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The White-winged Dove is a common resident in Costa Rica's northern Pacific and across the Central Valley. It is happy to co-exist with human settlement, often perching on wires and feeding along roadsides. This one chose a garden light for its perch.
Taken 14/06/14: I've some existing notes on Met Number One's history, so a quick cut and paste:
No. 1 was the last loco built at Neasden, being completed in 1898. The number was reallocated from a withdrawn loco and No.1 was in fact the third of a series of 7 locos, the final four being built by Hawthorn Leslie . Originally fitted with condensing pipes, these were removed circa 1905 when electrification extended to Harrow on the Hill as thereafter the class predominately operated above ground. The glory years for the Met E Class locos were up to the 1915/16, when they were the mainstay of the Metropolitan's services to Aylesbury. Thereafter the Es were displaced onto Chesham branch line work, freight and engineers workings and acting as spare loco for Aylesbury services. Four of the class survived into LT ownership, Met No. 1 becoming L44. As L44 the loco had moments in the sun: working the 50th anniversary service on the Uxbridge branch, working the last LT steam hauled passenger service in 1961 and taking part in the Metropolitan Railway Centenary Parade in 1963. Passing into preservation the loco was originally based in Bedfordshire before returning to former Metropolitan metals at Quainton Road. The 'Steam on the Met' events of the 1980/90s saw the loco out on the LUL system, including the 1989 Chesham Branch centenary event . 'Underground 150' in 2013 saw the loco out and about once again on the modern day underground system.
Some of you may have noticed that, unfortunately, owing to the fact that a certain person who sells truck photos on eBay commercially has been lifting my images from this album and selling them I have had to remove 2300 photos that didn't have a watermark. I have now run around 1700 through Lightroom and added a watermark with the intention of bulk uploading them again. Rather than watermark the existing (hidden) files in Flickr one at a time it will be easier to do it this way. I definitely won’t be adding individual tags with the make and model of each vehicle I will just add generic transport tags. Each photo is named after the vehicle and reg in any case. For anyone new to these images there is a chapter and verse explanation below. It is staggering how many times I get asked questions that a quick scan would answer or just as likely I can’t possibly answer – I didn’t take them, but, just to clarify-I do own the copyright- and I do pursue copyright theft.
This is a collection of scanned prints from a collection of photographs taken by the late Jim Taylor A number of years ago I was offered a large number of photographs taken by Jim Taylor, a transport photographer based in Huddersfield. The collection, 30,000 prints, 20,000 negatives – and copyright! – had been offered to me and one of the national transport magazines previously by a friend of Jim's, on behalf of Jim's wife. I initially turned them down, already having over 30,000 of my own prints filed away and taking space up. Several months later the prints were still for sale – at what was, apparently, the going rate. It was a lot of money and I deliberated for quite a while before deciding to buy them. I did however buy them directly from Jim’s wife and she delivered them personally – just to quash the occasional rumour from people who can’t mind their own business. Although some prints were sold elsewhere, particularly the popular big fleet stuff, I should have the negatives, unfortunately they came to me in a random mix, 1200 to a box, without any sort of indexing and as such it would be impossible to match negatives to prints, or, to even find a print of any particular vehicle. I have only ever looked at a handful myself unless I am scanning them. The prints are generally in excellent condition and I initially stored them in a bedroom without ever looking at any of them. In 2006 I built an extension and they had to be well protected from dust and moved a few times. Ultimately my former 6x7 box room office has become their (and my own work’s) permanent home.
I hope to avoid posting images that Jim had not taken his self, however should I inadvertently infringe another photographers copyright, please inform me by email and I will resolve the issue immediately. There are copyright issues with some of the photographs that were sold to me. A Flickr member from Scotland drew my attention to some of his own work amongst the first uploads of Jim’s work. I had a quick look through some of the 30 boxes of prints and decided that for the time being the safest thing for me to do was withdraw the majority of the earlier uploaded scans and deal with the problem – which I did. whilst the vast majority of the prints are Jims, there is a problem defining copyright of some of them, this is something that the seller did not make clear at the time. I am reasonably confident that I have since been successful in identifying Jims own work. His early work consists of many thousands of lustre 6x4 prints which are difficult to scan well, later work is almost entirely 7x5 glossy, much easier to scan. Not all of the prints are pin sharp but I can generally print successfully to A4 from a scan.
You may notice photographs being duplicated in this Album, unfortunately there are multiple copies of many prints (for swapping) and as I have to have a system of archiving and backing up I can only guess - using memory - if I have scanned a print before. The bigger fleets have so many similar vehicles and registration numbers that it is impossible to get it right all of the time. It is easier to scan and process a print than check my files - on three different PC’s - for duplicates. There has not been, nor will there ever be, any intention to knowingly breach anyone else's copyright. I have presented the Jim Taylor collection as exactly that-The Jim Taylor Collection- his work not mine, my own work is quite obviously mine.
Unfortunately, many truck spotters have swapped and traded their work without copyright marking it as theirs. These people never anticipated the ease with which images would be shared online in the future. I would guess that having swapped and traded photos for many years that it is almost impossible to control their future use. Anyone wanting to control the future use of their work would have been well advised to copyright mark their work (as many did) and would be well advised not to post them on photo sharing sites without a watermark as the whole point of these sites is to share the image, it is very easy for those that wish, to lift any image, despite security settings, indeed, Flickr itself, warns you that this is the case. It was this abuse and theft of my material that led me to watermark all of my later uploads. I may yet withdraw non-watermarked photos, I haven’t decided yet. (I did in the end)
To anyone reading the above it will be quite obvious that I can’t provide information regarding specific photos or potential future uploads – I didn’t take them! There are many vehicles that were well known to me as Jim only lived down the road from me (although I didn’t know him), however scanning, titling, tagging and uploading is laborious and time consuming enough, I do however provide a fair amount of information with my own transport (and other) photos. I am aware that there are requests from other Flickr users that are unanswered, I stumble across them months or years after they were posted, this isn’t deliberate. Some weekends one or two “enthusiasts” can add many hundreds of photos as favourites, this pushes requests that are in the comments section ten or twenty pages out of sight and I miss them. I also have notifications switched off, I receive around 50 emails a day through work and I don’t want even more from Flickr. Other requests, like many other things, I just plain forget – no excuses! Uploads of Jim’s photos will be infrequent as it is a boring pastime and I would much rather work on my own output.
Some of you may have noticed that, unfortunately, owing to the fact that a certain person who sells truck photos on eBay commercially has been lifting my images from this album and selling them I have had to remove 2300 photos that didn't have a watermark. I have now run around 1700 through Lightroom and added a watermark with the intention of bulk uploading them again. Rather than watermark the existing (hidden) files in Flickr one at a time it will be easier to do it this way. I definitely won’t be adding individual tags with the make and model of each vehicle I will just add generic transport tags. Each photo is named after the vehicle and reg in any case. For anyone new to these images there is a chapter and verse explanation below. It is staggering how many times I get asked questions that a quick scan would answer or just as likely I can’t possibly answer – I didn’t take them, but, just to clarify-I do own the copyright- and I do pursue copyright theft.
This is a collection of scanned prints from a collection of photographs taken by the late Jim Taylor A number of years ago I was offered a large number of photographs taken by Jim Taylor, a transport photographer based in Huddersfield. The collection, 30,000 prints, 20,000 negatives – and copyright! – had been offered to me and one of the national transport magazines previously by a friend of Jim's, on behalf of Jim's wife. I initially turned them down, already having over 30,000 of my own prints filed away and taking space up. Several months later the prints were still for sale – at what was, apparently, the going rate. It was a lot of money and I deliberated for quite a while before deciding to buy them. I did however buy them directly from Jim’s wife and she delivered them personally – just to quash the occasional rumour from people who can’t mind their own business. Although some prints were sold elsewhere, particularly the popular big fleet stuff, I should have the negatives, unfortunately they came to me in a random mix, 1200 to a box, without any sort of indexing and as such it would be impossible to match negatives to prints, or, to even find a print of any particular vehicle. I have only ever looked at a handful myself unless I am scanning them. The prints are generally in excellent condition and I initially stored them in a bedroom without ever looking at any of them. In 2006 I built an extension and they had to be well protected from dust and moved a few times. Ultimately my former 6x7 box room office has become their (and my own work’s) permanent home.
I hope to avoid posting images that Jim had not taken his self, however should I inadvertently infringe another photographers copyright, please inform me by email and I will resolve the issue immediately. There are copyright issues with some of the photographs that were sold to me. A Flickr member from Scotland drew my attention to some of his own work amongst the first uploads of Jim’s work. I had a quick look through some of the 30 boxes of prints and decided that for the time being the safest thing for me to do was withdraw the majority of the earlier uploaded scans and deal with the problem – which I did. whilst the vast majority of the prints are Jims, there is a problem defining copyright of some of them, this is something that the seller did not make clear at the time. I am reasonably confident that I have since been successful in identifying Jims own work. His early work consists of many thousands of lustre 6x4 prints which are difficult to scan well, later work is almost entirely 7x5 glossy, much easier to scan. Not all of the prints are pin sharp but I can generally print successfully to A4 from a scan.
You may notice photographs being duplicated in this Album, unfortunately there are multiple copies of many prints (for swapping) and as I have to have a system of archiving and backing up I can only guess - using memory - if I have scanned a print before. The bigger fleets have so many similar vehicles and registration numbers that it is impossible to get it right all of the time. It is easier to scan and process a print than check my files - on three different PC’s - for duplicates. There has not been, nor will there ever be, any intention to knowingly breach anyone else's copyright. I have presented the Jim Taylor collection as exactly that-The Jim Taylor Collection- his work not mine, my own work is quite obviously mine.
Unfortunately, many truck spotters have swapped and traded their work without copyright marking it as theirs. These people never anticipated the ease with which images would be shared online in the future. I would guess that having swapped and traded photos for many years that it is almost impossible to control their future use. Anyone wanting to control the future use of their work would have been well advised to copyright mark their work (as many did) and would be well advised not to post them on photo sharing sites without a watermark as the whole point of these sites is to share the image, it is very easy for those that wish, to lift any image, despite security settings, indeed, Flickr itself, warns you that this is the case. It was this abuse and theft of my material that led me to watermark all of my later uploads. I may yet withdraw non-watermarked photos, I haven’t decided yet. (I did in the end)
To anyone reading the above it will be quite obvious that I can’t provide information regarding specific photos or potential future uploads – I didn’t take them! There are many vehicles that were well known to me as Jim only lived down the road from me (although I didn’t know him), however scanning, titling, tagging and uploading is laborious and time consuming enough, I do however provide a fair amount of information with my own transport (and other) photos. I am aware that there are requests from other Flickr users that are unanswered, I stumble across them months or years after they were posted, this isn’t deliberate. Some weekends one or two “enthusiasts” can add many hundreds of photos as favourites, this pushes requests that are in the comments section ten or twenty pages out of sight and I miss them. I also have notifications switched off, I receive around 50 emails a day through work and I don’t want even more from Flickr. Other requests, like many other things, I just plain forget – no excuses! Uploads of Jim’s photos will be infrequent as it is a boring pastime and I would much rather work on my own output.
