin family from South Indian State Karnataka.Unlike other Hindu temples priesthood of Pashupatinath is not hereditary. Priests are selected from a group of scholars educated by Shri Shankaracharya Dakshinamnaya Peeth Sringeri on Rig Vedic Recitation, initiated in Pashupata Yoga by Kashi Math,Shiva Āgama and learned Recitation of Samaveda from Haridwar.After qualifying and fulfilling all those criteria they will be selected for Priesthood by Raj Guru of Pashupatinath Temple undergoing strict examination on Vedas and Shiva Agamas and then the qualifies are sent to Kathmandu for performing Puja and Daily Worship of Lord Shri Pashupatinath This tradition is reported to have started by the request of Adi Shankaracharya in the 8th century, who sought to unify the different states of Bharatam (Unified India) by encouraging cultural exchange. This procedure is also followed in other temples around Bharata-varsa which were sanctified by Adi Shankaracharya. The unique feature of this temple is that only 4 Bhatta priests can touch the deity.Current Bhatt priests of the temple are;

Ganesh Bhat (15th head priest of the Pashupatinath Temple aka Mool Bhat) from Udupi.

Ram Karanth Bhat from Mangaluru.

Girish Bhat from Sirsi.

Narayan Bhat(Recently appointed) from Bhatkal

Raghavendra Bhat (Priest for Vasuki Nath temple only)

Bhandaris or Rajbhandari are the treasurers, temple caretakers, and assistant priest of the temple.

These Bhandaris are the descendants of helper priests brought up by early Bhatts, but were allowed to settle in Kathmandu valley and later assimilated in existing Newar caste of Rajbhandari - a high-caste Chathariya/Kshatriya clan of Kashyapa gotra. Their main function is to help the Bhatta priest and perform maintenance of the inner Garbhagriha. They can have little or no Vedic knowledge but still qualify as assistant priests if they belong from the same family lineage and undergo some basic criteria like caste, gotra, lineage purity, educational qualification, etc. They work in set of four and change in every full moon day. There are a total of 108 Bhandaris.

ENTRY AND DARSHAN

Temple courtyard has 4 entrances in all directions.The western entrance is the main entrance to the temple courtyard and rest three entrances are only opened during big festival . Temple security (Armed Police Force Nepal) is selective regarding who is allowed entry into the inner courtyard . Practicing Hindus and buddhist of Indian and Tibetan descendent are only allowed into temple courtiyard . Practicing Hindus of western descent are not allowed into the temple complex along with other non Hindu Visitors. Sikh and Jain groups are allowed into the temple compound if they are of Indian ancestry. Others can look at the main temple from adjacent side of the river and has to pay a nominal fee of $10 (1000 Nepali rupee) for visiting hundreds of small temples in the external premises of the temple complex . The inner temple courtyard remains open from 4 am to 7 pm for the devotee but the Inner Pashupatinath Temple where the Lingam of lord Pashupatinath is established is open from 5am to 12 pm for the morning ritual and viewing and from 5pm to 7 pm for evening ritual. Unlike many other Saiva temples devotees are not allowed to enter in the inner-most Garbhagriha but are allowed to view from the exterior premises of the outer Garbhagriha.

FESTIVALS

There are many festivals throughout the year .Thousands of people attend these festival.The most important festival is the Maha Shiva Ratri .Bala chaturthi and Teej.

CONTROVERSY OF 2009

In January 2009, after the forced resignation by the chief priest of Pashupatinath temple, the Maoist-led government of Nepal "hand picked" Nepalese priests to lead the temple, thus bypassing the temple's long-standing requirements. This appointment was contested by the Bhandaris of the temple, stating that they were not against the appointment of Nepalese priests but against the appointment without proper procedure. After the appointment was challenged in a civil court, the appointment was overruled by Supreme Court of Nepal.However, the government did not heed the ruling and stood by its decision. This led to public outrage and protests over a lack of transparency. The paramilitary group of the CPN (Maoist), called YCL, attacked the protesters, leading to over a dozen injuries. Lawmakers and activists from opposition parties joined protests, declaring their support for the Bhatta and other pro-Bhatta protesters. After long dissatisfaction and protest by Hindus both in and outside Nepal, the government was forced to reverse its decision that had been declared illegal by the Supreme Court of Nepal and reinstate Bhatta priests.

2015 EARTHQUAKE

The main temple complex of Pashupatinath and the sanctum sanctorum was left untouched but some of the outer buildings in the World Heritage Site were damaged by the April 2015 Nepal earthquake.

WIKIPEDIA

agfa karat36 solagon

ferrania solaris 100

at Asagaya Jutaku

The large building is the Temple of Hathor. This site was host to temples from 2250 BC onwards, but most of what stands today is from the Ptolemaic period (made famous by Cleopatra).

2019-01-30: Close up image of solar panels set up at the world's largest solar power plant in Morocco.

Oehler Mill Complex

Shelby, Wisconsin

Listed 5/22/2013

Reference Number: 13000314

The Oehler Mill Complex is being nominated to the National Register of Historic Places (NRHP) for its local significance under National Register (NR) Criterion C, architecture. It is significant at the local level with a period of significance of 1862-1907, dates encompassing the construction of the mill and the associated buildings of the milling complex. Research was undertaken to assess this potential utilizing the NR significance area of Architecture, a theme that is also identified in the State of Wisconsin's Cultural Resource Management Plan (CRMP). This research centered on evaluating the resources in the Complex utilizing the Italianate Style and Stone Construction subsections of the Architectural Styles study unit, and the Milling subsection of the Industry study unit portions of the CRMP. 17 The results of this research are detailed below and determined that the Complex's fine stone and brick Astylistic Utilitarian Vernacular Form flour mill building and its two fine associated brick Italianate style houses are locally significant under Criterion C, architecture. The mill is a now exceptionally rare example of an early rural flour and grist mill and its significance is heightened by the fact that the houses of Valentine Oehler and Gottfried Oehler, the two brothers who built it and ran it, are both extant and are situated on either side of it.

