Postcard entitled "The parting of the ways, Garve" showing the junction where the road to Ullapool (A835) used to branch off to the right from the road to Gairloch (A832) straight-on.

 

In the early 1980s the roads were reconstructed so that Ullapool (A835) is now straight-on and the A832 to Gairloch is now a branch off to the left a few hundred yards to the east (behind the photographer in this view). This junction now survives just as the "local access" to the houses at Gorstan pictured here.

 

This postcard has written on the back that it was bought in 1958.

From my set ewntitled “Lilies”

www.flickr.com/photos/21861018@N00/sets/72157607186495368/

In my collection entitled “The Garden”

www.flickr.com/photos/21861018@N00/collections/7215760718...

 

From Wikipedia, the free encyclopedia

Daylilies comprise the small genus Hemerocallis of flowering plants in the family Hemerocallidaceae. They are not true lilies which are Lilium in Liliaceae.

 

These plants are perennial. The name Hemerocallis comes from the Greek words ἡμέρα (hēmera) "day" and καλός (kalos) "beautiful". The flowers of most species open at sunrise and wither at sunset, possibly replaced by another one on the same stem the next day. Some species are night-blooming. Daylilies are not commonly used as cut flowers for formal flower arranging, yet they make good cut flowers otherwise as new flowers continue to open on cut stems over several days.

 

Originally native from Europe to China, Korea, and Japan, their large showy flowers have made them popular worldwide. There are over 60,000 registered cultivars. Only a few cultivars are scented. Some cultivars rebloom later in the season, particularly if their developing seedpods are removed.

 

Daylilies occur as a clump including leaves, the crown, and the roots. The long, often linear lanceolate leaves are grouped into opposite flat fans with leaves arching out to both sides. The crown of a daylily is the small white portion between the leaves and the roots, an essential part of the fan. Along the flower stem or scape, small leafy "proliferations" may form at nodes or in bracts. These proliferations form roots when planted and are the exact clones of the parent plant. Some daylilies show elongated widenings along the roots, made by the plant mostly for water storage and an indication of good health.

The flower consists of three petals and three sepals, collectively called tepals, each with a midrib in the same or in a contrasting color. The centermost section of the flower, called the throat, has usually a different and contrasting color. There are six stamens, each with a two-lobed anther. After pollination, the flower forms a pod.

 

Daylilies can be grown in USDA plant hardiness zones 1 through 11, making them some of the most adaptable landscape plants. Most of the cultivars have been developed within the last 100 years. The large-flowered clear yellow 'Hyperion', introduced in the 1920s, heralded a return to gardens of the once-dismissed daylily, and is still widely available. Daylily breeding has been a specialty in the United States, where their heat- and drought-resistance made them garden standbys during the later 20th century. New cultivars have sold for thousands of dollars, but sturdy and prolific introductions soon reach reasonable prices.

 

'Kwanzo' - a triple-flowered triploid cultivar

Tawny Daylily Hemerocallis fulva, and sweet-scented H. lilioasphodelus (H. flava is an illegitimate name), colloquially called Lemon Lily, were early imports from England to 17th century American gardens and soon established themselves. Tawny Daylily is so widely growing wild that it is often considered a native wildflower. It is called Roadside or Railroad Daylily, and gained the nickname Wash-house or Outhouse Lily because it was frequently planted at such buildings.

 

Hemerocallis is one of the most hybridized of all garden plants, with registrations of new hybrids being made in the thousands each year in the search for new traits. Hybridizers have extended the plant's color range from the yellow, orange, and pale pink of the species, to vibrant reds, purples, lavenders, greenish tones, near-black, near-white, and more. However, a blue daylily is a milestone yet to be reached.

 

Other flower traits that hybridizers develop include height, scent, ruffled edges, contrasting "eyes" in the center of the bloom, and an illusion of glitter or "diamond dust." Sought-after improvements in foliage include color, variegation, disease resistance, the ability to form large, neat clumps and being evergreen or semi-evergreen instead of herbaceous (also known as "dormant" — the foliage dies back during the winter.)

A recent trend in hybridizing is to focus on tetraploid plants, with thicker petal substance and sturdier stems. Until this trend took root, nearly all daylilies were diploid. "Tets," as they are called by aficionados, have double the number of chromosomes as a diploid plant.[1] Only one cultivar is known to be triploid, the brilliant orange 'Kwanzo' or 'Kwanso,' which cannot set seed and is reproduced solely by underground runners (stolons) and division. Usually referred to as a "double," meaning producing flowers with double the usual number of petals (e.g., daylily 'Double Grapette'), 'Kwanzo' actually produces triple the usual number of petals.

 

The flowers of some species are edible and are used in Chinese cuisine. They are sold (fresh or dried) in Asian markets as gum jum or golden needles (金针 in Chinese; pinyin: jīnzhēn) or yellow flower vegetables (黃花菜 in Chinese; pinyin: huánghuācài). They are used in hot and sour soup, daylily soup (金針花湯), Buddha's delight, and moo shu pork. The young green leaves and the tubers of some (but not all[citation needed]) species are also edible. The plant has also been used for medicinal purposes. Care must be use as some species can be toxic.

 

From my set entitled “Monarda”

www.flickr.com/photos/21861018@N00/sets/72157607217954847/

In my collection entitled “The Garden”

www.flickr.com/photos/21861018@N00/collections/7215760718...

 

From Wikipedia, the free encyclopedia

en.wikipedia.org/wiki/Bee_balm

Monarda (bee balm, horsemint, oswego tea, or bergamot) is a genus consisting of roughly 16 species of erect, herbaceous annual or perennial plants in the Lamiaceae, indigenous to North America. Ranging in height from 1 to 3 feet (0.2 to 0.9 m), the plants have an equal spread, with slender and long-tapering (lanceolate) leaves; the leaves are opposite on stem, smooth to nearly hairy, lightly serrated margins, and range from 3 to 6 inches (7 to 14 cm) long. In all species, the leaves, when crushed, exude a spicy, highly fragrant oil. Of the species listed, M. didyma (Oswego Tea) contains the highest concentration of this oil.[1]

 

The genus was named for Nicolás Monardes who wrote a book in 1574 describing plants found in the New World.

 

Several Bee Balm species (Monarda fistulosa and Monarda didyma) have a long history of use as a medicinal plants by many Native Americans including the Blackfeet, Menominee, Objibwe, Winnebago and others. The Blackfeet Indians recognized the strong antiseptic action of these plants, and used poultices of the plant for skin infections and minor wounds. A tea made from the plant was also used to treat mouth and throat infections caused by dental caries and gingivitis. Bee Balm is the natural source of the antiseptic Thymol, the primary active ingredient in modern commercial mouthwash formulas. The Winnebago used a tea made from bee Balm as a general stimulant. Bee Balm was also used as a carminative herb by Native Americans to treat excessive flatulence. [2][3]

 

Although somewhat bitter due to the thymol content in the plants leaves and buds, the plant has a very similar flavor to oregano, to which it is closely related. Bee Balm was traditionally used by Native Americans as a seasoning for wild game, particularly birds. The plants are widespread across North America and can be found in moist meadows, hillsides, and forest clearings up to 5,000 feet in elevation. [2]

 

Monarda species include annual and perennial upright growing herbaceous plants with lanceolate to ovate shaped leaves. The flowers are tubular with bilateral symmetry and bilabiate; with upper lips narrow and the lower ones broader and spreading or deflexed. The flowers are single or in some cultivated forms double, generally hermaphroditic with 2 stamens. Plant bloom in mid to late-summer and the flowers are produced in dense profusion at the ends of the stem and/or in the stem axils, the flowers typically are in crowded into head-like clusters with leafy bracts. Flower colors vary, with wild forms of the plant having crimson-red to red, pink and light purple. M. didyma has bright, carmine red blossoms; M. fistulosa -- the "true" wild bergamot -- has smokey pink flowers. M. citriodora and M. pectinata have light lavender to lilac-colored blooms and have slightly decreased flower quantities. Both species are commonly referred to as "Lemon Mint." There are over 50 commercial cultivars and hybrids, ranging in color from candy-apple red to pure white to deep blue, but these plants tend to be smaller than wild species, and often developed to combat climatic or pest conditions. "M.didyma" species can grow up to 6 feet tall. Seed collected from hybrids — as with most hybridized plants — does not produce identical plants to the parent.

 

The Monarda plants prefer full sun and moist yet well-drained soil. Plants established in partial shade or filtered sun have higher incidences of rapid horizontal spread and flower less. An aggressive plant in the South-eastern United States, Bergamots can grow in a wide variety of soil conditions. Powdery mildew, rust, and (rarely) tobacco mosaic viruses disrupt established plants on occasion, but the plants are in general highly resistant to most wilts and viruses and are not easily damaged. Used most frequently in areas in need of naturalization, Monarda is often used in beds and borders to encourage and increase the appearance of hummingbirds, pollinating insects, and because of oils present in its roots is sometimes used to companion plant around small vegetable crops susceptible to subterranean pests. While seed should be stratified briefly before starting, seed may be cast directly or started in coldframes or greenhouses at soil temperatures approaching 70° Fahrenheit. Generally, propagation occurs by hardwood and softwood cuttings, root cuttings, layering, and division; the latter, quite frequently, is the most popular method out of necessity: the plant should be divided every 3 to 5 years to reduce spread, keep the central core of the plant healthy, preclude root rot, and improve air circulation about the foliage.

 

Bee balm is considered a good plant to grow with tomatoes, ostensibly improving both health and flavor. It also is a good companion plant in general, attracting pollinators and some predatory/parasitic insects that hunt garden pests.

 

Monarda species are used as food plants by the larvae of some Lepidoptera species including case-bearers of the genus Coleophora including C. heinrichella (feeds exclusively on M. fistulosa), C. monardae (feeds exclusively on Monarda spp) and C. monardella (feeds exclusively on M. fistulosa).

 

The Bergamot of the Monarda species should not be confused with the popular flavoring used in Earl Grey tea. Dried leaves may be used for teas or aromatherapies, but the odor is subtly different from Citrus bergamia, the Earl Grey flavoring. For medicinal usage, Monarda has been known to treat headaches and fevers by infusing crushed leaves in boiling water.

 

billbarber.blogspot.com/

From my set entitled “Boats and Ships”

www.flickr.com/photos/21861018@N00/3206986832/in/set-7215...

In my collection entitled “Transportation”

www.flickr.com/photos/21861018@N00/collections/7215761271...

In my photostream

www.flickr.com/photos/21861018@N00/

From my set entitled “Jamestown”

www.flickr.com/photos/21861018@N00/sets/72157606230698243/

In my collection entitled “Virginia: Beach, Williamsburg, Jamestown, Yorktown: May 2008”

www.flickr.com/photos/21861018@N00/collections/7215760622...

 

Reproduced from Wikipedia, the free encyclopedia

en.wikipedia.org/wiki/Jamestown,_Virginia

Jamestown (originally also called "James Towne" or "Jamestowne") is located on the James River in what is currently James City County in the Commonwealth of Virginia. The site is about 40 miles (62 km) inland from the Atlantic Ocean and the entrance to the Chesapeake Bay and about 45 miles (70 km) downstream and southeast of the current state capital city of Richmond. Both the river and the settlement were named for King James I of England, who was on the throne at the time, granted the private proprietorship to the Virginia Company of London's enterprise.

 

The location at Jamestown Island was selected primarily because it offered a favorable strategic defensive position against other European forces which might approach by water. However, the colonists soon discovered that the swampy and isolated site was plagued by mosquitoes and tidal river water unsuitable for drinking, and offered limited opportunities for hunting and little space for farming. The area was also inhabited by Native Americans (American Indians).

The 3 points of Colonial Virginia's Historic Triangle, Jamestown, Williamsburg, and Yorktown are linked by the National Park Service's scenic Colonial Parkway.

The 3 points of Colonial Virginia's Historic Triangle, Jamestown, Williamsburg, and Yorktown are linked by the National Park Service's scenic Colonial Parkway.

 

Despite inspired leadership of John Smith, chaplain Robert Hunt and others, starvation, hostile relations with the Indians, and lack of profitable exports all threatened the survival of the Colony in the early years as the settlers and the Virginia Company of London each struggled. However, colonist John Rolfe introduced a strain of tobacco which was successfully exported in 1612, and the financial outlook for the colony became more favorable. Two years later, Rolfe married the young Indian woman Pocahontas, daughter of Wahunsunacock, Chief of the Powhatan Confederacy, and a period of relative peace with the Natives followed. In 1616, the Rolfes made a public relations trip to England, where Pocahontas was received as visiting royalty. Changes by the Virginia Company which became effective in 1619 attracted additional investments, also sowing the first seeds of democracy in the process with a locally-elected body which became the House of Burgesses, the first such representative legislative body in the New World.

 

Throughout the 17th century, Jamestown was the capital of the Virginia Colony. Several times during emergencies, the seat of government for the colony was shifted temporarily to nearby Middle Plantation, a fortified location on the high ridge approximately equidistant from the James and York Rivers on the Virginia Peninsula. Shortly after the Colony was finally granted a long-desired charter and established the new College of William and Mary at Middle Plantation, the capital of the Colony was permanently relocated nearby. In 1699, the new capital town was renamed Williamsburg, in honor of the current British king, William III.

 

After the capital was relocated, Jamestown began a gradual loss of prominence and eventually reverted to a few large farms. It again became a significant point for control of the James River during the American Civil War (1861–1865), and then slid back into seeming oblivion. Even the Jamestown Exposition of 1907 was held elsewhere, at a more accessible location at Sewell's Point, on Hampton Roads near Norfolk.

Queen Elizabeth II of the United Kingdom and her consort Prince Phillip inspect replica of Susan Constant at Jamestown Festival Park in Virginia on October 16, 1957

Queen Elizabeth II of the United Kingdom and her consort Prince Phillip inspect replica of Susan Constant at Jamestown Festival Park in Virginia on October 16, 1957

 

Beginning in 1893, 22.5 acres of the Jamestown site were acquired by the Association for the Preservation of Virginia Antiquities. A crucial sea wall was built in 1900 to protect the shoreline near the site of James Fort from further erosion. In the 1930s, the Colonial National Historical Park was established to protect and administer Jamestown, which was designated a National Historic Site. The U.S. National Park Service acquired the remaining 1,500 acres (6.1 km²) of Jamestown Island through eminent domain in 1934.

 

For the 350th anniversary in 1957, Jamestown itself was the site of renewed interest and a huge celebration. The National Park Service provided new access with the completion of the Colonial Parkway which led to Williamsburg, home of the restored capital of Colonial Williamsburg, and then on to Yorktown, the other two portions of Colonial Virginia's Historic Triangle. Major projects such as the Jamestown Festival Park were developed by non-profit, state and federal agencies. Queen Elizabeth II of Great Britain and Prince Philip attended. The 1957 event was a great success. Tourism became continuous with attractions regularly updated and enhanced.

 

The two major attractions at Jamestown are separate, but complementary to each other. The state-sponsored Jamestown Settlement near the entrance to Jamestown Island includes a recreated English Fort and Native American Village, extensive indoor and outdoor displays, and features the three popular replica ships. On Jamestown Island itself, the National Park Service operates Historic Jamestowne. Over a million artifacts have been recovered by the Jamestown Rediscovery project with ongoing archaeological work, including a number of exciting recent discoveries.

 

Early in the 21st century, in preparation for the Jamestown 2007 event commemorating America's 400th Anniversary, new accommodations, transportation facilities and attractions were planned. The celebration began in the Spring of 2006 with the sailing of a new replica Godspeed to six major East Coast U.S. cities, where several hundred thousand people viewed it. Queen Elizabeth II and Prince Phillip joined America's festivities on an official state visit to Jamestown in May 2007.

The Rose Window has a central Annunciation by Burne-Jones, surrounded by nine cusped panels around depicting angels with instruments, to designs by Burne-Jones and Morris.

 

Professor David Crouch in his paper entitled “ST. MARTIN-ON-THE HILL and the MIDDLE AGES” (1993) provides an interesting insight into the background to this window:

In 1861, according to the report in the Builder which is our only evidence for Bodley's thinking behind St. Martin's (apart from St. Martin's itself), the idea was to have a last Judgement in the west rose window.

This was in line with the symbolic meaning behind orientation. The west was where the sun set, and it represented death and finality. Judgements were commonly to be found either here, or painted above chancel arches which, as we have seen, also symbolise an aspect of death.

A number of cartoons by Rossetti for the Judgement which was never executed still survive. But at some time in 1862 the scheme was changed. A new message was devised to make more of the lancets showing Adam and Eve executed by Ford Maddox Brown for the west wall below the rose window.

The new theme was Christ as the second Adam bringing redemption through sacrifice. The Crucifixion to be placed in the East Window was augmented by the narrative glass panels surrounding it which portray the parable of the Vineyard, in which Christ figures as the King's son murdered by his treacherous servants.

 

The final scheme is founded on the medieval idea of Christ as the new Adam sent to redeem the world from the sin of the original. The west rose window under the new scheme contained an Annunciation by Burne-Jones. This features the Virgin Mary as the physical means of redemption. As God drew the original Eve from the side of Adam so the second Adam was drawn by God from the second Eve. Ave Maria were the words by which the angel greeted the Virgin. Medieval commentators made much of the similarity between Ave (meaning 'greetings') and Eva, (Latin form of Eve). In this way Bodley and Morris neatly repackaged several medieval ideas into something quite original. West and East windows complement and answer each other, or at least they did, until the rood cross and screen introduced a discordant echo.

 

Cartoon

 

The original cartoon by Burne-Jones was apparently designed as tile panel in which he used Jane Morris, the wife of William Morris, as the model for both Mary and the young man. Visit the pre-Raphaelite Online Resource for a detailed version.

 

MaryJane MorrisGabriel

 

This cropped and horizontally flipped photo of Jane, posed by Rossetti in 1865, provides a comparison.Archangel Gabriel holding a willow twig

 

Ave Maria bannerThe banner (left) reads AVE MARIA, gratia plena, Dominus tecum. (Hail Mary, full of grace, the Lord is with you.) This is again a subtle reference to the revival of Catholic rituals in the Anglo-Catholic church.

 

What may be easily identified on the cartoon, but is unlikely to be seen on the window itself, is that the archangel Gabriel is holding a willow twig in his left hand.

 

This relates to the Resurrection, although the process of realising this is quite obscure.

Eastern Christians of Byzantine/Slavic liturgical tradition customs are found among most Slavs whether Orthodox, Greek Catholic or Roman Catholic.

 

In the week before Easter Christians celebrate the great feast – Jesus’ entry into Jerusalem - or Palm Sunday. The people of Jerusalem welcomed Jesus with palm branches and cloaks, carpeting his way to meet a kings in the custom of their day. In this way the people expressed their recognition of the divinity of Christ, their faith in him.

Branches of palm trees are a symbol of victory, and the people met Jesus as the King who had conquered death – he had recently raised from the dead, his friend Lazarus. People shouted, “Hosanna: Blessed is he that cometh in the name of God, the King of Israel!”

 

In Russia, palms do not grow, so the adoption of Christianity replaced the palms with the plant that first blooms in their area – willow. The willow heralded the end of harsh winter and the renewal of spring, while protecting people and livestock from diseases, the homes from lightening and misfortune and by fostering the fertility of man and beast.

 

Willow has become a symbol of spring, rebirth, joy and divine resurrection, symbol of the victory of Jesus over evil. Which is why Gabriel is holding a twig of willow in his left hand.

Another Christian symbol of the resurrection is the bay laurel bush we see coming through the open windows behind Gabriel, signifying the future child’s victory over death.

 

Gabriel’s right hand is raised in the traditional symbol of The Trinity – the thumb, index and middle fingers representing the Father, Son and Holy Spirit, who are divinely impregnating Mary.

 

angel bell ringers

 

The nine cusped panels around it show angels with instruments, to designs by Burne-Jones and Morris. It may be that the central roundel with all its imagery might cause one to discount these as mere embroidery. However, angels play a very significant role in the symbolism of the church.

 

angel musicians

 

The four bell ringers intersperse five other angels; four are playing musical instruments – a portable organ, a zither, a pipe and a harp or lyre, while he last angel carries an Alleluia Banner of praise. This is Heaven celebrating the announcement of the forthcoming birth of the Saviour of the world - the Son of God!

 

Numerous references to music and musical instruments can be found in both the Old and New Testaments, as well as frequent episodes involving music, song, dance and praises to God in religious ceremonies, and mournful occasions such as burial rites. The instruments mentioned in the Bible include: harps (and other stringed instruments), pipes, flutes, organs, horns, trumpets (and other wind instruments), and percussion instruments such as bells, cymbals, timbrels (or tambourines).