Operator: Victory Liner Inc
Fleet no# 1556
Classification: Air Conditioned Provincial Bus
Route: Olongapo City Zambales-Monumento Caloocan City
Seats configuration: 2x2
Type of operation: Provincial Operation (Economy)
Area of operation: Region 3 (Central Luzon)
Current Unit: DM10
Original body: SR CMANC Flextar
Coachbuilder: Del Monte Motor Works Inc
Original Coachbuilder: Santarosa Motorworks Philippines Inc/Columbian Manafacturer Corp
Chassis: RB46S
Engine: PE6
Shot Location: SM Robinsons Pampanga Gapan-Olongapo rd City of San Fernando Pampanga
Dec. 21, 2016. Boston, MA.
About 200 demonstrators, organized by Jewish Voice for Peace-Boston marched through downtown Boston to show solidarity with Muslims and protest what they described as heightened surveillance and profiling of the Islamic community.
Organizers drew a connection between a climate of anti-Muslim hostility and the election of Donald Trump, who called during the campaign for a ban on Muslims entering the United States.
“We are protesting existing policies like heightened surveillance and policing of Muslims and other communities of color, and the racist climate fostered by President-elect Donald Trump’s rhetoric and his deeply disturbing Cabinet appointees such as [chief strategist] Steve Bannon,’’ the statement said.
© 2016 Marilyn Humphries
The church of St. Agatha at College with its polycromatic marble was built between 1600 and 1610 on an existing church, also dedicated to St. Agatha, in late-Renaissance style. The façade is by Natale Masuccio, and is decorated by frameworks on a light coloured background. It has a Greek cross plant, with splendid Baroque decorations includings frescoes by Luigi Borremans (18th century). The works of the adjacent Jesuit College (from which the church is named) began in 1589 and ended until the second half of the 19th century.
La chiesa di Sant'Agata al Collegio è un edificio religioso che si trova a Caltanissetta, nel centralissimo corso Umberto I. Deve il nome al contiguo collegio dell'ordine dei gesuiti.Sul finire del Cinquecento, Luisa Moncada e suo figlio, il principe Francesco insieme ad altre iniziative, invitarono in città l'ordine dei gesuiti, per il quale fecero edificare la chiesa, dedicata a sant'Agata, ed il relativo collegio. I lavori di costruzione del collegio iniziarono il 1 gennaio 1589 e si protrassero fino alla seconda metà del XIX secolo a causa di alterne vicende, mentre l'edificazione della chiesa iniziò nel 1600, e terminò nel 1610, proseguendo successivamente per i lavori di abbellimento.L'ampio edificio del collegio è oggi sede della biblioteca comunale Luciano Scarabelli e del liceo musicale.La facciata della chiesa risale al Seicento, tranne il portale del Marabitti, del Settecento, che è stato realizzato in pietra bianca, a contrasto con il materiale del resto della facciata, in pietra di Sabucina o pietra arenaria rossa. Il portale è coronato da un timpano spezzato, con al centro uno stemma sostenuto da due puttini.La chiesa ha pianta a croce greca, con quattro bracci di uguale lunghezza e quattro cappelle laterali. L'interno è rivestito da lastre di marmo o di stucco a imitazione del marmo, dove ricorre la sigla "IHS", identificativa dell'ordine gesuitico.
Caltanissetta is capital of the province of Caltanissetta located in the western interior of Sicily, Italy. Its inhabitants are called nisseni.The city, which in 2010 had a population of 60,267,is the fourteenth comune in Italy for its extension and the sixth highest comune and capital of province, the second after the sicilian city of Enna.The patron is Saint Michael the Archangel, to whom the cathedral is dedicated The town lies in an area of rolling hills with small villages and towns, crossed by the river Salso. It borders with the municipalities of Canicattì (AG), Delia, Enna (EN), Marianopoli, Mazzarino, Mussomeli, Naro (AG), Petralia Sottana (PA), Pietraperzia (EN), San Cataldo, Santa Caterina Villarmosa, Serradifalco and Sommatino. Its frazioni are the villages of Bifaria, Borgo Petilia, Borgo Canicassè Casale, Cozzo di Naro, Favarella, Prestianni, Villaggio Santa Barbara, Santa Rita and Xirbi.Caltanissetta is located in a geographically important position dominating the whole valley of the Salso. Morphologically aligned perfectly matches the surrounding area, very harsh and composition of limestone and clay. The city lies between three hills (Sant'Anna, Monte San Giuliano e Poggio Sant'Elia) which, unwilling to bow, form a basin into which part of the historical center and the south comprise.
Caltanissétta è un comune italiano di 61.511 abitanti, capoluogo della provincia omonima in Sicilia.È il sesto comune capoluogo di provincia più alto d'Italia, il secondo siciliano dopo Enna, nonché il quattordicesimo d'Italia per superficie. I suoi abitanti sono detti nisseni.La città di Caltanissetta si colloca in posizione di rilievo dominante l'intera Valle del Salso. Morfologicamente ricalca perfettamente le caratteristiche del territorio circostante, molto aspro e di composizione calcareo-argillosa.La città sorge fra tre colli (Sant'Anna, Monte San Giuliano e Poggio Sant'Elia) che, disposti ad arco, formano una conca entro la quale si sviluppa parte del centro storico e tutta la zona meridionale.
Font : Wikipedia
Lisa McNee, BLM
Pronghorn can leap 20 feet when running, but when it comes to fences they prefer to crawl underneath.
As anyone who has ever tried to wiggle under a barbed wire fence knows, the barbs tend to catch or scrape anything that touches it -- including animal hides.
That's why we got together with volunteers from the Oregon Natural Desert Association last month to improve fencing on public lands and make it safer for our wildlife. ❤️
“We have a long way to go with this project, but I am extremely appreciative of ONDA and their enthusiastic volunteers,” said Kate Yates, BLM wildlife biologist.
“Modification of existing fences to be more friendly to pronghorn and all big game not only helps reduce injury to individual animals but improves herds’ ability to migrate seasonally and move about the landscape. Daily and seasonal movements are important for sustainable populations, so reducing the impact of human-made barriers, like fences, is a logical step.”
Over three days, volunteers and BLM employees improved a little over 2.6 miles of pronghorn passage by retrofitting a barbed wire fence to wildlife-friendly fencing.
This effort involved removing the bottom fence strand of barbed wire and replacing it with a smooth wire 16 to 18 inches from the ground. That height allows pronghorn and young deer and elk to get under the fence while still containing domestic livestock.
“The Lakeview District appreciates these hard-working volunteers for making these fences more wildlife friendly,” said Todd Forbes, BLM Lakeview District Manager. “Projects like these are a win-win for everyone.”
🙋 Want to get involved on this project? Visit: ow.ly/M3v950Jwlvx
Existing in their own apocalyptic microclimate, Ramshacklicious are a brass band at the end of the world.
Arriving in a cloud of raucous brass heavy music...
Welcome Ramshacklicious' "Band at the end of the world", driving their home made, flaming and smoking battle-church. Dressed in punk marching band attire and existing within their very own miniature apocalyptic microclimate.
These idiots are convinced that the inevitable end of the world is upon us, maybe today, maybe right here, maybe right now!
Their mission? To educate you into what to expect when we move into the next phase, the switch over into the new dawn, into the next frequency of consciousness.
About Ramshacklicious and their performance of "Band at the end of the world"
Ramshacklicious specialise in using traditional theatre forms to create high quality, contemporary theatrical experiences for the outdoors.
They aim to create work that is accessible and yet subversive, presenting performances that are surprisingly complex and skilled in integrating live music, physical theatre, clown, puppetry, pyrotechnics and innovative design. Creating shows that take our unsuspecting audiences on anarchic journeys into the unexpected!
Ramshacklicious Funding Credits
Commissioned by – Freedom Festival Art Trust , SeaChange Arts, Hastings Borough Council & OnSet.
Supported by – Without Walls, Arts Council England, 101 Outdoor Arts Creation Space, The Point Eastleigh & The invisible Circus.
Udayagiri and Khandagiri Caves (Odia: ଉଦୟଗିରି ଓ ଖଣ୍ଡଗିରି ଗୁମ୍ଫା) are partly natural and partly artificial caves of archaeological, historical and religious importance near the city of Bhubaneswar in Odisha, India. The caves are situated on two adjacent hills, Udayagiri and Khandagiri, mentioned as Kumari Parvat in the Hathigumpha inscription. They have a number of finely and ornately carved caves. It is believed that most of these caves were carved out as residential blocks for Jain monks during the reign of King Kharavela. Udayagiri means "Sunrise Hill" and has 18 caves while Khandagiri has 15 caves.
The caves of Udayagiri and Khandagiri, called lena or leṇa in the inscriptions, were dug out mostly during the reign of Kharavela for the abode of Jaina ascetics. The most important of this group is Ranigumpha in Udayagiri which is a double storeyed monastery.
COUNT OF THE CAVES
B.M. Barua, based on a reading of line 14 of the Hathigumpha inscription, declared that a total of 117 caves were excavated by Kharavela and others on the Kumari hill (Udayagiri). Marshall has counted more than 35 caves in both the hills, while M.M. Ganguli has enumerated only 27 caves.
The number of existing caves at Udayagiri is 18, while Khandagiri has 15. The local names of the existing caves are listed below, numbered according to the enumeration of the Archaeological Survey of India.
THE FAMOUS CAVES
In Udayagiri, Hathigumpha (cave 14) and Ganeshagumpha (cave 10) are especially well known due to art treasures of their sculptures and reliefs as well as due to their historical importance. Rani ka Naur (Queen's Palace cave, cave 1) is also an extensively carved cave and elaborately embellished with sculptural friezes. Khandagiri offers a fine view back over Bhubaneswar from its summit. The Ananta cave (cave 3) depicts carved figures of women, elephants, athletes, and geese carrying flowers.
INSCRIPTIONS IN CAVES IN BRAHMI
HATHIGUMPHA INSCRIPTIONS
The Hathigumpha cave ("Elephant Cave") has the Hathigumpha inscription, written by Raja Kharavela, the king of Kalinga in India, during the 2nd century BCE. The Hathigumpha inscription consists of seventeen lines incised in deep cut Brahmi letters on the overhanging brow of a natural cavern Hathigumpha in the south side of the Udayagiri hill. It faces the rock edicts of Asoka at Dhauli, situated about six miles away.
OTHER MINOR INSCRIPTIONS
Besides Hathigumpha Inscription of Kharavela, there are some other minor Brahmi inscriptions in the twin hillocks of Udayagiri and Khandagiri, which were deciphered earlier by Prof RD Banergy during 1915-16 (Epigraphic Indica-XIII) and BM Baraua (Indian Historical Quarterly-XIV). Sadananda Agrawal has given further clarifications about them and are produced as under:
I - MANCAPURI CAVE INSCRIPTION (Upper storey)
This inscription is engraved on the raised space between the second and third doorways of the cave. The text in Devanagari script is as under:
L.1- अरहंत पसादाय कलिंगानं समनानं लेनं कारितं राजिनो ललाकस
L.2- हथिसिहस पपोतस धुतुना कलिंग चकवतिनो सिरिखारवेलस
L.3- अगमहिसिना कारितं
Translation: By the blessings of Arhats, the chief queen of Kharavela, the Cakravarti monarch of Kalinga, the great granddaughter of Hathisiha (Hasti Simha) and the daughter of Lalāka or Lalārka caused to be excavated the cave for the sramanas of Kalinga.