National Register of Historic Places Homepage

Oehler Mill Complex Summary Page

National Register of Historic Places on Facebook

Fire tour of areas affected by the CZU Lightning Complex Fire, August 2020.

During the first launch attempt of NASA’s Boeing Crew Flight Test, NASA astronauts Butch Wilmore and Suni Williams pose for photos inside the suit-up room inside the Neil A. Armstrong Operations and Checkout Building at NASA’s Kennedy Space Center in Florida on Monday, May 6, 2024. As part of the agency’s Commercial Crew Program, the first crewed launch to the International Space Station aboard Boeing’s Starliner spacecraft atop a United Launch Alliance Atlas V rocket from Space Launch Complex-41 at nearby Cape Canaveral Space Force Station was targeted for 10:34 p.m. ET but scrubbed for the day. Photo credit: NASA/Kim Shiflett

NASA image use policy.

Fullerton Hotel, Singapore, Nikkor 85/2

Miami, Florida

Listed 10/16/2018

Reference Number: 100003017

The Bacardi Complex in was constructed in 1963 and served as the first United States headquarters for the Bacardi corporation, a Cuban company notable for its rum. The Bacardi complex consists of two prominent buildings, the main tower and the Bacardi Imports Administration Annex building that was completed in 1973. The buildings are iconic examples of mid-century modern International-style architecture, notable for their uses of steel and glass, each featuring imaginative cantilevered overhangs as the bulk of the building. They are each emblazoned with artistic products, with the tower decorated with over 28,000 azulejo tiles painted and assembled by Brazilian artist Francisco Brennand. The Annex building’s four walls are entirely defined by stained-glass windows manufactured by French artists Gabriel and Jacques Loire based upon a painting by German artist Johannes Dietz. The buildings are notable for the way they embrace international influences within architecture and art to create visually impressive works.

Since the establishment of the company in 1862 in Santiago de Cuba, the business has successfully expanded the branding, production, and headquarter sites outside of Cuba. Bacardi’s buildings in Miami have aimed to create and promote a visual identity for the corporation, one which is simultaneously past and forward-looking, with an appreciation of the natural and the man-made. Bacardi’s buildings are attempts to express concepts larger than mere business, combining art and architecture to tell a larger story.

National Register of Historic Places Homepage

Bacardi Complex Miami, Florida

National Register of Historic Places on Facebook

Oehler Mill Complex

Shelby, Wisconsin

Listed 5/22/2013

Reference Number: 13000314

The Oehler Mill Complex is being nominated to the National Register of Historic Places (NRHP) for its local significance under National Register (NR) Criterion C, architecture. It is significant at the local level with a period of significance of 1862-1907, dates encompassing the construction of the mill and the associated buildings of the milling complex. Research was undertaken to assess this potential utilizing the NR significance area of Architecture, a theme that is also identified in the State of Wisconsin's Cultural Resource Management Plan (CRMP). This research centered on evaluating the resources in the Complex utilizing the Italianate Style and Stone Construction subsections of the Architectural Styles study unit, and the Milling subsection of the Industry study unit portions of the CRMP. 17 The results of this research are detailed below and determined that the Complex's fine stone and brick Astylistic Utilitarian Vernacular Form flour mill building and its two fine associated brick Italianate style houses are locally significant under Criterion C, architecture. The mill is a now exceptionally rare example of an early rural flour and grist mill and its significance is heightened by the fact that the houses of Valentine Oehler and Gottfried Oehler, the two brothers who built it and ran it, are both extant and are situated on either side of it.

National Register of Historic Places Homepage

Oehler Mill Complex Summary Page

National Register of Historic Places on Facebook

From the August 2016 return trip to Siem Reap and the Angkor complex:

I love the Angkor complex, Siem Reap, and the Cambodian people so much that I returned again for about a week to photograph as much of the “non-major” sites as I could. Some of them are slightly far from Angkor Wat (by that, I mean to say more than 10 kilometers away), and usually require a little more money to get to. Also, some of the sites (Beng Mealea, Phnom Kulen) are not included in the Angkor ticket price and have an additional admission fee.

I don’t know if there’s a set number of how many sites belong in the Angkor complex, though I’m sure it would vary. (Do you only count the major sites like Angkor Wat, Bayon, Ta Prohm? Do you add the sites that aren’t included in the standard “Angkor Pass,” but are clearly of the same era? Do you include sites that aren’t even named (as are one of the sites in this series)? All in all, I’ll put a very rough number at…50 sites in the Siem Reap area, and that includes the sites that are about 100 km away. Of those, I would say I’ve been to all but 5-10 now. All are included here with the exception, obviously, of the sites that I didn’t visit. (Off the top of my head, I can say they include Koh Ker & that respective group, which is about 120 km ENE of Siem Reap; Phnom Krom, one of the three “mountains” with temples; Ta Prohm Kel; and Mangalartha.)

In practical terms, I’m afraid that with the volume of shooting (about 1,500 frames in the past 7 days), photos will start to look redundant to those who don’t have the same interest in ancient/historical architecture or Angkor as I do. That being said, there are a few things besides temples here. The Old Market area (now Night Market/Pub Street) is represented – a little – and Phnom Kulen has a pretty nice waterfall which is also in this series. Also, I tried to catch a few people in here, though didn’t get as many as I would’ve liked.