 

Angels announce the Last Judgment by blowing on trumpets, they serenade God and the blessed in heaven with harps and other stringed instruments, and may accompany the Virgin and Child, or various saints, with instruments such as portative organs.

 

William Morris & Co. made good use of Burne-Jones’ cartoon by installing windows closely based on the same design in churches throughout the country.

 

All Saints Dedworth Annunciation by Burne-Jones: GabrielAll Saints Dedworth Annunciation by Burne-Jones: Mary These two small windows were made in 1863 for All Saints Church Dedworth, and were originally installed in the South Aisle. The left hand window shows the Angel Gabriel standing holding a large scroll. The right hand window shows Mary in a small room, kneeling with a large lily in a pot on the floor.

 

The inscription below the Angel is ‘Ecce virgo concipiet et pariet filiumet volcabitur nomen eius Emmanuel’. This translates as ‘Behold a virgin shall conceive and bear a son and his name shall be called Emmanuel’. The scroll that is held by the Angel says ‘Ave Maria gratia plena Dominustecum’ which translates as ‘Hail Mary full of Grace, the Lord is with you’.

 

The inscription below Mary is ‘Spiritus Sanctus superveniet in te et virtus Altissimi obumbrabit tibi’. This translates as ‘The Holy Spirit shall come over you and the power of the Most High shall overshadow you’.

Visit: www.allsaintschurchwindsor.co.uk/history-of-all-saints/

Dedworth Church, by Bodley opened in 1863 and was demolished in 1973. Pevsner thought the Annunciation "specially lovely". Burne-Jones was paid 15s to adapt the tile design to stained glass. (Parry -pg. 126, V&A Morris Centenary Exhibition Catalogue).

 

Forden, Wales, and Nun Monkton St Mary's: Annunciation by Burne-Jones: The same cartoon was also used in an 1873 window at St Michael, Forden in Wales. You can see images of it on the site of the University of Wales 'Imaging the Bible':

imagingthebible.llgc.org.uk//image/708

 

Finally, the east window of St. Mary’s at Nun Monkton has and identical panel by Burne-Jones. The whole window has been the subject of a fund-raising talk A Pre-Raphaelite Masterpiece in Yorkshire: the stained glass of St Mary's, Nun Monkton by Suzanne Fagence Cooper. The research for this talk can be read on Suzanne’s Blog at: suzannefagencecooper.blogspot.co.uk/2012/05/pre-raphaelit...

  

From my set entitled “Tuberous Begonia”

www.flickr.com/photos/21861018@N00/sets/72157607213634242/

In my collection entitled “The Garden”

www.flickr.com/photos/21861018@N00/collections/7215760718...

 

From Wikipedia, the free encyclopedia

Begonia is a genus in the flowering plant family Begoniaceae. The only other member of the family Begoniaceae is Hillebrandia, a genus with a single species in the Hawaiian Islands. The genus Symbegonia is now included in Begonia. "Begonia" is the common name as well as the generic name for all members of the genus.

 

With ca. 1500+ species, Begonia is one of the ten largest angiosperm genera. The species are terrestrial (sometimes epiphytic) herbs or undershrubs and occur in subtropical and tropical moist climates, in South and Central America, Africa and southern Asia. Terrestrial species in the wild are commonly upright-stemmed, rhizomatous, or tuberous. The plants are monoecious, with unisexual male and female flowers occurring separately on the same plant, the male containing numerous stamens, the female having a large inferior ovary and two to four branched or twisted stigmas. In most species the fruit is a winged capsule containing numerous minute seeds, although baccate fruits are also known. The leaves, which are often large and variously marked or variegated, are usually asymmetric (unequal-sided).

 

Because of their sometimes showy flowers of white, pink, scarlet or yellow color and often attractively marked leaves, many species and innumerable hybrids and cultivars are cultivated. The genus is unusual in that species throughout the genus, even those coming from different continents, can frequently be hybridized with each other, and this has led to an enormous number of cultivars. The American Begonia Society classifies begonias into several major groups: cane-like, shrub-like, tuberous, rhizomatous, semperflorens, rex, trailing-scandent, or thick-stemmed. For the most part these groups do not correspond to any formal taxonomic groupings or phylogeny and many species and hybrids have characteristics of more than one group, or fit well into none of them.

The genus name honors Michel Bégon, a French patron of botany.

 

The different groups of begonias have different cultural requirements but most species come from tropical regions and therefore they and their hybrids require warm temperatures. Most are forest understory plants and require bright shade; few will tolerate full sun, especially in warmer climates. In general, begonias require a well-drained growing medium that is neither constantly wet nor allowed to dry out completely. Many begonias will grow and flower year-round but tuberous begonias usually have a dormant period, during which the tubers can be stored in a cool and dry place.

Begonias of the semperflorens group are frequently grown as bedding plants outdoors. A recent group of hybrids derived from this group is marketed as "Dragonwing Begonias"; they are much larger both in leaf and in flower. Tuberous begonias are frequently used as container plants. Although most Begonia species are tropical or subtropical in origin, the Chinese species B. grandis is hardy to USDA hardiness zone 6 and is commonly known as the "hardy begonia". Most begonias can be grown outdoors year-round in subtropical or tropical climates, but in temperate climates begonias are grown outdoors as annuals, or as house or greenhouse plants.

 

Most begonias are easily propagated by division or from stem cuttings. In addition, many can be propagated from leaf cuttings or even sections of leaves, particularly the members of the rhizomatous and rex groups.

 

The cultivar Kimjongilia is a floral emblem of North Korea.

 

Female Sumac, North Garden

 

From my set entitled ‘Sumac”

www.flickr.com/photos/21861018@N00/sets/72157607186471302/

In my collection entitled “The Garden”

www.flickr.com/photos/21861018@N00/collections/7215760718...

 

From Wikipedia, the free encyclopedia

en.wikipedia.org/wiki/Sumac

Sumac (also spelled sumach) is any one of approximately 250 species of flowering plants in the genus Rhus and related genera, in the family Anacardiaceae. The dried berries of some species are ground to produce a tangy purple spice often used in juice.

 

Sumacs grow in subtropical and warm temperate regions throughout the world, especially in North America.

 

Sumacs are shrubs and small trees that can reach a height of 1-10 meters. The leaves are spirally arranged; they are usually pinnately compound, though some species have trifoliate or simple leaves. The flowers are in dense panicles or spikes 5-30 cm long, each flower very small, greenish, creamy white or red, with five petals. The fruits form dense clusters of reddish drupes called sumac bobs.

 

Sumacs propagate both by seed (spread by birds and other animals through their droppings), and by new sprouts from rhizomes, forming large clonal colonies.

The drupes of the genus Rhus are ground into a deep-red or purple powder used as a spice in Middle Eastern cuisine to add a lemony taste to salads or meat; in the Turkish cuisine e.g. added to salad-servings of kebabs and lahmacun. In North America, the smooth sumac (Rhus glabra), and the staghorn sumac (Rhus typhina), are sometimes used to make a beverage, termed "sumac-ade" or "Indian lemonade" or "rhus juice". This drink is made by soaking the drupes in cool water, rubbing them to extract the essence, straining the liquid through a cotton cloth and sweetening it. Native Americans also used the leaves and berries of the smooth and staghorn sumacs combined with tobacco in traditional smoking mixtures.

 

Species including the fragrant sumac (Rhus aromatica), the littleleaf sumac (R. microphylla), the skunkbush sumac (R. trilobata), the smooth sumac and the staghorn sumac are grown for ornament, either as the wild types or as cultivars.

 

The leaves of certain sumacs yield tannin (mostly pyrogallol), a substance used in vegetable tanning. Leather tanned with sumac is flexible, light in weight, and light in color, even bordering on being white.

 

Dried sumac wood is fluorescent under long-wave UV light. Mowing of sumac is not a good control measure as the wood is springy resulting in jagged, sharp pointed stumps when mowed. The plant will quickly recover with new growth after mowing. See Nebraska Extension Service publication G97-1319 for suggestions as to control.

 

At times Rhus has held over 250 species. Recent molecular phylogeny research suggests breaking Rhus sensu lata into Actinocheita, Baronia, Cotinus, Malosma, Searsia, Toxicodendron, and Rhus sensu stricta. If this is done, about 35 species would remain in Rhus. However, the data is not yet clear enough to settle the proper placement of all species into these genera.

 

From my set entitled “Fuchsia”

www.flickr.com/photos/21861018@N00/sets/72157607217665417/

In my collection entitled “The Garden”

www.flickr.com/photos/21861018@N00/collections/7215760718...

 

From Wikipedia, the free encyclopedia

en.wikipedia.org/wiki/Fuchsia

 

Fuchsia is a genus of flowering plants, mostly shrubs and can grow long shoots, which were identified by Charles Plumier in the late-17th century, and named by Plumier in 1703 after the German botanist Leonhart Fuchs (1501–1566).[1] The English vernacular name Fuchsia is the same as the scientific name.

 

There are about 100–110 species of Fuchsia. The great majority are native to South America, but with a few occurring north through Central America to Mexico, and also several from New Zealand, and Tahiti. One species, Fuchsia magellanica, extends as far as the southern tip of South America occurring on Tierra del Fuego in the cool temperate zone, but the majority are tropical or subtropical. Most fuchsias are shrubs from 0.2–4 m (8 in-13 ft) tall, but one New Zealand species, Kotukutuku (Fuchsia excorticata), is unusual in the genus in being a tree, growing up to 12–15 m (39-49 ft) tall.

 

Fuchsia leaves are opposite or in whorls of 3–5, simple lanceolate and usually have serrated margins (entire in some species), 1–25 cm long, and can be either deciduous or evergreen depending on the species. The flowers are very decorative pendulous "eardrop" shape, borne in profusion throughout the summer and autumn, and all year in tropical species. They have four long, slender, sepals and four shorter, broader, petals; in many species the sepals are bright red and the petals purple (colours that attract the hummingbirds that pollinate them), but the colours can vary from white to dark red, purple-blue, and orange. A few have yellowish tones, and recent hybrids have added the color white in various combinations. The ovary is inferior and the fruit is a small (5–25 mm) dark reddish green, deep red, or deep purple, edible epigynous berry containing numerous very small seeds. Many people describe the fruit as having a subtle grape flavor spiced with black pepper.

 

Fuchsias are popular garden shrubs, and once planted will give years of pleasure for minimal amount of care. The British Fuchsia Society maintain a list of "hardy" fuchsias that have been proven to survive a number of winters throughout Britain and to be back in flower each year by July. Enthusiasts report that hundreds and even thousands of hybrids survive and prosper throughout the British Isles.

 

Fuchsias from sections Quelusia (F. magellanica and variants, F. regia, etc), encliandra (some encliandra hybrids flower continuously), Skinnera (F. excorticata, F. perscandens) and Procumbentes (F. procumbens is suitable as a groundcover) are proven to be hardy in widespread areas of Britain. Some temperate species will survive outdoors in the temperate areas, though may not always flower in the average British summer.

While the original pronunciation from the word's German origin is "fook-sya" /ˈfʊksja/, most English speakers tend to say "fyew'sha" /ˈfjuːʃə/. As a result, the word is often subjected to misspellings such as "fushcia" or "fuschia". In English, the other accepted pronunciation is "fyewk'see-ah", which is somewhat truer to the word's origin.

Among horticultural writers the fuchsia is jocularly referred to as "the world's most carefully spelled flower," a label which was apparently first given to it by Jimmy Barnes

Leonhart Fuchs was born in 1501. He occupied the chair of Medicine at the Tübingen University from the age of 34 until his death, on the 10th May 1566. Besides his medical knowledge, according to his record of activities which was extensive for the time, he studied plants. This was natural, for most of the remedies of the time were herbal and the two subjects were often inseparable.

 

In the course of his career Fuchs wrote De Historia Stirpium, which was published in 1542. In honour of Fuchs' work the fuchsia received its name shortly before 1703 by Charles Plumier. It was Plumier who compiled his Nova Plantarum Americanum, which was published in Paris in 1703, based on the results of his plant-finding trip to America in search of new genera.

 

The fuchsia was in England in the 18th century when Plumier took some seeds there after his expedition. The species he took was Fuchsia triphylla flore coccinea where specimens appeared in France. This may account for its reference under the name of "Thiles" in the Journal des Observations Botaniquesin 1725. Thiles was the name by which the plant was known in southern Chile where Plumier discovered it.

Professor Philip Munz, in his A Revision of the Genus Fuchsia, 1793 says, however, that the fuchsia was first introduced into England by a sailor who grew it in a window where it was observed by a nurseryman from Hammersmith, a Mr. Lee, who succeeded in buying it and propagating it for the trade. This was one of the short tubed species such as magellanica or coccinea.

 

This report is further embellished in various publications where Captain Firth, a sailor, brought the plant back to England from one of his trips to his home in Hammersmith where he gave it to his wife. Later on James Lee of St. Johns Wood, nurseryman and an astute businessman, heard of the plant and purchased it for £80. He then propagated as many as possible and sold them to the trade for prices ranging from £10 to £20 each.

In the Floricultural Cabinet, 1855, there is a report which varies slightly from the above. Here it says that F. coccinea was given to Kew Garden in 1788 by Captain Firth and that Lee acquired it from Kew.

 

By this time plant-collecting fever had spread and many species of numerous genera were introduced to England, some living plants, others as seed. The following plants were recorded at Kew: F. lycioides, 1796; F. arborescens, 1824; F. microphylla, 1827; F. fulgens, 1830; F. corymbiflora, 1840; and F. apetala, F. decussata, F. dependens and F. serratifolia in 1843 and 1844, the last four species attributable to Messrs. Veitch of Exeter.

 

With the increasing numbers of differing species in England plant breeders began to immediately develop hybrids to develop more desirable garden plants. The first recorded experiments date to 1825 as F. arborescens Χ F. macrostemma and F. arborescens X F. coccinea where the quality of the resultant plants was unrecorded.

Between 1835 and 1850 there was a tremendous influx to England of both hybrids and varieties, the majority of which have been lost.

 

In 1848 Monsieur Felix Porcher published the second edition of his book Le Fuchsia son Histoire et sa Culture. This described 520 species. In 1871 in later editions of M. Porchers book reference is made to James Lye who was to become famous as a breeder of fuchsias in England. In 1883 the first book of English fuchsias was published.

 

Between 1900 and 1914 many of the famous varieties were produced which were grown extensively for Covent Garden market by many growers just outside London. During the period between the world wars, fuchsia-growing slowed down as efforts were made toward crop production until after 1949, where plant and hybrid production resumed on a large scale.[3]

 

From my set entitled “Solomon’s Seal”

www.flickr.com/photos/21861018@N00/sets/72157607189465821/

In my collection entitled “The Garden”

www.flickr.com/photos/21861018@N00/collections/7215760718...

 

From Wikipedia, the free encyclopedia

Polygonatum (King Solomon's-seal, Solomon's Seal) is a genus of about 50 species of flowering plants within the family Ruscaceae, formerly classified in the lily family Liliaceae.

Some species of this genus have medicinal properties, and some (in particular P. sibiricum) are used as an tisane in traditional Chinese medicine, which is called dungulle in Korea.

Some Polygonatum shoots are edible, cooked like asparagus, as are the roots - after appropriate treatment - being a good source of starch

Revolving primarily around the root, "Solomon's Seal" are traditionally used in a range of afflictions from menopause to broken bones. As a topical application, the root are said to expedite the healing of cuts and bruises, skin irritations and inflammations, and as a face wash is good for acne, blemishes and all kinds of imperfections of the skin. When consumed as a tea, it is said to alleviate a range of symptoms associated with menopause, indigestion, diabetes, broken bones, insomnia, kidney pains, and even infertility]

Its use to fight diabetes was first observed in 1930 by Langecker. After experiments, he concluded that it was effective in fighting nutritional hyperglycemia, though not that caused by adrenaline release, probably due to its content in glucokinin.

 

From my set entitled “Buttercup”

www.flickr.com/photos/21861018@N00/sets/72157607214043026/

www.flickr.com/photos/21861018@N00/sets/72157607217763461/

In my collection entitled “The Garden”

www.flickr.com/photos/21861018@N00/collections/7215760718...

 

From Wikipedia, the free encyclopedia

en.wikipedia.org/wiki/Ranunculus

 

Ranunculus is a large genus of about 400 species of plants in the Ranunculaceae. It includes the buttercups, spearworts, water crowfoots and the lesser celandine (but not the greater celandine of the poppy family Papaveraceae).

 

They are mostly herbaceous perennials with bright yellow or white flowers (if white, still with a yellow centre); some are annuals or biennials. A few have orange or red flowers and occasionally, as in R. auricomus, petals may be absent. The petals are often highly lustrous, especially in yellow species. Buttercups usually flower in April or May but flowers may be found throughout the summer especially where the plants are growing as opportunistic colonisers, as in the case of garden weeds.

 

The Water crowfoots (Ranunculus subgenus Batrachium), which grow in still or running water, are sometimes treated in a separate genus Batrachium. They have two different leaf types, thread-like leaves underwater and broader floating leaves although for some species, such as R. aquatilis, a third, intermediate leaf form occurs.

 

Ranunculus species are used as food plants by the larvae of some Lepidoptera species including Hebrew Character and Small Angle Shades. Some species are popular ornamental flowers in horticulture, with many cultivars selected for large and brightly coloured flowers.

 

The name Ranunculus derives from the Latin words rana (frog) and ulus (little). This probably refers to many species being found near water, like frogs.

 

In the interior of the Pacific Northwest of the United States the buttercup is called "Coyote’s eyes" — iceyéeyenm sílu in Nez Perce and spilyaynmí áčaš in Sahaptin. In the legend Coyote was tossing his eyes up in the air and catching them again when Eagle snatched them. Unable to see, Coyote made eyes from the buttercup.

 

All Ranunculus species are poisonous when eaten fresh by cattle, horses, and other livestock, but their acrid taste and the blistering of the mouth caused by their poison means they are usually left uneaten. Poisoning can occur where buttercups are abundant in overgrazed fields where little other edible plant growth is left, and the animals eat them out of desperation. Symptoms include bloody diarrhea, excessive salivation, colic, and severe blistering of the mucous membranes and gastrointestinal tract. When Ranunculus plants are handled, naturally occurring ranunculin is broken down to form protoanemonin, which is known to cause contact dermatitis in humans and care should therefore be exercised in excessive handling of the plants[1]. The toxins are degraded by drying, so hay containing dried buttercups is safe

 

The term sardonic (sardanios), "bitter or scornful laughter", is often cited as deriving from the name of the Sardinian plant Ranunculus sardous, known as either σαρδάνη (sardanē) or σαρδόνιον (sardonion). When eaten, it would cause the eater's face to contort in a look resembling scorn (generally followed by death). It might also be related to σαίρω (sairō) "I grin"

  

From my set entitled

www.flickr.com/photos/21861018@N00/sets/72157607213815438/

In my collection entitled “Goldenrod”

www.flickr.com/photos/21861018@N00/collections/7215760718...

 

From Wikipedia, the free encyclopedia

en.wikipedia.org/wiki/Goldenrod

 

The goldenrod is a yellow flowering plant in the Family Asteraceae.

About 100[1] perennial species make up the genus Solidago, most being found in the meadows and pastures, along roads, ditches and waste areas in North America. There are a handful of species from each of Mexico, South America, and Eurasia.[1] Some American species have also been introduced into Europe some 250 years ago.

 

Many species are difficult to distinguish. Probably due to their bright, golden yellow flower heads blooming in late summer, the goldenrod is often unfairly blamed for causing hay fever in humans. The pollen causing these allergy problems is mainly produced by Ragweed (Ambrosia sp.), blooming at the same time as the goldenrod, but is wind-pollinated. Goldenrod pollen is too heavy and sticky to be blown far from the flowers, and is thus mainly pollinated by insects.

 

Goldenrods are easily recognized by their golden inflorescence with hundreds of small capitula, but some are spike-like and other have auxiliary racemes.

They have slender stems, usually hairless but S. canadensis shows hairs on the upper stem. They can grow to a length between 60 cm and 1.5 m.

 

Their alternate leaves are linear to lanceolate. Their margins are usually finely to sharply serrated.

 

Propagation is by wind-disseminated seed or by underground rhizomes. They form patches that are actually vegetative clones of a single plant.