II - MANCAPURI CAVE INSCRIPTION (Upper storey) - A
This inscription is incised on a raised bend between the 3rd and 4th doorways from the left and contains single line. The text in Devanagari script is as under:
ऐरस महाराजस कलिंगाधिपतिना महामेघवाहनस कुदेपसिरिनो लेणं
Translation: This is the cave of Aira Mahameghavahana Maharaja Kudepasiri, the overlord of Kalinga.
Note: Kudepasiri seems to be the immediate successor of Kharavela.
III - MANCAPURI CAVE INSCRIPTION 'B' (Lower storey)
This inscription has been engraved on the right wall of Veranda, to the right of the entrance to the right-hand side chamber of the main wing, consisting of one line. The text in Devanagari script is as under:
कुमारो वडुखस लेणं
Translation: [This is] the cave of Prince Vaḍukha.
Note: On palaeographic ground Prof Banergy considers this inscription to be a little earlier than the inscription of King Kudepasiri. According to Sadananda Agrawal, Prince Badukha stands an obscure figure in history, but Badukha seems to be the son or brother of Kudepasiri.
IV - INSCRIPTIONS IN THE SARPAGUMPHA (Over the door way)
This inscription consisting of one line, is incised over the doorway of the Sarpagumpha. The text in Devanagari script is as under:
चूलकमस कोठाजेया च
Translation: The chamber and veranda/or side chamber of cūlakama.
Note: However Dr. Sahu interpreted Ajeya being united by a Sandhi qualifying Koṭha there by denoting invincible. But he ignored the conjunction ca (Devanagari: च) which follows Koṭha (Devanagari:कोठा) and Jeya (Devanagari:जेया).
V - INSCRIPTIONS IN THE SARPAGUMPHA ( to the left of the doorway) The text in Devanagari script is as under:
L.1- कंमस हलखि
L.2- णय च पसादो
Translation: [The pavilion is the] gift of Kamma and Halakhina.
Note: Most probably Halakhiṇa was the wife of Kamma. Chūlakamma - found in the inscription No.IV and Kamma of this record indicate official designations rather than the proper names. Kamma may be taken as minister of works (Karma saciva) and Cūlakamma appears to be a junior cadre of minister in the Department of works.
VI - HARIDAS CAVE INSCRIPTION
This inscription contains one line has been incised over one of the three entrances to the main chamber of the cave from the veranda. The text in Devanagari script is as under:
चूलकमस पसातो कोठाजेया च
Translation: The chamber and veranda (or side chamber) are the gift of cūlakama.
VII - VYAGHRAGUMPHA INSCRIPTION
The record is incised on the outer wall of the inner chamber. The text in Devanagari script is as under:
L.1- नगर अखंदस
L.2- स भूतिनो लेणं
Translation: The cave of Bhūti, the city judge.
VIII - JAMBESAVARA CAVE INSCRIPTION
This inscription has been engraved over the entrances to the inner chamber of the cave. The text in Devanagari script is as under:
महादस बरयाय नकियस लेनं
Translation: The cave of Mahamāda Nākiya and Bāriyā.
X - TATOWAGUMPHA INSCRIPTION (Cave No 1)
The record of this inscription is incised over one of the entrances to the inner chamber. The Text reads in Sanskrit as
पादमुलिकस कुसुमस लेणं x [॥]
Translation: The cave of Kusuma, the padamulika.
Notes: There is a syllable after the word lenam, which may be read as ni or phi,. padamulika literally means, one who serves at the feet [of king].
According to Kishori Lal Faujdar, Here Kusuma seems to be related with Kaswan clan of Jats. He refers an article ‘Hathi Gumpha and three other inscriptions’ (page 24) in Devanagari as under:
कुसवानाम् क्षत्रियानां च सहाय्यतावतां प्राप्त मसिक नगरम्
Kusawānāṃ kshatriyānāṃ ca Sahāyyatāvatāṃ prāpt masika nagaraṃ.
Translation: This translates that the city of 'Masikanagara ' was obtained with the help of 'Kuswan' Kshatriyas.
Note: Sadananda Agrawal has interpreted Masikanagara as Asikanagara and identified with the city Adam (Nagpur district). In view of the evidence of a highly prosperous city unearthed at Adam, Prof AM Shastri is of the opinion that Adam itself represents the Asikanagara of Hathigumpha inscription. It is worth noting in the present context that a terracotta sealing having a legend, has been discovered from Adam, situated on the right bank of the river Wainganga, which reads Asakajanapadasa (Devanagari: असकजनपदस).
XI - ANANTA GUMPHA INSCRIPTION (A)
The record is incised on the architrave between the left ante and the fifth pillar. The text in Oriya script is: Odia: ଦୋହଦ ସମଣନ ଲେଖ (Devanagari: दोहद समणनं लेणं
Translation: The cave of the Dohada Śramaṇas.
LIST OF CAVES AT UDAYAGIRI
Ranigumpha
Bajagharagumpha
Chota Hathigumpha
Alkapurigumpha
Jaya-vijayagumpha
Panasagumpha
Thakuranigumpha
Patalapurigumpha
Mancapurigumpha
Ganesagumpha
Jambesvaragumpha
Vyaghragumpha
Sarpagumpha
Hathigumpha
Dhanagharagumpha
Haridasagumpha
Jagammathgumpha
Rosaigumpha
UDAYAGIRI
The Udayagiri hills fall on your right side when you enter into this area from Bhubaneswar. There are 18 caves in Udayagiri. Compared to Khandagiri, Udayagiri offers more beautiful and better maintained cave shrines.
1. RANI GUMPHA
Rani Gumpha is the largest and most popular cave among the caves of Udayagiri and Khandagiri. The word 'Rani' means Queen. Although it is not an architectural marvel, it has some ancient beautiful sculptures.
This cave is double storeyed. Each storey has three wings and the central wing is bigger among all the three wings. The lower floor has seven entrances in the middle wing whereas the upper floor has nine columns. The upper portion of the central wing has relief images depicting the victory march of a king. Many of the cells have carved dwara pala images; some of them are disfigured. The area that connects the central wing with right and left wings have some panels where the sculptures of wild animals, fruit laden trees, human figures, women playing musical instruments, monkeys and playful elephants are found. The pilasters contain the toranas (arches) decorated with sculptures of Jain religious importance and royal scenes.
2. BAJAGHARA GUMPHA
Bajaghara Gumpha is very simple and small. It has stone bed and pillow and it was obviously used as the Jain monks' shelter in the ancient times. Apart from the plain rectangular shaped pillars, there is no other sculpture found in this cave.
3. CHOTA HATHI GUMPHA
Chota Hathi Gumpha is small in size. It has six small elephant figures in the facade. The word 'chota hathi' means 'small elephant'.
4. ALKAPURI GUMPHA
Alkapuri Gumpha has a relief sculpture of a lion holding its prey in its mouth. The pillars with the human figures (divine beings) with wings are found in this cave. It is double storeyed.
5. JAYA VIJAYA GUMPHA
Jaya Vijaya Gumpha is double storeyed. It has a relief image of Bodhi tree with umbrella on its top and flanked by people worshipping it.
6. PANASA GUMPHA
Panasa Gumpha is very small and simple cave without any significant features.
7. THAKURANI GUMPHA
Thakurani Gumpha is double storeyd but is very simple in style. It has few tiny relief sculptures.
8. PATALAPURI GUMPHA
Patalapuri Gumpha is slightly bigger with a pillared verandah. However, there is no noteable feature in this cave.
9. MANCAPURI & SWARGAPURI GUMPHA
Mancapuri and Swargapuri Gumpha is double storeyed. It has a damaged Jain religious symbol which was probably used for worship.
There are three inscriptions found in this cave. One inscription talks about the chief queen of Kharavela. The other two inscriptions talk about Kudepasiri, the successor of Kharavela and Badukha, the son or brother of Kudepasiri.
10. GANESHA GUMPHA
Ganesha Gumpha is one of the most important caves in Udayagiri. The cave got this name due to carved figure of Ganesha on the back of its right cell. Of course, it would have been carved in the later period and it cannot be the original work. The cave has two big statues of elephants carrying garlands at the entrance. Also, the carved figures of dwara palas are found at the entrances. The carvings in this cave narrate the story of the elopement of Bassavadatta, Princess of Ujjayini, with King Udayan of Kausambi in the company of Vasantaka.
Above this cave, the ruins of an apsidal structure is found. It is believed that the legendary Kalinga Jina was placed here once. Kalinga Jina was the idol of Rishabhanatha, which had been taken away from Kalinga by Mahapadma Nanda. After 300 years, Kharavela won the Sunga King Bahasatimita and brought it back.
11. JAMBESVARA GUMPHA
Jambesvara Gumpha is a very simple and small cave with one column and two pilasters. The inscription tells that it is the cave of Nayaki, wife of Mahamade.
12. VYAGHRA GUMPHA
Vyaghra Gumpha is one of the popular caves in Udayagiri. The cave, which is in ruins, has the entrance carves like a large mouth of a tiger. It is one of the most photographed site in Udayagiri. The word 'vyaghra' means tiger. The inscription found here tells that this cave belongs to the city judge Sabhuti.
13. SARPA GUMPHA
Sarpa Gumpha is unusually very small cave. There are two inscriptions found in this cave. The word 'sarpa' means snake.
14. HATHI GUMPHA
Hathi Gumpha is a natural cavern. On the wall, the inscription erected by Kharavela is found. It is the main source of history of Kharavela. (The word 'hathi' means elephant)
15. DHANAGHARA GUMPHA
Dhanaghara Gumpha is a small cave which has two wide pillars and dwara pala sculptures carved at the entrance.
16. HARIDASA GUMPHA
Haridasa Gumpha is a small cave with three entrances and a verandah in the front side. There is an inscription found here.
17. JAGANNATHA GUMPHA
Jagannatha Gumpha is roughly cut cave with three entrances.
18. RASUI GUMPHA
Rasui Gumpha is unusually very small cave.
(Reeta,14024,SU)
LIST OF CAVES AT KHANDAGIRI
Tatowa gumpha No.-1
Tatowa gumpha No.-2
Ananta gumpha
Tentuli gumpha
Khandagiri gumpha
Dhyana gumpha
Navamuni gumpha
Barabhuji gumpha
Trusula gumpha
Ambika gumpha
Lalatendukesari gumpha
Unnamed
Unnamed
Ekadasi gumpha
Unnamed
The above nomenclature has no historical significance but is accepted at present for the convenience of scholars and general readers. The art of Udayagiri and Khandagiri, being almost contemporaneous with that of Sanchi, has a striking resemblance to it but at the same time retains its own individuality and advanced technique.
KHANDAGIRI
The Khandagiri hills fall on your left side when you enter into this area from Bhubaneswar. There are 15 caves in Khandagiri.
1. TATOWA GUMPHA
The parrots are carved above the entrance arch and hence it is called as Tatowa Gumpha. It has two dwarapala figures too.
2. TATOWA GUMPHA
The cave sharing the same name with the first cave has a veranda with pilasters containing exquisite carvings.
3. ANANTA GUMPHA
The cave has sculptures of women, elephants, geese, etc.
4. TENTULI GUMPHA
It is a small rock cut chamber with just one column.
5. KHANDAGIRI GUMPHA
It is a roughly cut cell and has double storeys.
6. DHYANA GUMPHA
It is a roughly cut cell.