I had my friend Mao (tuktuk driver) take me around for 5 of these 7 days this time around. As I mentioned last time, he may cost a little more than what you can arrange through a hotel/guesthouse, but he’s well worth the money (and, in the grand scheme of things, not too expensive; I paid less than $200 for the five days, two of which were “long” trips). He loves his country and heritage, he knows what he’s showing you, he’s flexible, he gives you enough ice water to keep you hydrated, and he’s just a good guy. (He even bought me a birthday cake for cryin’ out loud…) Anyway, I highly recommend Mao. You can find him here: www.facebook.com/mao.khvan (or on Trip Advisor: www.tripadvisor.com/Attraction_Review-g297390-d10726821-R... )

Now that shameless plugs and other assorted rhetoric are out of the way, it’s time to get on to the temples, ruins, and other miscellany.

The fifth day (and last time I’ll see Mao unless I go back to Siem Reap again) started just the same as my birthday. Chhiengmai brought me a ham & cheese omelette at the hotel, then Mao picked me up and off we went.

Following the same route to Banteay Kdei, we took a right and headed out on the grand loop. The first stop was at Pre Rup, which I’d seen in May, but wanted to photograph again this time around. I love the May shots because it’s in afternoon light, so there are some nice silhouette shots in there. This time, however, was early morning. We didn’t shoot as extensively as we did in May; only staying on the eastern side of the temple and not ascending it. Still, it’s a rather striking temple and worth seeing, even with the restoration that looks as if it hasn’t been touched since May – and didn’t look like it was being touched then, either.

Pre Rup is on the southeast corner of the Grand Loop. From there, continue north. Right before you reach East Mebon is a road going east. (This is the road that would lead you to Banteay Samré if taken straight, or Banteay Srei, Phnom Kulen, and Kbal Spean, if you turn left at the first intersection about 1 kilometer east from here.)

Our second destination, though, was Phnom Bok. To reach here, continue east on the aforementioned road – pass Banteay Samré – taking the first left, then continuing north about 5-10 minutes. All in all, it’s about 20 minutes from the Grand Loop road.

Having seen snow-capped mountains enough in my life, I chuckle to call these mountains instead of hills. However, Angkor is in a large plain, as you can see in these pictures, so any hill looks like a mountain. In the same breath, these aren’t baby hills.

Mao’s wife and daughter stayed with the tuktuk while we went clambering up the hill. I was giving Mao a good ribbing about him not being my friend for making me climb a mountain in tropical heat, but it really wasn’t too bad. He said, “there are only 100 stairs to the top!” I laughed and said there’s no way that’s a mountain then. We walked up a hill for about five minutes before getting to the bottom of the staircase on the south side of the mountain that goes to the summit. He still insisted it was only 100 steps. I counted, just for fun. Turns out, there are 626 steps, give or take one, to the top of the hill and, even when you get to the top, you still have to climb up…a little farther.

As I mentioned, though, it wasn’t a bad climb. The first 400 or so steps are forested, so you’re in shade, though it’s hot and humid. After that, the views of the surrounding plains open up which are quite nice. Mostly, you can see to the south or southeast. I couldn’t see any of the main temples which would be southwest from here. (I couldn’t see them from the peak when looking southwest, though, either…)

At the top of Phnom Bok, there’s a little shelter/rest area where you can sit and buy ice cold drinks. There’s a new Hindu temple up there, and also the ruins of an Angkor-era temple. Sadly, there are also remnants of the Khmer Rouge era, too; machine gun mounts and the like, surrounding the temple.

After 30-45 minutes on the mountaintop, we went back down and I was glad to have a rest in the tuktuk while we made our way back to the Grand Loop. It was a good chance to rest up and enjoy the scenery (in addition to waving like a fool at every passerby as I’m wont to do).

Upon returning to the Grand Loop road, we made a quick right heading north for about 200 meters to the East Mebon. In May, we stopped here, but didn’t do anything other than climb the main stairs, take a few shots, and head off to lunch. (We were tired by that point.)

Because of that, I told Mao I wanted to take time to extensively go around the East Mebon. It’s a surprisingly nice temple mount. (I don’t know how the West Mebon compares; unlike this one, there is still water in the west baray, and I didn’t go out there.) All told, Mao and I wandered our separate ways here for about half an hour or so. I got back to the tuktuk right before one of the daily summer downpours. Mao was stuck out in the rain, but had my backpack, P&S, and umbrella, so was fine.

After a 5-10 minute rest, a Coke and a smile later, the four of us went back on our way around the Grand Loop continuing clockwise. We bypassed Ta Seo (which I’d shot well enough in May) and stopped for a very quick shoot at Prasat Krol Ko. This is a very small temple built in the late 12th and early 13th century by Jayavarman VII. It looks like many of the other temples, so most don’t stop here as it’s not terribly interesting. It’s a temple surrounded by two concentric enclosures, in the Bayon style, and rather small. However, it’s near Neak Pean and Preah Khan, so there’s no reason not to stop. This is a Hindu (I believe) temple, as it’s named/dedicated to a cow. I enjoyed it.

The next stop – Neak Pean – was less than two minutes down the road. (Again, no reason not to stop at both. Neak Pean (sometimes spelled “Neak Poan” and pronounced “neek poh-an”) is architecturally different than most of the other sites, as is the setting. Neak Pean is a cruciform arrangement of ponds that centers on a sanctuary tower on a circular island in the middle. Currently, access is limited and you can’t go all the way around it. You approach from the north over a boardwalk – this crosses over the Jayatataka baray, which offers some nice panoramic views of Phnom Bok about 5 kilometers to the east – and finally arrive at the north end of the monument. You can walk around either side to the eastern and western corners, but can go no farther. There are (were) four different sculpted animals on each of the four small ponds around the sanctuary. Eavesdropping a tour guide, he said the four ponds represent earth, air, fire, and water. I had read somewhere what the four animals were, but can’t seem to find that information now. I was very pleased with this stop, too, mainly because it offered a little variety.