 

Goldenrod is used as a food plant by the larvae of some Lepidoptera species - see list of Lepidoptera that feed on goldenrods. The Goldenrod then forms a leathery bulb (called a gall) around the invading insect as a quarantine to keep it confined to a small part of the plant. Parasitoid wasps have learned to find these galls, and lay eggs in the insect after penetrating the bulb. Woodpeckers have learned to blast open the gall and eat the wasp-infested insect holed up in the center.[2]

 

Goldenrods can be used for decoration and making tea. Goldenrods are, in some places, held as a sign of good luck or good fortune; but they are considered weeds by some.

Goldenrods are mostly short-day plants and bloom in late summer and early fall and some species produce abundant nectar when moisture is plentiful before bloom, and the bloom period is relatively warm and sunny. Honey from goldenrods often is dark and strong due to admixtures of other nectars. However when there is a strong honey flow, a light (often water white), spicy-tasting honey is produced. While the bees are ripening the honey there is a rank odor and taste, but finished honey is much milder.

 

British gardeners adopted goldenrod long before Americans. Goldenrod only began to gain some acceptance in American gardening (other than wildflower gardening) during the 1980s. A hybrid with aster, known as x Solidaster is less unruly, with pale yellow flowers, equally suitable for dried arrangements.

 

Solidago canadensis was introduced as a garden plant in Central Europe, and is now common in the wild. In Germany, it is considered an invasive species that displaces native vegetation from its natural habitat.

 

Goldenrod is a companion plant, playing host to some beneficial insects, repelling some pests

 

Inventor Thomas Edison experimented with goldenrod to produce rubber, which it contains naturally.[3] Edison created a fertilization and cultivation process to maximize the rubber content in each plant. His experiments produced a 12 foot tall plant that yielded as much as 12 percent rubber. The rubber produced through Edison's process was resilient and long lasting. The tires on the Model T given to him by his friend Henry Ford were made from goldenrod. Examples of the rubber can still be found in his laboratory, elastic and rot free after more than 50 years. However, even though Edison turned his research over to the U.S. government a year before his death, goldenrod rubber never went beyond the experimental stage.

 

The variety Solidago virgaurea is a traditional kidney tonic. It has aquaretic, anti-inflammatory, antispasmodic and antiseptic action and seems to increase kidney output.[citation needed] This makes it useful as an agent to counter inflammation and irritation of the kidneys when bacterial infection or stones are present.[4] Such use is in combination with other herbs that create a synergistic therapeutic effect on the urinary system. As in other areas of herbalism, blending creates a therapy greater than the effect of a single herb alone. The aquaretic action is also useful in helping to dissolve kidney stones by diluting their components and preventing them from recurring. See herbal medicine. Goldenrod has also been used as part of a tincture to aid in cleansing of the kidney/bladder during a healing fast, in conjunction with Potassium broth and specific juices.[4] 'Solidago odora' is also sold as a medicinal, for these issues: mucus, kidney/bladder cleansing and stones, colds, digestion.

 

The goldenrod is the state flower of the U.S. states of Kentucky (adopted March 16, 1926) and Nebraska (adopted April 4, 1895). It used to be the state flower of Alabama, being adopted as such on September 6, 1927, but was later rejected in favour of the camellia. Goldenrod was recently named the state wildflower for South Carolina.

 

In Midwestern states in the mid-twentieth century it was said that when the goldenrod bloomed, it would soon be time to go back to school--the blossoms appeared in mid- to late August, shortly before the traditional start of school on the day after Labor Day.[5]

In Sufjan Stevens' song, Casimir Pulaski Day, the narrator brings goldenrod to his girlfriend upon finding out that she has been diagnosed with bone cancer. Carrie Hamby's song, Solidago, tells the story of Thomas Edison's experiments with making goldenrod a domestic source of rubber during the 2nd world war.

 

The Sweet Goldenrod (Solidago odora) is also the state herb of Delaware as of June 24, 1996. [6]

 

This image is excerpted from a U.S. GAO report:

www.gao.gov/products/GAO-17-204

 

IMMIGRATION STATUS VERIFICATION FOR BENEFITS: Actions Needed to Improve Effectiveness and Oversight

 

Through this photographic portfolio entitled “LIQUID SUBURBS” we want to focus on the theme of suburbs understood as both physical spaces and metaphorical dimensions. In the peripheries, in modern times, we have associated in negative terms what Bauman defines as “forced individualism”, as the liberation from any possible social bond and consequent solitary management of “risk”, uncertainty and the fears that derive from it. In a “liquid” society, life, particularly in the suburbs, seems to settle down and flatten itself in an eternal arid present of future prospects, similar to quicksand, amidst increasingly heavy and immobilizing doubts and perplexities, anchored to certainties linked to a past that is not it exists more and instead persists with nostalgia in the memories of flexible men, weakening them transformative capacity of reality. To adapt to continuous change and the structural risks of the second modernity, man has preferred to abandon the thought of introspection by adopting a mentality of “survival” that feeds on a “fast” thought typical of machines. A thought that does not allow for any deep reflection of one's own experiences, which does not provide the possibility of authentically taking care of one's self and which is shown through the construction, reflected by the architecture of the suburbs (as highlighted in the portfolio), of a “patchwork” Composed of many small and fragile fragments, often devoid of ties and connections, which are unable to give meaning and significance to the existential path of the individual as well as of the family nucleus and consequently of the non-community itself.

In 1943/44 my dad, who was enlisted in the Royal Canadian Navy, travelled with the Navy Show which was entitled, "Meet the Navy". Not sure he was actually in the cast, so I'll have to pull his file at Archives Canada in Ottawa. Since he was a Certified Public Accountant, he might have watched the books. The show went across Canada by train. I know that Dad was not with the production that went overseas in 1945.

 

Dad is second from the right in the above photo. Here's the story of the Navy Show:

 

From my Herbert Charles Barber Collection

www.flickr.com/photos/21861018@N00/collections/7215760076...

 

"Meet the Navy" was a Royal Canadian Navy musical revue produced during World War II under the supervision of Capt Joseph P. Connolly, director of Special Services for the RCN. Rehearsals began in June 1943 at Hart House in Toronto. The production staff and company were recognized officially, though somewhat after the fact, by a Government of Canada Treasury Board order-in-council, 13 Aug 1943, as 'an Establishment to be known as "The Navy Show" for the... Entertainment of Naval, Army and Air Force personnel on Active Service; Promotion of recruiting; [and] Maintenance of public morale and goodwill'.

 

The show itself, called "Meet the Navy" and directed by Louis Silver (a Hollywood producer) and Larry Ceballos (a Broadway choreographer), was premiered for servicemen 2 September at Toronto's Victoria Theatre and opened to the public 4 September. It opened in Ottawa 15 September at the Capitol Theatre (Ottawa). During a year-long national tour, which covered some 10,000 miles by train, Meet the Navy entertained about a half-million Canadians. It travelled in 1944 to Britain, opening 23 October in Glasgow and touring England (11 cities in the provinces), Ireland, and Wales and playing at the Hippodrome in London (1 Feb-7 Apr 1945, including a command performance 28 February). Performances followed in Paris' Théâtre Marigny, the Brussels Music Hall, and Amsterdam's Carré Theatre. Meet the Navy closed 12 September in Oldenburg in occupied Germany. In 1945 the National Film Board produced the film Meet the Navy on Tour. Though plans for a Broadway run fell through, the show itself was filmed in November in Britain.

 

Meet the Navy included skits, dance routines, and several songs: 'In Your Little Chapeau,' 'Rockettes and the Wrens,' 'Brothers-in-Arms,' 'Meet the Navy,' and 'Beauty on Duty,' all by R.W. Harwood (words) and P.E. Quinn (music); 'The Boys in the Bellbottom Trousers' by Quinn; 'Shore Leave' by Noel Langley and Henry Sherman (words) and Quinn; and the showstopper (sung by John Pratt) 'You'll Get Used to It', with words by Pratt to music by Freddy Grant. Eric Wild (who conducted the pit orchestra) and Robert Russell Bennett arranged the music.

 

Leading roles were taken by Pratt, Robert Goodier, Cameron Grant, and Lionel Merton. Other featured performers included Dixie Dean, Ivan Romanoff (who conducted a balalaika orchestra and a chorus in 'Scena Russki'), Carl Tapscott (who did choral arrangements), the bass Oscar Natzke, and the dance team Alan and Blanche Lund. Members of the 25-piece orchestra included the violinists Victor Feldbrill, Bill Richards, and Joseph Sera, the trombonist Ted Elfstrom, and the saxophonist-clarinetist Howard 'Cokie' Campbell.

 

After the London debut of Meet the Navy, Beverley Baxter wrote in the London Evening Standard: 'Why is this piece so exhilarating, so completely satisfying and, since the first class always touches the emotions, why was it so stirring? Perhaps the answer is that quite outside the professional slickness and the terrific pace of the whole thing, we were seeing the story of Canada unconsciously unfolding itself to our eyes'.

 

In 1980, to celebrate the 70th anniversary of the Canadian navy, the Nova Scotia government revived Meet the Navy with several members of the original cast.

 

Phillips, Ruth. 'The history of the Royal Canadian Navy's World War II show Meet the Navy,' unpublished manuscript (1973)

 

Southworth, Jean. 'Actor revives his wartime role,' Ottawa Journal, 19 Aug 1980

 

From: The Encyclopaedia of Music in Canada

www.thecanadianencyclopedia.com/index.cfm?PgNm=TCE&Pa...

nkjemisin: rosariumpublishing: Rosarium to release “Sunspot Jungle” 2 volume anthology! 2018 will mark Rosarium Publishing’s fifth anniversary. To celebrate, they will be releasing a two-volume SFF anthology, entitled Sunspot Jungle: The Ever-Expanding Universe of Science Fiction and Fantasy. “I looked upon it as throwing a little party, so I invited some friends, some associates, and a whole lot of complete strangers to celebrate the field that has been so welcoming,” said publisher/editor Bill Campbell. “It’s a massive project, but it really only scratches the surface of all the great writing that’s out there right now. I hope people enjoy reading it as much as I’ve enjoyed putting it together.” Sunspot Jungle will include the works of the following writers: Basma Abdel Aziz, Yasser Abdel Latif, Saladin Ahmed, William Alexander, Charlie Jane Anders, Anatoly Belilovsky, Brooke Bolander, Vashti Bowlah, K. Tempest Bradford, Jennifer Marie Brissett, Maurice Broaddus, Christopher Brown, Tobias S. Buckell, Nadia Bulkin, Chesya Burke, Raquel Castro, Joyce Chng @blackwolfchng , John Chu, P. Djeli Clark, Zig Zag Claybourne, Elaine Cuyegkeng, Indrapramit Das, Teresa P. Mira de Echeverría, Claudia De Bella, Mame Bougouma Diene, Dilman Dila, Walter Dinjos, Tananarive Due, Hal Duncan, Corinne Duyvis, Berit Ellingsen, Amal El-Mohtar, Mélanie Fazi, Tang Fei, Fábio Fernandes, Jeffrey Ford, Clifton Gachagua, R.S.A. Garcia, Sergio Gaut vel Hartman, Max Gladstone, Jaymee Goh @jhameia​ , Hiromi Goto, Nick Harkaway, Margrét Helgadóttir, Carlos Hernandez, Nalo Hopkinson, Sabrina Huang, T.L. Huchu, Walidah Imarisha, Emmi Itäranta, N.K. Jemisin, Rahul Kanakia, Isha Karki, Csilla Kleinheincz, Tessa Kum, Clara Kumagai, Victor LaValle, Rose Lemberg, Ken Liu, Karen Lord, Karin Lowachee, Carmen Maria Machado, Nick Mamatas, Kuzhali Manickavel, Haralambi Markov, Juan Martinez, Brandon Mc Ivor, Foz Meadows, Hiroko Minagawa, Sunny Moraine, Silvia Moreno-Garcia, Kristine Ong Muslim, Ramez Naam, Shweta Narayan, Iheoma Nwachukwu, Irenosen Okojie, Nnedi Okorafor, Malka Older, Chinelo Onwualu, Nene Ormes, Sanem Ozdural, Sarah Pinsker, Pavel Renčín, Rebecca Roanhorse, Yoav Rosen, Geoff Ryman, Jayaprakash Satyamurthy, Nisi Shawl, Eve Shi, Angela Slatter, Naru Dames Sundar, Jeremy Szal, Bogi Takács, Gabriel Teodros, K.A. Teryna, Natalia Theodoridou, Sheree Renée Thomas, Lavie Tidhar, Walter Tierno, Francesco Verso, Sabrina Vourvoulias, Subodhana Wijeyeratne, Bryan Thao Worra, and Carlos Yushimito. Rosarium plans to run a Kickstarter campaign in February for a special hardcover edition of the anthology that will only be available to the supporters of the campaign. The paperback edition of Vol. 1 will be released in the fall of 2018 with the follow-up edition to be released in the spring of 2019. Reviews of our other anthologies include: “Groundbreaking speculative fiction anthology that showcases the work from some of the most talented writers inside and outside speculative fiction across the globe.” – Mothership: Tales from Afrofuturism and Beyond, Atlanta BlackStar “The Sea Is Ours opens the boundaries of what steampunk is, and it’s a frequently beautiful and often sharp read.” NY Journal of Books on The SEA is Ours: Tales from Steampunk Southeast Asia “Here’s a tribute anthology to one of the greatest living science fiction authors, including works by Junot Diaz, Eileen Gunn, Chesya Burke, Nalo Hopkinson and Geoff Ryman, which play with sexual identity and race, while some essays also celebrate Delany’s work. Publishers Weekly gave this book a starred review, and SFSignal says these stories “honor the man of the hour in many of his facets without ever falling into kitsch or fawning.” i09 on Stories for Chip: A Tribute to Samuel R. Delany For further information, contact Melissa Riggio at Melissa@rosariumpublishing.com. A thing I’m in!

.... anyone remember the movies entitled simply 'HOTEL' and don't forget the books. I can still remember the hotel detective, but even before that there was "HOT L BALTIMORE." The first almost adult sitcom. Well now, if you enjoyed those presentations, you'll need to check out "HOTEL BABYLON." The visual are scruptious and intrigue is rampant. I've watched the first three episodes and am hooked. .... VIDEO AT TEN.....maybe, unless my nap runs overtime.

 

,,, Wikipedia says, "Hotel Babylon is a BBC television drama series based on the book of the same name by Imogen Edwards-Jones, that aired from 19 January 2006 to 14 August 2009, produced by independent production company Carnival Films for BBC One. The show followed the lives of workers at a glamorous five-star hotel.

 

Actress Alexandra Moen (who plays PR Manager Emily James) mentioned in an interview that the show was cancelled after its fourth series, leaving the series 4 finale cliffhanger unresolved. One reason might have been due to the fall in ratings."

 

From my set entitled “Escarpment” (under development)

www.flickr.com/photos/21861018@N00/sets/72157608204080206/

In my collection entitled “Halton”

www.flickr.com/photos/21861018@N00/collections/7215760820...

In my photostream

www.flickr.com/photos/21861018@N00/

 

Reproduced from Wikipedia, the free encyclopedia

en.wikipedia.org/wiki/Niagara_Escarpment

The Niagara Escarpment is a long escarpment, or cuesta, in the United States and Canada that runs westward from New York State, through Ontario, Michigan, Wisconsin and Illinois. It is composed of the Lockport geological formation of Silurian age, and is similar to the Onondaga geological formation, which runs parallel to it and just to the south, through the western portion of New York and southern Ontario. The escarpment is most famous as the cliff over which the Niagara River plunges to form Niagara Falls, for which it is named.

 

The Niagara Escarpment is the most prominent of several escarpments formed in the bedrock of the Great Lakes. It is traceable from its easternmost point in New York State, starting well east of the Genesee River Valley near Rochester, creating one large and two small waterfalls on the Genesee River in that city, thence running westwards to the Niagara River forming a deep gorge north of Niagara Falls, which itself cascades over the escarpment. In Southern Ontario it stretches along the Niagara Peninsula hugging close to the Lake Ontario shore near the cities of St. Catharines and Hamilton and Milton where it takes a sharp turn north toward Georgian Bay. It then follows the Georgian Bay shore northwestwards to form the spine of the Bruce Peninsula, Manitoulin, St. Joseph Island and other islands located in northern Lake Huron where it turns westerwards into the Upper Peninsula of northern Michigan, south of Sault Ste. Marie. It then extends southwards into Wisconsin following the Door Peninsula and then more inland from the western coast of Lake Michigan and Milwaukee ending northwest of Chicago near the Wisconsin-Illinois border.

 

In February 1990, the Niagara Escarpment was designated a World Biosphere Reserve by UNESCO, making it one of 12 in Canada. Development and land use adjacent to the escarpment is regulated and the biosphere protected by the Niagara Escarpment Commission, an agency of the Ontario government.

  

my dad is currently reading books that are titled

how to remember names

and

how to overcome fear

i am currently reading books entitled

the only good thing anyone has ever done (page 47)

what is the what (page 381)

the white hotel (page 120)

naked (page 11)

and a book of poetry that does not have page numbers

plus hopefully soon some stories and poetry and essays that hannah legris will send me in my email because i have asked her to via email, because i think she is a brilliant writer

i don't care if that was weird of me to ask that because we are not good friends i just love her writing very much and i'm sure a lot of people would think that is strange but i will get more enjoyment from reading her writing than i will feel bad for people saying i am strange

 

so my dad is reading

how-to's, "improve yourself"

i want to say, "dad, i can tell you how to remember people's names so you can read other books you want to instead, like maybe some fiction or maybe a book about baseball because i know you love baseball so much"

and i would want him to say, "oh yeah? how?"

and i would want to say, "just play a game in your brain that you have to remember this person's name or they will die in the next 24 hours"

and then i would want him to say, "that sounds like it could work."

but in reality, if i said those things he would say something about how i am morbid and obsessed with death and he wants me to come to church service or prayer nights or whatever with him and mom

and then i would laugh and say i disagreed with him about this

and, about almost everything

and i would ride my bike far away

and sing songs in my friend's apartment about sarcastic death

and i would bring him a kiwi strawberry banana fruit salad to show him i wanted him to eat more fruit and vegetables and not just vegan ramen all the time because i love him in my very own, dismissive way and we would talk about why sugar is not vegan because to process it takes animal bones

and we would get sad about this and go for a walk and come back and fall asleep on the carpet separate from each other using different blankets and pillows

like

usual

pretend

we

are

little

kids

 

things that make me the happiest no matter what:

friendship

vegan recipes

sky

getting phonecalls, especially from grandpa, even bad phone conversations make me happy

sending mail, getting mail

zines

looking at the beautiful things my friends make, kristin and andrew's photos, matthew's words and mixtapes and jessica's architecture designs, matthew and kristin's music

 

things that make me the saddest no matter what:

domesticated animals

the fact that people are self-domesticated animals

the fact that my brother has lots of domesticated animals because he is lonely and wants a girlfriend but cannot find one that he likes

the news

rotten or wasted fruit

when i try to talk to my mom about important things and she tells me to shhhh because she is watching television

 

tonight i will play music for probably about twenty five people for thirty or forty minutes at the park through a very crummy amplifier and one microphone so i will have to shout/sing but it will probably sound better that way because i can't really sing anyway, they will stand around and sit in the grass and clap for ten seconds after the songs to show me that they were paying attention and stare at me when i am done and then they will walk to a coffee place nearby and tell each other that my music is cute and repetative and endearing but in a little kid sort of way, not in an adult "i respect you" way, which i already know so they could have just said it in front of me or something, and then me and my five friends or so, we will watch the sunset and i'll wish i hadn't done sky project for today already but it's okay because i liked those two clouds i saw this afternoon on my bike riding to the post office which i forgot was closed because it is saturday and i dropped envelopes with stamps i got from a vending machine in the blue metal boxes lining the parking lot of the grocery store

i will play music for thirty five minutes through an amplifier my cousin sold to me for twenty bux

twenty bucks

buckz

 

and now i will do the dishes

Colmar, January 2008

entitled ... you don't have to be a bunny to have long ears

This is a video of the the finished 3D Painting entitled Centurion. Watch in HD with red/cyan 3D Glasses.

 

See the full slide show in the Epic Journey in the Transformation of this 3D Painting here.

 

www.flickr.com/photos/57605784@N06/sets/72157625891634410...

 

When I first saw this picture I know I had to paint it, full credit to the original artist, it is a masterpiece. Bursting out of the Colosseum, on the left you have the elements of history and tradition, and on the right you have the future, which looks like a space craft, and in the middle you have the Centurion, signalling, forward...the past and future being lead by the present, how it should be.