7. NAVAMUNI GUMPHA
Navamuni Gumpha is a roughly cut cell with the sculptures of nine Jain Tirthankaras and Sasana Devis.
8. BARABHUJI GUMPHA
Barabhuji Gumpha has two relief images of twelve armed Sasana Devis, hence it is called as Barabhuji (meaning twelve armed) Gumpha. There are few Tirthankara sculptures also found in this cave. The Sasana Devis are worshiped as Hindu deity Durga nowadays. Funnily, the priests in this shrine claim some Jain Tirthankara sculpture as Surya.
9. TRUSULA GUMPHA
Trusula Gumpha appears to be reconverted in the medieval times. There are three sculptures of Rishabha Deva who is found in the standing posture and look beautiful. Apart from these sculptures there are sculptures of 24 Jain Tirthankaras which look rough.
10. AMBIKA GUMPHA
Few relief images of Sasana Devis are found here.
11. LALATENDU KESHARI GUMPHA
The relief images of Mahavira, Parshvanath and few Jain Tirthankaras are found here.
Caves 12, 13 and 15 are unnamed. Cave 14 is very simple and called as Ekadasi Gumpha.
(Reeta,14024,SU)
TICKETS
Entry fee for Citizens of India and visitors of SAARC (Bangladesh, Nepal, Bhutan, Sri Lanka, Pakistan, Maldives and Afghanistan) and BIMSTEC Countries (Bangladesh, Nepal, Bhutan, Sri Lanka, Thailand and Myanmar) - Rs. 5 per head and for each foreigner is Rs. 100.00 or US $2.00 and free entry for children below 15 years.
TIMING
The monument remains open from sunrise to sunset.
WIKIPEDIA
We will refurbish this abandoned railroad trestle and integrate it into the new connector trail. The trestle spans a tributary of the East Fork Issaquah Creek. The 1.2 mile shared-use trail will provide safe access between the Issaquah-High Point Trail and the Preston-Snoqualmie Trail. You can find out more on our Web site: www.wsdot.wa.gov/Projects/I90/HighPointTrail/
Day 28 of the 30 day challenge. Finally up to date on processing and uploading. This is the shot from yesterday of my mother's day gift to myself (Game of Thrones beer) and the roses from my kids. The background was added in post from my existing texture collection and finished in AE7 to give is a cohesive feel.
July 14, 2019 - I decided my kitchen needed a facelift. This all started because my dishwasher detergent cup no longer locks it broke in late June. The dishwasher was in the house when I purchased it in 1995. It is probably 30 - 35 years old so it was time to replace it. I was just going to replace the dishwasher however the previous owners put a new tile floor in which blocks the dishwasher from being easily replaced. I was never content with my kitchen the only work I have done to it was to replace the original drop-in oven which didn't work when I bought the house and the matching harvest gold exhaust hood was replaced with a white exhaust hood. I painted the walls yellow in 1996. The oven I bought in 1995 died in March 2018 so the oven is only a year old. I also replaced the kitchen faucet last August. I thought about just maintaining the faucet but decided to upgrade to a faucet with a pullout sprayer.
I engaged KitchenSaver to replace the cabinet doors and drawer fronts, countertop and sink. I want the kitchen to look brand new so hired a contractor to strip nearly 100 years worth of paint off the pantry and basement doors, door frames, window, window frame and sill and repaint the woodwork and walls. The contractor will also be installing wood base since the base was removed by a previous owner. I am also installing a Subway tile white backsplash which will go up to the bottom of the wall cabinets and on either side of the window.
I am a retired architect and it was fun getting back into design. I knew exactly what I wanted and took me no time at all to select everything.
I am going with an Arts and Crafts oak cabinet and drawer fronts. The wood stain is nearly a perfect match to the house woodwork and my furniture. Door and drawer pulls are bronze/copper in the Arts and Crafts style.
I also bought new light fixtures for the kitchen and dining room both with a bronze finish. KitchenSaver will be installing five dimmable LED lights below the cabinets and above the sink.
I decided to add a recycling/trash cabinet and pantry cabinet to fill in the dead space between the refrigerator and wall this necessitated the removal of the existing quad outlet that the refrigerator is plugged into. (no outlet behind the refrigerator) In order to do any electrical work in my house I had to bring the existing electrical circuit breaker panel up to current codes. Which meant I needed to replace the existing electrical circuit breaker panel. I had a duplex outlet added behind the refrigerator. With the new circuit breaker panel I now can use the microwave oven and toaster oven at the same time. What a concept! I also replaced the old fashion knob and tube light switch which controls the basement light. The old switch scared me and wasn't safe.
New window treatments for the backdoor and window. I wasn't able to find a blind which matches the Sherwin Williams Indian White SW 1035 paint color so I am going with a Levelor Cordless Cellular blind that is an exact match to the Sherwin Williams Koi Pond SW 7727 wall color.
One last improvement the contractor got paint stripper on the existing oven exhaust hood so I replaced the hood with a new black hood which matches the oven.
Trinity Church (Bruck an der Leitha)
Bruck parish church
The Holy Trinity Church is the Roman Catholic parish church to the Holy Trinity in Bruck an der Leitha (Lower Austria).
First phase (1696-1702)
Second phase of construction (1738-40)
Last structural modifications (1782-83)
History
Since the old church of St. Martin before the gates of the "new" city in invasions of the enemy repeatedly was destroyed, for the ever growing population also long since became too small and the existing within the city walls monastery churches and chapels for worship (no longer) could be used, was in the mid-17th Century the decision taken to build a new parish church within the city gates. The siege by the Turks and the appearance of the plague thwarted these plans again and again. After the Ottoman army was defeated in 1683 successfully in the Battle of Vienna and the plague was considered extinct, the City Council in gratitude decided to build a dignified church on the main square newly. The church should be attached to the existing medieval tower. Served as the model the early Baroque Church of Gesù in Rome.
First phase (1696-1702)
Under architect Heinrich Hoffmann the nave was built parallel to the row of houses, which is why the city tower - now converted into a church tower - stands approximately 15 degrees rotated to the north. It was raised by the superstructure of the belfry and received a baroque spire.
Second phase of construction (1738-40)
The austere frontispiece was replaced by architect Johann Georg Windpässinger by the two-storey magnificent facade. The sculptural decoration was designed by Martin Vögerl (Marian column Hainburg an der Donau) and displays above the main portal (City Arms with the year 1740) the figure of St. John of Nepomuk with the representation of the Vltava River bridge at the base. Other figures in the basement are the portraits of the plague saints Sebastian with tree, Rochus with Pestbeule (bubo) at the knee and the Saint Florian with the bucket of water and the Holy Leopold. Upstairs - flanked by volutes crowned by vases from their ornamental vessels the flame of the sacrifice is licking - the representation of the Holy Archangel Michael, crashing Satan with a flaming sword into the abyss. In the tympanum a magnificent edged plate with the inscription: "QUIS UT DEUS" (Who is like God?)
Last structural changes (1782-83)
The spire was raised by the lantern of the death-knell and slightly modified in its shape (tower height: 53,35 m).
Pass away ringing:
The Schiedläuten (pass away ringing), (also: Scheideläuten, Scheidungsläuten, death ringing) means that when a case of death becomes known with the Schiedglocke (pass away bell) - in Switzerland/Austria also with the Zügenglocke (cf. "to be at one's last gasp" ) - is rung. This can be done either at the arrival of the news of the death, after the next Betläuten/Angelus or at another fixed time. In Austria there is also partly still the custom that in the event of death of a man the Schiedglocke rings three times, in the event of death of a woman two times and in the event of death of a child one time (Wikipedia).
Equipment
The interior is 42 meters long and 14 meters wide, the chapel niches on both sides each measure 3 meters. The single naved longhouse is spanned by a four-bay, slightly stuccoed lunette ton. Recessed pilasters, which are divided by double pilasters bear a sharp profiled beams to which join the barrel-vaulted galleries. The straight closing forms the retracted, two-bay choir.
The Baroque high altar from 1704 is a donation of Johann Jakob Stumpf, councillor and personal physician of Emperor Leopold I. Beautiful altarpiece depicting the Holy Trinity from the vicinity of Daniel Gran. Miraculous image of Our Lady of Sorrows (18th century) from the Spittelwaldkapelle (chapel). Statues of the apostles St. Paul (left) and St. Peter (right), of St. Barbara and St. Catherine with crown, sword and palm of victory in the entablature area.
Five side altars from the 2nd Quarter of the 18th century:
Corporis Christi or Corpus Christi altar with altarpiece of Saint Francis of Assisi from the mid-19th Century by the Viennese painter Leopold Schulz (School Professor Kuppelwieser).
Cross altar with an altarpiece Christ on the cross. Statues of Saint Jerome (left) and Augustine (right). Baptismal font from 1700, at the cover (second half of 18th century) the Baptism of Christ in the Jordan River by John the Baptist is shown.
Family altar with an altarpiece of the Holy Family: Mary and Joseph with the Infant Jesus, Elisabeth and Zacharias with the infant Saint John. Statues of St. Francis of Assisi (left) and Anthony of Padua (right), 1725 altar of Our Lady or Marie altar with oval image Mariahilf modeled after 16th Century. Baroque glass sarcophagus with relics of St. Theodorus martyr.
Plague altar with image of Saint Sebastian dying as a martyr (2nd half of 17th century), in front of it, lying Santa Rosalia with wreath of roses on her forehead. Statues of St. Rocco and St. Florian to 1730.
Baroque hanging pulpit, basket with relief of the Good Shepherd. Sounding board studded by group of evangelists, angels and tablets of commandments.
The in 1710 by Viennese organ architect Jakob Sippus built organ was enlarged in 1749 and has a statuette of King David at the closing. Currently, 300 wood and 996 tin pipes, the largest of five meters, the smallest one centimeter long.
The Great Bell (Vienna, 1752) shows a relief of the Madonna with Child, Peter, Paul and John of Nepomuk. With a diameter of 158 cm and a height of 150 cm, it sounds pitch h, with a weight of 2400 kg it is one of the largest bells in the province of Lower Austria .
de.wikipedia.org/wiki/Dreifaltigkeitskirche_(Bruck_an_der_Leitha)
A visit to War Memorial Park in Coventry.
It is a short walk from Coventry Station via the Warwick Road.
I only walked around half of the park that day.
The War Memorial Park is a large park of about 48.5 hectares in southern Coventry, England. The park was opened in July 1921 as a tribute to the 2,587 Coventrians who died between 1914 and 1918 fighting in the First World War. The landscaped gardens and sports areas were created in the late-1920s and 1930s, and the most prominent structure in the park is the city's war memorial monument, built in 1927.
The War Memorial in the centre of the park.
Grade II* Listed Building
War Memorial in Coventry War Memorial Park
Summary
A War Memorial built in 1925-7 to a design by Thomas Francis Tickner (1864-1924).
Description
A War Memorial tower in Art Deco style, with stripped Classical detailing, built in 1925-7 to a design by Thomas Francis Tickner (1864-1924).
PLAN: the memorial tower has a square footprint and is set on a circular platform, which was rebuilt in 2011, and replaces the original octagonal shaped platform.
MATERIALS: the memorial tower is built of reinforced concrete and clad in Portland stone, with a stepped platform in granite.
