Public Domain: Iconographie descriptive des cacte

Public Domain: Iconographie descriptive des cacte

Please be cautious: This is a gruesome, descriptive story.

Okay, enjoy.

My eyes widen and flit to the door as the knob turns and opens, letting in a slit of light. I squint against the gleam shining from the metal carelessly tossed about the small, low-ceilinged room. My heartbeat quickens and pounds; feels like it’s about to burst out of my chest. I wriggle and try to scream as he walks toward the table, but silver duck tape stops the yell at my my throat; metal chains restrain my legs and arms. Still, I fight against the rusted iron and tears slip from my eyes in frustration.

His lips form a smirk while he continues to tear apart my skin, shoving the infected metal deep with brute force. I try to sit still; moving is just making myself get worse wounds. Tears pool around the unyielding tape covering my mouth. Seconds, minutes of unbearable pain passes, feeling like a century. Why am I not passing out? Please. Let me pass out, I think.

I stay there, laying in a world of black pain.

------------------------------------------------------------------------------------------------------------------------------------

Don't worry, I don't think I'm a freak and I don't usually write things like this.

But, this was a dream I had a few nights ago. I guess you can call it a nightmare lol

It felt real though, and even though I usually forget everything, I remembered this with perfect clarity. So I decided to write it up as a story and share it with the Flickr community.

Hope I didn't creep you out too much ;) ♥

Main account.

All Rights Reserved

Facebook | Twitter | Blog | Tumblr

Descriptive plate-book

Newark, N.Y. :Knight & Bostwick,[19--]

biodiversitylibrary.org/page/59563460

Descriptive plate-book

Newark, N.Y. :Knight & Bostwick,[19--]

biodiversitylibrary.org/page/59563394

#1199: As of 10/28/19, of my 2000+ pics, this is listed as #1199 in most # of views.

VIDEO AT: www.youtube.com/watch?v=RvJ9UEiB50I

I've been engaging in some short, private crossdressing opportunities at home recently, after acquiring and trying out some new clothes, shoes, and accessories. This is the 507th pic posted from this recent CD activity, and taken just last month.

This day I was trying out my very first blonde wig. Does it work for me?

This particular pic is a snapshot from a video I took on our home's deck, and it catches me in the middle of standing up from the adjacent chair. The video is posted with my other, older YouTube videos at www.youtube.com/watch?v=RvJ9UEiB50I. Please check it out and comment/fave here if you like.

BTW, I can't get any videos uploaded on Flickr. I think this is because they consider my account "unsafe" - ridiculously so - and they apparently don't allow videos to be posted to such accounts. Please let me know if I'm mistaken, or if you know a work-around.

As usual, I really enjoy color-coordinating attractive/sexy/cute outfits, and this one features: Forever 21 camel faux-leather ultra-high-heel over-the-knee (OTK) boots with faux-wood brown 4.5" block heels; a Forever 21 taupe/black pleated houndstooth knit miniskirt; a Forever 21 camel faux-leather waist belt; a Guess jet black deep-scoop-neck ribbed-knit crop top (from Macy's); a Forever 21 taupe/black leopard-print scarf; gold/brown necklaces; and gold rings, earrings, and bracelets.

More about this and other new 2017-18 pics was written up recently in a descriptive Update provided in my profile or "About" page here on Flickr. It details some choices made for these 2017-18 pics.

Let me know your thoughts... :-)

P.S. As far as the setting here, this is on the deck of our home. I'm using the glass patio door as a mirror (fuzziness related to glass not cleaned in some time), aided with a black sheet hung right inside the door, although some of the wrinkles in the sheet may be detected in the video here.

Descriptive Title: Muscles.

Technique: engraving/etching

Dimensions: 10 x 22 cm.

Digital ID: RBAI040-0003

Scope and Content: Muscles, superioficial view. Male figure, lateral view.

General: Figure shown in a landscape.

General: Illustration serves as head-piece. Repeated at p. 1, 11, 60, 91, 103.

This plate is taken from the book:

Title: Myotomia reformata

Author: Cowper, William, 1666-1709

Published: London : Printed for Robert Knaplock, and William and John Innys ...; and Jacob Tonson ..., 1724

Part of the digital collection Anatomia 1522-1867 located at link.library.utoronto.ca/anatomia/application/index.cfm

Descriptive catalogue of vegetable, flower, and farm seeds /.

New York :Weeber & Don..

biodiversitylibrary.org/page/46184285

A descriptive catalogue of choice vegetable, flower, and agricultural seeds /.

Boston, MA :Curtis & Cobb..

biodiversitylibrary.org/page/46484604

Possible/probable descriptive text associated with 107P-KSC-66P-300:

"Lift off of Saturn Mission SA-203, the second in the up-rated Saturn I development mission series, was accomplished from the Cape's Launch Complex 37 at 10:53 a.m., July 5, 1966.

The up-rated Saturn I - consisting of an S-IB stage, S-IVB stage, and an instrument unit - boosted an unmanned payload into an original orbit of 185 by 189 kilometres. The inboard engine cut-off of the first stage occurred after 2 minutes 18 seconds of flight and the outboard engine cut-off was 4 seconds later. The S-IVB engine burned 4 minutes 50 seconds. No recovery was planned and the payload was expected to enter the earth's atmosphere after about four days."

An absolutely stunning photograph.

Gandhara is the name given to an ancient region or province invaded in 326 B.C. by Alexander the Great, who took Charsadda (ancient Puskalavati) near present-day Peshawar (ancient Purusapura) and then marched eastward across the Indus into the Punjab as far as the Beas river (ancient Vipasa). Gandhara constituted the undulating plains, irrigated by the Kabul River from the Khyber Pass area, the contemporary boundary between Pakistan and Afganistan, down to the Indus River and southward towards the Murree hills and Taxila (ancient Taksasila), near Pakistan"s present capital, Islamabad. Its art, however, during the first centuries of the Christian era, had adopted a substantially larger area, together with the upper stretches of the Kabul River, the valley of Kabul itself, and ancient Kapisa, as well as Swat and Buner towards the north.

A great deal of Gandhara sculptures has survived dating from the first to probably as late as the sixth or even the seventh century but in a remarkably homogeneous style. Most of the arts were almost always in a blue-gray mica schist, though sometimes in a green phyllite or in stucco, or very rarely in terracotta. Because of the appeal of its Western classical aesthetic for the British rulers of India, schooled to admire all things Greek and Roman, a great deal found its way into private hands or the shelter of museums.

Gandhara sculpture primarily comprised Buddhist monastic establishments. These monasteries provided a never-ending gallery for sculptured reliefs of the Buddha and Bodhisattvas. The Gandhara stupas were comparatively magnified and more intricate, but the most remarkable feature, which distinguished the Gandhara stupas from the pervious styles were hugely tiered umbrellas at its peak, almost soaring over the total structure. The abundance of Gandharan sculpture was an art, which originated with foreign artisans.