 

Working full time as well, this picture may take me 3 to 4 days to complete, every night I will post more & more stages to completion. If you click on the Slideshow link below you can watch a Slideshow showing the many stages in the painting of the picture, iv uploaded 11 so far, it may take as many as 30 until im happy with it. Every night if you click on the same link you will see the new additions automatically added to the slidehow, giving you an insight into how 3D Paintings are created.

 

Transformation Slideshow :

 

www.flickr.com/photos/57605784@N06/sets/72157625891634410...

 

As with all civilisations, nations & empires, its not how strong you are, its what you stand for that counts , it is these values, not military might & brute force, that determines longevity & prosperity.

 

Many things have been said about the Romans, the recent film released 2010 entitled Centurion is a good example, as was Spartacus, and the birth & life of Jesus Christ. When all is said & done the Romans lasted an aweful long time, they must have been doing something right.

 

There demise was started with the emergence of a movement that put forth to mankind a much higher set of values, not a stronger military force. That movement is Christianity.

 

The Roman civilisation tried to Adapt, tried to absorb, but its decline was inevitable. The Catholic Church is what remains of the Roman branch of Christianity.

 

performance event entitled “Climate Crisis Car Wash,” co-conceived by Canadian artist Celeste Pimm.

 

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

academy-emergency-art.blogspot.dk/2014/05/why-should-berl...

-----

Biennalist @ Berlin Biennale . Should we debate global warming NOW or promote it ?

ARE BIENNALES DANGEROUS ?

Art Formats : ( including Emergency Art )

www.emergencyrooms.org/formats.html

Biennalist:

www.emergencyrooms.org/biennalist.html

www.colonel.dk

THE EMERGENCY WILL REPLACE THE CONTEMPORARY

 

-------

----more about Berlin Biennale ---#BB8

  

Juan A. Gaitán appointed curator of the 8th Berlin Biennale for Contemporary Art

KW Institute for Contemporary Art in Berlin is delighted to announce the appointment of Juan A. Gaitán as curator of the 8th Berlin Biennale for Contemporary Art. The 8th Berlin Biennale will take place in spring 2014.

Juan A. Gaitán (Canada/Colombia) is an independent writer and curator, currently based in Mexico City and Berlin. He is trained as an artist and art historian at University of British Columbia and Emily Carr Institute of Art and Design in Vancouver (Canada). Between January 2009 and December 2011, he was curator at Witte de With Center for Contemporary Art in Rotterdam (The Netherlands), and between September 2011 and June 2012 adjunct professor in the Curatorial Practice Program at the California College of the Arts in San Francisco (USA). During the 2006 – 2008 period, he was on the Board of Directors of the Western Front Society, and worked as external curator at the Morris and Helen Belkin Art Gallery in Vancouver. His writings have been published in several journals, including Afterall, The Exhibitionist, Fillip, and Mousse. His most recent exhibition, Material Information, spans three venues in Bergen (Norway), and looks for a renewed critical approach to the contemporary global distribution of labor from the perspective of arts and crafts. He is presently member of the acquisitions committee at FRAC Nord-Pas de Calais in Dunquerke (France).

 

The Berlin Biennale for Contemporary Art is since its fourth edition one of the institutions supported by the German Federal Cultural Foundation as „outstanding cultural event“. The support of 2.5 Million Euros per edition ensures planning stability, enabling the organizers to address issues of content in an experimental way.

 

Since the first edition in 1998, the Berlin Biennale has become a major international event for contemporary art. Located in the midst of Berlin’s vibrant cultural scene in the fast-changing capital of Germany, the Berlin Biennale has received an enthusiastic response from the audience as an experimental, forward-looking and contextual show. The previous seven editions of the Berlin Biennale explored a variety of exhibition formats and involved diverse curatorial agendas.

 

Curators have been:

 

1st Berlin Biennale (1998): Klaus Biesenbach with Nancy Spector, and Hans Ulrich Obrist

 

2nd Berlin Biennale (2001): Saskia Bos

 

3rd Berlin Biennale (2004): Ute Meta Bauer

 

4th Berlin Biennale (2006): Maurizio Cattelan, Massimiliano Gioni, and Ali Subotnick

 

5th Berlin Biennale (2008): Adam Szymczyk and Elena Filipovic

 

6th Berlin Biennale (2010): Kathrin Rhomberg

 

7th Berlin Biennale (2012): Artur Żmijewski together with associate curators Voina and Joanna Warsza

 

The selection committee for the curatorship of the 8th Berlin Biennale consisted of Sergio Edelsztein (Director and Chief Curator, The Centre for Contemporary Art, Tel Aviv); Cao Fei (Artist, Bejing), Susanne Gaensheimer (Director, MMK Museum für Moderne Kunst, Frankfurt a. M.), Koyo Kouoh (Founding Director and Artistic Director, Raw Material Company - Center for Art, Knowledge and Society, Dakar), Matthias Mühling (Head of Department, Curator, Städtische Galerie im Lenbachhaus, Munich), Bisi Silva (Director and Founder, Centre for Contemporary Art, Lagos), and Patricia Sloane (Associate Curator, MUAC Museo Universitario Arte Contemporáneo and advisor to the Head of Visual Arts, UNAM Universidad Nacional Autónoma de México, Mexico City).

 

The Berlin Biennale is realized by KW Institute for Contemporary Art and funded by the German Federal Cultural Foundation.

 

KW Institute for Contemporary Art

Berlin Biennale für zeitgenössische Kunst

Auguststraße 69

  

#BB8

 

---artists participating ---

52 Künstler stehen auf der am gestrigen Sonntag veröffentlichten Künstlerliste der 8. Berlin Biennale: Zarouhie Abdalian, Bani Abidi, Mathieu Kleyebe Abonnenc, Saâdane Afif, David Chalmers Alesworth, Carlos Amorales, Andreas Angelidakis, Leonor Antunes, Julieta Aranda , Tarek Atoui, Nairy Baghramian, Bianca Baldi, Patrick Alan Banfield, Alberto Baraya , Rosa Barba, Gordon Bennett, Zachary Cahill, Mariana Castillo Deball, Carolina Caycedo, Tacita Dean, Mario García Torres, Beatriz González, Agatha Gothe-Snape, Shilpa Gupta, Cynthia Gutiérrez, Ganesh Haloi, Carsten Höller, Iman Issa, Irene Kopelman, Kemang Wa Lehulere, Matts Leiderstam, Li Xiaofei, Glenn Ligon, Goshka Macuga, Santu Mofokeng, Shahryar Nashat, Olaf Nicolai, Otobong Nkanga, Christodoulos Panayiotou, Judy Radul, Jimmy Robert, Anri Sala, Slavs and Tatars, Michael Stevenson, Mariam Suhail, Vivan Sundaram, Gaganendranath Tagore, Wolfgang Tillmans, Tonel, Danh Vo & Xiu Xiu, David Zink Yi, Carla Zaccagnini und das Center for Historical Reenactments.

 

Die 8. Berlin Biennale für zeitgenössische Kunst findet vom 29. Mai bis 3. August 2014 im Haus am Waldsee, den Museen Dahlem - Staatliche Museen zu Berlin, den KW Institute for Contemporary Art und dem "Crash Pad" in den KW statt.

One final aspect of the seated figure of Caligula on the consensv dupondius is worth examining. Could Caligula have been the first living princeps to ever appear radiate on Roman coinage? B.E. Levy. in her article entitled "Caligula's Radiate Crown," finds traces of a radiate crown on two pieces: One in the Princeton University Library; the other in a private collection. Some scholars believe this theory strengthens the argument that the seated figure is Augustus and not Caligula. H.M. Von Kaenal advanced this interpretation of the dupondii this way: His first argument is that on some of the reverses you could identify Caligula's features; secondly, that the reverse legend iis suited to certain events of his accesion. As Dio tells us, the event was altered by an erruption into the senate- house of equites et populus, and in Von Kaenal's view it is to this, and not the award of an honorific statue, that the legend CONSENSV SENAT ET EQ ORDIN P Q R must refer. H. Kuthmann brings even stronger evidence of the reverse type not being Augustus when he suggests that on pre-Flavian coins the curule chair is the seat of the living princeps, while that of DIVUS Augustus is a throne. This is strong evidence that the seated figure is that of Caligula. (Interestingly, Kuthmann identifies the seated figure as Claudius.)

 

Levy brings further evidence to light when she suggests that the bronze provincial issues of at least three or four mints show Caluigula with radiate attribution (one from Alexandria, but this issue may represent Helios.) Another issue from the province of Asia shows a spikey Hellenistic crown. Even stronger evidence that the radiate crown did exist can be seen on consensv dupondii , where the die engraver shortened the vertical bar on the T in ET to accomadate the crown, while the entire letter T is slightly raised in the second Princeton piece. Levy mentions that the radiate crown is neglected in descriptions which follow illustrations in catalouges. In specifically looking for the radiated crown on the consensv dupondii, There are at least three issues that have been found via the art trade. It has been suggested that the radiate crown is occasionally used on Roman coinage to distinguish a newly elevated Emperor. Thus, the Roman radiate crown was not a true piece of insignia: Its meaning was flexible and its use optional.

 

1. See in general J. Pollini, Book Review, Dietrich Boschung, Die

   

Bildnisse des Augustus, Das romische Herrscherbild, pt. 1, vol. 2.

     

2. See D. Boschung, Die Bildnisse des Caligula. Deutsches

 

.

 

Archaologisches Institut, Das romische Herrscherbild 1,4 Berlin:

   

Gebr. Mann Verlag, 1989. 138pp, 52 pls. ISBN 3-7861-1524-9.

   

DM190.

 

3. I 7: D. Boschung, Die Bildnisse des Caligula (1989)

   

II 1: G. Daltrop - U. Hausmann - M. Wegner, Die Flavier. Vespasian,

   

Titus,Domitian, Nerva, Julia, Titi, Domitilla, Domitia (1966)

   

II 2: W. H. Groß, Bildnisse Trajans (1940)II 3: M. Wegner, Hadrian, Plotina, Marciana,

   

Matidia, Sabina (1956) II 4: M. Wegner, Die Herrscherbildnisse in antoninischer Zeit (1940)

   

III 1: H. B. Wiggers - M. Wegner, Caracalla, Geta, Plautilla, Macrinus bis Balbinus

   

(1971)III 2: R. Delbrueck, Die Münzbildnisse von Maximinus bis Carinus (1940)

 

4. See Joe Geranio, "Portraits of Caligula: The Seated Figure? - Society of Ancient Numismatics, Vol. XX, (1997)

 

For more photos of Caligula appearing radiate go to: www.portraitsofcaligula.com/3/miscellaneous10.htm

 

Joe Geranio

 

If you are interested in Julio Claudian Iconography and portrait study you may enjoy these two links:

 

Julio Claudian Iconographic Association- Joe Geranio- Administrator at groups.yahoo.com/group/julioclaudian/

 

The Portraiture of Caligula- Joe Geranio- Administrator- at

portraitsofcaligula.com/

 

Both are non-profit sites and for educational use only.For more on Caligulan Numismatic Articles see: Coins courtesy cngoins.com

 

Related Articles of Caligula from American Numismatic Society Library Search

 

Library Catalog Search (Preliminary Version)

Full Record: Barrett, Anthony A. The invalidation of currency in the Roman Empire : the Claudian demonetization of Caligula's AES. (1999)

Full Record: Bost, Jean-Pierre. Routes, cits et ateliers montaires : quelques remarques sur les officines hispaniques entre les rgnes d'Auguste en de Caligula. (1999)

Full Record: Bibliothque Municipale d'Etude et d'Information de Grenoble. Grenoble : Bibliothque Municipale d'Etude et d'Information : catalogue des monnaies. II. Monnaies romaines. Monnaies impriales romaines. 2. Caligula - Neron . Index. / Bernard Rmy, Frdric Bontoux, Virginie Risler. (1998)

Full Record: Gainor, John R. The image of the Julio-Claudian dynasty from coins / by John R. Gainor.

Full Record: Martini, Rodolfo. Monete romane imperiali del Museo G. B. Adriani. Parte 3, Caius (37-41 d.C.) / Rodolfo Martini. (2001)

Full Record: ACCLA privy to presentation by Richard Baker on Caligula. (2002)

Full Record: Wend, David A. Caligula, the emperor as autocrat. Part 1. (2002)

Full Record: Wend, David A. Caligula, the emperor as autocrat. Part 2. (2002)

Full Record: Wend, David A. Caligula, the emperor as autocrat. Part 3. (2002)

Full Record: Kemmers, Fleur. Caligula on the Lower Rhine : Coin finds from the Roman Fort of Albaniana (The Netherlands) / Fleur Kemmers. (2004)

Full Record: Estiot, Sylviane. Le trsor de Meussia (Jura) : 399 monnaies d'argent d'poques rpublicaine et julio-claudienne / Sylviane Estiot, Isabelle Aymar. (2002)

Full Record: Gocht, Hans. Namenstilgungen an Bronzemünzen des Caligula und Claudius / Hans Gocht. (2003)

Full Record: Gomis Justo, Marivi. Ercavica : La emision de Caligula. Estimacion del numero de cunos originales.

Full Record: Sayles, Wayne G. Fakes on the Internet. (2002)

Full Record: Kemmers, Fleur. The coin finds from the Roman fort Albaniana, the Netherlands / Fleur Kemmers . (2005)

Full Record: Lopez Snchez, Fernando. La afirmacion soberana de Caligula y de Claudio y el fin de las acunaciones ciudadanas en occidente / Fernando Lopez Snchez. (2000)

Full Record: Besombes, Paul-Andr. Les monnaies hispaniques de Claude Ier des dpôts de la Vilaine (Rennes) et de Saint-Lonard (Mayenne) : tmoins de quel type de contact entre l'Armorique et la pninsule ibrique ? / Paul-Andr Besombes. (2005)

Full Record: Catalli, Fiorenzo. Le thesaurus de Sora / Fiorenzo Catalli et John Scheid.

Full Record: Giard, Jean-Baptiste. Faux deniers de Caligula de la Renaissance.

Full Record: Vermeule, Cornelius. Faces of Empire (Julius Caesar to Justinian). Part II(B), More young faces : Caligula again and Nero reborn / Cornelius Vermeule. (2005)

Full Record: Geranio, Joe. Portraits of Caligula : the seated figure? / Joe Geranio. (2007)

Full Record: Aguilera Hernandez, Alberto. Acerca de un as de Caligula hallado en Zaragoza / Alberto Aguilera Hernandez. (2007)

Full Record: Butcher, K. E. T. Caligula : the evil emperor. (1985)

Full Record: Fuchs, Michaela. Frauen um Caligula und Claudius : Milonia Caesonia, Drusilla und Messalina. (1990)

Full Record: Faur, Jean-Claude. Moneda de Caligula de Museo Arqueologico Provincial de Tarragona. (1979)

Full Record: British Museum. Dept. of coins and medals. Coins of the Roman Empire in the British museum. Vol. I: Augustus to Vitellius / by Harold Mattingly. (1976)

Full Record: Conrad, Edwin. A Caligula Isotope of Hadrian. (1968)

Full Record: Conrad, Edwin. The Metamorphosis of an Allegad 'As of Hadrian.' (1968)

Full Record: Bendall, Simon. A 'new' gold quinarius of Caligula. (1985)

Full Record: Cortellini, Nereo. Le monete di Caligola nel Cohen.

Full Record: Guey, Julien. Les "bains d'or" de Caligula "Immensi Avreorvm Acervi (Sutone, Cal., 42,3).

Full Record: Guey, J. Les "bains d'or" de Caligula : Sutone, Cal. 42, 3.

Full Record: Curry, Michael R. The Aes Quadrans of Caligula. (1968)

Full Record: Jonas, Elemr. L'emploi dar "damnatio memoriae" sur l'un des "dupondius" de Calgula. (1937)

Full Record: Julian, R. W. The coins of Caligula. (1994)

Full Record: Donciu, Ramiro. Cu privire la activitatea militara a lui Caius (Caligula) in anul 40 e.n. (1983)

Full Record: Hansen, Peter. A history of Caligula's Vesta. (1992)

Full Record: Kaenel, Hans-Markus von. Augustus, Caligula oder Caludius? (1978)

Full Record: Kaenel, Hans-Markus von. Die Organisation der Münzprgung Caligulas. (1987)

Full Record: Johansen, Flemming S. The sculpted portraits of Caligula. (1987)

Full Record: Carter, G. F. Chemical compositions of copper-based Roman coins. V : imitations of Caligula, Claudius, and Nero / G. F. Carter and others. (1978)

Full Record: Giard, Jean-Baptiste. L'atelier de Lyon sous Auguste : Tibre et Caligula. (1979)

Full Record: Giard, Jean-Baptiste. Les missions d'or et d'argent de Caligula dans l'atelier de Lyon. (1976)

Full Record: Giard, Jean-Baptiste. Le monnayage de l'atelier de Lyon des origines au rgne de Caligula (43 avant J.-C. - 41 aprs J.-C.). (1983)

Full Record: Nony, D. Quelques as d'imitation de Caligula trouves a Bordeaux (Gironde). (1981)

Full Record: Levy, Brooks Emmons. Caligula's radiate crown. (1988)

Full Record: Poulsen, Vagn. Un nouveau visage de Caligula. (1972)

Full Record: Price, Martin Jessop. Elephant in Crete? New light ona cistophorus of Caligula. (1973)

Full Record: MacInnis, H. Frank. Ego-driven emperor commits excesses. (1979)

Full Record: McKenna, Thomas P. The case of the curious coin of Caligula : a provincial bronze restruck with legend-only dies. (1994)

Full Record: Mowat, Robert. Bronzes remarquables de Tibre, de son fils, de ses petits-fils et de Caligula. (1911)

Full Record: Koenig, Franz E. Roma, monete dal Tevere : l'imperatore Gaio (Caligola). (1988)

Full Record: Kollgaard, Ron. Caligula's coins profile despot. (1993)

Full Record: Kollgaard, Ron. A numismatic mystery : "the Caligula quadrans." (1994)

Full Record: Martini, Rodolfo. Osservazioni su contromarche ed erosioni su assi de Caligula. (1980)

Full Record: Szaivert, Wolfgang. Moneta Imperii Romani. Band 2 und 3. Die Münzprgung der Kaiser Tiberius und Caius (Caligula) 14/41 / von Wolfgang Szaivert. (1984)

Full Record: Boschung, Dietrich. Die Bildnisse des Caligula. Kaenel, Hans-Markus von. Jucker, Hans. Deutsches Archaologisches Institut. Das Romische Herrscherbild. 1. Abt., Bd. 4, Die Bildnisse des Caligula / Dietrich Boschung ; mit einem Beitrag von Hans-Markus von Kaenel ; auf Grund der Vorarbeiten und Marterialsammlungen von Hans Jucker. (1989)

Full Record: Rosborough, Ruskin R. An epigraphic commentary on Suetonius's life of Gaius Caligula. A thesis...for the...Doctor of Philosophy. (1920)

Full Record: Richard, Jean-Claude. A propos de l'aureus de Caligula dcouvert Saint-Colomban-des-Villards (Savoie). (1982)

Full Record: Richard, Jean-Claude. Un aureus de Caligula dcouvert Saint-Colomban-des-Villards (Savoie). (1982)

Full Record: Ritter, Hans-Werner. Adlocutio und Corona Civica unter Caligula und Tiberius. (1971)

Full Record: Kumpikevicius, Gordon C. A numismatic look at Gaius. (1979)

Full Record: Savio, Adriano. La coerenza di Caligola nella gestione della moneta / Adriano Savio. (1988)

Full Record: Savio, Adriano. Note su alcune monete di Gaio-Caligola. (1973)

Full Record: Stylow, Armin U. Die Quadranten des Caligula als Propaganda-münzen.münzen" aus der stdtischen sammlung zu Osnabrück. (1971)

Full Record: Schwartz, Jacques. Le Monnayage Snatorial entre 37 et 42 P.C. (1951)

Full Record: Rodolfo Martini, ed. Sylloge nummorum Romanorum. Italia. Milano, Civiche Raccolte Numismatiche Vol. 1 Giulio-Claudii / a cura di Rodolfo Martini. (1990)

Full Record: Szaivert, Wolfgang. Zur Julisch-Claudischen Münzprgung. (1979)

Full Record: Vedrianus. The Roman Imperial series. V. Gaius. (1963)

Full Record: Tietze, Christian M. Kaiser Cajus Caesar, genannt Caligula. (1979)

Full Record: Wood, Susan. Diva Drusilla Panthea and the sisters of Caligula / Susan Wood. (1995)

Full Record: Sutherland, Carol Humphrey Vivian. Coinage in Roman imperial policy 31 B.C.-A.D. 68. (1951)

Full Record: Sutherland, C. H. V. The mints of Lugdunum and Rome under Gaius : an unsolved problem. (1981)

Full Record: Trillmich, Walter. Familienpropaganda der Kaiser Caligula und Claudius : Agrippina Maior und Antonia Augusta auf Münzen. (1978)

Full Record: Voirol, August. Eine Warenumsatzsteuer im antiken Rom und der numismatische Beleg inher Aufhebung : Centesima rerum venalium. (1943)

Full Record: Trillmich, Walter. Zur Münzprgung des Caligula von Caesaraugusta (Zaragoza). (1973)

 

Ceremony of Glen Cinema Memorial entitled Rattle Little Mother at Dunn Square Paisley.