After the nice stroll over the boardwalk back to the tuktuk, we continued heading west. At the turn off for Preah Khan (which I skipped this time since we spent a bit of time here in May), there are also two other nearby, rarely visited temples: Banteay Prei and Prasat Prei. These are immediately north of Preah Khan on the outside of the Loop road. Preah Khan is about 200 meters south on the inside of the loop. Neither of these two temples are listed in either LP Cambodia or my Ancient Angkor guidebook, so I unfortunately can’t tell you a thing about them, but would venture to say they were probably built by Jayavarman VII…but, that’s pure conjecture. They were both rather nice to see, and in a fair state of decomposition, so it lent to nice photography. As they are so close to Preah Khan, again…I don’t see why you wouldn’t visit here. You can see both temples in about 20 minutes without going out of your way to do so.

The next stop on today’s private tour is Krol Romeas. This is a very unassuming structure that is less than five minutes outside the North Gate of Angkor Thom. I’m a little confused about what “romeas” means. At first Mao’s wife told me it meant sheep. Then I believe she said it meant hippopotamus. Either way, this structure was an animal pen for one of those. Given the size and depth, I’ll say hippo enclosure is probably correct. Currently, it’s just a very nice setting in the forest. It’s a round enclosure about 20 meters in diameter, just east of the Grand Loop road.

After Krol Romeas, our next stops were the remaining (for me) gates of Angkor Thom: first, the North Gate for a very quick shoot, then down to Bayon and due west on a relaxing, rarely traveled road to the West Gate. The West Gate is supposed to be the one in the most pristine (unrestored) state, though I thought it looked fine. The setting was good.

By this time, it was getting to be early afternoon, probably around 4:00. The next – and last – stop of the day was south of town, away from the majority of Angkor sites. Going south from the Night Market area of Siem Reap along the river, there are two sites of interest: The main one Is the third of the “major” hills – Phnom Krom. This is supposed to be a nice place to see the sunset. However, from having climbed Phnom Bok earlier in the day, I wasn’t inclined to go here, though it was on my original “wish list” that I gave to Mao. Instead, we just went to the other temple in the area: Wat Athvea (sometimes also written Athwea). This is a very tranquil temple and is great in the late afternoon. It’s attached to a functioning monastery, but isn’t noisy. There is a pagoda built on the site of an ancient temple here. What you see here is a 12th century Hindu temple. There is a cemetery adjacent, but that’s not included in this set.

Upon finishing for the day, Mao dropped me back off at my guesthouse. This would be the last time I saw Mao on this trip, though his wife and daughter insisted on taking me to the airport on Tuesday, so I would see them one more time. I’ve said it before, and I’ll say it again. Mao’s a good man (Cambodian Mao, that is…)

As always, I hope you enjoy this set. I appreciate you taking time to look. If you have any questions, please feel free to send me a message or leave it via comment.

Sun setting

The Lakshmana Temple is a Hindu temple located in Khajuraho, India. Dedicated to Vaikuntha Vishnu - an aspect of Vishnu.

This temple is located in the Western Temple complex in Khajuraho. Khajuraho is a small village in Chattarpur District of Madhya Pradesh, India.

It is a Sandhara Temple of the Panchayatana Variety. The entire temple complex stands on a high platform (Jagati). The structure consists of all the elements of Hindu temple architecture. It has entrance porch (ardh-mandapa), Mandapa, Maha-Mandapa, Antarala and Garbhagriha.

Unlike other temples in Khajuraho, its sanctum is Pancharatha on plan. Its sikhara is clustered with minor urushringas.

The wall portion is studded with balconied windows with ornate balustrades.

It has two rows of sculptures including divine figures, couples and erotic scenes.

The sanctum doorway is of seven sakhas (vertical panels). The central one being decorated with various incarnation of Lord Vishnu. The Lintel depicts goddess Lakshmi in the centre flanked by Brahma and Vishnu. The sanctum contains four-armed sculpture of Vishnu.

Main image is of tri-headed & four-armed sculpture of Vaikuntha Vishnu.

The central head is of human, and two sides of boar (depicting Varaha) and lion (depicting Narshima).

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Der Lakshmana-Tempel ist der erste wirklich große Tempelbau der Chandella-Dynastie im Tempelbezirk von Khajuraho; zu seiner Bauzeit (ca. 930−950) war er der größte Tempel im Norden Indiens. Der Tempel ist dem Gott Vishnu in seinem Aspekt als Vaikuntha ('Herr des Paradieses') geweiht; im Zentrum der Cella (garbhagriha) steht eine dreiköpfige Vishnu-/Vaikuntha-Figur.

In den Ecken der Tempelplattform sind noch vier Begleitschreine erhalten und so ergibt sich das seltene Bild eines kompletten nordindischen Tempelkomplexes (panchayatana), wie es schon im frühen 6. Jahrhundert im Dashavatara-Tempel von Deogarh geplant und verwirklicht wurde, sich aber dort nicht erhalten hat.

ETYMOLOGIE

Der Name Vaikuntha ist wahrscheinlich von den Sanskritwörtern vi und kuntha herzuleiten und bedeutet in etwa 'ohne Bruch' im Sinne von 'ganzheitlich' oder 'vollkommen'. Vaikuntha ist für viele Anhänger Vishnus (vaishnavas) Ziel und Ort nach Erreichung der Erlösung (moksha), d. h. nach der Befreiung aus dem endlosen Kreislauf der Wiedergeburten (samsara). Dieser Ort − in etwa gleichzusetzen mit dem Paradies − liegt an den Hängen des Weltenbergs Meru und besteht nur aus Gold und kostbaren Edelsteinen; der Ganges fließt mitten durch ihn hindurch. Das Bildnis im Innern der Cella wurde − da seine ursprüngliche Bedeutung in Vergessenheit geraten war − in späterer Zeit volkstümlich auch als Lakshmana, Ramachandra oder Chaturbuja bezeichnet; der Name 'Lakshmana-Tempel' ist haften geblieben.