In the excavation among the varied miscellany of small bronze figures, though not often like Alexandrian imports, four or five Buddhist bronzes are very late in date. These further illustrate the aura of the Gandhara art. Relics of mural paintings though have been discovered, yet the only substantial body of painting, in Bamiyan, is moderately late, and much of it belongs to an Iranian or central Asian rather than an Indian context. Non-narrative themes and architectural ornament were omnipresent at that time. Mythical figures and animals such as atlantes, tritons, dragons, and sea serpents derive from the same source, although there is the occasional high-backed, stylized creature associated with the Central Asian animal style. Moldings and cornices are decorated mostly with acanthus, laurel, and vine, though sometimes with motifs of Indian, and occasionally ultimately western Asian, origin: stepped merlons, lion heads, vedikas, and lotus petals. It is worth noting that architectural elements such as pillars, gable ends, and domes as represented in the reliefs tend to follow the Indian forms

.

Gandhara became roughly a Holy Land of Buddhism and excluding a handful of Hindu images, sculpture took the form either of Buddhist sect objects, Buddha and Bodhisattvas, or of architectural embellishment for Buddhist monasteries. The more metaphorical kinds are demonstrated by small votive stupas, and bases teeming with stucco images and figurines that have lasted at Jaulian and Mora Moradu, outpost monasteries in the hills around Taxila. Hadda, near the present town of Jalalabad, has created some groups in stucco of an almost rococo while more latest works of art in baked clay, with strong Hellenistic influence, have been revealed there, in what sums up as tiny chapels. It is not known exactly why stucco, an imported Alexandrian modus operandi, was used. It is true that grey schist is not found near Taxila, however other stones are available, and in opposition to the ease of operating with stucco, predominantly the artistic effects which can be achieved, must be set with its impermanence- fresh deposits frequently had to be applied. Excluding possibly at Taxila, its use emerges to have been a late expansion.

Architectural fundamentals of the Gandhara art, like pillars, gable ends and domes as showcased in the reliefs, were inclined to follow Indian outlines, but the pilaster with capital of Corinthian type, abounds and in one-palace scene Persepolitan columns go along with Roman coffered ceilings. The so-called Shrine of the Double-Headed Eagle at Sirkap, in actuality a stupa pedestal, well demonstrates this enlightening eclecticism- the double-headed bird on top of the chaitya arch is an insignia of Scythian origin, which appears as a Byzantine motif and materialises much later in South India as the ga1J.qa-bheru1J.qa in addition to atop European armorial bearings.

In Gandhara art the descriptive friezes were all but invariably Buddhist, and hence Indian in substance- one depicted a horse on wheels nearing a doorway, which might have represented the Trojan horse affair, but this is under scan. The Dioscuri, Castor and Pollux, familiar from the previous Greek-based coinage of the region, appeared once or twice as standing figurines, presumably because as a pair, they tallied an Indian mithuna couple. There were also female statuettes, corresponding to city goddesses. Though figures from Butkara, near Saidan Sharif in Swat, were noticeably more Indian in physical type, and Indian motifs were in abundance there. Sculpture was, in the main, Hellenistic or Roman, and the art of Gandhara was indeed "the easternmost appearance of the art of the Roman Empire, especially in its late and provincial manifestations". Furthermore, naturalistic portrait heads, one of the high-points of Roman sculpture, were all but missing in Gandhara, in spite of the episodic separated head, probably that of a donor, with a discernible feeling of uniqueness. Some constitutions and poses matched those from western Asia and the Roman world; like the manner in which a figure in a recurrently instanced scene from the Dipankara jataka had prostrated himself before the future Buddha, is reverberated in the pose of the defeated before the defeater on a Trojanic frieze on the Arch of Constantine and in later illustrations of the admiration of the divinised emperor. One singular recurrently occurring muscular male figure, hand on sword, witnessed in three-quarters view from the backside, has been adopted from western classical sculpture. On occasions standing figures, even the Buddha, deceived the elusive stylistic actions of the Roman sculptor, seeking to express majestas. The drapery was fundamentally Western- the folds and volume of dangling garments were carved with realness and gusto- but it was mainly the persistent endeavours at illusionism, though frequently obscured by unrefined carving, which earmarked the Gandhara sculpture as based on a western classical visual impact.

The distinguishing Gandhara sculpture, of which hundreds if not thousands of instances have outlived, is the standing or seated Buddha. This flawlessly reproduces the necessary nature of Gandhara art, in which a religious and an artistic constituent, drawn from widely varied cultures have been bonded. The iconography is purely Indian. The seated Buddha is mostly cross-legged in the established Indian manner. However, forthcoming generations, habituated to think of the Buddha as a monk, and unable to picture him ever possessing long hair or donning a turban, came to deduce the chigon as a "cranial protuberance", singular to Buddha. But Buddha is never depicted with a shaved head, as are the Sangha, the monks; his short hair is clothed either in waves or in taut curls over his whole head. The extended ears are merely due to the downward thrust of the heavy ear-rings worn by a prince or magnate; the distortion of the ear-lobes is especially visible in Buddha, who, in Gandhara, never wore ear-rings or ornaments of any kind. As Foucher puts it, the Gandhara Buddha is at a time a monk without shaving and a prince stripped off jewellery.

The western classical factor rests in the style, in the handling of the robe, and in the physiognomy of Buddha. The cloak, which covers all but the appendages (though the right shoulder is often bared), is dealt like in Greek and Roman sculptures; the heavy folds are given a plastic flair of their own, and only in poorer or later works do they deteriorate into indented lines, fairly a return to standard Indian practice. The "western" treatment has caused Buddha"s garment to be misidentified for a toga; but a toga is semicircular, while, Buddha wore a basic, rectangular piece of cloth, i.e., the samghiifi, a monk"s upper garment. The head gradually swerves towards a hieratic stylisation, but at its best, it is naturalistic and almost positively based on the Greek Apollo, undoubtedly in Hellenistic or Roman copies.

Gandhara art also had developed at least two species of image, i.e. not part of the frieze, in which Buddha is the fundamental figure of an event in his life, distinguished by accompanying figures and a detailed mise-en-scene. Perhaps the most remarkable amongst these is the Visit to the Indrasala Cave, of which the supreme example is dated in the year 89, almost unquestionably of the Kanishka period. Indra and his harpist are depicted on their visit in it. The small statuettes of the visitors emerge below, an elephant describing Indra. The more general among these detailed images, of which approximately 30 instances are known, is presumably related with the Great Miracle of Sravasti. In one such example, one of the adjoining Bodhisattvas is distinguished as Avalokiteshwara by the tiny seated Buddha in his headgear. Other features of these images include the unreal species of tree above Buddha, the spiky lotus upon which he sits, and the effortlessly identifiable figurines of Indra and Brahma on both sides.

Another important aspect of the Gandhara art was the coins of the Graeco-Bactrians. The coins of the Graeco-Bactrians - on the Greek metrological standard, equals the finest Attic examples and of the Indo-Greek kings, which have until lately served as the only instances of Greek art found in the subcontinent. The legendary silver double decadrachmas of Amyntas, possibly a remembrance issue, are the biggest "Greek" coins ever minted, the largest cast in gold, is the exceptional decadrachma of the same king in the Bibliotheque Nationale, with the Dioscuri on the inverse. Otherwise, there was scanty evidence until recently of Greek or Hellenistic influences in Gandhara. A manifestation of Greek metropolitan planning is furnished by the rectilinear layouts of two cities of the 1st centuries B.C./A.D.--Sirkap at Taxila and Shaikhan Pheri at Charsadda. Remains of the temple at Jandial, also at Taxila and presumably dating back to 1st century B.C., also includes Greek characteristics- remarkably the huge base mouldings and the Ionic capitals of the colossal portico and antechamber columns. In contrast, the columns or pilasters on the immeasurable Gandhara friezes (when they are not in a Indian style), are consistently coronated by Indo-Corinthian capitals, the local version of the Corinthian capital- a certain sign of a comparatively later date.