 

Location Of Names On Rattle Little Mother, Glen Cinema Memorial

 

Front “ To The Children Of The Glen Cinema “

Left Panel as you face front of memorial which faces in the direction of the Piazza “ Elizabeth Leonard - Samuel McBlane - Sarah McCafferty - Robert McConnell - Nellie McCran - Minnie McCran - Edward McEnhill - Margaret McEnhill - James McEnhill - Denis McGarrity - Robert McGirr - Jeanie McGrattan - Mary McWattie - Margaret Morrow - Robert Niven - Georgina Peacock - Tom Perkins - John Pinkerton - William Pinkerton - Alexander Telfer - William Rae - Thomas Renfrew - George Scott - William Spears - Jane Stevenson - Robert Wingate.

 

Back of Memorial which faces Paisley Town Hall “ James Gielty - John Gielty - Norman Gillies - John Goodwin - Henry Green - Mary Green - Archibald Grogan - Annie Hamilton - George Hammond “ 31 December 1929 “ Elizabeth Hart - Peter Houston - Thomas Howard - Julia Irvine - William Irvine - Thomas Jackson - James Johnston - George Kennedy - Helen Kilkie - Thomas Kilkie.

 

Right panel as you face front of memorial which faces towards Forbes Place “ Robert Adams - Robert Alexander - John Bell - William Black - Hugh Blue - John Bowes - David Boyd - Caroline Brain - Lily Buchanan - John Cairns - Daniel Corbett - Elizabeth Corrigan - Agnes Coyle - Robert Craig - Francis Curran - Elizabeth Dempster - Leah Dixon - Mary Dolan - George Elliott - Henry Elliott - Bessie Finlay - Enso Fiori - Janet Fitch - William Fitch - James Gatherer - Margaret Gibson.

 

N.B All lettering in gold except from “ 31 December 1929 “ on rear of memorial which is in black, both sides contain 26 names whilst there is 19 names on the bac

From my set entitled “Peonies”

www.flickr.com/photos/21861018@N00/sets/72157607186459134/

 

In my collection entitled “The Garden”

www.flickr.com/photos/21861018@N00/collections/7215760718...

 

From Wikipedia, the free encyclopedia

en.wikipedia.org/wiki/Peony

 

The peony or paeony (Paeonia) is the only genus in the flowering plant family Paeoniaceae. They are native to Asia, southern Europe and western North America.

Most are herbaceous perennial plants 0.5–1.5 metres tall, but some are woody shrubs up to 1.5–3 metres tall. They have compound, deeply lobed leaves, and large, often fragrant flowers, ranging from red to white or yellow, in late spring and early summer. In the past, the peonies were often classified in the family Ranunculaceae, alongside Hellebores and Anemones.

 

The peony is named after Paeon or Paean, a student of Asclepius, the Greek god of medicine and healing. Asclepius became jealous of his pupil; Zeus saved Paeon from the wrath of Asclepius by turning him into the peony flower

 

The peony is among the longest-used flowers in ornamental culture and is one of the smallest living creature national emblems in China. Along with the plum blossom, it is a traditional floral symbol of China, where it is called 牡丹 (mǔ dān). It is also known as 富贵花 (fuguihua) "flower of riches and honour", and is used symbolically in Chinese art.[2] In 1903, the Qing Dynasty declared the peony as the national flower. Currently, the Republic of China on Taiwan designates the plum blossom as the national flower, while the People's Republic of China has no legally designated national flower. In 1994, the peony was proposed as the national flower after a nationwide poll, but the National People's Congress failed to ratify the selection. In 2003, another selection process has begun, but to date, no choice has been made.

 

The famous ancient Chinese city Luoyang has a reputation as a cultivation centre for the peonies. Throughout Chinese history, peonies in Luoyang are often said to be the finest in the country. Dozens of peony exhibitions and shows are still held there annually.

In Japan, Paeonia lactiflora used to be called ebisugusuri ("foreign medicine"). In kampo (the Japanese adaptation of Chinese medicine), its root was used as a treatment for convulsions. It is also cultivated as a garden plant. In Japan Paeonia suffruticosa is called the "The King of flowers" and Paeonia lactiflora is called the "prime minister of flowers".

 

Pronunciation of 牡丹 (peony) in Japan is "botan". Before the Meiji period, meat taken from quadrupeds was seldom consumed in Japan due to Buddhism. Thus in cases where such meat was handled, it was paraphrased using the names of flowers. The term botan was used (and is still used) to paraphrase wild boar meat. This comes from the flowery resemblance of the sliced meat when spread over a dish. Another example is sakura (cherry blossoms) which stands for horsemeat.

In 1957, the Indiana General Assembly passed a law to make the peony the state flower of Indiana, a title which it holds to this day. It replaced the zinnia, which had been the state flower since 1931.

 

Mischievous nymphs were said to hide in the petals of the Peony thus causing this magnificent flower to be given the meaning of Shame or Bashfulness in the Language of Flowers. It was named after Pæon, a physician to the gods, who obtained the plant on Mount Olympus from the mother of Apollo. Once planted the Peony likes to be left alone and punishes those who try to move it by not flowering again for several years. Once established, however, it produces splendid blooms each year for decades (Taken from The Language of Flowers, edited by Sheila Pickles, 1990).

 

Peonies are also extensively grown as ornamental plants for their very large, often scented flowers.

Peonies tend to attract ants to the flower buds. This is due to the nectar that forms on the outside of the flower buds.

 

Peonies are a common subject in tattoos, often used along with koi-fish.

An Ecumenical Conference entitled ‘One Lord, One Faith’ was held in the Church of St John the Baptist, Clontarf on Saturday, commemorating the 500th anniversary of the Reformation in Germany.

 

Introducing the event, Mary Cunningham, co–organiser with the Rector, the Revd Lesley Robinson, highlighted the many and growing list of ecumenical initiatives in Clontarf, including a Good Friday Way of the Cross, an Easter Sunrise Service, the Pentecost Camino and Ecumenical Bible Study. She credited Fr. Gabriel Daly’s book, ‘The Church Always in Need of Reform’, as being the inspiration for the decision to commemorate Luther’s 95 Theses, noting that both were Augustinian friars, some 500 years apart. She also paid tribute to their mutual friend, Fr Sean Fagan, a ‘much loved and respected theologian’, who passed away last year.

 

The conference was ably facilitated by Philip McKinley, who before introducing the speakers, commented on the power of anniversaries as opportunities to think wide and think big and to look again through our 2017 lens at what life was like in the 16th century.

 

Background to the Reformation

 

The first speaker was Dr Gesa Thiessen, Adjunct Assistant Professor in the Department of Religions and Theology, TCD, and an assistant Lutheran Minister. She spoke of the background to the Reformation and gave an insight into Luther’s theology, pointing out that the theses were intended as discussion papers but set in train consequences that were unforeseen and unintended by Luther. His intention was to reform the whole church, in the face of some serious abuses, however, what resulted was what she called the ‘tragic legacy of the Reformation: the wholly unintended schism in the church’.

 

Hugely influenced by the writings of St Paul, Luther came to understand salvation as a gift, not something that could be earned or bought. This doctrine of salvation through God’s gift of righteousness without dependence on human merit, was the measure by which Luther judged the religious practices and official teaching of his day and he found them wanting. His reliance on sola scriptura, sola fide, sola gratia often led to accusations of a denial of the place of good works in Christian lives.

 

Dr Thiessen pointed out that this was untrue, quoting Luther as saying ‘Faith cannot help doing good works constantly. It doesn’t stop to ask if good works ought to be done, but before anyone asks, it already has done them and continues to do them without ceasing. Anyone who does not do good works in this manner is an unbeliever’. She concluded with a quote from the Joint Declaration on the Doctrine of Justification, signed by the Roman Catholic and Lutheran churches in 1999. ‘Together we confess: By grace alone, in faith in Christ’s saving work and not because of any merit on our part, we are accepted by God and receive the Holy Spirit, who renews our hearts while equipping us to good works’, quipping that she was sure Luther would agree!

 

The unity and diversity of ecumenism

 

The second speaker was Dr Andrew Pierce, Assistant Professor in Ecumenics, Course Co–ordinator of the M.Phil. in Intercultural Theology & Interreligious Studies and Head of Department, in the Irish School of Ecumenics, TCD. Andrew spoke on the Ecumenical Journey So Far, reflecting at the outset that ecumenism is a complex reality, which is as much concerned with unity as with diversity, the key to which is sustaining the equilibrium between the two.

 

Explaining the origin of the word ecumenism as ‘Oikoumene: the whole inhabited earth’, he pointed out the perpetual difficulties with that concept of wholeness, citing Paul’s failures to successfully ease the tensions between Jews and Greeks, and St Jerome’s agonized musings on whether the country people could be saved, as examples of the church’s 2,000–year history of failed ecumenism. Noting that St Paul only travelled in the cities, he commented on the fact that people outside the borders are often not seen as belonging to the whole, evident currently in Europe with the issue of how we deal with refugees.

 

An ecumenical theology is a theology concerned with both the unity and diversity of the Christian Church; and in its modern form, ecumenism started in 1910 at the Edinburgh World Missionary Conference. Dr Pierce went on to speak of the work of the World Council of Churches, which advocates ‘shared service, shared mission, shared living, shared prayer’.

 

He referred to some of the achievements of the Faith and Order Movement strand of the WCC as being: Full membership of Roman Catholic Church in the F&O Commission in 1968; Baptism, Eucharist & Ministry: a convergence text in 1982; and The Church: Towards a Common Mission: a second convergence text in 2013, noting that the covenant signed between the Methodist Church and the Church of Ireland, and the relationship between the Church of Ireland and the Porvoo Lutheran churches grew out of the Baptism, Eucharist & Ministry document. Despite such progress many challenges remain, not least difficulties which Richard Niebuhr sees as the reality of people’s denominational identity changing to reflect social mobility. Rather than simply reflecting the reality of principled division amongst Christians, Niebuhr described denominationalism as ‘the moral failure of Christianity.’

 

Dr Pierce went on to ask how might we distinguish doctrinal and non–doctrinal elements in our religious identity, so particularly prevalent in Ireland, and how might we prevent the latter from masquerading as the former? Closing with the challenge of the Lund Principle that the churches can now act together in all things, except where sincere matters of conviction prevent this, he asked what that might look like in Clontarf, or any other community.

 

An ecumenical theology of the Eucharist

 

Having enjoyed lunch together in the Parish Centre, Fr Gabriel Daly OSA, renowned theologian and writer, recommenced proceedings with a talk entitled An Ecumenical Theology of the Eucharist. Fr Daly confessed that he found it difficult to discuss the Eucharist without adverting to Catholic conservative attitudes some of which have to be changed in order to make further ecumenical progress.

 

While acknowledging the right of conservative Catholics to hold to their views, he questioned their right to impose those views on others as the only possible orthodoxy, thereby putting a barrier in the path of ecumenical progress. He commented that the church introduced the term ‘transubstantiation’ into common liturgical use in the Middle Ages, at the end of which the Council of Trent put it into the context of the Reformation and that made it a contentious issue between the churches.

 

Pre–Vatican Two Eucharistic theology was concentrated on a philosophical problem employing abstractions like substance and accidents which mean little to the average member of the church who probably turns it into a physical change, in spite of unmistakable evidence to the contrary. Sadly, the Eucharist became an occasion of bitter controversy and disunity from the time of the Reformation – the very antithesis of what the Eucharist was intended to be. Fr Daly is adamant that there is no suggestion in The Council of Trent that the word ‘transubstantiation’ is defined Catholic doctrine; only that the Eucharistic conversion of bread and wine into the body and blood of Christ is ‘suitably and properly called Transubstantiation.’ Therefore, he asserts, it is in no way necessary to Roman Catholic orthodoxy.

 

Reflecting on the philosophy of metaphysics, so influential in Catholic Eucharist theology, he noted that this is an age of scientifically–based thought; and people today do not use metaphysical language. Thus they can share in the Eucharist without knowing what substance and accidents are. Quoting John Calvin, he agreed with his statement “I [would] rather experience than understand [the Eucharist]”. Tackling what he sees as the misuse of the word symbol he asserted that this misunderstanding of symbolism led to the belief that it was a way of avoiding subscription to the notion of ‘the real presence of Christ in the Eucharist’. Thus, if Protestants referred to the symbolism of the Eucharist, they were taken to mean that Christ’s presence in the Eucharist is not “real”.

 

Fr Daly refuted this accusation and went on to observe that virtually all talk about God is symbolic: rather than a denial of real presence, symbolism enables us to speak about things that lie too deep for literal speech. Lamenting the Roman Catholic church’s denial of the right to share the Eucharist with our separated brethren, Fr Daly concluded with a revisiting of what he called the ‘human character of Holy Thursday’. At the climax of the evening, Jesus took a loaf of bread, broke it into pieces and distributed them to his disciples in a spontaneously loving gesture intended to express in powerful symbolic and dramatic fashion all that he felt for them since he had met them first by the lakeside in Galilee.

 

“We cannot imagine”, argued Fr Daly, “that the disciples would have wondered what had happened to the bread and the wine at the Last Supper; they were far too preoccupied with a deeply moving occasion that summed up the entire time that they had spent with Jesus. Biblical history has left us with a moment of great emotional and spiritual significance; and, over the centuries, we have often reduced it to a tiresome metaphysical dispute about ‘real presence’ which has done little good and much harm to unity and peace”.

 

‘Stepping Stones Towards Greater Unity’

 

It was left to the final speaker of the day, Gillian Kingston, Vice President of the World Methodist Council and formerly the first Lay Leader of the Methodist Conference in Ireland, to wrap things up with some thoughts on where we can go from here, in a talk entitled ‘Stepping Stones Towards Greater Unity: what can be done at local level to progress things’.

 

She began by quoting Friedrich Nietzsche who pointed out that there will always be rocks on the road ahead of us: they can be stumbling blocks or stepping stones, depending on how we chose to use them. Using the analogy of a three legged milking stool, she cited three pillars of the ecumenical movement: theological dialogue and reflection, structural reform and realignment, grass root encounter and involvement– all of which are interdependent on each other.

 

Mentioning several of the dialogues which have taken place and the documents and suggestions which have ensued, she spoke of the importance of intentionality in getting to know each other, in worshiping together, in sharing stories of faith together, in conducting shared Bible study, and in looking at the possibilities of making joint appointments to youth, children and pastoral roles. Citing progress which has been made at official level, she asked if we as churches and individuals avail of these permissions. She urged us to experience what is best about worshipping together, to learn about each other’s histories and what makes the other tick, and witness together our common Christian values to the world.

 

She also encouraged honest and open discussion about the things on which we differ, using as an example the missed opportunity to come together to discuss the contentious ‘One Bread, One Body’ document. Acknowledging the hurt caused by some Vatican pronouncements, she told the story of a Roman Catholic lady in the North Tipperary Methodist circuit who turned up at the Methodist church with flowers and an apology in the wake of the Dominus Iesus document. However, on a more encouraging note she pointed to some of Pope Francis’ recent writings as great sources of hope of a shared vision for the future of the church and the world, including ‘Evangelii Gaudium’ in 2013 and ‘Laudato Si’ in 2015 which she noted with glee was published on 24th May – Wesley Day!

 

Taking up Pope Francis’ passion for the poor, Mrs Kingston encouraged the assembled audience of over forty people from diverse backgrounds, to commit to tackling such issues as the refugee crisis, the persecution of Christians and world development together as a joint Christian witness. ‘Instead of doing ecumenical things’ she said, ‘we need to do things ecumenically’– a subtle but profound difference. Returning to her opening reference to Nietzsche, she pointed out that the stumbling block of 1517 had become a stepping stone in 1999 with the Joint Declaration between Lutherans and Roman Catholic churches. Other churches have since subscribed to the declaration also. Concluding, Mrs Kingston noted that while reformation and division came about in 1517, we continue pray for reformation and unity in 2017.

 

The conference concluded with a Service of Holy Communion, celebrated by the Church of Ireland Archbishop of Dublin, the Most Revd Dr Michael Jackson, assisted by the Rector of Clontarf, the Revd Lesley Robinson. The Gospel was read by Most Revd Dr Diarmuid Martin, Roman Catholic Archbishop of Dublin, while local Parish Priest, Fr Martin Hogan, read the First Lesson. The intercessions were read by members of the various churches represented.

 

It is hoped to build on the success of the conference by holding an annual ecumenical conference in Clontarf.

 

Diefenbunker: Canada's Cold War Museum

 

This 28-minute film, entitled "Nuclear Roof," was produced by the Canadian Army in the early 1960s. The film explains the design, construction and use of the bunker for communications, but avoids any mention of its role as the Emergency Government Headquarters.

  

SECRECY FOR SURVIVAL

THE LIFEBOAT

 

What does it take to govern a country during nuclear war?

How do you decide who goes into the bunker?

Who would you bring?

 

If nuclear war came, the Diefenbunker would have to be able to survive without any help, cut off from direct contact with the outside world. The facility was designed to accommodate 535 personnel for 30 days of continuous operation without any aid or supplies (the normal peacetime staff was around 100). Its designers took great pains to ensure the building and its systems would permit the emergency government to live and work during the crisis period.

 

The bunker had everything it needed to sustain life and allow the emergency government to perform its job. Air could be filtered from the outside to eliminate radioactivity, electricity was provided by its own diesel generators, and there were stores of fresh and dehydrated foods. The facility had its own fresh water wells and pumps. The Diefenbunker was designed to be like a well-provisioned lifeboat in a sea of nuclear fallout.

 

A decontamination chamber (to decontaminate personnel from radioactive fallout) was located just inside the main entrance beside the huge blast doors. There was a small, well-equipped medical centre and dental office. Sleeping quarters for most would have involved "hot bunking" (two or three people sharing a bed in shifts) when the bunker was fully manned. A canteen would have sold toiletries, candy and smokes but no alcohol - during a nuclear war emergency. Other recreational facilities to help reduce stress were located next to the cafeteria.

 

Two escape hatches led to the outside world, should the blast doors at the entrance become damaged. A small arms locker was located in the facility so the station defense force could protect the bunker from a small scale attack or maintain order. The medical overflow room could only be opened from the outside - it could double as a confinement room if necessary.

 

For over three decades thousands of military personnel, civil servants and civilian employees worked here as a permanent employees, armed forces personnel on a military posting or civil servants out for a one-day exercise. Canadian Forces Station Carp closed its blast doors for the last time in 1994 when its active service came to an end.

Dejan Stojanović: Razgovori, 1999

 

*Dejan Stojanović, Razgovori (Conversations), Knjizevna rec, Beograd (Belgrade), 1999*

 

A book of interviews from 1990 to 1992 in Europe and America, entitled *Conversations*, contains a selection of interviews with several major American writers, including Nobel Laureate Saul Bellow, Charles Simic, and Steve Tesich [the third section of the book, entitled *Chicago (1991-1992)]*.

 

The second section, entitled *Paris (1990)*, contains interviews with Petar Omčikus, Ljuba Popović, Miloš Šobajić and Jacques Claude Villard.

 

The first section, entitled *Beograd (1990),* contains interviews with Alek Vukadinovic, Momo Kapor, Nikola Milosevic and Sava Rakocevic.

 

The last section contains a selection of articles.

 

For this book, Dejan Stojanovic received the prestigious *Rastko Petrovic* Award from the Society of Serbian Writers.

 

About the Book

Knjiga novinskih tekstova i intervjua Dejana Stojanovića nastala je početkom devedesetih. Sklon istraživanju, autor ove knjige, koji je pre svega pesnik po vokaciji, završio je kao i najbolji predstavnici naše književne reči—u inostranstvu.