BAUGESCHICHTE

Eine während der Ausgrabungs- und Restaurierungsarbeiten zu Beginn des 20. Jahrhunderts in der Nähe gefundene Steinplatte mit einer Weiheinschrift aus dem Jahr 953/4, die sich auf eine Vaikuntha-Statue bezieht, erwähnt den Chandella-Herrscher Yasovarman (reg. ca. 925−950) als Bauherren und Stifter. Bei einer angenommenen Bauzeit von etwa 20 Jahren dürfte der Baubeginn des Tempels etwa um das Jahr 930 anzusiedeln sein, als die Chandellas gegenüber ihren Lehnsherren, den Pratiharas, mehr und mehr an Einfluss und Macht gewannen. Die Inschriftenplatte ist heute in der kleinen Vorhalle (mukhamandapa) des Tempels angebracht.

ARCHITEKTUR

Der komplett aus Sandstein errichtete Tempel ist ca. 21,5 m hoch, etwa 24,5 m lang und ca. 14,5 m breit. Er erhebt sich auf einer rechteckigen, ca. 3 m hohen, ca. 40 m langen und ca. 27 m breiten Umgangsplattform (jagati), die über einen vorgezogenen Treppenaufgang erreichbar ist. Der Tempel selbst ruht auf einem mehrfach gegliederten und leicht zurückgestuften Unterbau (adhishthana), so dass ein weiterer, ebenfalls etwa 3 m hoher Treppenaufgang notwendig ist um in den Portikus (mukhamandapa oder ardhamandapa) zu gelangen; es folgt die Vorhalle (mandapa), dann die Große Vorhalle (mahamandapa) und schließlich der Sanktumsbereich mit innenliegender Cella (garbhagriha) sowie einem Umgang (pradakshinapatha).

Sanktumsbereich und Große Vorhalle sind flächenmäßig etwa gleich groß − ein Schema, dass bereits ca. 250 Jahre früher beim Kalika-Mata-Tempel in Chittorgarh erstmals auftritt und über Zwischenstufen in Rajasthan und Gyaraspur nach Khajuraho gelangte. Da die Dachaufbauten des Tempels im Wesentlichen auf Pfeilern ruhen, konnten die drei Vorhallen sowie der Umgangsbereich der Cella durch schräggestellte Brüstungen mit gedrechselten Steinsäulchen, vor denen sich im Innern steinerne Sitzbänke befinden, nach außen geöffnet werden.

Die verschiedenen Räume sind durch Stufen voneinander getrennt und haben somit ein geringfügig wechselndes Bodenniveau; die Cella des Tempels mit dem Vaikuntha-Bildnis hat von allen Räumen das höchste Fußbodenniveau und wird von einem Shikhara-Turm mit kleinen Begleittürmchen (urushringas) überhöht. Die Vorhallen sind jeweils von pyramidenförmigen Dächern (phamsanas) bedeckt. Im Äußeren entsteht so das Bild eines die umgebende Landschaft überragenden Gebirges oder Bergstocks, doch auch im Innern müssen die Gläubigen einige Stufen überwinden um zum "Höchsten", dem Vaikuntha-Bildnis, zu gelangen.

Im Innern wie im Äußeren ist jedes Bauteil des Tempels reich gegliedert und mit Skulpturen oder abstrakten geometrischen oder vegetabilischen Ornamenten bedeckt; eine Wand- bzw. Steinsichtigkeit wird also weitgehend vermieden.

SKULPTUREN

Die obere Ebene der mehrfach gestuften Sockelzone ist als etwa 35 cm hoher umlaufender Fries mit über hundert kleinen Elefanten gestaltet, die den gesamten Tempel auf dem Rücken tragen − ein Hoheitszeichen, das sich an keinem der anderen Tempel Khajurahos findet. Die Elefanten werden von jeweils zwei Wärtern (mahuts) begleitet.

Plattform und Tempel sind mit über tausend kleineren und größeren Figuren geschmückt. Vor allem die größeren Skulpturen sind nicht mehr – wie früher – von Architekturelementen oder Nischen eingerahmt, sondern stehen nahezu vollplastisch auf Steinplatten, d. h. sie sind kaum noch mit dem rückwärtigen Reliefgrund verbunden. Sie sind nicht mehr als künstliche Abbilder gemeint, sondern als lebendige, lebensnahe Figuren. Die etwas hervorstehenden Bauteile zeigen zumeist Götterfiguren (Shiva, Vishnu u. a.), die seitlich in den etwas zurückspringenden Teilen von gleich großen weiblichen Figuren – leicht bekleideten 'Schönen Mädchen' (surasundaris) in unterschiedlichen Posen und aus bildhauerischen Gründen stets mit aufgebundenem Haar – begleitet werden. Die etwas breiteren, aber am stärksten zurückgestuften Mittelregister der drei Außenwände des Sanktums präsentieren in der unteren Ebene erotische Szenen aller Art, für die die Tempel von Khajuraho in der ganzen Welt berühmt sind; darüber finden sich 'Himmlische Liebespaare' (mithunas). Die oberste Zone zeigt in der Mitte ein Götterbild mit Begleitfiguren; die seitlichen Dekorfelder (udgamas) zeigen ornamentalen Schmuck bestehend aus neben- und übereinander angeordneten kleinen Fensternischen (chandrasalas).

PLATTFORM

Als einziger Tempel in Khajuraho hat der Lakshmana-Tempel einen weitgehend erhaltenen und die gesamte Plattform umschließenden Figurenfries mit Szenen aus dem höfischen Alltagsleben – Unterricht, Kriegszug, Musikanten, erotisch-sexuelle Liebesszenen etc.; Götterfiguren oder Dämonen sind dagegen hier nicht zu sehen. Die Szenen des etwa in Augenhöhe angebrachten Frieses sind zwar originell, aber von keiner großen handwerklichen oder künstlerischen Meisterschaft.