The notable Begram hoard confirms articulately to the number and multiplicity of origin of the foreign artefacts imported into Gandhara. This further illustrates the foreign influence in the Gandhara art. Parallel hoards have been found in peninsular India, especially in Kolhapur in Maharashtra, but the imported wares are sternly from the Roman world. At Begram the ancient Kapisa, near Kabul, there are bronzes, possibly of Alexandrian manufacture, in close proximity with emblemata (plaster discs, certainly meant as moulds for local silversmiths), bearing reliefs in the purest classical vein, Chinese lacquers and Roman glass. The hoard was possibly sealed in mid-3rd century, when some of the subjects may have been approximately 200 years old "antiques", frequently themselves replicates of classical Greek objects. The plentiful ivories, consisting in the central of chest and throne facings, engraved in a number of varied relief techniques, were credibly developed somewhere between Mathura and coastal Andhra. Some are of unrivalled beauty. Even though a few secluded instances of early Indian ivory carving have outlived, including the legendary mirror handle from Pompeii, the Begram ivories are the only substantial collection known until moderately in present times of what must always have been a widespread craft. Other sites, particularly Taxila, have generated great many instances of such imports, some from India, some, like the appealing tiny bronze figure of Harpocrates, undoubtedly from Alexandria. Further cultural influences are authenticated by the Scytho Sarmatian jewellery, with its characteristic high-backed carnivores, and by a statue of St. Peter. But all this should not cloud the all-important truth that the immediately identifiable Gandhara style was the prevailing form of artistic manifestation throughout the expanse for several centuries, and the magnitude of its influence on the art of central Asia and China and as far as Japan, allows no doubt about its integrity and vitality.

In the Gandhara art early Buddhist iconography drew heavily on traditional sources, incorporating Hindu gods and goddesses into a Buddhist pantheon and adapting old folk tales to Buddhist religious purposes. Kubera and Harm are probably the best-known examples of this process.

Five dated idols from Gandhara art though exist, however the hitch remains that the era is never distinguished. The dates are in figures under 100 or else in 300s. Moreover one of the higher numbers are debatable, besides, the image upon which it is engraved is not in the conventional Andhra style. The two low-number-dated idols are the most sophisticated and the least injured. Their pattern is classical Gandhara. The most undemanding rendition of their dates relates them to Kanishka and 78 A.D. is assumed as the commencement of his era. They both fall in the second half of the 2nd century A.D. and equally later, if a later date is necessitated for the beginning of Kanishka`s time. This calculation nearly parallels numismatics and archaeological evidences. The application of other eras, like the Vikrama (base date- 58 B.C.) and the Saka (base date- 78 A.D.), would place them much later. The badly battered figurines portray standing Buddhas, without a head of its own, but both on original figured plinths. They come to view as depicting the classical Gandhara style; decision regarding where to place these two dated Buddhas, both standing, must remain knotty till more evidence comes out as to how late the classical Gandhara panache had continued.

Methodical study of the Gandhara art, and specifically about its origins and expansion, is befuddled with numerous problems, not at least of which is the inordinately complex history and culture of the province. It is one of the great ethnical crossroads of the world simultaneously being in the path of all the intrusions of India for over three millennia. Bussagli has rightly remarked, `More than any other Indian region, Gandhara was a participant in the political and cultural events that concerned the rest of the Asian continent`.

However, Systematic study of the art of Gandhara, and particularly of its origins and development, is bedeviled by many problems, not the least of which is the extraordinarily complex history and culture of the region.

In spite of the labours of many scholars over the past hundred and fifty years, the answers to some of the most important questions, such as the number of centuries spanned by the art of Gandhara, still await, fresh archaeological, inscriptional, or numismatic evidence.

en.wikipedia.org/wiki/Gandhara

en.wikipedia.org/wiki/Gautama_Buddha

In the Prague ZOO there are descriptive labels of the birds living in nature in Czech republic. While I was waiting to take a picture of another bird, this small tit arrived close to me and sat exactly on its own descriptive label. Just a case or maybe they are smarter than we can imagine? :)

Descriptive catalogue of flowering, ornamental trees, shrubs, bulbs, herbs, climbers, fruit trees, &c., &c., &c. /.

Yokohama, Japan :Yokohama Nursery Co..

biodiversitylibrary.org/page/45212544

Descriptive component

Cognitive present

Boundary relationship

Title: Union Pacific Locomotive X-20

Descriptive Information: hdl.handle.net/1813.001/20988316

Date: Ca. 1961

Creator: Switchmen's Union of North America (SUNA)

Image ID: 5003pb62f091

Collection: U.S. President's Railroad Commission Photographs (#5003 P)

Repository: The Kheel Center for Labor-Management Documentation and Archives in the ILR School at Cornell University is the Catherwood Library unit that collects, preserves, and makes accessible special collections documenting the history of the workplace and labor relations. catherwood.library.cornell.edu/kheel

Collection Information: http://rmc.library.cornell.edu/EAD/htmldocs/KCL05003p.html

Copyright: The content in the "U.S. President's Railroad Commission Photographs Collection" (Kheel Center collection: #5003 P) is believed to be in the public domain, and is presented by Cornell University Library under the Guidelines for Using Text, Images, Audio, and Video from Cornell University Library Collections [www.library.cornell.edu/about/inside/policies/public-domain]. These images have been digitized from items in the Kheel Center for Labor-Management Documentation & Archives at Cornell University Library. More information about the physical collection can be found here: rmc.library.cornell.edu/EAD/htmldocs/KCL05003p.html. Responsibility for making an independent legal assessment of an item and securing any necessary permissions ultimately rests with persons desiring to use the item.

Taken 19/08/13: A useful laminated descriptive card is handed to you as you enter Donegal Castle, but you hand it in on the way out. Therefore these notes rely on a combination of my failling memory and my sketchy knowledge of Irish history, with some help from the net.

As a starting point, this is probbaly not the first fortification or castle built on this site, the protection afforded by the River Eske making it an obvious location for both the local population and invaders, including the Vikings. The keep on the right of the picture dates from the 15th Century, being built by the elder Sir Hugh O’Donnell. Broadly the O'Donnell Clan were the Chieftans of Donegal. To put this in context, although since the Anglo-Norman invasion of Ireland in 1171 English Kings had been Lords of Ireland, they exercised little power or influence outwith the Dublin Pale. So at the time of the castle's construction through to the end of the 16th Century, the O'Donells held power in Donegal, or to be accurate the area then known as Tyrconnel

English attempts to extend their infuence beyond the Dublin Pale led to the Nine Years' War of 1594-1603, in which the O'Donnells along with the Ulster O'Neils were the main Irish participants. With the Spanish never arriving to support their fellow Catholics, the English prevailed at the Battle of Kinsale in 1601. Although in 1603 the pragamatic James 1 granted pardons, subject to conditions, to the O'Donnells and the O'Neils effectively this was the end of the Gaelic order and Brehon Laws in Ireland, Dimished in status (and I am precising hugely here and merging successive O'Donnells into one) the Earl of Tyrconnell set fire to Donegal Castle and joined the Flight of the Earls in 1607 to mainland Europe, which directly led to Tyrconnell being colonised in the Plantation of Ulster (and bear in mind here that the term Ulster has not always been used to denote the 'six counties' that make up the current Northern Ireland).