 

Izgnanstvo je večna prisutnost naše knjizevnosti, i kao po pravilu njeni predstavnici su naša najbolja pera. Tako su prisilni izgnanici bili Dučic i Rastko Petrović, a dobrovoljni Kiš i Pekić. U tom društvu našao se Dejan Stojanović. Njegovo izgnanstvo je dobrovoljno. Nakon deset godina ispalo je da je dobrovoljno da ne bi bilo prisilno. Posebna simbolika Stojanovićevog izgnanstva jeste u tome da je otadzbinu napustio u godini tri veka seobe Srba pod patrijarhom Arsenijem Čarnojevićem.

 

Poznavajući pre svega svoju kulturu, Stojanović se na kratko zadržao u Beogradu, a prva destinacija je bio san svih nasih predratnih i poratnih umetnika—Pariz. Odatle je ka nasim redakcijama potekla reka intervjua sa nasim najpoznatijim slikarima koji već decenijama žive i stvaraju u tom gradu.

 

Nakon Pariza Stojanović se skrasio u Čikagu, najvećem srpskom gradu u dijaspori. Odatle su stigli izvanredni intervjui sa nasim, pre svega kulturnim radnicima, koji su svoju slovensku i srpsku osobenost tako uspešno ugradili u američku kulturu. Zato možda i nije čudno što je Stiv Tešić bio jedan od najvećih američkih dramskih pisaca, a Charles Simic je trenutno jedan od vodećih američkih pesnika.

 

Stojanovićev izgnanički trougao Beograd-Pariz-Čikago doneo nam je ovu knjigu. Stojanovic je pre svega pesnik, ali i izvanredan intervjuer. On poseduje ono što mnogi intervjueri nemaju: apsolutnu obavestenost o delu sagovornika i dar za slušanje. On sagovornika ne muči pitanjima, nego naizgled lakim podpitanjima iz njega izvlači ono najvaznije. U tome je najveća vrednost ove knjige.

 

-Aleksandar I. Popović

 

UMETNOST INTERVJUISANJA

 

Poslednjih desetak godina u Srbiji se ustalio običaj da se intervjui sa stvaraocima koji imaju šta da kažu, posle kratkotrajnog žurnalističkog života iz masovnih medija sele među korice knjiga. Ovakvoj aktuelizaciji u svetu visokotiražne, dijaloške proze, koja korene vuče iz antičke Grčke (sofisti) poesbno je doprinela edicija "Razgovori s piscima" gde je BIGZ publikovao više izvanrednih kolekcija odabranih intervjua sa našim klasicima: Crnjanskim, Andrićem, Kišom, Pekićem, Pavićem . . . A toj, sve brojnijoj, populaciji domaćih "razgovornih publicista" nedavno se priključio pesnik i novinar Dejan Stojanović, sada nastanjen u Americi. Njegova knjiga "Razgovori" donosi četrnaest komunikativnih i, često, provokativnih intervjua, nakon kojih su, umesto epiloga, štampane i tri Stojanovićeve reportaže o odnosu Srba prema "ostatku čovečanstva". Ovde se radi o prilozima nastalim početkom, za nas kataklizmične poslednje dekade XX veka, od kojih su većina objavljeni u tada prestižnom kragujevačkom magazinu "Pogledi" , kada su u njima svoje mladalačke radove štampali neki od vodećih stvaralaca nove generacije (Gojko Božović, Biljana Srbljanović, Ivan Medenica, Djordje Milosavljević, a tiraž premašivao 200 hiljada prodatih primeraka. Osim toga, ovi intervjui slede i liniju Stojanovićevog emigrantskog putešestvija koja, od zavičajne Metohije, vodi preko Beograda (gde su nastali razgovori sa Momom Kaporom, Alekom Vukadinovićem, Nikolom Milosevićem i Savom Rakočevićem) i Pariza (Omčikus, Ljuba Popović, Šobajić, Ž. K. Vilar), do Čikaga (Charles Simic, Saul Bellow, Stiv i Nadja Tešić, Branko Mikašinović).

 

Stvarnost ove zanimljive knjige opredeljena je dakle, dramatičnim posmatranjima na svetskom planu: rušenjem berlinskog zida, demontiranjem komunizma i krvavim komadanjem Titove Jugoslavije. Zato je logično što su se Stojanovićevi sabesednici manje bavili svojim poetičkim nacelima, a više, kao intelektualci odgovorni pred budućnošću, analizirali stranputice kojima se zaputila civilizacija. Čak i onda kada je novinar nastojao da ih navede da razotkriju pojedine nivoe svojih autorskih strategija, intervjuisani su se držali prividno sigurnijeg a, u stvari, neuporedivo "klizavijeg" terena društvene zbilje, opasno ruinirane mnoštvom suprotstavljenih energija. Tako su, neretko, nastajale situacije u kojima su ovi, nesumnjivo umni, ljudi demonstrirali zadivljujucu dozu naivnosti u poznavanju ključnih principa vezanih za planetrani transfer uticaja, insistirajući na uverenju da će razborita moć razuma, uvek i svuda, biti kadra da porazi ogoljenu destruktivnost sile. Znamo, brojna zbivanja širom zemljine kugle, naročito u Srbiji, nažalost, užasno su ih demantovala, ali je ovim "Razgovorima", bar, i to bi mogao biti njihov važan kvalitet, demistifikovan potroseni romantičarski status intelektualca modernog doba kao beskompromisnog Prometeja ili, makar, poželjnog Don Kihota. Štaviše, ovde je on sam sebe sveo na marginalizovanog popisivača što ugled stiče argatujući u najbezazlenijim kartotekama političke moći.

 

Navedeno, naravno, ne znači da su Razgovori kolekcija promašenih procena. Upravo suprotno, reč je o naslovu u kome ce svaki čitalac moći da stavi na probu mnoštvo ličnih stavova bude li spreman da se liši svog, standardno pasivnog položaja. Pri tom, snažnu podršku će mu pružiti baš pozicija Dejana Stojanovića, jer je on u intervjue ulazio bez kompleksa, sa savršeno jasnom namerom i vizijom konačnog cilja. Uzrok takvog njegovog pristupa je, očito, danas tako retka, gotovo dečačka, posvećenost obavljanju žurnalističkog zadatka, što je za posledicu imalo jedno, nesporno, intelektualističko, ali i prijateljsko raspričavanje veoma ozbiljnih tema. Mozda tajna lakoće i skladnosti ovih intervjua leži u Stojanovićevoj konstataciji da je "svojim sagovornicima prilazio manje kao profesionalni novinar, a više kao umetnik koji želi da neke svoje uvide produbi u razmeni mišljenja sa istaknutim stvaraocima za koje veruje da bolje od većine razumeju svet". Posebno dragoceno je to što je on svoju intervjuersku strast i dar za improvizaciju i domišljanje posredovao i na autoritete s kojima je razgovarao, i uz čija se akademska zvanja prakticno podrazumeva teorijska akribija, pa i hermetičnost, zbog čega je ova knjiga očišćena od teško prohodnih mesta i visokoučenosti koje bi mogle da opterete percepciju "prosečne publike". Autorova usredsređenost i podrobna obaveštenost o svim momentima od vitalnog značaja za dramaturgiju razgovora, koji su ga oslobodili iluzije da se gomilom podataka, razmeće pred svojim sagovornicima ili, ne daj Bože, pokuša da im "ukrade dušu", najbolje dolazi do izražaja kada se Stojanović, na najmanju digresiju ili asocijaciju u razmeni misljenja, transformise iz diskretnog slušaoca u minucioznog ispitivača koji ume da nametne svoj ritam razgovora. Na taj način stiče se važan osećaj da tekst "Razgovora", uprkos svojoj, nuzno, izlomljenoj strukturi, nema grubljih oscilacija, nego da sledi nit prirodnosti.

 

Mada su u "Razgovorima" objavljeni intervjui sa takvim imenima kao što su nobelovac Saul Bellow ili matematičar-pesnik Žak Klod Vilar, do kojih su ovdašnji novinari retko uspevali da stignu, kao najinteresantnije Stojanovićeve "mušterije" su se nametnuli scenarista Stiv (Stojan) Tešic i pesnik Charles (Dusan) Simić. Naime, to su Era i Šumadinac koji su, u najboljem maniru prekookeanskih "sapunica", materijalizovali svoj "američki san" kroz "Oskara" (Tešic) i "Pulicera" (Simić), čitavo vreme u svom radu, ponekad i nehotično, istrajavajući na prozimanju tradicije usvojene u rodnom kraju sa prizemnim standardima "o'kay" kulture nove domovine.

 

Konačno, bilo bi neoprostivo zanemariti činjenicu da kompletnom zadovoljstvu pri čitanju ove knjige doprinsi i njen vrhunski i rastresit prelom teksta, za što zasluge pripadaju art-direktoru "Književne reči", Radu Tovladijcu i stripocrtaču Zoranu Tuciću koji je uradio portrete svih četrnaest intervjuisanih stvaralaca, i samog Dejana Stojanovića.

 

-Dušan Vidaković

 

Zbilja, broj 62/63, novembar/decembar 2000.

 

Table of Contents

BEOGRAD (1990)

Alek Vukadinović 7

Momo Kapor 19

Nikola Milošević 29

Sava Rakočević 39

PARIS (1990)

Petar Omčikus 49

Ljuba Popović 57

Miloš Šobajić 67

Jacques Claude Villard 77

CHICAGO (1991-1992)

Saul Bellow 89

Steve Tesich 103

Branko Mikašinović 117

Charles Simic 125

Nadja Tesich 131

Sava Rakočević 149

DODATAK

Mi u svetu 159

Šetam kafanama Pariza 163

Molitva na Mičigenskom jezeru 167

Beleška o autoru 173

  

Razgovori (Conversations)

Series: Biblioteka Horizonti (Belgrade, Serbia); Source records: Library MARC record; Language: Serbian; LCCN: 00279201; LC: PG1404 .S78 1999 ; Genre: Interviews. Subject: Authors, Serbian - 20th century - United States - Chicago - Paris - Belgrade - Interviews

Dejan Stojanović.

Published 1999 by Književna reč in Beograd (Belgrade), Serbia .

Written in Serbian.

From my set entitled “Peonies”

www.flickr.com/photos/21861018@N00/sets/72157607186459134/

 

In my collection entitled “The Garden”

www.flickr.com/photos/21861018@N00/collections/7215760718...

 

From Wikipedia, the free encyclopedia

en.wikipedia.org/wiki/Peony

 

The peony or paeony (Paeonia) is the only genus in the flowering plant family Paeoniaceae. They are native to Asia, southern Europe and western North America.

Most are herbaceous perennial plants 0.5–1.5 metres tall, but some are woody shrubs up to 1.5–3 metres tall. They have compound, deeply lobed leaves, and large, often fragrant flowers, ranging from red to white or yellow, in late spring and early summer. In the past, the peonies were often classified in the family Ranunculaceae, alongside Hellebores and Anemones.

 

The peony is named after Paeon or Paean, a student of Asclepius, the Greek god of medicine and healing. Asclepius became jealous of his pupil; Zeus saved Paeon from the wrath of Asclepius by turning him into the peony flower

 

The peony is among the longest-used flowers in ornamental culture and is one of the smallest living creature national emblems in China. Along with the plum blossom, it is a traditional floral symbol of China, where it is called 牡丹 (mǔ dān). It is also known as 富贵花 (fuguihua) "flower of riches and honour", and is used symbolically in Chinese art.[2] In 1903, the Qing Dynasty declared the peony as the national flower. Currently, the Republic of China on Taiwan designates the plum blossom as the national flower, while the People's Republic of China has no legally designated national flower. In 1994, the peony was proposed as the national flower after a nationwide poll, but the National People's Congress failed to ratify the selection. In 2003, another selection process has begun, but to date, no choice has been made.

 

The famous ancient Chinese city Luoyang has a reputation as a cultivation centre for the peonies. Throughout Chinese history, peonies in Luoyang are often said to be the finest in the country. Dozens of peony exhibitions and shows are still held there annually.

In Japan, Paeonia lactiflora used to be called ebisugusuri ("foreign medicine"). In kampo (the Japanese adaptation of Chinese medicine), its root was used as a treatment for convulsions. It is also cultivated as a garden plant. In Japan Paeonia suffruticosa is called the "The King of flowers" and Paeonia lactiflora is called the "prime minister of flowers".

 

Pronunciation of 牡丹 (peony) in Japan is "botan". Before the Meiji period, meat taken from quadrupeds was seldom consumed in Japan due to Buddhism. Thus in cases where such meat was handled, it was paraphrased using the names of flowers. The term botan was used (and is still used) to paraphrase wild boar meat. This comes from the flowery resemblance of the sliced meat when spread over a dish. Another example is sakura (cherry blossoms) which stands for horsemeat.

In 1957, the Indiana General Assembly passed a law to make the peony the state flower of Indiana, a title which it holds to this day. It replaced the zinnia, which had been the state flower since 1931.

 

Mischievous nymphs were said to hide in the petals of the Peony thus causing this magnificent flower to be given the meaning of Shame or Bashfulness in the Language of Flowers. It was named after Pæon, a physician to the gods, who obtained the plant on Mount Olympus from the mother of Apollo. Once planted the Peony likes to be left alone and punishes those who try to move it by not flowering again for several years. Once established, however, it produces splendid blooms each year for decades (Taken from The Language of Flowers, edited by Sheila Pickles, 1990).

 

Peonies are also extensively grown as ornamental plants for their very large, often scented flowers.

Peonies tend to attract ants to the flower buds. This is due to the nectar that forms on the outside of the flower buds.

 

Peonies are a common subject in tattoos, often used along with koi-fish.

This is close -up of the finished 3D Painting entitled Centurion.

 

See the full slide show in the Epic Journey in the Transformation of this 3D Painting here.

 

www.flickr.com/photos/57605784@N06/sets/72157625891634410...

 

When I first saw this picture I know I had to paint it, full credit to the original artist, it is a masterpiece. Bursting out of the Colosseum, on the left you have the elements of history and tradition, and on the right you have the future, which looks like a space craft, and in the middle you have the Centurion, signalling, forward...the past and future being lead by the present, how it should be.

 

Working full time as well, this picture may take me 3 to 4 days to complete, every night I will post more & more stages to completion. If you click on the Slideshow link below you can watch a Slideshow showing the many stages in the painting of the picture, iv uploaded 11 so far, it may take as many as 30 until im happy with it. Every night if you click on the same link you will see the new additions automatically added to the slidehow, giving you an insight into how 3D Paintings are created.

 

Transformation Slideshow :

 

www.flickr.com/photos/57605784@N06/sets/72157625891634410...

 

As with all civilisations, nations & empires, its not how strong you are, its what you stand for that counts , it is these values, not military might & brute force, that determines longevity & prosperity.

 

Many things have been said about the Romans, the recent film released 2010 entitled Centurion is a good example, as was Spartacus, and the birth & life of Jesus Christ. When all is said & done the Romans lasted an aweful long time, they must have been doing something right.

 

There demise was started with the emergence of a movement that put forth to mankind a much higher set of values, not a stronger military force. That movement is Christianity.

 

The Roman civilisation tried to Adapt, tried to absorb, but its decline was inevitable. The Catholic Church is what remains of the Roman branch of Christianity.

 

Mulberry Tree Bleeding Heart Goutweed Heuchera Begonia

 

From my set entitled “Heuchera”

www.flickr.com/photos/21861018@N00/sets/72157607185356154/

In my collection entitled “The Garden”

www.flickr.com/photos/21861018@N00/collections/7215760718...

 

From Wikipedia, the free encyclopedia

en.wikipedia.org/wiki/HeucheraThe genus Heuchera includes at least 50 species of herbaceous perennial plants in the family Saxifragaceae, all native to North America. Common names include alumroot and coral bells. They have palmately lobed leaves on long petioles, and a thick, woody rootstock. The genus was named after Johann Heinrich von Heucher (1677–1746), an 18th century German physician.

Alumroot species grow in varied habitats, so some species look quite different from one another, and have varying preferences regarding temperature, soil, and other natural factors. H. maxima is found on the Channel Islands of California, where it grows on rocky, windy, saline-washed ocean shores. H. sanguinea, called coral bells because of its terra cotta-colored flowers, can be found in the warm, dry canyons of Arizona. Gardeners and horticulturists have developed a multitude of hybrids between various Heuchera species. There is an extensive array of blossom sizes, shapes, and colors, foliage types, and geographic tolerances.

Though tangy and slightly astringent, the leaves may be used to liven up bland greens.

 

Natives of the Northwest U.S. have used tonic derived of Alumroot roots to aid digestive difficulties, but extractions from the root can also be used to stop minor bleeding, reduce inflammation, and otherwise shrink moist tissues after swelling.

 

From my set entitled “Bleeding Heart”

www.flickr.com/photos/21861018@N00/sets/72157607186479750/

In my collection entitled “The Garden”

www.flickr.com/photos/21861018@N00/collections/7215760718...

 

From Wikipedia, the free encyclopedia

en.wikipedia.org/wiki/Dicentra

Dicentra spectabilis also known as Venus's car, bleeding heart, Dutchman's trousers, or lyre flower, is a perennial herbaceous plant native to eastern Asia from Siberia south to Japan. This species of bleeding heart can grow to 24"-36" tall and has ternately compound leaves (leaflets that come in threes). The flowers are pendulous, shaped much like hearts, produced in a raceme bearing 3-15 individual flowers, each one 1-2" long, with pink outer petals and white inner petals. The flowering season is from early spring to mid summer. The common name of this plant, bleeding heart, comes from the heart-shaped flowers which have a longer inner petal that extends below the 'heart'.

 

It is a popular ornamental plant for flower gardens in temperate climates, and is also used in floristry as a cut flower. It can be a full sun plant if in a cool area but in a warm climate, prefers semi-shaded areas. It needs to be kept moist and prefers neutral to alkaline soil with good drainage although these plants can tolerate heavy clay soil as well.

It is prone to aphids, slugs and snails, which cause damage to its leaves. Propagation is by sowing the seeds when fresh. It can also be divided, preferably in the late fall or early spring. However, contact with the plant can cause skin irritation because the entire plant is toxic, so should be handled with gloves and long sleeves.

 

Several cultivars have been selected, including 'Alba', with pure white flowers, and 'Goldheart', a relatively new cultivar developed at Hadspen Garden in England and introduced in 1997 with fuchsia-coloured flowers that drop from the stem in a row, and yellow foliage that turns lime green by mid summer.

  

Someone fat, furry and orange, who shall remain nameless, has decided that it is his feline right to sleep on my sheepskin rug. He has actually started to "ask" for the sheepskin to sleep on since I keep it rolled up most of the time. He's getting old, so I usually oblige. ;)

 

+1

Photograph entitled ‘Ballyhaise House, March 1855’, Co. Cavan. This property was built for the Newburghs, a local landowning family, in the 1730s. In 1885 it was owned by William Humphreys, High Sheriff of Co Cavan.

 

From Photograph album containing twenty-one black and white photographs probably taken by the Honorary Hugh Annesley. The album is endorsed on the front inside cover as H. Annesley. Scots Fusilier Guards. March 1855.

 

Date: March 1855

 

Reference: D1854/5/1/1

performance event entitled “Climate Crisis Car Wash,” co-conceived by Canadian artist Celeste Pimm.

 

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academy-emergency-art.blogspot.dk/2014/05/why-should-berl...

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Biennalist @ Berlin Biennale . Should we debate global warming NOW or promote it ?

ARE BIENNALES DANGEROUS ?

Art Formats : ( including Emergency Art )

www.emergencyrooms.org/formats.html

Biennalist:

www.emergencyrooms.org/biennalist.html

www.colonel.dk

THE EMERGENCY WILL REPLACE THE CONTEMPORARY

 

-------

----more about Berlin Biennale ---#BB8

  

Juan A. Gaitán appointed curator of the 8th Berlin Biennale for Contemporary Art

KW Institute for Contemporary Art in Berlin is delighted to announce the appointment of Juan A. Gaitán as curator of the 8th Berlin Biennale for Contemporary Art. The 8th Berlin Biennale will take place in spring 2014.

Juan A. Gaitán (Canada/Colombia) is an independent writer and curator, currently based in Mexico City and Berlin. He is trained as an artist and art historian at University of British Columbia and Emily Carr Institute of Art and Design in Vancouver (Canada). Between January 2009 and December 2011, he was curator at Witte de With Center for Contemporary Art in Rotterdam (The Netherlands), and between September 2011 and June 2012 adjunct professor in the Curatorial Practice Program at the California College of the Arts in San Francisco (USA). During the 2006 – 2008 period, he was on the Board of Directors of the Western Front Society, and worked as external curator at the Morris and Helen Belkin Art Gallery in Vancouver. His writings have been published in several journals, including Afterall, The Exhibitionist, Fillip, and Mousse. His most recent exhibition, Material Information, spans three venues in Bergen (Norway), and looks for a renewed critical approach to the contemporary global distribution of labor from the perspective of arts and crafts. He is presently member of the acquisitions committee at FRAC Nord-Pas de Calais in Dunquerke (France).

