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*Young Joseph has come across his fathers' journal hidden away in the attic and adopted it as his own to fill the blank pages. so the boy flipped the book over and started to write his name and the date in a childish scrawl filled with spelling errors and lines of writing that slopes off any way they like on the blank pages at the back of the book until his nanny took over and wrote down something of an edited version of the child's story .*
Dear Diary... I mean Journal. My name is Joseph William Elliot Harnett, and I am 5 years old, It is the 20th of December 1897.
This is a new book to go with our new house even though it isn't new. The book used to belong to my daddy William. It was his journal when I was a baby, but there are not many pages written on, but there were lots ripped out right at the front. Daddy must have got cross with his pencil or wrote the wrong thing a lot I think, but I didn't scribble out his words even if I can't read them very well, My mummy would be upset if I did that, so I turned the book around and upside down, so the back cover is the front now.
I never wrote a diary... Journal before. It feels funny writing a letter that I won't send.
Our old house was in New York, but mummy and I moved to Arizona with my new step-daddy Jerimiah because he quit his job at the big bank in the city and went to find another job in Tombstone I think he works for lots of little banks now.
We left New York last month and travelled all the way here on the train then the stagecoach. All our stuff was already at the house when we got here. Daddy Jerimiah has been here for ages already making sure the house was nice for us. He called it setting up roots. A bit like a tree.
Our new house is huge and very red, and even though it has all our stuff, I'm not sure I like it very much. Our old house was big, but it would be so small next to the red one!
Stepdaddy says I will get used to it, but I don't think I want to. I miss our old house; I lived there my whole life. Daddy William died there too when I was a baby, I don't remember him, but Lucy who used to be my nanny before we moved out here said I am just like he was when he was little. Lucy didn't want to come to tombstone so she and Mr Oliver, the cab driver, went back to work for my Nana and grandfather Harnett at their house. I never liked to visit their home or spend the night it was creepy there. Last year I stayed over because Mummy and Daddy Jerimiah got married.
Mummy says she doesn't think we will go back to New York any time soon because it is a long way, but mummy is still going to write to Nana Harnett and Lucy and Grandma and Grandpa Cole, and I promised I would write too even if my writing's tricky to read sometimes.
Stepdaddy wants me to go outside more sense we aren't in the city anymore. I heard him and mummy talking about my lungs since we got here but I don't know why there's anything wrong with them I'm never poorly. I don't want to go outside because of the snow, and it's so cold that I have extra clothes on! I thought Arizona was meant to be hot.
I did make a snowman today though, and I borrowed a hat from the attic for him to wear. I found it when I saw the book. It might have been Williams too, but mummy hasn't said anything about it, but I think I am going to go and rescue it from the garden before it snows again.
It was nice to meet you, Mr Journal.
I headed over to the beach after work on Tuesday because the sky was looking interesting. I pulled out my camera just before this moment and I got an message on my Canon screen that said "Error 20." I couldn't get it to take a picture and I was so frustrated. This is an unedited photo with my iPhone. $470 later my camera will be ready for pick up on Monday.
Soneto incierto
Dejarse al cruce más que a los caminos,
dejarse a Ítaca y su forma absuelta,
dejarse en lejanía, en faz, en vuelta
dejar; ser viento más que ser destinos.
Présago ciego, escribir cien futuros
amaneceres, tibios en los puertos;
que muten por certezas los inciertos
desdenes, mas que aniden sobre muros.
Si el ciego hado pasos tropieza
si al caer, nos congela su tibieza
que Fortuna me aparte del error.
Y como huella impresa en la memoria,
viajar en la espiral de la gran noria
que vuelve las cosechas en licor.
Escrito:
@Metaficticio,@Fragmentario,@TiempoDetenido, @lgpachecos,
@hierbadenoche, @chicosintuiter y @cruzarzabal.
fragmentario.com.ar/soneto-a-catorce-manos
Ilustración: @TuitIlustracion
©Josue Velazquez
See this locomotive in the video here: www.youtube.com/watch?v=QH6pSDHoU4A
Seen arriving with the afternoon 'Shakespeare Express' from Stratford-on-Avon to Birmingham Snow Hill is GWR 4900 Class 4965 'Rood Ashton Hall', seen arriving at Birmingham Moor Street in perfect sunlight and making an equally spectacular sight!