In the Plantation era the Castle was rebuilt in the Jacobean style by Sir Basil Brooke and the 'manor house' wing that appears on the left of the picture was built. The Brooke family owned the castle for many generations until it fell into a ruinous state in the 18th century. In 1898 the then owner, the Earl of Arran, donated the castle to the Office of Public Works. When I first saw the Castle in circa 1985, it was in poor repair and, I think, roofless. However, in recent years the castle has been renovated; the keep has had new roofing and flooring added, in keeping with the original styles and techniques used in the 15th and 17th centuries. The stonework has been restored and the manor wing has been partially roofed. The oak timbers used came from the Brookeborough Estate in County Fermanagh. The castle is now open to the public.

A descriptive manual of British land and fresh water shells, containing descriptions and figures of all the species

Darlington,H. Penney, Printer,1858.

biodiversitylibrary.org/page/32057941

Descriptive Title: Brain cyst.

Actual Title: Plate XIII.

Artist: Kirtland, G.

Technique: stipple engraving, colour-printed

Dimensions: 33 x 25 cm.

Digital ID: RBAI071-0014

Scope and Content: Brain cyst, shown in isolation. Brain shown with large cyst on the inferior surface of the temporal lobe. Cyst has been dissected to removed liquid contents. Some cranial nerves and carotid arteries also shown. Inferior view.

General: Plate signed by the artist, G. Kirtland; and the engraver J. Wedgewood. Dated Jany. 1826.

Artist: Wedgewood, J.

Subject: Brain

Subject: Cysts

This plate is taken from the book:

Title: Morbid anatomy of the human brain

Author: Hooper, Robert, 1773-1835

Published: London : Printed for the author; and sold by Longman, Rees, Orme, Brown, and Green, 1828

Part of the digital collection Anatomia 1522-1867 located at link.library.utoronto.ca/anatomia/application/index.cfm

During the ice age, seas were lower and a grazing plateau of mammoth, bison and reindeer replaced the shimmer of blue sea that provides the foundation for the above image. Man navigated along these fast routes, exchanging between the south west of France and the north of Spain - cutting inland via the large or local rivers. The directional turning point is overlooked by this 'venus hill' on an abrupt corner of the Atlantic, now known as the bay of Bisquay. The hill is visible from a host of different points and delivers its range of lines with grace.

This picture was taken from a rock linked by a walkway in Biarritz. It stretches out into the sea and affords views on the littoral change of angle. As sea levels rose during the Mesolithic, this outcrop will have become buffeted by waves, but will have been, at the very least, a viewpoint for those arriving at this giant crossroads. Today the rock has Christian icons and signification for visitors and tourists.

The Venus Hill that now almost straddles France and Spain may be contrasted with a religeous hill such as central Australia's Uluru. Despite obviously having at least five peaks, the hill range is known as 'Les Trois Couronnes' or The three crowns, as a natural mother earth might be crowned for a people. It is very difficult to change the name of an element in a landscape. The three crowns might refer to the idea that the Venus hill reins over three geographical zones - which would be descriptive of the Biscay where specific links and differences can be observed between the extensive local 'piedmont' of today's Basque region including Isturitz; the south West of France, with its great rivers feeding into the sea above the Biscay and peoples from Lascaux to Pech Merle, and the Atlandic coast of the Iberic Penisula - home to the dynamic skillset seen from Altemera to El Castillo and beyond. A common focal point may have facilitated meetings and exchanges between divers peoples offering advantages for the passing of strategies, skills and positivity during the repeating harsh chapters of ice. A pilgimage to see the 'Venus Cathedral' may not have been feasible for every clan, but selecting a team from between clans would add cultural experience and dynamic. Finding the Venus Cathedral a matter of following rivers downstream and then coastline.

AJM 10.8.17

Descriptive catalogue of the nests & eggs of birds found breeding in Australia and Tasmania /

Sydney :F.W. White, general printer,1889.

biodiversitylibrary.org/page/57793531

Descriptive catalogue of the lepidopterous insects contained in the Museum of the Honourable East-India Company :.

London :Parbury, Allen,1828-1829..

biodiversitylibrary.org/page/37023690

Descriptive plate-book

Newark, N.Y. :Knight & Bostwick,[19--]

biodiversitylibrary.org/page/59563474

Free download under CC Attribution (CC BY 4.0). Please credit the artist and rawpixel.com.

Cactus illustrations from Iconographie Descriptive des Cactées by Charles Antoine Lemaire (1800–1871), French botanist and botanical author. Lemaire developed his botanical interest and published numerous papers on cacti and succulents. We have digitally enhanced illustrations from his notable cactus book into high resolution quality. They are free to download and use for either personal or commercial purpose under the CC0 license.

Higher resolutions with no attribution required can be downloaded: https://www.rawpixel.com/board/1269930/cactus-illustrations-charles-antoine-lemaire-free-public-domain-artworks?sort=curated&mode=shop&page=1

A descriptive manual of British land and fresh water shells, containing descriptions and figures of all the species

Darlington,H. Penney, Printer,1858.

biodiversitylibrary.org/page/32057994

Descriptive catalogue of the nests & eggs of birds found breeding in Australia and Tasmania /

Sydney :F.W. White, general printer,1889.

biodiversitylibrary.org/page/57793233

18de52paraules: construir - build

‘You employ stone, wood, and concrete, and with these three materials you build houses and palaces. That is construction. Ingenuity is at work. But suddenly, you touch my heart, you do me good, I am happy and I say: 'This is beautiful.' That is architecture. Art enters in. My house is practical. I thank you as I might thank Railway engineers, or the Telephone service. You have not touched my heart.

But suppose that walls rise toward heaven in such a way that I am moved. I perceive your intentions. Your mood has been gentle, brutal, charming, or noble. The stones you have erected tell me so. You fix me to the place and my eyes regard it. They behold something which expresses a thought. A thought which reveals itself without word or sound, but solely by means of shapes which stand in a certain relationship to one another. These shapes are such that they are clearly revealed in light. The relationships between them have not necessarily any reference to what is practical or descriptive. They are a mathematical creation of your mind. They are the language of Architecture. By the use of raw materials and starting from conditions more or less utilitarian, you have established certain relationships which have aroused my emotions. This is Architecture.’