EXTERIOR: the stepped tower is over 27m high. It has heavy buttresses to its corners, rising to ten tiers. Large, decorative bronze doors (restored in 2004) to both the east and west elevation, are set in plain chamfered Portland stone surrounds, and give access to the Chamber of Silence inside the tower. Each door contains, in relief, a full height cross with above it '1914-1918' and '1939-1945'. The north and south elevations each have a plain cross set on a stepped corbel with guttae. Below the cross on the north elevation is a circular wreath carved in stone, with the dates of both World Wars and the Coat of Arms of the City of Coventry below it. At the top of the tower burns an Eternal Light. The replaced steps of 2011, surrounding the monument, incorporate hand rails and an access ramp, and contain a bronze circle engraved with parts of Laurence Binyon's poem 'For the Fallen' and six bronze discs commemorating the Coventry service men who have been awarded the Victoria Cross.
INTERIOR: the Chamber of Silence inside the memorial tower, containing the Rolls of Honour, could not be inspected.
SUBSIDIARY FEATURES: there are four Portland stone pedestals, built in 1928 to support floodlights, standing in line with the corners of the memorial tower. Behind the pedestal north of the Memorial is a cast iron power supply junction box with decorative patterns and hinges to its door, which would supply the electricity for the floodlighting, and loudspeakers used on Armistice Sunday and/or other gatherings.
This List entry has been amended to add sources for War Memorials Online and the War Memorials Register. These sources were not used in the compilation of this List entry but are added here as a guide for further reading, 18 January 2017.
History
In 1919 Coventry City Council invited members of the local community to form a War Memorial Committee to consider ways to create a fitting memorial for the city to commemorate the local soldiers who had lost their lives in the First World War. It was decided that this should be a park, which would also be a welcome and valued new asset, as the provision for open space in Coventry was limited at the time. The favoured location was Stivichall, and in 1919 the land was purchased from the Hon AF Gregory following a public appeal for donations. The plans for the park were partly dictated by earlier features and in particular the course of a medieval track, which would divide a formal section from playing fields. The latter were assigned for games and physical recreation for which Coventry had scant provision in 1919. The formal area would include rock gardens, which utilised existing cattle ponds, and in the centre, a War Memorial with radiating avenues planted with memorial trees. A children’s playground, pavilions, shelters and refreshment rooms would also be provided. Due to a lack of funds and priorities elsewhere, such as local housing provision, the creation of the park would take over ten years. When the park was formally opened on 9 July 1921, which included a dedication and memorial service followed by folk dancing and races, only the preparation of the ground had been completed. In 1922 the path layout was agreed with the Council, and in 1923 it was decided that the main entrance should be at the Grove; that the War Memorial should be sited on the high ground in the centre of the park; and that memorial trees should be an important element within the design. Plans were also made for a pavilion with lavatory accommodation for which works started in 1924. By the end of that year a temporary bandstand that had been erected in the summer of 1923, and the Earlsdon Cricket Club pavilion were removed. Planting of the park started in the spring of 1925, and the avenues were opened that summer. On 8 October 1927, the War Memorial, built to a design by the local architect Thomas Francis Tickner, was opened by Earl Haig. In 1926 the City Engineer drew up plans for the main gates, which were completed a year later. On 25 February 1927 the Coventry Herald reported that the memorial had been partly finished, that the paths in the park were lined with copper beeches and that it included a beautiful rock garden, flower beds and shrubs. Golf was introduced in 1930 when a small golf course was laid out on land by the railway. In 1933 the City Engineer prepared plans for a shelter, tea room and conveniences, for which a classical style was chosen. Building work continued during 1934 and the pavilions were first used for the carnival in June 1935.
During the Second World War large sections of land in the park were ploughed and used for food cropping and demonstration allotments. As shown on aerial photographs taken in c1946-7, most of the mature trees in the playing fields had disappeared, possibly because of intensive sport use, but more likely because of the introduction of anti-aircraft guns in 1941, a row of concrete cubes (probably to defend an underground ammunition store situated in the park), trench shelters, and a roadway to allow military access to the pavilion. After the War in 1948-52, a memorial tree planting campaign took place to commemorate the local people who lost their lives in the Second World War, resulting in the planting of another avenue across the north of the golf course to the pavilion, and one near the Beechwood Avenue entrance, where by 1977 a car park had been created. In the early 1950s children’s facilities were developed in the park including play equipment and a paddling pool. In 1963, a German Peace Garden was opened to the north of the rock garden. In 1990 an aviary was introduced in one of the former tennis courts, and replacing a collection of war time huts that stood on this site.
Memorial tree planting continues (2012) and recently Coventry City Council has refurbished the park through joint funding from the BIG and Heritage Lottery Funds Parks for People Programme.
It was intended from the outset, apart from the planting of memorial trees, there should be a monument in Coventry's War Memorial Park. In 1923, the Memorial Committee had invited architects to submit plans. The selected design was by the local architect Thomas Francis Tickner (1864-1924), who died shortly afterwards, so the work was overseen by his partner TRJ Meakin. Funding for the memorial was achieved through a public appeal in 1924. Building works, carried out by John Gray, a local builder, started in the autumn of 1925. On 8 October 1927, the memorial was inaugurated by Field Marshall Douglas Haig. The Roll of Honour was to be housed in a cabinet in a room inside the memorial, to be called the Chamber of Silence. During the opening ceremony the monument was floodlit, and the power supply box was left in place so that it could be floodlit every year on Armistice Day. At the end of 1928, money became available to install decorative bronze clad doors to the Chamber of Silence, and permanent floodlighting pedestals were placed around the memorial. After the Second World War another Roll of Honour was added. The monument commemorates 2587 military victims of the First World War, and 817 casualties in the forces, 115 in civilian defence organisations and 1085 civilians of the Second World War. Soldiers who lost their lives in more recent conflicts, such as the Gulf War, have also been added to the Roll. In 2011 the tower was restored, and stepped platform to the monument replaced to incorporate railings and an access ramp.
Reasons for Listing
The War Memorial in Coventry War Memorial Park is designated at Grade II* for the following principal reasons:
Architectural interest: it is a particularly important example of a bespoke war memorial tower that is of an unusually bold and arresting Art Deco style design that displays high quality architectural detailing and use of materials and give this memorial more than special visual interest;
Historic Interest: especially in the context of Coventry, a city which suffered such great human loss in both World Wars, the war memorial possesses considerable historic and cultural interest for its link with these world conflicts and the poignant cost of such involvement, both at a local and national level;
Setting: its surrounding park (registered Grade II), specifically designed to complement the War Memorial, with formal avenues radiating from the war memorial, adds significantly to its high level of special interest;
Group Value: it forms an important group with the contemporary main entrance gates and piers to Coventry War Memorial Park (listed Grade II).
Some of you may have noticed that, unfortunately, owing to the fact that a certain person based in Kent who sells truck photos on eBay commercially has been lifting my images from this album and selling them I have had to remove 2300 photos that didn't have a watermark. I have now run around 1700 through Lightroom and added a watermark with the intention of bulk uploading them again. Rather than watermark the existing (hidden) files in Flickr one at a time it will be easier to do it this way. I definitely won’t be adding individual tags with the make and model of each vehicle I will just add generic transport tags. Each photo is named after the vehicle and reg in any case. For anyone new to these images there is a chapter and verse explanation below. It is staggering how many times I get asked questions that a quick scan would answer or just as likely I can’t possibly answer – I didn’t take them but just to clarify-I do own the copyright- and I do pursue copyright theft.
This is a collection of scanned prints from a collection of photographs taken by the late Jim Taylor A number of years ago I was offered a large number of photographs taken by Jim Taylor, a transport photographer based in Huddersfield. The collection, 30,000 prints, 20,000 negatives – and copyright! – had been offered to me and one of the national transport magazines previously by a friend of Jim's, on behalf of Jim's wife. I initially turned them down, already having over 30,000 of my own prints filed away and taking space up. Several months later the prints were still for sale – at what was, apparently, the going rate. It was a lot of money and I deliberated for quite a while before deciding to buy them. I did however buy them directly from Jim’s wife and she delivered them personally – just to quash the occasional rumour from people who can’t mind their own business. Although some prints were sold elsewhere, particularly the popular big fleet stuff, I should have the negatives, unfortunately they came to me in a random mix, 1200 to a box, without any sort of indexing and as such it would be impossible to match negatives to prints, or, to even find a print of any particular vehicle. I have only ever looked at a handful myself unless I am scanning them. The prints are generally in excellent condition and I initially stored them in a bedroom without ever looking at any of them. In 2006 I built an extension and they had to be well protected from dust and moved a few times. Ultimately my former 6x7 box room office has become their (and my own work’s) permanent home.
I hope to avoid posting images that Jim had not taken his self, however should I inadvertently infringe another photographers copyright, please inform me by email and I will resolve the issue immediately. There are copyright issues with some of the photographs that were sold to me. A Flickr member from Scotland drew my attention to some of his own work amongst the first uploads of Jim’s work. I had a quick look through some of the 30 boxes of prints and decided that for the time being the safest thing for me to do was withdraw the majority of the earlier uploaded scans and deal with the problem – which I did. whilst the vast majority of the prints are Jims, there is a problem defining copyright of some of them, this is something that the seller did not make clear at the time. I am reasonably confident that I have since been successful in identifying Jims own work. His early work consists of many thousands of lustre 6x4 prints which are difficult to scan well, later work is almost entirely 7x5 glossy, much easier to scan. Not all of the prints are pin sharp but I can generally print successfully to A4 from a scan.
You may notice photographs being duplicated in this Album, unfortunately there are multiple copies of many prints (for swapping) and as I have to have a system of archiving and backing up I can only guess - using memory - if I have scanned a print before. The bigger fleets have so many similar vehicles and registration numbers that it is impossible to get it right all of the time. It is easier to scan and process a print than check my files - on three different PC’s - for duplicates. There has not been, nor will there ever be, any intention to knowingly breach anyone else's copyright. I have presented the Jim Taylor collection as exactly that-The Jim Taylor Collection- his work not mine, my own work is quite obviously mine.
Unfortunately, many truck spotters have swapped and traded their work without copyright marking it as theirs. These people never anticipated the ease with which images would be shared online in the future. I would guess that having swapped and traded photos for many years that it is almost impossible to control their future use. Anyone wanting to control the future use of their work would have been well advised to copyright mark their work (as many did) and would be well advised not to post them on photo sharing sites without a watermark as the whole point of these sites is to share the image, it is very easy for those that wish, to lift any image, despite security settings, indeed, Flickr itself, warns you that this is the case. It was this abuse and theft of my material that led me to watermark all of my later uploads. I may yet withdraw non-watermarked photos, I haven’t decided yet. (I did in the end)
To anyone reading the above it will be quite obvious that I can’t provide information regarding specific photos or potential future uploads – I didn’t take them! There are many vehicles that were well known to me as Jim only lived down the road from me (although I didn’t know him), however scanning, titling, tagging and uploading is laborious and time consuming enough, I do however provide a fair amount of information with my own transport (and other) photos. I am aware that there are requests from other Flickr users that are unanswered, I stumble across them months or years after they were posted, this isn’t deliberate. Some weekends one or two “enthusiasts” can add many hundreds of photos as favourites, this pushes requests that are in the comments section ten or twenty pages out of sight and I miss them. I also have notifications switched off, I receive around 50 emails a day through work and I don’t want even more from Flickr. Other requests, like many other things, I just plain forget – no excuses! Uploads of Jim’s photos will be infrequent as it is a boring pastime and I would much rather work on my own output.