The Hall Class were originally developed from a prototypical engine converted from an earlier Saint Class locomotive by the Great Western Railway. Locomotive 2925 'Saint Martin' was chosen in 1924 and fitted with smaller driving wheels, cylinder realignment and a more modern 'Castle'-type cab was fitted. The rebuilt Saint Martin emerged from Swindon in 1924 and, renumbered 4900, embarked on three years of trials. During this period Collett introduced other modifications. The pitch of the taper boiler was altered and outside steam pipes were added.
Satisfied with no.4900's performance Collett placed an order with Swindon works and the first of the new two-cylinder Halls entered service in 1928. They differed little from the prototype; the bogie wheel diameter had been reduced by two inches from 3ft 2in to 3ft 0in and the valve setting amended to give an increased travel of 7.5in. The overall weight of the locomotive had increased by 2.5 tons to 76.2 tons.
In what amounted to a trial run the first 14 were despatched to the arduous proving grounds of the Cornish main line. However they were so successful here and elsewhere on the GWR system that by the time the first production batch of 80 had been completed in 1930 a further 178 were on order. By 1935, 150 were in service and the 259th and last Hall, No. 6958 Oxburgh Hall, was delivered in 1943.
Collett had been replaced by F.W. Hawksworth in 1941 and Hawksworth created a modified version known as the Modified Hall Class which remained in production until 1950. One of Hawksworth's modifications in changing the design was to equip it better to cope with the low quality coal available during the war. If anything the situation worsened after the war, leading to serious consideration being given to oil firing. Beginning in 1946 with No. 5955 Garth Hall the GWR converted 11 of the class to burn oil. Within four years, however, they had all reverted to coal.
All but one of the original Collett Halls entered British Railways service in 1948, the exception being No. 4911 Bowden Hall, which sustained a direct hit during an air raid in 1941. The locomotive had stopped at a signal box because of an air raid, and the crew survived by sheltering under the steps of the signal box whilst in the Keyham area of Plymouth. 4911 was one of two GWR locomotives damaged beyond repair in Britain during World War II, the other being 1854 Class 1729. During their later years two other locomotives were involved in serious collision incidents, with the first being in 1961 where 6949 Haberfield Hall crashed into a freight train at Baschurch in Shropshire due to a signalman's error (resulting in 3 deaths), and another in 1962 at Torquay where 4932 Hatherton Hall overran signals and crashed into the back of a stationary passenger train (injuring 23).
Official withdrawals began in 1959 with the prototype Saint Martin, although since its original construction as a Saint Class in 1907, the locomotive had covered an incredible 2,092,500 miles. December 1965 saw the end of the Halls, with no examples being preserved for the National Collection. However, because many locomotives were sent to the Woodham's Brother's Scrapyard in South Wales, 11 engines were rescued, the last being in 1986.
One engine, 5972 Olton Hall, has become something of an international superstar by way of the Harry Potter movie franchise, being renamed Hogwarts Castle and being used in the films as the enchanted express to take the students from London King's Cross to Hogwarts Station. This engine has since been withdrawn from the mainline and now resides at the Warner Brother's Studio in North London for a 2 year period.
However, the first "Hall" to leave Barry was 4965 Rood Ashton Hall, which is one of two preserved locomotives to be registered for mainline use.
This locomotive was previously identified as 4983 Albert Hall, having been rebuilt in 1962 using parts from both original engines Albert Hall and Rood Ashton Hall. Both locomotives had their numbers stamped onto their respective parts. The purchasing group of enthusiasts thought they were buying 4983 Albert Hall but after later restoration discovered some of the parts had been stamped 4965 and some 4983. Rood Ashton Hall now has plates and numbers on one side that say 4983 Albert Hall for enthusiasts to see once again but still hauls Rood Ashton Hall's original tender. Albert Hall's original tender was a large Collett tender, so the only incarnation of 4983 Albert Hall and tender is Hornby's tri-ang model.