- Le Corbusier

PLAY

* col·laboració amb estudinus.cat, gràcies per la confiança!, i molta sort ;-)

Les 52paraules: 1.Tardor✓ 2.CasaMeva✓ 3.Natura ✓4.Foscor ✓ 5.Aigua ✓ 6.Escalfor ✓7.Nou ✓ 8.Reflexe ✓ 9.Jo ✓ 10.ARasDeTerra ✓ 11.Créixer ✓ 12.Paraules ✓ 13.Camí ✓ 14.Hivern ✓ 15.Ombra ✓ 16.Calma 17.Verd ✓18.Construir ✓ 19.Analògic 20.PartDeMi 21.Porta 22.Obert 23.Fred 24.Lluny 25.Llibres 26.Desenfocat 27.Primavera 28.Textura 29.OnSóc 30.Línies 31.ALaTaula 32.TrencarLesNormes 33.Desperta 34.Cel 35.BlancINegre 36.ADalt 37.Llum 38.ALaTarda 39.Sil·lueta 40.Estiu 41.D'aprop 42.ElMeuLlocFavorit 43.Finestra 44.EspaiNegatiu 45.Silenci 46.Urbà 47.Fotografia 48.Donar 49.VidaQuotidiana 50.Blau 51.Dins 52. Moviment

◆ Web ◆ Blog ◆ Facebook Page ◆ Twitter ◆ Getty Images ◆ Instagram ◆ +Anna ◆

From a descriptive text on Germany's 1950s industrial reconstruction a rather fine view of the post-war reconstruction of the Nordstern Colliery in Gelsenkirchen-Horst, that belonged to the post-war grouping of the G.B.A.G. that had been spun out of the pre-war giant Vereinigte Stahlwerke AG. The company was one of the true giants of the deep coal mining business and operated some large collieries in the Ruhr district around Essen and Gelsenkirchen, shafts being organised so as to best utilise reserves that were both relatively easy to 'win' along with ones that were of more meager output. Nordstern had a long history running roughly from 1868 to 1982 and in its it later years with was connected with the Zollverein colliery in Essen. The complex seen here was later preserved, the buildings designed by architect Fritz Schupp, now forming the wonderful Nordstern Complex.

Descriptive Title: Skeleton.

Actual Title: T. 87 [octuagesimaseptima tabula]

Artist: Lairesse, Gérard de, 1640-1711

Technique: engraving/etching

Dimensions: 44 x 27 cm.

Digital ID: RBAI023-0090

Scope and Content: Skeleton, anterior view.

Part of the digital collection Anatomia 1522-1867 located at link.library.utoronto.ca/anatomia/application/index.cfm

General: Figure shown in a landscape. Memento mori: Skeleton shown with a sarcophagus, holding an hourglass.

This plate is taken from the book:

Title: Anatomia humani corporis

Author: Bidloo, Govard, 1649-1713

Published: Amstelodami [Amsterdam] : Sumptibus viduæ J. a Someren , 1685

Descriptive plate-book

Newark, N.Y. :Knight & Bostwick,[19--]

biodiversitylibrary.org/page/59563374

Descriptive plate-book

Newark, N.Y. :Knight & Bostwick,[19--]

biodiversitylibrary.org/page/59563492

Descriptive plate-book

Newark, N.Y. :Knight & Bostwick,[19--]

biodiversitylibrary.org/page/59563490

Descriptive list of the fishes of Lorain County, Ohio

Oberlin, Ohio :Oberlin College,1892.

biodiversitylibrary.org/page/13893295

Descriptive text on the back.

Title: Industrial siding, Victor Gasket Co

Descriptive Information: hdl.handle.net/1813.001/20432897

Date: Ca. 1961

Photographer: Redmond, James B.

Creator: Brotherhood of Locomotive Firemen and Enginemen (BLF&E)

Image ID: 5003pb53f020

Collection: U.S. President's Railroad Commission Photographs (#5003 P)

Repository: The Kheel Center for Labor-Management Documentation and Archives in the ILR School at Cornell University is the Catherwood Library unit that collects, preserves, and makes accessible special collections documenting the history of the workplace and labor relations. catherwood.library.cornell.edu/kheel

Collection Information: http://rmc.library.cornell.edu/EAD/htmldocs/KCL05003p.html

Copyright: The content in the "U.S. President's Railroad Commission Photographs Collection" (Kheel Center collection: #5003 P) is believed to be in the public domain, and is presented by Cornell University Library under the Guidelines for Using Text, Images, Audio, and Video from Cornell University Library Collections [www.library.cornell.edu/about/inside/policies/public-domain]. These images have been digitized from items in the Kheel Center for Labor-Management Documentation & Archives at Cornell University Library. More information about the physical collection can be found here: rmc.library.cornell.edu/EAD/htmldocs/KCL05003p.html. Responsibility for making an independent legal assessment of an item and securing any necessary permissions ultimately rests with persons desiring to use the item.

Scenes from Madison Historical Society's summer Exhibition, "Over Here Over There - Madison In World War I". Sponsored by the Madison Historical Society, the Charlotte L. Evarts Memorial Archives, Inc., and cthumanities, the exhibit opened July 30 at the Lee Academy (see madisonhistory.org/current-exhibitions/). It features many of the images and artifacts in the Albums shown at right, plus many many more along with informative research and commentary.

See other scenes from the Exhibit at flic.kr/s/aHskEaskZU

(Photo credit Bob Gundersen - www.flickr.com/photos/bobphoto51/albums)

Summary Data

State or Country of birth: West Mertans, Indiana County, Pennsylvania

Home prior to enlistment: Bluffton, Wells, County, Indiana

Occupation prior to enlistment: farm laborer

Service:

...Co. H & I, 22nd Indiana Inf. - 1861 - 1864

Rank at enlistment: private

Highest rank attained: corporal

Principal combat experience:

...Siege of Corinth, Mississippi

...Perryville, Kentucky

...Stones River, Tennessee

...Missionary Ridge, Tennessee

...Rome, Georgia

Casualties: KIA, Rome, Georgia

------

Albumen CDV photo:

Full standing pose in military frock coat

CDV Photograph by: Smith & Huey, Indianapolis, Ind.

Inscription in period ink on back: "Maggie"

Inscription in period pencil on front: "Mrs. M. A. Fulton 8X10 No. 10 Albumen as it is" and "J Barger Agt"

*****

Nelson G. Fulton was born in West Mertans, Indiana County, Pennsylvania about 1839. The census of 1860 shows him living with his parents, William and Mary A. Fulton, in Saltsburg, Conemaugh Township, Indiana County, Pennsylvania. Also in the household were his two younger sisters, 12-year-old Mary D. Fulton and 8-year-old Margaret (Maggie) L. Fulton.

As a result of an accident caused by an explosion of powder while blasting rocks in 1854, his father was entirely blinded in one eye, and severely injured in the other. As a result, his father had to abandon his trade as a butcher and was unable to labor sufficiently to support himself and his family. Nelson, then about 15 years old, stepped up to fill the void as family breadwinner. By working at a neighboring farm at different periods for the next five of six years he was able to earn wages, which amounted on an average to about $8 per month that he gave to his parents.

The summer of 1861 found him in Bluffton, Wells County, Indiana. How he came to be there is not known, but on July 10, 1861 he enlisted at Madison, Indiana for 3 years in Company H, 22nd Indiana Infantry. He was listed as 22 years old. He stood 5 feet 6 inches tall, had a sanguine complexion, hazel eyes, and dark hair. The regiment was mustered into Federal service on August 15, 1861. Even though he was now in the army, Fulton continued to contribute money to his parents' support. He sent home an average of $10 per month out of his $13 monthly pay.