TEMPEL (AUSSEN)

Während die kleinen Vorhallen außen keinerlei Figurenschmuck besitzen, sind die Eckpfeiler zwischen Vorhalle (mandapa) und Großer Vorhalle (mahamandapa) in zwei Ebenen mit Figuren versehen. Hauptsächlich ist jedoch der Bereich zwischen Großer Vorhalle (mahamandapa) und Sanktum in mehreren Ebenen und überreich mit Figuren besetzt. Hier überwiegen ganz eindeutig Götterfiguren, 'Himmlische Liebespaare' (mithunas) und 'Schöne Mädchen' (surasundaris). Nur die unteren Ebenen der Mittelregister zeigen auch erotisch-sexuelle Szenen; somit ist am Lakshmana-Tempel noch die Hierarchie zwischen der oberen (himmlischen) Ebene und der unteren (erdnahen) Ebene gewahrt.

TEMPEL (INNEN)

Zu den interessantesten und künstlerisch bedeutsamsten Figuren im Innern des Tempels gehören die weiblichen Nymphen (apsaras) an den Streben im Deckenbereich der Großen Vorhalle (mahamandapa); diese zeigen sich in verschiedenen − oft extrem verdrehten − Posen beim Musizieren, beim Ballspiel aber auch beim Entkleiden. In den Wandnischen finden sich diverse Götterfiguren, darunter auch einige nicht (mehr) identifizierbare.

VAIKUNTHA-KULTBILD

Das freiplastisch aus einer großen Steinplatte herausgearbeitete Götterbildnis ist in ganz Indien nahezu einzigartig und zeigt Vishnu/Vaikuntha mit vier zerstörten Armen, so dass keinerlei Attribute mehr vorhanden sind, sowie drei Köpfen (Mensch, Eber und Löwe). Ein rückwärtiger vierter Kopf, der die Universalität Vishnus vervollkommnet hätte, ist nicht ausgeführt; stattdessen findet sich ein in Indien einzigartiger durchbrochener und gezackter Strahlenkranz um Vaikunthas Haupt. Die Figur ist umgeben von einem – aus derselben Steinplatte herausgearbeiteten – Rahmen mit Wächterfiguren sowie Ganga und Yamuna im Sockelbereich und jeweils drei darüber befindlichen vorstehenden Nischen mit Vishnu-Avataras (Matsya, Varaha, Vamana, Kurma, Narasimha, Parashurama). Zwei seitliche Pfeiler mit reichem z. T. freiplastischen Architektur- und Figurendekor und einem doppelten, aus dem aufgerissenene Mäulern von Wasserungeheuern (makaras) hervorquellenden Torana-Bogen als verbindendem oberem Abschluss bilden den äußeren Rahmen des Kultbildes.

BEDEUTUNG

Der Lakshmana-Tempel (ca. 930−950) mit seinen vier hintereinanderliegenden und in der Höhe gestaffelten Bauteilen sowie seiner − im Wesentlichen auf Pfeilern ruhenden − Bauweise gilt als früher Höhepunkt der Chandella-Architektur und war nach seiner Fertigstellung für etliche Jahrzehnte der größte Tempelbau Indiens. Spätere Tempelbauten in Khajuraho wurden von ihm maßgeblich beeinflusst, darunter auch der Kandariya-Mahadeva-Tempel.

Das außergewöhnliche Vaikuntha-Bildnis in der Cella sowie der reiche, beinahe vollplastische Figurenschmuck sind innen wie außen nahezu vollständig erhalten und bezeugen die handwerkliche und künstlerische Meisterschaft der Bildhauer der damaligen Zeit.

Mit seinem mehrteiligen Grundriss, einer von einem Umgang umschlossenen Cella und in Teilen seines Dekors (Balkonbrüstungen mit gedrechselten Säulchen) ist der Lakshmana-Tempel wahrscheinlich direkt beeinflusst von dem ca. 50 Jahre zuvor erbauten, aber insgesamt noch der Pratihara-Architektur zuzurechnenden Maladevi-Tempel in Gyaraspur.

WIKIPEDIA

Buddy Complex [バディ・コンプレックス] is an action mecha anime produced by Sunrise [株式会社サンライズ] (Accel World, Tiger & Bunny, Valvrave The Liberator) and directed by Tanabe Yasuhiro [田辺 泰裕].

Buddy Complex will begin airing on TOKYO MX at 2014/01/05 24:00JST, on Yomiuri TV [読売テレビ] at 2014/01/06 02:29JST, on TV Aichi [テレビ愛知] at 2014/01/06 01:35JST, and on BS11 Digital [BS11デジタル] at 2014/01/07 00:30JST.

View more at www.dannychoo.com/en/post/27128/Buddy+Complex.html

The Lido swimming pool complex in Funchal is restoring its popularity.

#sharingmadeira #madeiraful #donamaro #madeira

Production engineer Pablo Schuller mixing in the scoring studio.

Visit www.vanishingnewengland.com for more photos and stories.

Photos by Camilla Tannen-Barrup '11.

The Pennsylvania State Capitol was built from 1902 to 106 to the Italian Renaissance design of Joseph Huston, who incorporated the walls of an unsuccessful 1898 plan and building by Chicago architect Henry Ives Cobb. The 520-foot long center wing features a 272-foot high dome, inspired by St. Peter's Basilica in Vatican City, with two side wings, each adding an additional 212-feet in length. The 94-foot dome is topped by the 14-foot, 6-inch gilded brass statue of Commonwealth by Roland Hinton Perry.