In November 2008, Rood Ashton Hall was taken out of service for overhaul after hauling the Rood Ashton Hall Farewell train from Solihull to Didcot Parkway. The engine's 10-year overhaul took just a few months due to an ongoing programme of maintenance work that had been previously carried out during periods of low main line activity. It returned to the mainline in October 2009. Today it primarily works the 'Shakespeare Express' from Birmingham Snow Hill to Stratford-on-Avon, a picturesque journey to the hometown of the famous playwright.
An old photograph taken outside 'The United Yeast Co.' (Uneco House) building by the junction of York Street/Duke Street of Leeds City Tramways (LCT) '370' class tram No. 404 showing '10 - Compton Road via Meadow Lane' destination blinds.
The photo reverse is stamped as it having been taken by Robert F. Mack.
No 404 was built by LCT seating 24/46, ran on EMB Pivotal type J trucks, had upholstered seats in the lower saloon, and had three blind boxes (route no, destination, and via). It was first in service Oct 1926 having been painted in a blue livery back in January of that year, was repainted blue & white Sep 1941, repainted again in Matterface blue style III livery Dec 1948, and was withdrawn from service Jul 1952 being burnt at Lowfields Road Permanent Way Yard in November. 😭
The parts of the Leeds tramways systems that had not already been withdrawn or transferred to bus operation closed in Nov 1959.
📷 Any photograph I post on Flickr is an original in my possession, nothing is ever copied/downloaded from another location. 📷
-------------------------------------------------
If there are any errors in the above description please let me know. Thanks.
Any photograph, ephemera, etc I post on Flickr is in my possession, nothing is copied from another location. The original photographer may have taken copies from their original negative and passed them out (sold them?) so there may be other copies out there of your (and my) 'original' transport photo, although occasionally there may be 'holiday snaps' type photos where there are not any other photos exactly the same in existence.
If you wish to use this image (bearing in mind it may not be my copyright) or obtain a full size version (most of my uploads are small size) please contact me.
Atribuir actitudes o caracteristicas humanas a un animal es un error, pero si es cierto que, aveces, ayuda a describir y esta, era sin duda, la mas macarra del lugar!!!
Un monumental error de la Ford. Estaba pensado para ocupar el espacio entre Ford y Mercury. La marca es el nombre del hijo de Henry Ford I y padre del Ford que entonces estaba en control. Nunca encontró el mercado que la Ford esperaba por falta de interés de los compradores y por llegar en medio de una breve recesión. En 1960 salió el último de la fábrica. Muchos opinan que ese radiador en forma de collar de bestias de tiro lo hacía feo. En mi opinión es el resto del frente el que no pega con ese radiador.
Esta unidad se encontraba en la concentración Cars & Coffee que tiene lugar todos los sábados en el Palladio de Folsom, California. Es la primera vez que llego a tiempo.
Fehler bitte melden. Ich bin mir nicht sicher, ob alle Angaben richtig sind.
Please displaying errors. I am not shure if all given informations are correct.
El tiempo del error es un segundo.
Todos nos equivocamos,
pero no todos están dispuestos a perdonar nuestros errores.
people who go ...
people who come ...
you don't know them ...
they don't know you ...
people error ...
my daughter is stopping people on the street and told them "hello I'm Silvia and what's your name?" Many smiled and answered some do not.
We try to return children and everybody knows everybody.
peole error go here ... www.youtube.com/watch?v=TESyexvaIug
Adam Koford's genius HTTP Errors series, lovingly compiled under Creative Commons license into a poster. Perfectly proportioned for borderless 11x14 printing, requiring just a tiny bit of wizardry through Zazzle or another printing service.
Hace dos meses creia que la 269.063 iria al rosco, le hice una foto en esa misma via. Y ahora está siendo desguaza.