Now a part of the Union Army, the 22nd Indiana was sent west to Missouri and with the rest of the Union Forces, eventually pushed its way south into Arkansas. Late in the year, Fulton was detailed as a Regimental Teamster driving a supply wagon for the army. He continued on this duty into early 1862, sometimes being away from his company in the process. In March 1862 he was still on detached duty as a Brigade Teamster so it is not clear if he was present when the 22nd Indiana took part in its first significant combat at the battle of Pea Ridge, Arkansas on March 7 and 8, 1862, which succeeded in keeping the southerners out of Missouri for the next two years.

By late spring 1862, the regiment moved to Mississippi and joined in the Union siege of Corinth. The 22nd Indiana also took part in the battles at Perryville, Kentucky in October 1862 in which it lost very heavily, and at Stones River, Tennessee on New Year's 1863 where it again was heavily engaged. Fulton apparently came through both fights without incident.

On July 23, 1863 Fulton was sent to the Field Hospital for some unspecified complaint. But by September 7, 1863 he was back to being detailed as a Company Teamster. Sometime during his enlistment Fulton ended up changing from Company H to Company I. Whether this was due to his transfer, or if it was just a matter of a change in designation of the organization is not clear. It may have happened as a result oh his reenlistment as a Veteran Volunteer on December 23, 1863 at Blain's Cross Roads, Tennessee. His new descriptive list, created in December 1863, was slightly different from the one created at the time of his original enlistment. He was now described as being 24 years old, 5' 7" in height, and as having gray eyes, brown hair, and a light complexion. And somewhere along the line, possibly after his reenlistment, Fulton was promoted to corporal.

The 1864 campaign opened with a drive intended to culminate in the seizure of Atlanta. Going was slow and brutal as Union forces pushed south from Tennessee into Georgia. In early May the Federal Army was advancing into Georgia, fighting its way from Dalton to Resaca. While the main force pushed on towards Adairsville, a smaller Union force was sent on a flanking maneuver to the west. As described by Lieutenant R. V. Marshall in his post-war Historical Sketch, "The city of Rome, Ga., was not on the direct route to Atlanta, but was situated 15 miles to the right at the junction of the Oustenaula and Hightower rivers. Here the Confederates had a division under Gen. French, protected by strong forts and earthworks. Gen. Davis' division [which included the 22nd Indiana] was detached and ordered to take Rome. This was done on the afternoon of the 17th [of May], after a spirited engagement of half an hour...Five men in the 22nd were killed and 14 wounded."

Corporal Nelson Fulton was one of the fatalities. He was killed in action instantly. Company records indicate that he was "Killed in action May 17, 1864 Rome, Ga." and that his "death was caused by 'a Rifle Ball,' shot through the head." An inventory of his effects lists $93 in notes. This was a large amount of cash for a soldier to be carrying, but he had last been paid on January 23, 1864 when he received several months of overdue back pay. Perhaps, with the various movements of the army in the interim, he had not had an opportunity to safely send the money home.

News of Nelson's death must have hit the Fulton family hard back in Saltsburg. Records show that his mother, Mary Ann Fulton, applied for a pension based on the fact that her "husband has been physically disabled for ten years" and that her son had been providing for her financial support before his death. William Fulton's affidavit stated, "Nelson G. Fulton was the only son of himself and Mary Ann Fulton; that by the death of the said Nelson G. Fulton his parents are deprived of his assistance for support and maintenance...[he] being nearly blind and unable to maintain and support his family without the aid and assistance of his son...since [the time of his blinding] and up to the death of his said son, he had the labor and earnings of the said Nelson G. Fulton to appropriate to the support of the family. That when said Nelson G. Fulton was alive in the Service of the Army, he sent all the wages due him except his necessary expenses for clothing himself...That after he entered the Army he still continued to contribute to the support of his parents by sending money, on an average about $10 per month. That the amount of property possessed by the said affiant and his wife Mary Ann Fulton the mother of Nelson G. Fulton, is a house and Lot in which they reside in Saltsburg, Pa., which residence cost $340, part of which sum was paid by said Nelson G. Fulton. Said soldier died leaving no widow nor children, but dependent parents."

Others corroborated the claims of financial assistance. Friend of the family Sarah Wolf testified "...all his wages was sent to her [Mary Ann Fulton] sometimes by mail and sometimes by express Co. and she [Sarah Wolf] saw her have the money." Someone else swore Nelson "regularly contributed to the support of his parents, by his labor before enlisting, and by sending money for their use afterwards." Neighbor James Leech testified, "Nelson G. Fulton constantly and regularly contributed to the support of his mother...from the time he was old enough to command wages to the time of his death, and that his contributions were equal to or more than one half of her subsistence." Even an Adams Express agent testified "on the 9th day of April AD 1863 he did deliver a money package to William Fulton, from Nelson G. Fulton containing thirty-five ($35) Dollars, & on the 17th day of November AD 1864 he delivered another money package to William Fulton containing Seventy ($70) Dollars sent to him by Nelson G. Fulton who was then serving as a soldier in the Army of the United States." This latter date would have been after Fulton's death, so if the date is correct, it may have been the pay due him at the time he was killed.

A pension may have eased the family's financial situation, but nothing could replace a lost son and brother. All that remained were a few small photographs. One pre-war tintype shows Nelson Fulton as a well-dressed young man in civilian clothes. Another tintype in a paper CDV mount shows him wearing an army frock coat that has been shortened into a jacket by having the skirt cut off. A bust view of Fulton on a paper CDV is in fact a mirror-image copy photo made from an earlier tintype or ambrotype. And finally, a full-length paper CDV pictures Fulton in a nine-button infantry frock coat with his arm resting on the back of a chair. On the back he has written in ink the name of his little sister, "Maggie," for whom he undoubtedly intended to give this picture. Above, written at a later date in pencil is the note "Mrs. M. A. Fulton 8X10 No. 10 Albumen as it is" and at the bottom "J Barger Agt." It would seem that after his death, Fulton's mother sent this picture to a photographic studio to be copied and enlarged, without modification, into an 8 by 10 albumen photo as a keepsake of her lost son.

Descriptive catalogue of ornamental trees, shrubs, roses, flowering plants, &c..

Rochester, N.Y. :Ellwanger & Barry,1875..

biodiversitylibrary.org/page/42767493

Descriptive plate-book

Newark, N.Y. :Knight & Bostwick,[19--]

biodiversitylibrary.org/page/59563436

Descriptive Title: Gangrene of the toes and foot, gangrene caused by heart disease. Actual Title: Plate II. Artist: Carswell, Robert, Sir, 1793-1857 Technique: lithography, with hand-colouring ift.tt/2g2N8cw

Mother Hulda

Record number: 23052506

Artist: Kubel, Otto (German, 1868-1951)

Item caption, front: Brüder Grimm / Frau Holle / O. Kubel, pinx.

Item caption/descriptive text, back: 6. Das Mädchen erzählte, was ihm begegnet war. Da sollte die rechte Tochter auch in den Brunnen springen; sie tat es, kam zu Frau Holle, war aber faul und wurde anstatt mit Gold mit Pech begossen. Als sie dann heimkam, rief der Hahn: "Kikeriki, unsere schmutzige Jungfrau ist wieder hie!" und das Pech blieb hängen so lange sie lebte. = The girl told them what had happened to her. Her stepsister also resolved to jump into the well; she did this, and also came to Mother Hulda, but was lazy, and as punishment was showered with pitch instead of gold. As she returned home, the rooster called out: "Cock-a-doodle-doo, our dirty girl is here again!" and the pitch lingered as long as she lived.