Existing Missouri River Crossings, St. Charles/St. Louis Counties, Missouri
Far left bridge will be removed at end of construction.
Provided an eastbound "green wave" at 15.6 mph from Castro to 12th Street and an irregular pattern east of there and westbound.
Dalhart is a city in Dallam and Hartley Counties in the U.S. state of Texas, and the county seat of Dallam County. The population was 7,930 at the 2010 census.
Founded in 1901, Dalhart is named for its location on the border of Dallam and Hartley Counties; its name is a portmanteau of the names of the two counties. The city was founded at the site of a railroad junction, which heavily contributed to its early growth.
Dalhart was in the center of the Dust Bowl, an area adversely affected by a long period of drought and dust storms during the Great Depression of the 1930s. Here, Tex Thornton, operating on the now debunked concussion theory, coaxed today's inflation-adjusted equivalent of $1 million from the locals on claims he could fire rocket-powered explosives into the clouds and cause rain.
At the Dallam County Courthouse, Dalhart honors the memory of James R. Fox, Jr. (March 16, 1919—March 11, 1943), who flew supplies to China for Pan American Airways, then a joint Chinese and American company, during World War II through the treacherous Hump Route. Fox and his two Chinese copilots were killed when their Douglas C-52 cargo plane crashed. In 2002, the People's Republic of China made a bronze bust in Fox's honor and presented it to Dalhart.
Dalhart's economy is centered around agribusiness, including farming, ranching, feedlot operations, large-scale pig farms, and more recently, a cheese processing plant. Dalhart is also home to a state prison.
During the peak operating period of the XIT Ranch, the land was in native grass. Some land was diverted into dry farmland, but the rain was insufficient to make it productive. A few irrigation wells were drilled in areas where the soil was not sandy and was level enough for row irrigation. Later, center pivot irrigation, credited to Colorado farmer Frank Zybach in 1949, was introduced and was found to be ideal for the area's rolling sandy soils. About the same time, large feedlots were built due to the low-humidity climate.
In the mid-2000s, a combination of tax incentives, Texas' relatively unrestricted environmental regulations, and Dalhart's existing agricultural infrastructure attracted industrial dairy farms to the area. In 2007, Hilmar Cheese Company of California capitalized on the resulting milk availability, opening a major production plant in Dalhart. Texas Governor Rick Perry visited Dalhart to speak at the company's official welcoming ceremony, reiterating the company's projection that 2000 new jobs would be created in the region by the emerging dairy product production industry. This factory and the surrounding dairies are a significant emerging subsector of Dalhart's established agribusiness culture.
The international agribusiness company Cargill owns a 21,500-acre hog-production site near Dalhart.
en.wikipedia.org/wiki/Dalhart,_Texas
en.wikipedia.org/wiki/Wikipedia:Text_of_Creative_Commons_...
St Matthew, Portman Road, Ipswich
In the 1960s, Ipswich went mad. Town planners devised a scheme whereby the population would rise towards half a million, and the existing town centre would be encircled and crossed by urban motorways. They didn't get very far before the men in white coats came and took them away, releasing them into the wild somewhere like Croydon or Wolverhampton; but the towering Civic Centre, the brutalist police station and courts buildings were evidence of their ambitions (the Civic Centre has since been demolished), and the four lane Civic Drive cuts across what was the Mount residential area, the little terraces all demolished to make way for the 20th century.
Now, the new Ipswich plan designates this whole area for residential use, and the civil servants have all moved down to the river. This new plan, if it emerges, can only serve St Matthew well, sitting beside Civic Drive as it does, and cut off from the town centre by it.
St Matthew is, perhaps, less well-known than the other working town centre churches. Partly, this is because it is the only one of them which is kept locked, but also because it is such an effort to get to if you are a visitor. Because of this, many people don't realise that it contains a treasure of national importance. It is the early 16th Century font, which is quite unlike any other in Suffolk, and perhaps is unique in England.
Before we come to it, the church building itself is worth examining. This must once have been quite a small church, but is now a big one. Its core is 15th century, including the lower part of the tower. Nothing else is. Its 19th century expansion can be explained by the proximity of the Ipswich Barracks, for this became the Garrison church. This resulted in the huge aisles, as wide as the nave. The chancel was also rebuilt, but retaining its medieval roof.
Until 1970, the church was hemmed in to the east, but the construction of Civic Drive opened up this view, which isn't a particularly good one, particularly from the north east. It comes as a surprise to find the west end on Portman Road quite so pastoral, but the hidden graveyard surrounding the tower is quite beautiful, and would once have been the familiar view. Ancestor hunters will be horrified to learn that the greater part of the graveyard was built over in the 1960s, with the construction of a church school to the south. All those graves are under the playground now. The part of the graveyard to the east fell foul of the road, and those immediately beyond the chancel were turned into a garden, now the preserve of homeless drinkers. A footpath runs along the north side, which will take you through to the main entrance, the west door, under the tower. You step into a broadly Victorian interior, and find the font in the north aisle.
East Anglia is famous for its Seven Sacrament fonts, 13 of which are in Suffolk. These show the seven sacraments of the Catholic Church, and are rare survivals; so much Catholic iconography was destroyed by the Protestant reformers of the 16th century, and the Puritans of the 17th century.
Here at St Matthew, we find an even rarer survival of England's Catholic past; a series of images of events associated with the Blessed Virgin Mary.
Before describing it, I have to make the point that this really is one of the dozen most important and significant medieval art survivals in Suffolk, and one of the finest late medieval fonts in England. There is nothing as good as this in the Victorian and Albert Museum, or in the British Museum. I make this point simply because on every occasion that I have visited, the person accompanying me (they don't let you vist the church on your own) did not seem to realise quite how important the font was, and gave the impression that the parish, though they care for it lovingly, also did not realise what a treasure, what a jewel, they had on the premises. "It's quite pretty," said the lady when I visited in September 2016.
Of the eight panels, two bear Tudor roses, but five of them depict events in the story of Mary, mother of Jesus. These five reliefs, and a sixth of the Baptism of Christ, are amazing art objects. They show the Annunciation to the Blessed Virgin, The Adoration of the Magi, the Assumption of the Blessed Virgin, the Coronation of the Queen of Heaven, and the Mother of God Enthroned. The guide books all describe these as the five Joyful Mysteries of the Rosary. In fact, this is technically not the case, although certainly the font was intended for use in rosary meditations. After extensive research, the late John Blatchly showed convincingly that this font was paid for by the Rector John Bailey to celebrate the Miracle of the Maid of Ipswich, which occured in the parish in 1516 and was held in renown all over England in the few short years left before the Reformation intervened.
We know that the rosary was a hugely popular devotion in medieval England, and that a persons 'bedes' were their most valued possession. They played a major part in personal devotion, but were also important as a way of participating in the liturgy, and an expression of communal piety. Most pre-Reformation memorials show people holding their rosary beads. However, what we now think of as the Rosary sequence only dates from the 14th century or so, and was only one among many - the so-called Dominican Rosary, which is now the predominant meditation. The rosary was greatly popularised in England by St Thomas of Canterbury in the 12th century, who devised a series of seven joyful mysteries, including the Adoration of the Magi and the Assumption. Most sequences were of five meditations, and we must presume that this is what we find here. In time, the Joyful Mysteries would come to be Mary's earthly experiences, and the Glorious Mysteries her heavenly ones.
Because personal devotion was considered a diversion from congregational worship, and Marian devotion was thought superstitious, the rosary was completely anathematised by the 16th century Protestant reformers, and attempts were made to write it out of history, by destroying images of it. Within forty years of this font being produced, possession of rosary beads was punishable by death in England.
The survival of an image of the Assumption is particularly interesting. We still have much surviving evidence of religious life in England before the Church of England came along, but it does not really reveal to us the relative significance of different devotions, simply because some of the major cults and their images - St Thomas of Canterbury, for instance - were ruthlessly rooted out and destroyed. The Assumption is another case in point. 15th and early 16th century wills and bequests reveal a great devotion to the Blessed Virgin, particularly to the feast of the Assumption, which is celebrated on August 15th.
This is at the height of the harvest, of course, and it is not difficult to see the connection between this feast and the culmination of the farming year, or the importance to farmworkers of a festival at this time. More than 200 Suffolk parish churches were dedicated to the Assumption. When the dedications of Anglican churches were restored in the 19th century, after several centuries of disuse, these generally became 'St Mary', although some have been restored correctly since, notably Ufford. The Church of England, of course, does not recognise the doctrine of the Assumption.
Of equal significance are the other images, of course; extraordinary survivals. And why the Baptism of Christ? In fact, this is the most common 'odd panel out' on the Seven Sacrament fonts, and shows us the significance of 'anointing to serve' in the medieval church. The medieval church didn't see Baptism as a mere naming ceremony, or welcoming ceremony, as so many people seem to do today. It was the sacrament by which people received their commission as Christians.
The north aisle also retains panels from the rood screen, built into a 19th century screen.You might miss these, because chairs are stacked against them. Three of the panels show bishops, and the other two show cheering crowds of seven and nine people respectively. I do not think that these can be in their original configuration. Roy Tricker thought that the crowds were portraits of parishioners, but I have seen elsewhere a suggestion that this may have been the screen to the chantry altar of the guild of Erasmus, which was established here.
There is clear evidence of the location of at least one nave altar, since a squint kicks in from the north aisle. There are two good 17th century wall memorials in the chancel, the best being to Anthony Penning and his wife, depicting their children weeping, some holding skulls to show that they pre-deceased their parents.
Much of the 19th century woodwork is from the workshops of two major 19th century Ipswich carpenters, Henry Ringham and John Corder. Ringham's work can be found in several Suffolk churches, most notably St Mary le Tower and Great Bealings, while Corder was an architect responsible for several restorations, including Swilland. Both have Ipswich roads named after them.
The church has an extensive collection of late 19th and early 20th Century glass, not all of it good, but happily by a wide variety of workshops. The great curiosity is the window in the east end of the south aisle, which depicts Jane Trimmer Gaye, wife of a 19th Century Rector, flanked by female members of her husband's flock with images of birth and death. It was designed by her brother Frank Howard, and made by George Hedgeland. Another oddity is Percy Bacon's Christ flanked by St Edmund and St Felix - for the last hundred years the Saints have stood there with their names transposed.
There is a frankly functional modern screen, with a curious Anglo-catholic style rood, which looks most out of place, for St Matthew today is very much in the evangelical tradition. But the lady who allowed me entry thought it 'nice', so I expect nobody minds.
Built c. 1886.
"After fire destroyed existing frame buildings on the site, Dr. Herman L. Cook called for tenders on May 7, 1886 to build a new brick building. The building completed October 1886, had four stores on the ground floor, two of which were occupied by Hinch and Co., one by Perry and Madole and another by W.H. Bruton. The upper floor housed offices and halls. The building became known as “Cheapside”, reflecting a marketing strategy of “good quality at low prices”.
In 1892, a fire in the second storey burned through into the dry good store below. Hinch and Co. and Cheapside were closed until the damage could be repaired.