TCR 20.5.2020
Un error de principiante que terminó quedando lindo. Con la cámara en un trípode y un disparador remoto, es importante no olvidar que hay que volver a enfocar luego de cambiar el zoom y la composición :)
Het verbod van de Zwarte Hand geldt echter niet voor flickr.com
Danger! Forbidden to enter the site.
The ban by the Black Hand doesn't apply to flickr.com, however
Brussel/Bruxelles, Anderlecht
copyright: © FSUBF. All rights reserved. Please do not use this image, or any images from my photostream, without my permission.
English Electric Type 4 Class 40 loco number 40126 seen at Blaenau Ffestiniog 27th September 1980 with a 'Special' from the Manchester area.
This is arguably Britain’s most famous diesel locomotive and unfortunately all due to terrifying or fatal events which occurred whilst the loco was numbered D326 in the 1960s.
D326 was hauling the overnight travelling Post Office train from Glasgow to London Euston which was stopped and robbed of over £2.6 million on 8 August 1963 and known henceforth as ‘The Great Train Robbery’.
On Boxing Day the previous year D326 was hauling the Midday Scot to London when allegedly due to driver error, it ran into back of a Liverpool to Birmingham express which had been delayed by signalling. 18 passengers were killed in this accident and over 30 were injured, some seriously. In 1964 a second-man (driver’s assistant) was electrocuted by the overhead cables while working outside the locomotive. In 1965 the loco suffered total brake failure on the approach to Birmingham New Street. Fortunately in this case, the train was diverted into another platform at the last moment by a quick-witted signalman, and it smashed into the back of a freight train, injuring only that train’s guard.
40126 was withdrawn from service in February 1984 and scrapped just over a month later. In their wisdom, the Board of British Rail refused to consider preserving or selling the loco as they decided that the loco was a celebrity for all of the wrong reasons.
Personally I would have preferred to have had this illustrious loco preserved – if only as a static monument to Jack Mills the driver during the Great Train Robbery who was never able to work again after being hit head on the head by one of the robbers. At least one of the mail coaches from that train has been preserved, so why not the locomotive?
Je sais...c'est du déjà vu...mais j'm'éclate comme une p'tite folle avec mon nouveau jouet!!!!
;-p))))))
I know ... that's already seen ... but I have lot of fun like a little crazy with my new toy!!
while trying to process this panorama in lightroom, there was an error in the stitching process. I rather like the odd outcome, as its much more interesting than the original stitch.
"The Palace of Trade Unions in Na Perštýně Street is absolutely exceptional, basically Neo-Classical, with cubist elements in décor and rich relief and sculptural decoration."
This Cubist-style building designed by Alois Dryák was built in 1920-1922. The address is Bartolomějská 347/14, Na Perštýně 347/11.
Alois Dryák: Double anniversary of the architect
(article for The Old Prague Club Bulletin 3/2002)
Alois Dryák
* 24. 2. 1872
† 22. 1. 2001
Alois Dryák is not as well-known as Kotěra or Gočár, although he is a contemporaneous person, and in terms of quantity and quality of realized buildings, he is equal. The main reason why it is hardly known is that he did not teach and was not the initiator of avant-garde news. Yet he was an architect of modern and extraordinarily active even in civic life. From today's post-modern point of view, Dryák's work is of an unusual size, in particular because his buildings, mostly in the original state of roofs and facades, have always retained their traditional character. This sense of thoroughness and quality and the context with the architecture of previous ages has recently been a model and a starting point for overcoming modernity.
Alois Dryák was born in the countryside on 24 February 1872 in Olšany near Slaný. Soon he came to Prague (1886) to study at an art school. He is one of the best pupils of Professor Bedřich Ohmann (along with B. BendImayer) in the specialty for decorative architecture. That is why he is also a continuator of the project of the oldest surviving Art Nouveau building in Prague - Hotel Central in Hybernská Street from 1899. He begins to work as an assistant at secondary vocational schools and at the Academy of Arts. It is also an active falcon. His interest in public affairs is evidenced by his signature at a protest action against the demolition of the Old Town of Prague, the so-called Bestia Triumphans (1896).