The Pennsylvania Capitol Grounds, officially the Capitol Park, bounded by North Street on the north, 7th Street on the east, Walnut Street on the south and 3rd Street on the west, comprises 45 acres. Arnold Brunner designed the layout of the grounds, which originally totaled only 15 acres from the land Harris and Maclay gave to the state. The remaining 29 acres were added when the state bought the Eighth Ward.

National Register #77001162 (1977)

Made from wood iron and paint by the Igbo people of Nigeria, 20th century

The sculpture is made of many separate elements nailed to a central core and incorporating images of power, such as horsemen,imported goods, military insignia, rifles and wild beasts. Such works act as the fixed rallying points of different social groups at public displays of dancing

Source: British Museum website

Stars Complex Urban Garden: 7/11/09, day one of three.

Sown Together partners with Ft. Myers’ STARS Complex, The Boys and Girls Clubs of Lee County, and Key Club Volunteers to construct an urban vegetable garden.

A freezebrand is applied to a mare that has been treated with the PZP fertility control agent prior to being released back into the Owyhee HMA. The 'JB' freezebrand is the marking given to Owyhee HMA mares that were treated and released back to the HMA. Overall, 140 wild horses were released back to the Owyhee Complex.

The hill top temple complex of Doi Suthep is one of Chiang Mai's most popular visitor attractions and one of Thailand's most beautiful temples. Officially known as Wat Phrathat Doi Suthep ('Doi Suthep' being the name of the mountain, but now more commonly used to denote the temple), it is believed to have been founded in 1383 on a site chosen by a white elephant transporting a relic of the Buddha.

The buildings seen today are mostly of more recent date, but cannot fail to impress by the sheer richness of their ornamentation and gilding. The heart of the temple is the magnificent chedi (the Thai word for stupa) of gilded copper that shimmers like pure gold. It is surrounded by a multitude of statues and prayer halls and usually buzzing with the activities of as many worshippers as tourists.

Access to the temple is either by a 309 step Naga staircase ascending to the top of the hill or by the more recent funicular railway (best to go up with that and back down by the stairs!). From the top there is also a dramatic panoramic view over the city of Chiang Mai.

Even having already seen so many beautiful temples in Thailand, this one remains one of the most dazzling and memorable.

en.wikipedia.org/wiki/Wat_Phrathat_Doi_Suthep

2011_09_06_Rio de Janeiro: Força de Pacificação em confronto no Complexo do Alemão

Something relatively quick and simple tonight. The Good Smile Company 1/8 scale Ghost in the Shell: Stand Alone Complex - Solid State Society Motoko Kusunagi PVC statue.

Wow that's a mouthful.

Solid State Society is a feature length movie that is set in the Stand Alone Complex series. I've never seen it, but I have noticed a general consistency of the way Motoko looks in all of my Stand Alone Complex figures, and it pretty much comes to some variation of her light grey catsuit.

Now, I, as usual, bought this off a seller from a classified ad, in this case for $50. What I'm trying to figure out is just how rare this piece is because the aftermarket prices, both on eBay and Japanese sites, have this priced at something absolutely insane, I don't know if it was because the statue of was underproduced, or maybe this was the only version of her from this particular series.

Motoko is depicted in a relatively static pose - she's standing with visor in one hand and the other hand on her outward hip, with a half open trenchcoat slightly billowing in the wind and an attentive gaze. This was released in 2007 and 2009, so it was one of the statues that was around when I was generally more active in the PVC world. and I have to say that The Major looks fantastic.

There are some subtle fabric folds on her suit and the trench coat. Casting came out sharply. There's not a dull edge or non eye pleasing detail in sight. Hair and face are adequately sculpted, and her curves are very crisp, and personally I feel its a shame half of her is covered up by her coat. Subtle detaling such as the lines on her suit aren't too bad, though not quite as crisp as the other stuff on the body. There's no webbing between the fingers, and each digit is well defined. The visor also is nice and crisp, with no poor edges observed. There's also some body definition that you'll appreciate more with the lighting coming in from JUST the right angle.

Paint work is as solid as anything you'd get these days. Smooth crisp applications and excellent masking work, along with well printed and applied decals. Of course, these are the guys who make Figma and I've generally been pretty happy with their work.

Finally Build Quality is, once again, what I'd expect from Good Smile Company. No glue residue or poor assembled parts that make you question your sanity. This is an older statue, however, and was made before industry wide standards to stop using soft plastics on sections of the body that are prone to bending. In this case, I found that her ankles had bent slightly, causing her to lean forward. Fortunately, a bit of hot water and some elbow grease allowed the situation to be rectified.

In conclusion, a very nicely painted statue of Motoko that shows off her beautiful character design without being overtly sexual, which is usually the sweet spot for me because it means I don't have to hide it from display. The only real problem is the leaning which was an industry wide thing.

So if you're a Ghost in the Shell fan and can find this at a price that doesn't give you acid reflux, just go for it.

view from top of the Kennedy Center

The garden complex of Kinkaku-ji, or Temple of the Golden Pavilion, is representative of Muromachi period garden design having as its objective to integrate the structure within the landscape in an artistic way, having a minimalistic approach achieved by recreating larger landscapes in a smaller scale.

Cleveland Playhouse Complex

Here is actually a series of buildings, joined with the existing red brick 1920s buildings, creating a "village" of theaters. This design, created during Johnson's most obvious post-modern period, quotes from earlier architecture, specifically Bernini's church of Santa Maria dell'Assunzione in Ariccia. This porticoed rotunda serves to unify the structures and provides a grand entrance to the complex. In Johnson's original design in addition to the 160-seat Brooks Theatre and the 522-seat Drury Theatre, the new construction provided more than 600 seats in the Kenyon C. Bolton Theatre as well as a blackbox theatre. Sadly, this complex proved to be too expensive for the acting company and the buildings have been sold to the Cleveland Clinic, the largest property owner in the area.