In 1919, the Royal Bank occupied the corner store, adjacent to John Street and later expanded to occupy the four stores. Today, the building is a premiere example of a sympathetic main street renovation." - info from the Greater Napanee webite.
"Greater Napanee is a town in southeastern Ontario, Canada, approximately 45 kilometres (28 mi) west of Kingston and the county seat of Lennox and Addington County. It is located on the eastern end of the Bay of Quinte. Greater Napanee municipality was created by amalgamating the old Town of Napanee with the townships of Adolphustown, North and South Fredericksburg, and Richmond in 1999. Greater Napanee is co-extensive with the original Lennox County.
The town is home to the Allan Macpherson House, a historic 1826 property that is now a museum. Macpherson was a major in the Lennox militia, operated the town's grist and saw mills, as well as the distillery and general store. He served as post master and land agent, operated the first local printing press and helped fund the establishment of many local schools and churches. The home sits on the banks of the Napanee River, which runs through the town.
The largest employer is a Goodyear Tire and Rubber Company passenger car tire plant (opened in 1988).
The main streets are Dundas Street (east–west) and Centre Street (north–south). Dundas Street is part of former provincial Highway #2, also known as Kingston Road, and travels through downtown from Toronto in the west and onward to Kingston in the east. Centre Street travels through the centre of the town from the modern commercial area close to Highway 401 to the downtown and onwards, as County Road 8 to Lake Ontario." - info from Wikipedia.
Late June to early July, 2024 I did my 4th major cycling tour. I cycled from Ottawa to London, Ontario on a convoluted route that passed by Niagara Falls. during this journey I cycled 1,876.26 km and took 21,413 photos. As with my other tours a major focus was old architecture.
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PictionID:41567015 - Title:Republic XP-47J Thunderbolt This XP47-J is 43-46952. 3.5in by 5in photo. The XP-47J was a completely new airframe and not a conversion of an existing P-47D. The XP-47J flew for the first time on November 26, 1943. On August 4, 1944, it attained a speed of 504 mph in level fight, becoming the first propeller-driven fighter to exceed 500 mph. At one time, it was proposed that the J model would be introduced onto the production line, but the advent of the even more advanced XP-72 resulted in plans for the production of the P-47J being abandoned before any more could be completed. - Catalog:15_002924 - Filename:15_002924.TIF - Image from the Charles Daniels Photo Collection album "Seversky, Republic and P-47"----PLEASE TAG this image with any information you know about it, so that we can permanently store this data with the original image file in our Digital Asset Management System.----SOURCE INSTITUTION: San Diego Air and Space Museum Archive
Earth Designs Garden Design and Build were asked to created a landscape and propose garden design in Stratford, East London*. Here are the details of the project
The Round Paving Garden in Stratford, East London E15 2BU
The client wishes to transform the space simply, using paving and lawn. Existing boundaries are mostly sound and require no renovation or screening Client would like to keep existing shed. There is no access to the garden other than through the house - however there is an area at the bottom of the garden Where items could be brought into the space There is a brick built BBQ which the client would like to keep
The design uses a simple circular theme, creating several focal areas to make the most of the limited space.The main area of the garden will feature three paved circles, all in Haworth Moor Natural Sandstone. The first will be a three ring circle, creating a solid paved area suitable for dining and entertaining. The remaining two circles will consist of an outer ring of Haworth Moor paving, within which turf will be laid to create an informal and decorative effect.
The area directly outside the house will be laid with Haworth Moor Natural Sandstone paving in a random pattern, giving a larger hard area for dining and the display of ornamentation and potted plants.
The planting scheme is designed to blur the boundaries somewhat, helping to create an illusion of space. Planting will take the form of evergreen shrubbery and flowering perennials in a variety of colours, with a young Cherry Blossom taking centre stage in the right hand corner of the space.
The existing slabs will be cleaned and used to pave the area at the bottom of the garden. This area will be screened from the garden proper with trellis, and can be used as a utility area in which to house the existing shed.
“From the moment we met Kat we felt Earth Designs were the right team to work on our garden. Kat’s ability to really hear what we wanted and the knowledge to realise and enhance the dream was outstanding.
The team that worked on the garden were a really great bunch. Even my neighbours commented on how friendly and hard working they were - ‘they just never stopped’, was a common statement. They worked long days and even weekends to complete the garden within the planned schedule.
We were away the weekend the garden was finished and I was so excited about coming home and seeing everything complete. My husband and I walked out the back door and what we saw was breath taking. I had always mocked those people that cried at the reveal on home improvement programmes yet I was now standing with a tear in my eye… We were also given a comprehensive after care pack, which has helped us to look after the garden and maintain our sanctuary. Earth Design’s are a company I would happily recommend to anyone. They were professional, hard working, extremely knowledgeable and a pleasure to have met.
If you dig this and would like to find out more about this or any of other of our designs, please stop by our web-site and have a look at our work.
Earth Designs is a bespoke London Garden Design and build company specialising in classic, funky and urban contemporary garden design.
Our Landscape and Garden build teams cover London, Essex and parts of South East England, while garden designs are available nationwide.
Please visit www.earthdesigns.co.uk to see our full portfolio. If you would like a garden designer in London or have an idea of what you wan and are looking for a landscaper London to come and visit your garden, please get in touch.
Follow our Bespoke Garden Design and Build and Blog to see what we get up to week by week, our free design clinic as well as tips and products we recommend for your garden projects www.earthdesigns.co.uk/blog/.
Earth Designs is located in East London, but has built gardens in Essex, Hertfordshire and all over the South East. Earth Designs was formed by Katrina Wells in Spring 2003 and has since gone from strength to strength to develop a considerable portfolio of garden projects. Katrina, who is our Senior Garden Designer, has travelled all over the UK designing gardens. However we can design worldwide either through our postal garden design service or by consultation with our senior garden designer. Recent worldwide projects have included garden designs in Romania. Katrina’s husband. Matt, heads up the build side of the company, creating a unique service for all our clients.
If you a not a UK resident, but would like an Earth Designs garden, Earth Designs has a worldwide design service through our Garden Design Postal Design Vouchers. If you are looking for an unique birthday present or original anniversary present and would like to buy one of our Garden Design Gift Vouchers for yourself or as a present please our sister site www.gardenpresents.co.uk. We do also design outside of the UK, please contact us for details.
Kilkenny Central Access Scheme (CAS), previously Kilkenny Inner Relief Road Scheme is a controversial new road, improvement of existing roads and junctions, and a new concrete River Nore bridge, with provisions for footpaths and cycle lanes throughout. CAS comprises 4.5 kilometers of single carriageway road that is 7.3 metres wide. The scheme is proving to be controversial as the route of the completed road will bring heavy traffic through residential areas, also the route will bring heavy traffic through the centre of medieval Irishtown section of the city.
The Inner Relief Road was first proposed in 1978 as a means of providing access to brewery traffic to the brewery itself, which has now closed. Kilkenny city is currently surrounded by two thirds of a ring-road and the completion of this ring-road is seen by some as a greater priority for alleviating Kilkenny's traffic problems as they stand. Kilkenny County Council remains resolved that progress in the CAS project should continue ahead of completion to the outer ring road.
Residents and and those who work in the locality have repeatedly expressed frustration with the ongoing works, traffic problems, and the level of communication with them.
As is always the case in Ireland people object to new infrastructure when it is too late to do so. During my visit to Kilkenny anyone that I spoke to had nothing good to say about the new bridge or the supporting infrastructure but not one person could actually explain why they had issues except to say that they felt that the bridge should have been located elsewhere.
I had hoped that the bridge would have been opened at the time of my visit but this was not the case. During my visit I discovered that there is no exact date yet confirmed for the official opening of the Central Access Scheme, although the council says it is likely to be early May.
The name of the new bridge has yet to be decided, but council’s naming and memorial committee is due to meet in the coming days. The issue is likely to be on the agenda at the next monthly meeting of Kilkenny County Council.
Meanwhile, a number of local roads around the Central Access Scheme will be temporarily closed in the coming days, for final works as the project nears completion.
The lowest bridge on the River Seine in Paris
Coat of arms on the bridge.
The Pont des Invalides is the lowest bridge traversing the Seine in Paris.
The story of this bridge started in 1821, when engineer Claude Navier conceived a technologically revolutionary bridge that crossed the Seine in one single reach without any point of support in between. The proposed suspension bridge, the construction of which started in 1824, was meant to be erected opposite to the Hotel des Invalides on the site of the current Pont Alexandre III. Due to cracks in some parts of the bridge and gradual settling, the project was abandoned before the bridge even made it into service.
In response to complaints from the defenders of the Invalides perspective, the Public Services decided to shift the bridge site upriver. Therefore, in 1829, two engineers, de Verges and Bayard de la Vingtrie, completed the construction of a proper suspension bridge supported by two piers in the Seine and three porticos, each 20 m in height.[1] Unfortunately, due to rapidly growing wear on the bridge, its access had to be regulated in 1850.
In 1854, the bridge was demolished to be replaced by a new one in time for the upcoming 1855 World Fair in Paris. Paul-Martin Gallocher de Lagalisserie and Jules Savarin used the existing piers of the former suspension bridge and a newly-added central pier to build an arch bridge in masonry on the same site. The new pier was adorned with sculptures in two allegorical themes: the Land Victory by Victor Vilain upriver; the Maritime Victory by Georges Diébolt downstream, whereas the two old piers were adorned with sculptures of military trophies bearing the imperial coat of arms, both the work of Astyanax-Scévola Bosio.
Despite being stronger, the new bridge still sustained a subsidence between 25 to 30 cm in 1878, and lost two arches during the winter of 1880 (restored by the end of the year). The bridge has been quite secure since then and the only modification made in the 20th century was the expansion of its pavement in 1956.
Work includes cleaning, waxing, repairing and conserving the existing bronze, and providing new bronze castings of missing or broken items. Initial stone work will include the cleaning and removal of patina bronze deposits from seven marble monument pedestals.
Full details on the restoration project are at www.aoc.gov/grant.
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This official Architect of the Capitol photograph is being made available for educational, scholarly, news or personal purposes (not advertising or any other commercial use). When any of these images is used the photographic credit line should read “Architect of the Capitol.” These images may not be used in any way that would imply endorsement by the Architect of the Capitol or the United States Congress of a product, service or point of view. For more information visit www.aoc.gov/terms.
Some of you may have noticed that, unfortunately, owing to the fact that a certain person who sells truck photos on eBay commercially has been lifting my images from this album and selling them I have had to remove 2300 photos that didn't have a watermark. I have now run around 1700 through Lightroom and added a watermark with the intention of bulk uploading them again. Rather than watermark the existing (hidden) files in Flickr one at a time it will be easier to do it this way. I definitely won’t be adding individual tags with the make and model of each vehicle I will just add generic transport tags. Each photo is named after the vehicle and reg in any case. For anyone new to these images there is a chapter and verse explanation below. It is staggering how many times I get asked questions that a quick scan would answer or just as likely I can’t possibly answer – I didn’t take them, but, just to clarify-I do own the copyright- and I do pursue copyright theft.