At that time he begins his work, in which - especially in the number of proposals and participation in competitions - overtakes Kotěr and Gočár. He also conducts his own business, together with Bendlmayer, owns an architectural studio in Moran under Charles Square. From that time, the design for the Rudolfinum Fountain Competition was awarded the first prize. In his projects, he develops Ohmann's direction from the Neo-Renaissance to the Art Nouveau style. From this peak of his Art Nouveau period (which occurs during the competition at the Municipal House in 1906) comes the project of villas in Dykova Street in Vinohrady, still somewhat neo-Renaissance, and in V Pětidomí Street in Bubeneč with Art Nouveau gables and details.
In 1905 Dryák and Bendlmayer rebuilt the Hotel U Archduke Stepan on Wenceslas Square (later Šroubek, today Europe). While Dryák designed the neighboring slender Hotel Garni (today Meran) in the style of plant art nouveau in 1903, Bendlmayer is already moving inside the U Archduke Stephen's Hotel to a geometric art nouveau modeled on Jan Kotěra's modernism. Alois Dryák shows this transition when designing buildings outside Prague (secondary school in Kladno and Česká Třebová). Dryák's design for the National Theater in Brno is already very modernist.
Hotel Garni, 1903, Wenceslas Square (today Meran).
In Prague it is not possible to be seduced by avant-garde cubism, but directly below Vyšehrad at Výtoň, on today's Rašín embankment, and in Na Hrobcích Street it creates a rational modern design for the construction of apartment buildings with plastic decoration by Tomáš Amena. At that time, Dryák is getting married. He lives in Letná in Nad štolou Rudolfovou Street. On the nearby Letná Plain he regularly designs the architecture of meeting stadiums with wooden structures at that time.
Architect Dryák is active in Sokol in Prague as well as in the Association of Czech Architects. His competition proposal for the building of the Representative House in Prague was not selected for implementation, but it influenced today's Balšánek and Polívek concepts. It contained a connection with the Powder Tower, a representative entrance further from the Powder Tower and a modern horizontal concept of the facade with respect to the verticality of the Neo-Gothic Tower. In 1912-1915, two of the largest monuments in Prague - František Palacký by sculptor St. Suchardy and St. Wenceslas by JV Myslbek. In the competition for the monument of Master Jan Hus on the Old Town Square with the sculptor J. Kvasnička against Solomon failed. The First World War temporarily interrupted his work.
Monument of Palacký
After the war he designs several apartment buildings in Prague in the style of rondocubism (Jana Masaryka Street, Baranova Street), the Brothers' Cash Register in Kladno, a school in Šumperk and the Regional Authority in Uzhhorod. Based on family contacts he designs the house on the main square in Pilsen. The Palace of Trade Unions in Na Perštýně Street is absolutely exceptional, basically Neo-Classical, with cubist elements in décor and rich relief and sculptural decoration (1920-22). For many entrepreneurs, it rebuilds and designs villas for rural living, such as the house of the factory owner Pelly in Police nad Metují, Villa Dr. Šůry in Újezd nad Černými lesy or Dr. Oesterreicher in Prague on Hanspaulka.
In his social life, Dryák is involved in the Club For Old Prague. As a Sokol official, he designs Sokol houses and Sokol halls. He works on the committee for the construction of the Ořechovka garden district. Together with Jaroslav Vondrák they create its architecture (houses of English cottage type, community house, own villa in the years 1923 - 1924, location of the monument to the fallen). In his villa on Západná Street in Ořechovka, he moves his studio from Letná, where he prepares competing projects for public buildings - banks, schools and others, urban design of Prague embankments (1926), Brno University Complex (1928) and city plans of Olomouc, Ostrava. and Bratislava. Dryák's designs do not always win, but inspire the competition. This was most evident in the winning design and implementation of the Fair Palace (today's National Gallery) in 1924-1928.