 

The Berlin Biennale for Contemporary Art is since its fourth edition one of the institutions supported by the German Federal Cultural Foundation as „outstanding cultural event“. The support of 2.5 Million Euros per edition ensures planning stability, enabling the organizers to address issues of content in an experimental way.

 

Since the first edition in 1998, the Berlin Biennale has become a major international event for contemporary art. Located in the midst of Berlin’s vibrant cultural scene in the fast-changing capital of Germany, the Berlin Biennale has received an enthusiastic response from the audience as an experimental, forward-looking and contextual show. The previous seven editions of the Berlin Biennale explored a variety of exhibition formats and involved diverse curatorial agendas.

 

Curators have been:

 

1st Berlin Biennale (1998): Klaus Biesenbach with Nancy Spector, and Hans Ulrich Obrist

 

2nd Berlin Biennale (2001): Saskia Bos

 

3rd Berlin Biennale (2004): Ute Meta Bauer

 

4th Berlin Biennale (2006): Maurizio Cattelan, Massimiliano Gioni, and Ali Subotnick

 

5th Berlin Biennale (2008): Adam Szymczyk and Elena Filipovic

 

6th Berlin Biennale (2010): Kathrin Rhomberg

 

7th Berlin Biennale (2012): Artur Żmijewski together with associate curators Voina and Joanna Warsza

 

The selection committee for the curatorship of the 8th Berlin Biennale consisted of Sergio Edelsztein (Director and Chief Curator, The Centre for Contemporary Art, Tel Aviv); Cao Fei (Artist, Bejing), Susanne Gaensheimer (Director, MMK Museum für Moderne Kunst, Frankfurt a. M.), Koyo Kouoh (Founding Director and Artistic Director, Raw Material Company - Center for Art, Knowledge and Society, Dakar), Matthias Mühling (Head of Department, Curator, Städtische Galerie im Lenbachhaus, Munich), Bisi Silva (Director and Founder, Centre for Contemporary Art, Lagos), and Patricia Sloane (Associate Curator, MUAC Museo Universitario Arte Contemporáneo and advisor to the Head of Visual Arts, UNAM Universidad Nacional Autónoma de México, Mexico City).

 

The Berlin Biennale is realized by KW Institute for Contemporary Art and funded by the German Federal Cultural Foundation.

 

KW Institute for Contemporary Art

Berlin Biennale für zeitgenössische Kunst

Auguststraße 69

  

#BB8

 

---artists participating ---

52 Künstler stehen auf der am gestrigen Sonntag veröffentlichten Künstlerliste der 8. Berlin Biennale: Zarouhie Abdalian, Bani Abidi, Mathieu Kleyebe Abonnenc, Saâdane Afif, David Chalmers Alesworth, Carlos Amorales, Andreas Angelidakis, Leonor Antunes, Julieta Aranda , Tarek Atoui, Nairy Baghramian, Bianca Baldi, Patrick Alan Banfield, Alberto Baraya , Rosa Barba, Gordon Bennett, Zachary Cahill, Mariana Castillo Deball, Carolina Caycedo, Tacita Dean, Mario García Torres, Beatriz González, Agatha Gothe-Snape, Shilpa Gupta, Cynthia Gutiérrez, Ganesh Haloi, Carsten Höller, Iman Issa, Irene Kopelman, Kemang Wa Lehulere, Matts Leiderstam, Li Xiaofei, Glenn Ligon, Goshka Macuga, Santu Mofokeng, Shahryar Nashat, Olaf Nicolai, Otobong Nkanga, Christodoulos Panayiotou, Judy Radul, Jimmy Robert, Anri Sala, Slavs and Tatars, Michael Stevenson, Mariam Suhail, Vivan Sundaram, Gaganendranath Tagore, Wolfgang Tillmans, Tonel, Danh Vo & Xiu Xiu, David Zink Yi, Carla Zaccagnini und das Center for Historical Reenactments.

 

Die 8. Berlin Biennale für zeitgenössische Kunst findet vom 29. Mai bis 3. August 2014 im Haus am Waldsee, den Museen Dahlem - Staatliche Museen zu Berlin, den KW Institute for Contemporary Art und dem "Crash Pad" in den KW statt.

Entitling this "Waiting room" just wasn't the same somehow.

 

One of several artworks commissioned for the UCH Cancer Centre, this is by artist Morag Myerscough and is my favourite. Other artists who contributed work include Sir Peter Blake, Grayson Perry, Pure Evil and Rob Ryan.

From my set entitled “Tuberous Begonia”

www.flickr.com/photos/21861018@N00/sets/72157607213634242/

In my collection entitled “The Garden”

www.flickr.com/photos/21861018@N00/collections/7215760718...

 

From Wikipedia, the free encyclopedia

Begonia is a genus in the flowering plant family Begoniaceae. The only other member of the family Begoniaceae is Hillebrandia, a genus with a single species in the Hawaiian Islands. The genus Symbegonia is now included in Begonia. "Begonia" is the common name as well as the generic name for all members of the genus.

 

With ca. 1500+ species, Begonia is one of the ten largest angiosperm genera. The species are terrestrial (sometimes epiphytic) herbs or undershrubs and occur in subtropical and tropical moist climates, in South and Central America, Africa and southern Asia. Terrestrial species in the wild are commonly upright-stemmed, rhizomatous, or tuberous. The plants are monoecious, with unisexual male and female flowers occurring separately on the same plant, the male containing numerous stamens, the female having a large inferior ovary and two to four branched or twisted stigmas. In most species the fruit is a winged capsule containing numerous minute seeds, although baccate fruits are also known. The leaves, which are often large and variously marked or variegated, are usually asymmetric (unequal-sided).

 

Because of their sometimes showy flowers of white, pink, scarlet or yellow color and often attractively marked leaves, many species and innumerable hybrids and cultivars are cultivated. The genus is unusual in that species throughout the genus, even those coming from different continents, can frequently be hybridized with each other, and this has led to an enormous number of cultivars. The American Begonia Society classifies begonias into several major groups: cane-like, shrub-like, tuberous, rhizomatous, semperflorens, rex, trailing-scandent, or thick-stemmed. For the most part these groups do not correspond to any formal taxonomic groupings or phylogeny and many species and hybrids have characteristics of more than one group, or fit well into none of them.

The genus name honors Michel Bégon, a French patron of botany.

 

The different groups of begonias have different cultural requirements but most species come from tropical regions and therefore they and their hybrids require warm temperatures. Most are forest understory plants and require bright shade; few will tolerate full sun, especially in warmer climates. In general, begonias require a well-drained growing medium that is neither constantly wet nor allowed to dry out completely. Many begonias will grow and flower year-round but tuberous begonias usually have a dormant period, during which the tubers can be stored in a cool and dry place.

Begonias of the semperflorens group are frequently grown as bedding plants outdoors. A recent group of hybrids derived from this group is marketed as "Dragonwing Begonias"; they are much larger both in leaf and in flower. Tuberous begonias are frequently used as container plants. Although most Begonia species are tropical or subtropical in origin, the Chinese species B. grandis is hardy to USDA hardiness zone 6 and is commonly known as the "hardy begonia". Most begonias can be grown outdoors year-round in subtropical or tropical climates, but in temperate climates begonias are grown outdoors as annuals, or as house or greenhouse plants.

 

Most begonias are easily propagated by division or from stem cuttings. In addition, many can be propagated from leaf cuttings or even sections of leaves, particularly the members of the rhizomatous and rex groups.

 

The cultivar Kimjongilia is a floral emblem of North Korea.

 

St. Paul, Minnesota

 

April 15, 2010

 

There was another Tea Party protest at the Minnesota capitol on April 15, tax day. Protesters call for smaller government and the repeal of the health care law enacted in March, 2010.

 

Signs read:

 

Cut

Spending

Cut

Taxes

Cut

Unearned

Entitlements

 

Who is

John Galt?

 

It's NOT About Your

Birth Certificate

It's About The

Constitution

 

Entitled Scottisg Soldier in the erstwhile Reid's Transport fleet.

I got this popup book entitled ''Disney Frozen: A Pop-Up Adventure'' by Matthew Reinhart. I got it a couple of weeks ago from 20th Century Music Company on Main Street in Disneyland. It had just been released last month (October 2016). It came wrapped in clear plastic, with a paper insert in the back. It tells the story of Frozen in pop-up drawings depicting actual scenes from the movie. There are six double page pop-ups, with some of them transforming into two separate scenes by means of pull tabs. There are also many smaller pop-ups tucked inside of side panels next to the main pop-ups. It costs $40.

This photograph was featured in an article by Michaela Trimble entitled: '' 15 Stops for the Ultimate Northern Road Trip on the Alaska Highway '', on the Explore section of TRAVEL + LEISURE website, based at 225 Liberty St., New York, NY 10281.

  

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©All photographs on this site are copyright: DESPITE STRAIGHT LINES (Paul Williams) 2011 – 2020 & GETTY IMAGES ®

  

No license is given nor granted in respect of the use of any copyrighted material on this site other than with the express written agreement of DESPITE STRAIGHT LINES (Paul Williams) ©

  

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This photograph was taken at 09:50am on Tuesday 10th May 2016 off the Alaska Highway 97, with a detour onto the Old Alaska Highway Road onto Kiskatinaw Road at Kiskatinaw Bridge, Dawson Creek in British Columbia, Canada.

  

Kiskatinaw Bridge was originally designed and built in 1942-43 by the United States Army Corps of Engineers to provide a pioneer road for military vehicles from Dawson Creek to Big Delta, Alaska. The bridge is now the last surviving bridge of it's kind still in use, curving nine degrees and spaning 162.5 metres in length. In 1978 a new road was built that bypassed the beautifull wooden bridge, which offers wonderful view of the Kiskatinaw river and entry to the Kiskatinaw Provincial Park.

  

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Nikon D800 24mm 1/100s f/13.0 iso100 RAW (14Bit) Hand held. Nikon back focus button enabled. AF-C Continuous point focus with 3-D tracking. Manual exposure. Matrix metering. Auto white balance. Nikon fine tune on (+9)

  

Nikkor AF-S 24-70mm f/2.8G ED IF. Jessops 77mm UV filter. Nikon MB-D12 battery grip. Two Nikon EN-EL15 batteries. Nikon DK-17M 1.2x Magnifying Eyepiece. Nikon DK-19 soft rubber eyecup. Digi-Chip 64GB Class 10 UHS-1 SDXC card. Lowepro Transporter camera strap. Lowepro Vertex 200 AW Photo/ 15.4" Notebook Backpack camera bag. Nikon GP-1 GPS.

  

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LATITUDE: N 55d 57m 26.31s

LONGITUDE: W 120d 33m 49.66s

ALTITUDE: 610.00m

  

RAW (TIFF) FILE SIZE: 103.00MB

PROCESSED (JPeg) SIZE: 30.32MB

  

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PROCESSING POWER:

 

Nikon D800 Firmware versions A 1.10 B 1.10 L 2.009 (Lens distortion control version 2)

 

HP 110-352na Desktop PC with AMD Quad-Core A6-5200 APU processor. AMD Radeon HD8400 graphics. 8 GB DDR3 Memory with 1TB SATA storage. 64-bit Windows 10. Verbatim USB 2.0 1TB desktop hard drive. WD My Passport Ultra 1tb USB3 Portable hard drive. Nikon ViewNX2 Version 2.10.3 64bit. Adobe photoshop Elements 8 Version 8.0 64bit.

   

THE SUN, Friday, December 18, 1992

 

Pages 2, 3, and 5

 

Aggrieved police who fail to get convictions think they are entitled to take over the role of prosecutor

 

WILLIAM NIMMO-SMITH, QC

 

Exclusive by Sun Reporters

 

BOGUS journalist Derek Donaldson spent an hour grilling top QC William Nimmo-Smith about his inquiry into an alleged gay legal ring.

 

He used a voice-activated recorder to tape their conversation. This is a transcript of the

interview:

 

Donaldson: Mr Nimmo-Smith how do you do.

 

Nimmo Smith: Fine, fine. You came by taxi I take it. I’ll just lead the way shall I? You don't mind if I ask you for some form of identification do you?

 

D: Well, I’ll see what I've got. . . Basically, we've been given so many different stories from so many different people who are not trustworthy.

 

NS: Who have you been talking to? You mention this man Terry Smith on the phone.

 

D: Well I’ve actually never spoken to Smith myself. I think he's . . .

 

NS: I think you would need a very long spoon to sup his story.

 

D: The way we're looking at it we don't really want to talk to the likes of Smith and there's another gentle­man who contacted us, his name is Glenold or Glen.

 

NS: Michael Glen.

 

D: Yes. We spoke to Michael Glen who basi­cally told us that he is working hand in hand with the Crown Office over this investigation.

 

Outline

 

NS: I am very inter­ested in you saying that —- it is completely untrue . . .

 

Let's have some half on-the-record first. This stuff is unattributable but you can use it for background . . .

 

Nimmo-Smith then gives a broad outline of now the police investiga­tion was carried out into an alleged gay conspir­acy among the legal pro­fession. It was prompted by MP Tarn Dalyell and the report was later leaked to the press. NS admits a policeman must have, copied and leaked it

 

NS: Tam Dalyell MP wrote a letter to Sir Wil­liam Sutherland Chief Constable, I know a great deal more but I'm not going to. . - (tape unintelligible). The Chief Constable decided to in­struct an internal report.

 

D: A copy was obvi­ously made by one of his own officers.

 

NS: Yes...

 

(unintelligible).

 

D: Do you want me to stop writing?

 

NS: No, no, no. On the 11th September in the Edinburgh Evening News which is our local paper . . . (unintelligible). Do you have a copy of the report?

 

D: I think everybody's got a copy...

 

NS: There’s another case called Duncan the Rent Boy.

 

D: Robert or Neil Duncan?

 

NS: This is one called Robert Duncan, sorry Neil Duncan.

 

D: Did he not get a period of imprisonment?

 

NS: He got four years but the Crown let a number of the accused off.

 

D: Are they not sup­posed to be involved in some sort of homosexual ring?

 

NS: Yes that's right.

 

D: Is Mr Duncan still in prison?

 

NS: . . . Conroy tends to muddle it, I've some idea that the Crown were being induced to throw its hand in. If you've got report look at paragraphs 5.10 and 5.13 D; I don't have the re­port on me.

 

NS: Well I don't either. We are the only people who are keeping it confidential (laughing)..

 

N S: We hope to report early next year. But we have not set ourselves any deadline, we are conducting this inquiry entirely in our own way.

 

(At this point NS hands over a copy of his con­fidential remit from the Lord Advocate. This out­lines who he may inter­view for his own inquiry including the Lord Advo­cate, Solicitor General and any Fiscal or Crown Office staff).

 

I'll hand you a photo­copy. I think I've got a spare one. Really our ap­proach to this has devel­oped since this was drawn up.

 

Mr Friel had an identical letter,. . you can read it in light of what I have been saying to you. So really we have had com­plete autonomy. Our powers include the power to interrogate the Lord Advocate himself.

 

D: Lord Rodger?

 

NS: Yes.

 

NS: You can take it we have interrogated him. Indeed if we thought he was part of this conspir­acy we would report him to the Prime Minister instead of Lord Rodger . . . We've inter-viewed 90 or so people . . .

 

D: In the difficult cir­cumstances that you find yourself in. That's a col­league of mine who's ac­tually not involved with our particular newspa­pers who had a request from Mr Conroy for him to go and see him. He went along to see Conroy and Conroy basi­cally told him that he wants to come clean and that he has an appeal that's coming up in De­cember, January.

 

NS: It's the end of De­cember. He's appealing against his sentence. Ho got six years for fraud.

 

D: That's right. And I think he's looking for some sort of result with that and he wanted to come clean. He wanted the newspapers to report what he had said to the police. What he had done subsequently and said to other members of the judiciary with the exception of yourself were lies and that he was forced to say what he said, he was black­mailed, threatened and had all sorts of induce­ments on charges. And we actually, we're look­ing at that and we think that's nearer the mark, . .

 

The Scottish Sun had it emblazoned over its front page for several days about this report and it's implications etc. And quite frankly we don't contribute to that at all. We simply don't believe it.

 

NS: I have to keep my sense of humour in working order. I call people who make these allegations alligators. There's enough alligators here to fill a swamp.

 

D: You've got the alli­gators but do you have the evi­dence. Is there evidence?

 

NS: I don't think I should com-m e n t on that other than to make an o observation. (unintelligible)

 

D: But they fire a salvo anyway?

 

NS: But you then end up with allegations that don't actually fasten on to anybody as it were.. I think that these tabloid editors probably don't care about the truth. There's a small amount, number of judges in Scotland. There's only about 24 of them and they all feel sullied by that kind of smear cam­paign which doesn't identify any one of them. I don't know how many rumours you have collected but if you are an insidious collector . . .

 

D: Half the judiciary in Scotland. This is abso­lute nonsense.

 

NS: If you bear in mind that Lord Dervaird re­signed when the allegations about him which were sensational. You can quibble about which allegations you relate to. But he did resign over a matter of that nature that's well understood . . . But it (unintelligible) to protect him . . . But why shouldn't it have been to protect others?

 

D: He was fairly young as well wasn't he?

 

NS: Yes (unintelligible}. He was 53 when he went on the bench.

 

D: That was a very sad case that.

 

NS: Well the point that needs to be reflected on is quite simply he got himself into trouble and he went. That was it.

 

D: He did the honour­able thing didn't he?

 

NS: What do you think he did?

 

(Laughter from both parties).

 

Impression

 

NS: I don't know what he did or didn't do but the mere fact of his res­ignation speaks for itself. We are yet to find any plausible explanation for why he should go. But the position remains we haven't yet reached a conclusion.

 

Donaldson later quizzes the QC on the conclu­sions of his inquiry.

 

D: This is a personal impression and you can correct me if I'm wrong but at the end of the day it's going to be inconclusive.

 

NS: Inconclusive? (Startled)

 

D: Well I think it may be inconclusive in as much as that what is it you say up here in courts?" Not proven perhaps?

 

NS: What's not proven about it?

 

D: The allegations.

 

NS: What allegations? This is a conspiracy to pervert the course of justice . . .

 

D: I would be extremely surprised if you found these alleged conspir­ators guilty as charged. I'm not writing anything, I'm not. I would be ex­tremely surprised, would I be on the right tracks?

 

NS: I have no idea. As I say, why should one not be able to come in with a verdict of not guilty?

 

D: Absolutely.

 

NS: You seem to think I would come out with a verdict of not proven.

 

D: I was just trying to get a reaction from yourself

 

NS: But I'm not going to tell you what I think.

 

D: No, I understand that.

 

NS: I think you'll find in the report that it will be pretty conclusive.

 

D: You will be fairly conclusive in your report?

 

Donaldson later refers to various policemen who he says interviewed Conroy.

 

D: A detective sergeant Brown. I think he's a fraud squad officer.

 

NS: He's a sergeant now.

 

D: Is that the one who was transferred to uni­formed duties. (unintelli­gible) I've got Brown, a Souter, he's in the same branch as Brown was.

 

NS: Was. He's off sick at the moment in Australia and he's not back yet.

 

Time

 

D: He's in Australia? An extended holiday per­haps. And Hiddleston. He retired, resigned or whatever. Does he have any role in this at all?

 

NS: I don't think I can comment,

 

NS: I tell you what I've been finding. A number of journalists are work­ing on the story. You do appreciate there are aspects of the so-called Fettesgate, the leak business, the break-in at police headquarters some people say is con­nected. But it is not our function equally (unintelligible).

 

D: The so-called Fettes raider

 

NS: That is not our problem.

 

D: It's not connected at all then?

 

NS: No. It is not part of our investigation. Indeed, if you read our remit . . .

 

Later the pair return to the subject of Terry Smith. NS says Smith claims he was "fitted up." And the pair dis­cuss further allegations about Conroy and Mich­ael Glen.

 

D: I really don't want to see the man (Smith). I don't like my time being wasted.

 

NS: He is so unquestion­ably manipulative. He will manipulate people.

 

Later still referring to Smith.

 

NS: (Laughing) I'm not going to tell you what he said. I am not going to confirm whether or not we've seen him.