This is a collection of scanned prints from a collection of photographs taken by the late Jim Taylor A number of years ago I was offered a large number of photographs taken by Jim Taylor, a transport photographer based in Huddersfield. The collection, 30,000 prints, 20,000 negatives – and copyright! – had been offered to me and one of the national transport magazines previously by a friend of Jim's, on behalf of Jim's wife. I initially turned them down, already having over 30,000 of my own prints filed away and taking space up. Several months later the prints were still for sale – at what was, apparently, the going rate. It was a lot of money and I deliberated for quite a while before deciding to buy them. I did however buy them directly from Jim’s wife and she delivered them personally – just to quash the occasional rumour from people who can’t mind their own business. Although some prints were sold elsewhere, particularly the popular big fleet stuff, I should have the negatives, unfortunately they came to me in a random mix, 1200 to a box, without any sort of indexing and as such it would be impossible to match negatives to prints, or, to even find a print of any particular vehicle. I have only ever looked at a handful myself unless I am scanning them. The prints are generally in excellent condition and I initially stored them in a bedroom without ever looking at any of them. In 2006 I built an extension and they had to be well protected from dust and moved a few times. Ultimately my former 6x7 box room office has become their (and my own work’s) permanent home.
I hope to avoid posting images that Jim had not taken his self, however should I inadvertently infringe another photographers copyright, please inform me by email and I will resolve the issue immediately. There are copyright issues with some of the photographs that were sold to me. A Flickr member from Scotland drew my attention to some of his own work amongst the first uploads of Jim’s work. I had a quick look through some of the 30 boxes of prints and decided that for the time being the safest thing for me to do was withdraw the majority of the earlier uploaded scans and deal with the problem – which I did. whilst the vast majority of the prints are Jims, there is a problem defining copyright of some of them, this is something that the seller did not make clear at the time. I am reasonably confident that I have since been successful in identifying Jims own work. His early work consists of many thousands of lustre 6x4 prints which are difficult to scan well, later work is almost entirely 7x5 glossy, much easier to scan. Not all of the prints are pin sharp but I can generally print successfully to A4 from a scan.
You may notice photographs being duplicated in this Album, unfortunately there are multiple copies of many prints (for swapping) and as I have to have a system of archiving and backing up I can only guess - using memory - if I have scanned a print before. The bigger fleets have so many similar vehicles and registration numbers that it is impossible to get it right all of the time. It is easier to scan and process a print than check my files - on three different PC’s - for duplicates. There has not been, nor will there ever be, any intention to knowingly breach anyone else's copyright. I have presented the Jim Taylor collection as exactly that-The Jim Taylor Collection- his work not mine, my own work is quite obviously mine.
Unfortunately, many truck spotters have swapped and traded their work without copyright marking it as theirs. These people never anticipated the ease with which images would be shared online in the future. I would guess that having swapped and traded photos for many years that it is almost impossible to control their future use. Anyone wanting to control the future use of their work would have been well advised to copyright mark their work (as many did) and would be well advised not to post them on photo sharing sites without a watermark as the whole point of these sites is to share the image, it is very easy for those that wish, to lift any image, despite security settings, indeed, Flickr itself, warns you that this is the case. It was this abuse and theft of my material that led me to watermark all of my later uploads. I may yet withdraw non-watermarked photos, I haven’t decided yet. (I did in the end)
To anyone reading the above it will be quite obvious that I can’t provide information regarding specific photos or potential future uploads – I didn’t take them! There are many vehicles that were well known to me as Jim only lived down the road from me (although I didn’t know him), however scanning, titling, tagging and uploading is laborious and time consuming enough, I do however provide a fair amount of information with my own transport (and other) photos. I am aware that there are requests from other Flickr users that are unanswered, I stumble across them months or years after they were posted, this isn’t deliberate. Some weekends one or two “enthusiasts” can add many hundreds of photos as favourites, this pushes requests that are in the comments section ten or twenty pages out of sight and I miss them. I also have notifications switched off, I receive around 50 emails a day through work and I don’t want even more from Flickr. Other requests, like many other things, I just plain forget – no excuses! Uploads of Jim’s photos will be infrequent as it is a boring pastime and I would much rather work on my own output.
Existing life-saving vaccines and the new ones that are in the pipeline are the result of years of work by research-based vaccine industry. This fact plus a long-standing track record of success and specialized expertise uniquely position vaccine companies to help deliver the promise of the DoV initiative. While the global health community sets the strategy and goals for the DoV, industry can help explain what it is required, from an experienced perspective, to maintain momentum on vaccine innovation, manufacturing and supply.
AFTER - Office
- Re-finish Floor - sand & stain existing white oak floors with matte black walnut stain
- Re-use furniture - Reupholstered existing Danish framed chairs
- Re-use Carpet - from client's previous home
- Accessory - from client's previous home
- Frames - available through from <a href="http://www.ikea.com/"
- New wall paint - Benjamin Moore
- New wall covering - Crown Wallpaper
- New Furniture - side table available through Westelm
- New Storage furniture - Besta cabinet system from Ikea
Photo Credit: 2011 © GAILE GUEVARA | PHOTOGRAPHY™ All rights reserved.
:: DESIGN TEAM ::
Interior Designer: Gaile Guevara
Design Team: Michelle Bikic
Renovation: Jan Sowa
Some of you may have noticed that, unfortunately, owing to the fact that a certain person who sells truck photos on eBay commercially has been lifting my images from this album and selling them I have had to remove 2300 photos that didn't have a watermark. I have now run around 1700 through Lightroom and added a watermark with the intention of bulk uploading them again. Rather than watermark the existing (hidden) files in Flickr one at a time it will be easier to do it this way. I definitely won’t be adding individual tags with the make and model of each vehicle I will just add generic transport tags. Each photo is named after the vehicle and reg in any case. For anyone new to these images there is a chapter and verse explanation below. It is staggering how many times I get asked questions that a quick scan would answer or just as likely I can’t possibly answer – I didn’t take them, but, just to clarify-I do own the copyright- and I do pursue copyright theft.
This is a collection of scanned prints from a collection of photographs taken by the late Jim Taylor A number of years ago I was offered a large number of photographs taken by Jim Taylor, a transport photographer based in Huddersfield. The collection, 30,000 prints, 20,000 negatives – and copyright! – had been offered to me and one of the national transport magazines previously by a friend of Jim's, on behalf of Jim's wife. I initially turned them down, already having over 30,000 of my own prints filed away and taking space up. Several months later the prints were still for sale – at what was, apparently, the going rate. It was a lot of money and I deliberated for quite a while before deciding to buy them. I did however buy them directly from Jim’s wife and she delivered them personally – just to quash the occasional rumour from people who can’t mind their own business. Although some prints were sold elsewhere, particularly the popular big fleet stuff, I should have the negatives, unfortunately they came to me in a random mix, 1200 to a box, without any sort of indexing and as such it would be impossible to match negatives to prints, or, to even find a print of any particular vehicle. I have only ever looked at a handful myself unless I am scanning them. The prints are generally in excellent condition and I initially stored them in a bedroom without ever looking at any of them. In 2006 I built an extension and they had to be well protected from dust and moved a few times. Ultimately my former 6x7 box room office has become their (and my own work’s) permanent home.
I hope to avoid posting images that Jim had not taken his self, however should I inadvertently infringe another photographers copyright, please inform me by email and I will resolve the issue immediately. There are copyright issues with some of the photographs that were sold to me. A Flickr member from Scotland drew my attention to some of his own work amongst the first uploads of Jim’s work. I had a quick look through some of the 30 boxes of prints and decided that for the time being the safest thing for me to do was withdraw the majority of the earlier uploaded scans and deal with the problem – which I did. whilst the vast majority of the prints are Jims, there is a problem defining copyright of some of them, this is something that the seller did not make clear at the time. I am reasonably confident that I have since been successful in identifying Jims own work. His early work consists of many thousands of lustre 6x4 prints which are difficult to scan well, later work is almost entirely 7x5 glossy, much easier to scan. Not all of the prints are pin sharp but I can generally print successfully to A4 from a scan.
You may notice photographs being duplicated in this Album, unfortunately there are multiple copies of many prints (for swapping) and as I have to have a system of archiving and backing up I can only guess - using memory - if I have scanned a print before. The bigger fleets have so many similar vehicles and registration numbers that it is impossible to get it right all of the time. It is easier to scan and process a print than check my files - on three different PC’s - for duplicates. There has not been, nor will there ever be, any intention to knowingly breach anyone else's copyright. I have presented the Jim Taylor collection as exactly that-The Jim Taylor Collection- his work not mine, my own work is quite obviously mine.
Unfortunately, many truck spotters have swapped and traded their work without copyright marking it as theirs. These people never anticipated the ease with which images would be shared online in the future. I would guess that having swapped and traded photos for many years that it is almost impossible to control their future use. Anyone wanting to control the future use of their work would have been well advised to copyright mark their work (as many did) and would be well advised not to post them on photo sharing sites without a watermark as the whole point of these sites is to share the image, it is very easy for those that wish, to lift any image, despite security settings, indeed, Flickr itself, warns you that this is the case. It was this abuse and theft of my material that led me to watermark all of my later uploads. I may yet withdraw non-watermarked photos, I haven’t decided yet. (I did in the end)
To anyone reading the above it will be quite obvious that I can’t provide information regarding specific photos or potential future uploads – I didn’t take them! There are many vehicles that were well known to me as Jim only lived down the road from me (although I didn’t know him), however scanning, titling, tagging and uploading is laborious and time consuming enough, I do however provide a fair amount of information with my own transport (and other) photos. I am aware that there are requests from other Flickr users that are unanswered, I stumble across them months or years after they were posted, this isn’t deliberate. Some weekends one or two “enthusiasts” can add many hundreds of photos as favourites, this pushes requests that are in the comments section ten or twenty pages out of sight and I miss them. I also have notifications switched off, I receive around 50 emails a day through work and I don’t want even more from Flickr. Other requests, like many other things, I just plain forget – no excuses! Uploads of Jim’s photos will be infrequent as it is a boring pastime and I would much rather work on my own output.
House[edit]
Interior of Standen
Between 1891 and 1894 architect Philip Webb, who was a friend of William Morris, designed the house for a prosperous London solicitor, James Beale, his wife Margaret, and their family. It is decorated with Morris carpets, fabrics and wallpapers, and the garden complements the beauty of the house. The house still has its original electric light fittings.[2]
After Beale's death in 1912, Margaret Beale continued to live at Standen. When she died in 1936, their unmarried daughter, Margaret, succeeded her, and after her death in 1947, Standen came into the possession of Helen, their youngest daughter, also unmarried.[3] On Helen's death in 1972 the house passed by bequest to the National Trust for Places of Historic Interest or Natural Beauty.
Estate and garden[edit]
The estate was formed from three farms which the Beales purchased in 1890. The Beales started planting a 12-acre (4.9 ha) garden almost immediately after they had purchased the land, using the site of an 18th-century garden and orchard.[4] In early 1891 trees were planted, a yew hedge established and the kitchen garden begun.
The Beales consulted a London landscape gardener who drew up a layout that assumed that the new house would be located on the line of the existing terrace.[5] However, Webb suggested that it rather be placed further into the hillside. The proposed planting schemes were characterised by strict geometrical layouts of colourful flowerbeds and shrubs. Webb preferred something else, however: a mixture of natural styles combining old-fashioned formality and compartmentalised gardens. Webb also designed a number of elements in the garden.
The resulting Arts and Crafts garden used local materials for its formal elements, and loose plantings amongst yew hedges, trellis and pergolas, emphasising natural colour schemes and subtle combinations of colour and foliage. wikipedia