Uniform title: Grimm: Frau Holle (“Mother Hulda”)

Dimensions: 141 x 90 mm.

Date: 1922 or earlier

Nationality: German

Publisher: Verlag: Farbenphotographische Gesellschaft m.b.H., Stuttgart, [Germany]

Series: Serie 139 Nr. 3799

Medium: Uvachrom color print from original watercolor painting

Interpretive notes: The girl's lazy stepsister also tries to enter Mother Hulda's service, hoping for a rich reward; but she proves to be lazy and disrespectful. When she passes through the portal, she is showered with pitch instead of gold. As the rooster announces the return of the wretched girl, her mother expresses shock while her daughter bows her head in shame.

Subject headings: Mothers; Sisters; Chickens; Wells

Credit: The Jack Zipes Historic Fairy Tale Postcard Collection/Minneapolis College of Art and Design

DISCLAIMER: This is a photoshop manipulated image used for descriptive purposes only, it is to scale though! If this was a real Ball of Light it would be very naughty!

I get asked many questions about the Ball of Light, but one of the questions I love the most is "how do you find them". I have an example from the weekend that should inspire.

When I was walking up the Wilpena Pound I look out for locations that I think might attract the Ball of Light when the sun retires for the night. I then try and remember where the spot was, mark on the ground or the like. I was thinking that a tramping GPS unit would be good. I then imagine in my minds eye how it would look there ( i have created an image above that is what my minds eye sees) then come back later when it is dark and wait, and wait.

When I return to the location, sometimes the Ball of Light just appears. This is often at simple locations. But sometimes I have to wait. Either for the moon light to be just right, or the clouds to move to the right location. Sometimes the waiting pays off, sometimes it does not.

The location you see here was particularly unusual though. Some of the locations I find are really only suitable for a very brave Ball of Light, some it doesnt really matter. I find that when the location is a bit dodgy (or downright deadly in this case) I end up waiting for ages, wondering if the Ball of Light is brave (or stupid) enough.

What I often have in mind is this, "if my wife was here, would she think the Ball of Light was just being dumb by turning up there", in this case after about half an hour of waiting I decided that she would indeed think I was a bit silly for waiting any longer.

But damn it would have made for a killer Ball of Light image! I am planning on going back with her some day, maybe then she can make that decision for herself!

I think I made the right decision.

Descriptive plate-book

Newark, N.Y. :Knight & Bostwick,[19--]

biodiversitylibrary.org/page/59563472

Descriptive plate-book

Newark, N.Y. :Knight & Bostwick,[19--]

biodiversitylibrary.org/page/59563458

Descriptive plate-book

Newark, N.Y. :Knight & Bostwick,[19--]

biodiversitylibrary.org/page/59563339

Descriptive Title: Dissection of the thorax and abdomen.

Actual Title: Pl. I.

Artist: Maclise, Joseph

Technique: chromolithography

Dimensions: 42 x 29 cm.

Digital ID: RBAI078-0002

Scope and Content: Dissection of the thorax and abdomen, shown in situ, in 3 numbered illustrations. 1 illustration of head and torso, rib cage partially divided and removed (leaving manubrium and xiphoid bone) to show lungs, intercostal muscles. Heart partly visible. Anterior abdominal wall, stomach and intestines removed to show diaphragm, aorta, kidneys, adrenal glands, and ureter. Partial dissection of the shoulder to show axillary artery, brachial plexus. Male cadaver, anterior view. 2 inset diagrams showing the relative position of the thorax and pleura to the abdomen and peritoneum. Superior views.

General: Plate signed with the artist's monogram JM [Joseph Maclise]; printed by M. & N. Hanhart.

Artist: M. & N. Hanhart (Firm)

This plate is taken from the book:

Title: Surgical anatomy

Author: Maclise, Joseph

Published: London : J. Churchill, 1856

Part of the digital collection Anatomia 1522-1867 located at link.library.utoronto.ca/anatomia/application/index.cfm

The Postcard

A postally unused postcard that was published in 1926 by Marken & Bielfeld Inc. of Frederick, MD.

On the divided back of the card is printed:

'The Beautiful Caverns of Luray.

America's greatest scenic attraction,

located at Luray, Page County, in the

famous Valley of Virginia - directly on

the Lee Highway (U.S. 211), ninety

miles west of Washington and fourteen

miles east of New Market, where the

Lee Highway joins the Valley Pike

(U.S. 11).

Descriptive booklet mailed free on

application to Luray Caverns

Corporation, Luray, Va.'

Luray Caverns

Luray Caverns are just west of Luray, Virginia. The cave system has drawn many visitors since its discovery in 1878. It is generously adorned with columns, mud flows, stalactites, stalagmites, flowstone, and mirrored pools.

The caverns are best known for the Great Stalacpipe Organ, where stalactites of various sizes can be tapped to produce tones similar to those of xylophones, tuning forks, or bells.

Visitors enter the cave via a path that curves downward through the caverns, eventually reaching Dream Lake. The path proceeds to the Wishing Well and a war memorial honouring veterans from Page County.

It then ascends to a small passage past the Fried Eggs rock formation and returns to ground level through a smaller passage to the entrance. The entire trek is 1.5 mi (2.4 km) long, and can be completed in 45 minutes to 1 hour.

The Discovery of Luray Caverns

Luray Caverns were discovered on the 13th. August 1878 by five local men, including Andrew J. Campbell (a local tinsmith), his 13-year-old nephew Quint, and local photographer Benton Stebbins.

Their attention had been attracted by a protruding limestone outcrop and by a nearby sinkhole noted to have cool air issuing from it. The men started to dig and, about four hours later, a hole was created for the smallest men (Andrew and Quint) to squeeze through, slide down a rope and explore by candlelight.

The first column they saw was named the Washington Column, in honour of the first United States President.

Upon entering the area called Skeleton's Gorge, bone fragments (among other artefacts) were found embedded in calcite. Other traces of previous human occupation included pieces of charcoal, flint, and human bone fragments embedded in stalagmite.

A skeleton, thought to be that of a Native American girl, was estimated, from the current rate of stalagmitic growth, to be not more than 500 years old.

Legal and Financial Issues

Sam Buracker owned the land on which the cavern entrance was found. Because of uncollected debts, a court-ordered auction of all his land was held on the 14th. September 1878. Andrew Campbell, William Campbell, and Benton Stebbins purchased the cave tract, but kept their discovery secret until after the sale.

Because the true value of the property was not realized until after the purchase, legal wrangling ensued for the next two years with attempts to prove fraud and decide rightful ownership. In April 1881, the court nullified the purchase by the cave discoverers.

William T. Biedler (Buracker's major creditor) then sold the property to The Luray Cave and Hotel Company. Under bankruptcy proceedings in 1893, the property was bought by Luray Caverns Company.

Early Exploration of the Caverns

Despite the legal disputes (or maybe because of them), rumours of the caverns' impressive formations spread quickly. Professor Jerome J. Collins, the Arctic explorer, postponed his departure on an ill-fated North Pole expedition to visit the caverns. The Smithsonian Institution sent a delegation of nine scientists to investigate.