Building of the Central Czechoslovak Tobacco Directing in Prague, Vinohrady, 1924-1926
Except for the Strahov Stadium, the tobacco houses (1923-28) with sculptural decorations by J. Jiříkovský and Jaroslav Horejc (now the Commercial Court building) in Slezská Street, the Radiopalác building at Vinohradská Street with a cinema and a restaurant (1922-24) ) and Orbis printers reaching into Slezská Street (1927-28). Out of the overall concept of the university complex of Masaryk University in Brno, only one building was realized - the Faculty of Law on Veveří Street (1927-31). In the interior Dryák cooperated mainly with the painter Antonín Procházka (front panel in the auditorium) and František Kysela (stained glass in the auditorium).
Detail of the parterre of the same building.
It was not only Ořechovka, where he lived and worked, but also the garden district Hanspaulka, where the architect Dryák worked. An example is the still well-functioning elementary school in Sušická Street (from 1931) and the aforementioned Villa Dr. Oesterreicher opposite the school.
In Dryák's studio, the architects Jan Mayer (1923-32), Josef Mayer (previously from 1919 to 1932), Vratislav Mayer (1920-25) and Ferdinand Pokorný (1923-27) collaborate on projects at different times. Just before his sudden death (June 6, 1932) Alois Dryák designs his last building - the Sokol Hall in Vršovice (1931). This project was completed by his longtime friend and Nutcracker Bohumil Hübschmann, who led Dryák's unfinished work to his end.
Dryák's project of the largest sports complex of the time was realized in Prague-Strahov. Masaryk's stadium (later Spartakiad) was then the largest stadium in the world. Therefore, he was awarded a diploma at the World Olympics in Los Angeles (1932).
Monument of St. Wenceslas
In conclusion, Dryák's work has its main focus in public buildings (schools, office buildings, gyms) not only in Prague and its surroundings, but also in Brno and other cities. His balanced way of creating belongs to the style of rational modernity using decorative art-deco elements. Later, Dryák moved to monumental neoclassicism. Functionalism was never believed by architect Dryák, because he considered flat roofs and facades to be of low durability, only the Sokol house in Vršovice is an exception. The monumentality of Dryák's work was especially reflected in the architectural design of the monuments of F. Palacký and St. Wenceslas.
Only the post-modern era most appreciated Dryák's work, which was characterized mainly by high durability, quiet representativeness and rational spirit. His diligence and artistic potency led him to set a goal in solving living tasks as brought by contemporary life. Dryák's production went with the times, but his own technical solutions, experience and reason protected him from the effects of inadvertent novelties and errors, often accompanying the work of his peers in times of creative revolution and search.
Jan Stěnička
Photo Zdeněk Dryák
LITERATURE:
Švoma, Rostislav: From Modernism to Functionalism. Prague - Odeon, 1985
Šuman, Viktor: Works of architect Alois Dryák. Wien: Nakladatelství "Aida", Praha: F.Topič, 1932.
Dryak, Alois, Novackova, Olga, Stenicka, Jan: Alois Dryak - monograph (manuscript ready for publication)
An error message on a third-party iPhone app which is *supposed* to let you take phone camera shots and send them straight to Flickr.
Périgueux et son fameux circuit Médiéval Renaissance, dans des ruelles exclusivement piétonnes !!! Amis touristes, bonne visite au milieu des voitures... (pour votre sécurité et celle de vos enfants, allez plutôt à Sarlat... de jolies et véritables ruelles piétonnes).
Périgueux and its famous Medieval Renaissance circuit, through exclusively pedestrian alleyways! Dear tourists, enjoy your visit amidst cars... (for your safety and that of your children, it's better to go to Sarlat instead... with lovely and genuine pedestrian streets).
le.grand.saccage@gmail.com
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Fehler bitte melden. Ich bin mir nicht sicher, ob alle Angaben richtig sind.
Displaying errors. I am not shure if all given informations are correct.
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