 

D: Have you received the co-operation you have been expecting from the police? The no-nonsense about police­men being cagey and what they are saying to you, have they been very co-operative?

 

NS says they have helped at the top but adds: On an individual basis that has been an­other matter.

 

D: What about the troops (lower ranks)?

 

NS: Well the troops are a lot of individuals.

 

D: Do you get the im­pression, I get the im­pression that the report was leaked as an act of vindictiveness not just against the senior com­mand of Lothian and Borders Police but also to have a damn good go and this was an excel­lent opportunity to have a damn good go at Re­gent road. (Crown Office address).

 

NS: Probably, yes.

 

D: Yeh, that's a personal impression. It's like I've said at the beginning you've said no comment to quite a lot of my questions and I under­stand that and I am not even going to think of pressing you on it. But I think, although I have not been personally in­volved. I think I have got a good gist of what's going on. I think I know what the backbone of this is.

 

Important

 

NS: I wouldn't do any­thing to discourage you in your line of thought let me put it that way.

 

D: I appreciate that.

 

NS: It's just that I am reluctant. I wouldn't have kept talking to you if I thought you were on the wrong beam.

 

The pair then talk about why the police may have made the allegations about a gay conspiracy.

 

NS: I think the question that should be addressed is why the rumours, why the public appetite for rumours, how so such rumours originate and why a willingness by people who should know better to have an appe­tite for such rumours?

 

D: Is there anything we can do to help? I'm being perfectly serious.

 

NS: Perfectly serious ... I think it's been a great trouble to us ...

 

You do not spend quar­ter of a century nearly as I have done working with a system which you are very proud under the rule of law and not feel two things. Firstly, there is something far more important than . . . Even if you happen to tread on someone else's toes.

 

D: It's just a pity the police didn't think the same way.

 

NS: Of course.

 

In the next passage, NS drops another bombshell. The laws regarding ho­mosexuality are not being enforced. The Lord Advocate is not encour-

 

Continued on Page Five

 

Continued from Page Three

 

aging prosecutions unless they involve teenagers below the age of 18.

 

D: Can I ask you a question? It’s more a personal type question as to whether being a homosexual should be a bar, pardon the pun, to be a member of the legal establishment in Scotland?

 

NS: Certainly not.

 

D: Would it help if the age of consent for homosexuals … I believe it is 20 or 21 … would it help if it was reduced. From a purely personal point of view.

 

NS: I can’t really express a view on that, not whilst I’m engaged to this inquiry. Well the Lord Advocate can issue guidelines to the procurator fiscals although the law says 21. The guidelines currently say 18 and I know there are respectable arguments for saying that boys and girls should be treated the same (i.e. down to 18).

 

NS finishes with a devastating attack on the police. He backs D’s assertions that the gay conspiracy allegations are nonsense but the police still deliberately leaked them. And he agrees action should be taken against them.

 

D: Well I mean I’ve sat here and listened to everything you’ve said. You’ve been very helpful, you haven’t said a lot but what you have said has been extremely helpful.

 

Scandal

 

You really confirmed what I have thought right from the beginning that the whole thing as far as I can see and I’m looking at it from a distance is nonsense, it is scandalous that the press latched on to this. It’s scandalous that the police have leaked it.

 

I think some backsides should be severely kicked. I think the people who have helped fuel the fire should have some action taken against them and this is basically what I’m looking to do and if I can help in any way I fully propose to do it.

 

NS: Well if those are your personal views I would like to see your paper come out strongly with them. I have to say, after the report is published.

 

D: I know several members of the Scottish legal profession, several senior members. I’m not going to mention their names. No comment. And I’m absolutely convinced this is a sc less report. It was disgraceful. It’s not true.

 

I think that, yes, this Brown and Souter and Huddleston have got a lot to answer for.

 

NS: Careful with Hiddleston. I think I’ve said too much already.

 

D: No I understand. But what I would say to you Mr Nimmo-Smith is Hiddleston’s name is at the bottom of the report. He was head of CID. He should never have put this name on a report without checking the facts.

 

NS: Em.

 

D: He should have made absolutely sure and I’m also convinced that there are a number of officers in police headquarters in Edinburgh who are homophobic, vindictive, having a wee go at their boss Sir William.

 

Failure

 

They’re having a wee go, or should I say a big go, at the legal establishment because they are incompetent, because they couldn’t get the convictions that they wanted. They need someone to blame.

 

NS: Yes, the one thing that you have got to keep right at the front of this is that prosecution decisions are not taken by the police and it is quite deliberate in that respect. The police report the result of their investigations to the fiscal and it is the fiscal who decided whether or not to prosecute on the basis of that report.

 

Plus any further investigation the procurator may see fit. And if you get police officers who are being aggrieved about the failure to get convictions or have cases not proceeded further by the prosecution that means you’ve got police who think that they are entitled to take over the function of the prosecutor which is one of the greatest safeguards we have under our system of justice and that is something that’s well worth thinking about.

 

NS: I think that’s my wife opening the door to the taxi.

 

An expert at Strathclyde University has confirmed that the voice on Donaldson’s tape is William Nimmo-Smith.

Sculpture entitled "The Spirit of American Youth Rising from the Waves" by Donald De Lue.

 

Photographed at the Normandy American Cemetery and Memorial, Colleville-sur-Mer, France, June 1992.

 

Cemetery web site:

www.abmc.gov/cemeteries-memorials/europe/normandy-america...

 

(Scanned 35mm color negative)

This is an unused postcard entitled "572:--- Airplane View of Steel Pier, Showplace of the Nation, Atlantic City, N. J." it has a very strange finish to it. I believe it's a linen postcard. Linen postcards were printed in the United States from the 1930s until the 1950s. Contrary to their descriptive name, linen postcards were not made out of linen, which is derived from flax, but they did have a high rag content, which means the paper contained a certain amount of cotton fiber. In the lower right corner it says "Fred Hess & Son" although I see reference to them all over I found no bio on them.

images from the book entitled " The Collected writings of Alvin Lustig c1958

intro by Philip Johnson

 

Material copyright Elain Lustig Cohen

 

To read more on Alvin Lustig visit:

grainedit.com

 

images c2008 grain edit.

entitled "your boy, my boy"

 

Show how awesome and hot you think your boy is with this design. And yes, this one comes in men's sizes as well.

 

Buy it here:

www.orangemoonapparel.com/store/oma.cgi/oma.orangemoonapp...

First official news...

I am publishing a new book (2023 edit: now delayed by very personal events) entitled England's Livery Wars which will take a detailed look at the period popularly but incorrectly known as the Wars of the Roses.

This will be a fairly dry history book but I plan to open with something much more visceral. A brief fictional account of how it might have been to take part in a battle. The title below is a nod towards Shakespeare, a great playwright but a lousy historian!

 

Polite warning, what follows is grim... literally...!

 

*** *** ***

 

GRIM VISAGED WAR…

 

The smell of camp food, smoke and old sweat; the smell of faeces both horse and human. Drums are beating, trumpets sounding and men are chanting the name of their lord or their favourite saint. The first bang, like a summer thunderclap, then the whistling rush of a stone or lead ball passing low overhead. Then another bang and long drawn out screams and cries of agony nearby - the other side have found the range! Will they fire again?

 

The first hiss of clothyard shafts, hundreds, taking to the air as our archers shoot in reply to theirs. You look up but the old soldier punches you on the arm and tells you to look down, look down! Put the crest of your helmet towards those incoming clothyards tipped with sharp unyielding steel, not your vulnerable face! As if to make his point an arrow spangs off your helmet and into the ground beside you. You stand stock still, frozen, looking at the ground at your feet, the steel brim of your sallet protecting your face. You pray, you pray harder than you have ever prayed before.

 

Trumpets sound the advance and you walk through the trampled grass and soft mud; a man is howling and calling to the Blessed Virgin with an arrow in his bloody cheek; he looked up! Another has an arrow deep in his chest, blood in his mouth, his sightless eyes also look up. They will look up until he is stripped and buried. You grasp your bill - a wooden shaft of seven feet with a vicious steel blade on the end - as your company of bills dressed in red livery passes through friendly red archers. A last few shafts arrive, almost horizontal now, as the other sides’ archers fall back behind a line of men in white and blue jackets holding their own wicked-looking bills and glaives. The white and blue archers drop their longbows and draw their swords to stand behind their billmen. “Remember boy, hit the ones in white and blue… the ones in red are ours…” the old soldier says.

 

The lines close as the steady determined walk turns into a short trot and then the first awful clash of steel on steel. Metallic at first but then punctuated by screams, threats, oaths…terrible oaths. Blood begins to fly through the air and stain the mud. The howling, begging and praying begins. The two lines are still holding but the relentless blades are working up and down, side to side. Thrusting and then slashing, looking for weaknesses, looking for the flesh and blood behind the cloth and steel. Any man whose legs are cut from under him will go down and he is lost; he will join the bleeding, screaming, praying, writhing, urinating bodies on the ground. The lines have broken into groups; 20, 30, 40 men in tight little companies clustered together, men from the same family, the same village, the same estate, standing back-to-back or surging forward side-by-side, slashing at their enemies and then falling back for a breather and something from the leather bottle being passed around. Then one red group surges forward again and does not fall back. They have advanced. We are gaining ground, the white and blues are falling back! This is the wicked battlefield scrum of flickering steel and faltering, screaming, bleeding men.

 

Suddenly the other side breaks and our men in red surge forward. The wounded on the ground are trampled and stabbed, the wretched white and blue runners throw off their helmets to gasp for air and so they can look over their shoulders to see who is behind them intent on bloody murder. This is no longer a battle, it is a rout. It is bill, dagger and war hammer work now, cut their legs from under them, stove in their face or head and move on. If they have a purse take it! They will not need money where they are going.

Purgatory is free, or so the old soldier says!

 

Horsemen thunder past. Ours! They wear the green of our lord’s brother. They are his prickers and staves, the riders who sat behind our line and prevented us running away are now leading the pursuit, levelling their light staves and spearing running white and blue men like wild boars or slashing at their bare heads with war hammers. You halt, breathless, as men in red run past and enemies fall. Somewhere a cheer goes up and your lord’s banner is raised high and waved from side to side. There is blood on your bill, where did that come from? Your leg is wet, wet, wet. Blood? No, something far more human. “That is the water of fear boy” says the old soldier, with a belly laugh as he drains the leather bottle.

 

You have survived your first battle.

 

This is ‘grim visaged war’. This is as near to the reality as we can get today. Remember this as you read about England’s Livery Wars…

 

Originally entitled "dj quasimodo". Then find out someone's actually using that name. Ditto for "dj hunchback". Nobody's got "dj hinchback" yet, so it's mine now. Mine, I tells ya!

From my set entitled “Dogwood”

www.flickr.com/photos/21861018@N00/sets/72157607217567721/

In my collection entitled “The Garden”

www.flickr.com/photos/21861018@N00/collections/7215760718...

 

From Wikipedia, the free encyclopedia

en.wikipedia.org/wiki/Dogwood

 

The Dogwoods comprise a group of 30-50 species of mostly deciduous woody plants growing as shrubs and trees, some species are herbaceous perennial plants and a few of the woody species are evergreen. They are in the family Cornaceae, divided into one to nine genera or subgenera (depending on botanical interpretation). Four subgenera are enumerated here.

Most species have opposite leaves and a few have alternate. The fruit of all species is a drupe with one or two seeds. Flowers have four parts.

 

Many species in subgenus Swida are stoloniferous shrubs, growing along waterways. Several of these are used in naturalizing landscape plantings, especially the species with bright red or bright yellow stems. Most of the species in subgenus Benthamidia are small trees used as ornamental plants. As flowering trees, they are of rare elegance and beauty, comparable to Carolina silverbell, Canadian serviceberry, and the Eastern Redbud for their ornamental qualities.

 

The fruit of several species in the subgenera Cornus and Benthamidia is edible, though without much flavour. The berries of those in subgenus Swida are mildly toxic to people, though readily eaten by birds. Dogwoods are used as food plants by the larvae of some Lepidoptera species including Emperor Moth, The Engrailed, Small Angle Shades and the following case-bearers of the genus Coleophora: C. ahenella, C. salicivorella (recorded on Cornus canadensis), C. albiantennaella, C. cornella and C. cornivorella (The latter three feed exclusively on Cornus). They were used by pioneers to brush their teeth. The pioneers would peel off the bark, bite the twig and then scrub their teeth.

 

Numerous varieties of Dogwo

od are represented in the insignia of U.S. states and Canadian provinces.

The inflorescence of Pacific Dogwood is the official flower of the province of British Columbia

 

The Dogwood (Cornus florida) and its inflorescence are the state tree and the state flower respectively for the U.S. Commonwealth of Virginia. It is also the state tree of Missouri and the state flower of North Carolina.

 

The word dogwood comes from dagwood, from the use of the slender stems of very hard wood for making 'dags' (daggers, skewers).[2] The wood was also highly prized for making loom shuttles, arrows, tool handles, and other small items that required a very hard and strong wood.

Larger items were also made of dogwood such as the screw in basket-style wine or fruit presses, also made were the first styles of the tennis racket made out of the bark cut in thin strips.

 

Another earlier name of the dogwood in English is the whipple-tree. Geoffrey Chaucer uses the word whippletree in the Canterbury Tales (The Knight's Tale, verse 2065) to refer to the dogwood. Another larger item made of dogwood still bears the name of the tree from which it is carved. The whippletree is an element of the traction of a horse-drawn cart, which links the drawpole of the cart to the harnesses of the horses in file.

The name Dog-Tree entered English vocabulary by 1548, and had been further transformed to Dogwood by 1614. Once the name dogwood was affixed to the tree, it soon acquired a secondary name as the Hound's Tree, while the fruits came to be known as dogberries or houndberries (the latter a name also for the berries of Black nightshade & alluding to Hecate's hounds).

 

It is possible that the common name of Dogwood may have come because “dogs were washed with a brew of its bark, hence Dogwood.” Another name is blood-twig, due to the red colour it turns in autumn.

 

In botany and in colloquial use, the term dogwood winter may be used to describe a cold snap in spring.

 

There is a Christian legend of unknown origin that proclaims that the cross used to crucify Jesus was constructed of dogwood.[3] As the story goes, during the time of Jesus, the dogwood was larger and stronger than it is today and was the largest tree in the area of Jerusalem. After his crucifixion, Jesus changed the plant to its current form: he shortened it and twisted its branches to assure an end to its use for the construction of crosses. He also transformed its inflorescence into a representation of the crucifixion itself, with the four white bracts cross-shaped, which represent the four corners of the cross, each bearing a rusty indentation as of a nail and the red stamens of the flower, represents Jesus' crown of thorns, and the clustered red fruit represent his blood.[4]

 

From my set entitled “Lamium”

www.flickr.com/photos/21861018@N00/sets/72157607217474399/

In my collection entitled “The Garden”

www.flickr.com/photos/21861018@N00/collections/7215760718...

 

From Wikipedia, the free encyclopedia

en.wikipedia.org/wiki/Deadnettle

Lamium (deadnettle) is a genus of about 40-50 species of flowering plants in the family Lamiaceae, of which family it is the type genus. They are all herbaceous plants native to Europe, Asia, and north Africa, but several have become very successful weeds of crop fields and are now widely naturalised across the temperate world.

The genus includes both annual and perennial species; they spread by both seeds and stems rooting as they grow along the ground.

 

The common name refers to their superficial resemblance to the unrelated stinging nettles, but unlike those, they do not have stinging hairs and so are harmless or apparently "dead".

 

Lamiums are frost hardy and grow well in most soils. Flower colour determines planting season and light requirement: white- and purple-coloured flowered species are planted in spring and prefer full sun. The yellow-flowered ones are planted in fall (autumn) and prefer shade. They often have invasive habits and need plenty of room. Propagate from seed or by division in early spring

 

Virginia creeper or five-leaved ivy (Parthenocissus quinquefolia) is a woody vine native to eastern and central North America, in southeastern Canada, the eastern and central United States, eastern Mexico, and Guatemala, west as far as Manitoba, South Dakota, Utah and Texas.

 

It is a prolific climber, reaching heights of 20 to 30 m in the wild. It climbs smooth surfaces using small forked tendrils tipped with small strongly adhesive pads 5 mm in size. The leaves are palmately compound, composed of five leaflets (rarely three leaflets, particularly on younger vines) joined from a central point on the leafstalk, and range from 3 to 20 cm (rarely 30 cm) across. The leaflets have a toothed margin, which makes it easy to distinguish from poison-ivy, which has three leaflets with smooth edges.

 

The flowers are small and greenish, produced in clusters in late spring, and mature in late summer or early fall into small hard purplish-black berries 5 to 7 mm diameter. These berries contain oxalic acid, which is poisonous to humans and other mammals, and may be fatal if eaten. However, accidental poisoning is uncommon, likely because of the bad taste of the berries. Despite being poisonous to mammals, they provide an important winter food source for birds. Oxalate crystals are also contained in the sap, and can cause irritation and skin rash [1]

 

From my set entitled “Smokebush”

www.flickr.com/photos/21861018@N00/sets/72157607213776358/

In my collection entitled “The Garden”

www.flickr.com/photos/21861018@N00/collections/7215760718...

 

From Wikipedia, the free encyclopedia

en.wikipedia.org/wiki/Cotinus

 

Smoketree or Smoke bush (Cotinus) is a genus of two species of flowering plants in the family Anacardiaceae, closely related to the sumacs (Rhus). They are large shrubs or small trees, native to the warm temperate Northern Hemisphere. The leaves are deciduous, alternate, simple oval shape, 3-13 cm long. The flowers are clustered in a large open terminal panicles 15-30 cm long with a fluffy grayish-buff appearance resembling a cloud of smoke over the plant, from which the name derives. The fruit is a small drupe with a single seed. Often classified in Rhus in the past, they are distinguished by the leaves being simple (not pinnate) and the 'smoke-like' fluffy flower heads.

 

The American Smoketree (Cotinus obovatus, syn. Rhus cotinoides) is native to the southeastern United States, from Tennessee south to Alabama and west to eastern Texas. It is a larger plant, frequently becoming a small tree up to 10-12 m tall and with a trunk up to 25 cm diameter. The leaves are also larger, 6-13 cm long; it also has varied but very bright fall color, usually brighter than the Eurasian species. The flower heads are usually sparser than in C. coggygria.

 

The smoketrees, particularly C. coggygria, are popular garden shrubs. Several bronze or purple-leaved cultivars of C. coggygria have been selected, with warm pink inflorescences set against purple-black foliage; the commonest in commerce are 'Notcutt's Variety' and 'Royal Purple'. When brought into cultivation together, the two species will form hybrids; some garden cultivars are of this parentage.

 

Cultivation is best in dry, infertile soils, which keeps the growth habit more compact and also improves the autumn colour; when planted in fertile soil, they become large, coarse and also tend to be short-lived, succumbing to verticillium wilt disease. Both species can be coppiced in early spring, to produce first-year shoots up to 2 m tall with large handsome leaves, but no "smoke".

  

Fellini Couture is proud to present it's latest release entitled "Audace" which means "bold" in French. Audace is indeed bold, dramatic, and makes a wonderful fashion statement. But it is an outfit you will reach for again and again because of its feminine sophistication and chic, effortless styling.

 

The unique top comes in four pieces (1) the beautiful see-through black lace embroidered top with attached black, textured corset, (2) a layer of prim lace embroidery which covers both the front and back, fitting over the shoulder pieces (3) a sheer piece of black, sleeveless organza which completely surrounds the bodice area, and (4) the magnificent prim shoulder pieces with long, flowing black fringe that flow with your every movement. The effect is stunning!

 

The elaborate full, ruffled slacks are smart and refined. Included is a sheer prim belt with criss-cross detail in the center, to add another touch of fashionable styling to this outfit.

 

And for the hair, two long-stemmed black roses, crossed together in the center, are included and will fit nicely into whatever your hair choice is.

 

If you love to mix and match your styling, Audace is perfect for that -- all in black, different textures, different effects and easy to incorporate with other pieces in your wardrobe. You can really make this outfit into something unique, just for you!!

 

You will be "dressed to the nines" when you wear Audace. Get ready for lots of compliments, ladies!

 

slurl.com/secondlife/Avenue%20Champs%20Elysees/164/192/31

 

Model: Carilynn OHare

Photographer: Joy Fellini

 

(Thank you to Joy and Fauve for everything - this past year has been so very special for me and the opportunity you gave me to represent your brand will remain so precious to me always! xoxox)

 

thebosl.com/bosl_blog/