Early Publicity

The next edition of the Encyclopædia Britannica devoted an unprecedented page and a half to the cave's wonders, and Alexander J. Brand, a correspondent for the New York Times, was the first professional travel writer to visit and popularise the caverns.

Early Air Conditioning

In 1901, the cool, the pure air of Luray Caverns was forced through the rooms of the Limair Sanatorium, erected on the summit of Cave Hill by Colonel T.C. Northcott, former president of the Luray Caverns Corporation. The Colonel billed the sanatorium as the first air-conditioned home in the United States.

On the hottest day in summer, the interior of the house was kept at a cool and comfortable 70 °F (21 °C). By sinking a shaft five feet (1.5 m) in diameter down to a cavern chamber and installing a fan, Northcott's system could change the air throughout the entire house every four minutes.

Tests made over successive years by means of culture media and sterile plates were considered to have demonstrated the "perfect bacteriologic purity" of the air, purportedly a benefit to those suffering various respiratory illnesses.

This "purity" was explained by a natural filtration process with air drawn into the caverns through myriad rocky crevices, then further cleansing by air floating over the transparent springs and pools, the product finally being supplied to the inmates of the sanatorium.

The "Limair" burned down in the early 1900's but was subsequently rebuilt as a brick building. The Luray Caverns Corporation, which was chartered by Northcott, purchased the caverns in February 1905 and continues to hold the property to this day.

The temperature inside the caverns is uniformly 54 °F (12 °C), comparable to that of Mammoth Cave in Kentucky. Luray Caverns remain an active cave where new formation deposits accumulate at the rate of about one cubic inch (16 cm3) every 120 years.

Features of the Caverns

The cavern is yellow, brown or red because of water, chemicals and minerals. The Empress Column is a stalagmite 35 feet (11 m) high, rose-coloured, and elaborately draped. The Double Column is made of two fluted pillars side by side, one 25 feet (7.6 m) the other 60 feet (18 m) high, a mass of snowy alabaster. Several stalactites in the Giant's Hall exceed 50 feet (15 m) in length. Pluto's Ghost, a pillar, is a ghostly white.

The cascades are formations like foaming cataracts caught in mid-air and transformed into milk-white or amber alabaster. Brand's Cascade is 40 feet (12 m) high and 30 feet (9.1 m) wide, and is a wax-like white.

The Saracen's Tent is considered to be one of the most well-formed draperies in the world. Flowstone draperies are abundant throughout the cavern and ring like bells when struck heavily by the hand. Their origin and also that of certain so-called scarfs and blankets is from carbonates deposited by water trickling down a sloping and corrugated surface. Sixteen of these alabaster scarfs hang side by side in Hovey's Balcony, three white and fine as crape shawls, thirteen striated like agate with various shades of brown.

Streams and true springs are absent, but there are hundreds of basins, varying from 1 to 50 feet (0.30 to 15.24 m) in diameter, and from 6 inches (150 mm) to 15 feet (4.6 m) in depth. The water in them contains carbonate of lime, which often forms concretions, called pearls, eggs, and snowballs, according to their size. On fracture these spherical growths are found to be radiated in structure.

Calcite crystals line the sides and bottom of water-filled cavities. Variations of level at different periods are marked by rings, ridges and ruffled margins. These are strongly marked about Broaddus Lake and the curved ramparts of the Castles on the Rhine. Here also are polished stalagmites, a rich buff slashed with white, and others, like huge mushrooms, with a velvety coat of red, purple or olive-tinted crystals.

There is a spring of water called Dream Lake that has an almost mirror-like appearance. Stalactites are reflected in the water making them appear to be stalagmites. This illusion is often so convincing that people are unable to see the real bottom. It looks quite deep, as the stalactites are higher above the water, but at its deepest point the water is only around 20 inches (510 mm) deep. The lake is connected to a spring that continues deeper into the caverns.

The Wishing Well is a green pond with coins three feet (0.91 m) deep at the bottom. Like Dream Lake, the well also gives an illusion, however it is reversed. The pond looks three to four feet (0.91 to 1.22 m) deep but at its deepest point it is actually six to seven feet (1.8 to 2.1 m) deep.

Portions of the caverns are open to the public and have long been electrically lit. The registered number of visitors in 1906 was 18,000, but now, there are 500,000 visitors each year.

this might be a little gross and descriptive and very long so read at your own will : )

bottom line ingrown toe-nails are a bitch! i woke up the other morning and my toe was killinggg me. now, my toe nails naturally sorta just grow down off to the side, so they look like they're ingrown all the time but they're really not. but this time it hurt really bad, so i figured it was an actual ingrown toenail.

so me and my mom go to the doctor and she's like no problem we can take care of it. next thing i know i get this huge sharp long ass needle shoved into my toe, TWICE! hurt like a mother. (you can even see blood dripping down in the pic haha ewww)

so after the shots my toe got as big as a balloon! it was crazy, not to mention disgusting.

i didn't watch the actual procedure and i couldn't feel t but i could definitely HEAR it, and that was enough for me.

on a good note though, the doctor wrote me a note so i'm allowed to wear flip flops all this week.

WHOO HOO! :D

OH!~ i almost forgot.

so at school today people asked what happened and i didn't really wanna be like oh i had an ingrown toe nail to everyone and totally gross 'em out but i told melissa, katelyn, nichole, and stevie (my best friends i'm always with) cause idc what they think haha, and melissa goes "you should just tell everyone you got bit by a duck, i bet they'd believe you"

so last hour kristin asked me what happened

me : oh, i got bit by a duck

*stevie eyeballs me, and i eyeball her to tell her to play along*

kristin: omg really?!

stevie : yeah, it was really disgusting

kristin : where were you?

me : at a lake, duh. that's where ducks are

stevie : yeah she was trying to feed it

me : yep, i was just tryin to feed the duck and it just decided to chomp down on the wrong thing *making chomping motions*

then the whole class joins in and everyone's like omgg melanie you got bit by a duck?!? an by now me and stevie are about tofall out of our seats from laughing because everyone believes us and we're just nodding our heads still going with it.

allllll that to say, my whole class thinks a "godzilla giant" duck bit my toe

haha good times<333

currently listening: seasons of love - rent soundtrack

Descriptive catalogue of flowering, ornamental trees, shrubs, bulbs, herbs, climbers, fruit trees, &c., &c., &c. /.

Yokohama, Japan :Yokohama Nursery Co..

biodiversitylibrary.org/page/45212445

Descriptive Title: Fetus, uterus.

Actual Title: Tab. VI

Artist: Rymsdyk, Jan van, fl. 1750-1788

Technique: engraving/etching

Dimensions: 58 x 43 cm.

Digital ID: RBAI047-0007

Scope and Content: Fetus in utero with umbilical cord, shown in situ. Abdomen and amputated legs shown only, antero-inferior view.

General: Plate signed by the artist: J.V. Rymsdyk; and by the engraver: R. Strange. Dated Nov. 15 1774.

Artist: Strange, Robert, Sir, 1721-1792

This plate is taken from the book:

Title: Anatomia uteri humani gravidi

Author: Hunter, William, 1718-1783

Published: Birmingham : Printed by J. Baskerville, sold in London by S. Baker and G. Leigh [etc.], 1774

Part of the digital collection Anatomia 1522-1867 located at link.library.utoronto.ca/anatomia/application/index.cfm