20876 “Civil War in Southeastern North Carolina” – Museum of the Cape Fear Historical Complex, 801 Arsenal Ave., Fayetteville, Cumberland, NC. May 23, 2017. Decimal degrees: 35.054702, -78.892648

“Civil War in Southeastern North Carolina”

“The Civil War in southeastern North Carolina focus mostly on the coast, comprising of the Union blockade, Confederate fortifications, and the activity of blockade-runners as the main sources of military action. In early 1865, Union forces overcame Fort Fisher and pushed inland. In the spring, General Sherman continued his march through the Carolinas, traveling through Fayetteville and Goldsboro and accepting surrender from Confederate General Joseph Johnston at Bennett Place.”

Above upper rifle:

“Henry Repeating Rifle, model 1860. Used in the 58th Indiana Regiment. Captured by J.C. Ellington at Monroe’s Crossroads.”

Above lower rifle:

“Enfield Rifled Musket, .577 caliber attributed to the Modern Greece. The standard weapon of the British army, more than 400,000 were smuggled into the Confederacy on blockade-runners.”

In lower Shelf:

“Spyglass

Officer’s valise

Belonged to Colonel William Lamb, Commander of Fort Fisher 1862-1865.

Compass”

“Artifacts from the Modern Greece”

“The Modern Greece”

“As the British owned steamer Modern Greece, Iaden with military and consumer goods, approached Wilmington on June 27, 1862, Federal blockaders opened fire. The blockade runner tried to outrun them but ran aground in New Inlet off Fort Fisher and sank. In 1862, a storm uncovered the wreck and divers inspected the ship’s remains. A large portion of the ship’s cargo was discovered intact, and salvage operations began. Articles such as lead for shot, hardware of all descriptions, house wares, surgical goods and instruments, tin, steel sheet, wire, plus military goods were salvaged from the wreck.”

“Model of Confederate blockade-runner. Small, fast, side-wheel steamers were employed by the South to slip past the ships of the Union blockade.”

“Blockade-Runners”

“Since the South was primarily agricultural rather than industrial, the Confederacy relied on European import for needed war goods. Wilmington became the last major port open to the Confederacy, and the destination of steamers called blockade-runners, which smuggled provisions into the Southern states and supplied General Lee’s Army of Northern Virginia. These ships traveled from Bermuda, the Bahamas and Nova Scotia, where southern cotton and tobacco were exchanged for food, clothing and munitions from British traders.”

On Left Wall:

“Fort Fisher”

“Located near the mouth of the Cape Fear River, Fort Fisher protected Confederate blockade-runners on their way to the critical port city of Wilmington. Until the arrival of Colon Williams Lamb in July 1862. Fort Fisher was little more than several batteries mounting fewer than two dozen guns. Under Colonel Lamb’s direction, expansion of the fortress began. Massive and powerful, Fort Fisher kept federal blockading ship at a distance, protecting Wilmington from attack and ensuring safe passage for Confederate maritime travel. In the winter of 1864- 1865, Union forces focused their efforts on eliminating Wilmington as a viable port. The first attack on Fort Fisher in December 1864 was a failure, but the second assault in January 1865 succeeded in taking the fort and cutting off the Wilmington supply line.”

Under left photograph:

“Bombardment of Fort Fisher, James Madison Alden”

Under right photograph:

“Gun at Fort Fisher, North Carolina”

Under portrait:

“Colonel William Lamb”

“Sherman’s March”

“In the spring of 1865, Union General William Sherman’s forces enter North Carolina, completing their march through the Deep South and into the Carolinas. On March 11, Sherman occupied Fayetteville. During their four-day halt, the 1st Michigan Engineers destroyed the former U. S. Arsenal. On March 16, Confederate Lt. General William J. Hardee fought a delaying action near Averasboro against Sherman’s Left Wing. Three days later the armies met again in the Battler of Bentonville. After a two day battle, Confederate forces retreated and Sherman headed on to Goldsboro.”

“Monroe’s Crossroads”

“On March 10, Confederate General Wade Hampton unleashed a dawn attack on Major Judson Kilpatrick’s sleeping on unguarded camp at Monroe’s Crossroads, fourteen miles west of Fayetteville. Hampton’s horse soldiers enjoyed initial success, but Kilpatrick’s troops rallied and eventually drove the Southerners from their camp. The attack on Kilpatrick’s camp stopped his advance for an entire day, allowing Confederate Lt. General William Hardee’s infantry to win the race into Fayetteville.”

Under portrait:

“Lt. General Wade Hampton.”

TT's mushroom folded by me during last years ousa 08

See it live: www.glslsandbox.com/e#42524.0

An aggregation of the complex roots of

a₈z^8 + a₇z^7 + a₆z^6 + a₅z^5 + a₄z^4 ... + a₁z + a₀ = 0

where a₀ = -1 and a₁...a₈ = 1 or 0.

Niavaran Palace Complex, Tehran, Iran

Stars Complex Urban Garden: 7/25/09, day three of three.

Sown Together partners with Ft. Myers’ STARS Complex, The Boys and Girls Clubs of Lee County, and Key Club Volunteers to construct an urban vegetable garden.

GMP - Greater Manchester Police - BMW X5 - MX58UYW - Taken using 'flash' to emphasize the hi-vis element of the battenburg livery, which is very impressive. Photographed at the Claytonbrook Complex in the early hours of Saturday the 9th of October 2010. DSCF3373

The Lednice-Valtice Cultural Landscape (also Lednice-Valtice Area or Lednice-Valtice Complex, Czech: Lednicko-valtický areál) is a cultural-natural complex of 283,09 km² in the Czech Republic, South Moravian Region, close to Břeclav and Mikulov.

(Wikipedia)

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Did spend a nice summer weekend in the south Moravia, once more enjoying Pálava region and the area around Lednice - it is truly one of the most beautiful parts of the Czech republic.