It’s not often that I execute sudden “spur-of-the-moment” outings without very good reason; we’ve all got lives to live, or sometimes the motivation to shoot trains has gone dormant. The times that such outings are executed reap good outcomes. The morning of October 2nd, 2022 was no exception to this. Haven been woken up by a barrage of text messages by then-local buff James Anthony who was tipped off about FEC Job 23 making a midday run to the Port of Miami with a very sizable train, I bit the bullet and drove out to downtown Miami to intercept the yard job at the Dodge Island drawbridge. Meeting up with James at the Bayside Mall, we camped out outside of mall in the car waiting for the train to approach.

Once the crew began hitting crossing activation dial tones, we booked it up the Port Boulevard bridge to set up right as PM1-02 slipped its way through the skyscrapers in the heart of Miami. Job 23, now identifying as PM1-02, passes by the Freedom Tower, over Biscayne Blvd and Port Blvd, as well as the former American Airlines Arena, notching up for the slight grade leading up to the drawbridge. At roughy 5,100 ft in length, nearly double the size of a typically “large” port train (about 2,500 ft), two locomotives were required, those being #FEC418 [GP40-2] and #FEC501 [GP38-2]. All 26 cars were to be spotted at the empty Dodge Island intermodal yard, which if I recall correctly, was cleared out for Hurricane Ian. A good friend working as the conductor for Job 23 poses for the two buffs shooting his train, with the ever-growing skyline looming in the back in the city some of us call home.

•

Miami, FL

FEC Port Lead [Dodge Island Bridge]

Date: 10/02/2022 | 12:02

ID: FEC PM1-02 [Job 23]

Type: Yard Job

Direction: Southbound

Car Count: 26

1. FEC GP40-2 #418

2. FEC GP38-2 #501

•

© Vicente Alonso 2022

Little Red Rooster-Personally, I think chickens are some of the most beautiful birds on earth. But I realize most people don't have the same opinion. I guess there just to ordinary for most folks.

God created chickens as mans most perfect food, they have everything you need to sustain a healthy life. Which is the reason here in the New America, they are always under attack. Because if it's a necessary food the don't want it ingested by humans. That said, I love chickens and their eggs.

So eat em' while you can before the government finds a good excuse to have them all executed as a public health hazard.

----------------------------- JESUS ✝️ SAVES-------------------------------

SALVATION THROUGH FAITH IN JESUS CHRIST - ALONE!

12 Salvation is found in no one else, for there is no other name under heaven given to men by which we must be saved."

❤️❤️ IT'S ALL JESUS AND NONE OF OURSELVES! ❤️❤️

16 I am not ashamed of the gospel, because it is the power of God for the SALVATION of everyone WHO BELIEVES: first for the Jew, then for the Gentile. 17 For in the gospel a RIGHTEOUSNESS FROM GOD IS REVEALED, a righteousness that is by FAITH FROM FIRST TO LAST, just as it is written: "THE RIGHTEOUS WILL LIVE BY FAITH." (Romans 1:16-17)

16 KNOW that a man is NOT justified by observing the law, but by FAITH IN JESUS CHRIST. So we, too, have put our faith in Christ Jesus that we may be JUSTIFIED BY FAITH in CHRIST and NOT by observing the law, BECAUSE BY OBSERVING THE LAW NO ONE WILL BE JUSTIFIED. (Galatians 2:16)

1. Now, brothers, I want to remind you of the gospel I preached to you, which you received and on which you have taken your stand. 2. BY THIS GOSPEL YOU ARE SAVED, if you hold firmly to the word I preached to you. Otherwise, you have believed in vain.

3. For what I received I passed on to you as of first importance: that Christ died for our sins according to the Scriptures, 4. that he was buried, that he was raised on the third day according to the Scriptures, 5. and that he appeared to Peter, and then to the Twelve. 6. After that, he appeared to more than five hundred of the brothers at the same time, most of whom are still living, though some have fallen asleep. 7. Then he appeared to James, then to all the apostles, 8. and last of all he appeared to me also, as to one abnormally born.

9. For I am the least of the apostles and do not even deserve to be called an apostle, because I persecuted the church of God. 10. But by the grace of God I am what I am, and his grace to me was not without effect. No, I worked harder than all of them--yet not I, but the grace of God that was with me. 11. Whether, then, it was I or they, this is what we preach, and this is what you believed. (1 Corinthians 15:1-11)

7. Therefore Jesus said again, "I tell you the truth, I am the gate for the sheep. 8. All who ever came before me were thieves and robbers, but the sheep did not listen to them. 9. I am the gate; whoever enters through me WILL BE SAVED. He will come in and go out, and find pasture. 10. The thief comes only to STEAL and KILL and DESTROY; I have come that they may have LIFE, and have it to the FULL. (John 10:7-10)

1 Brothers, my heart's desire and prayer to God for the Israelites is that they may be saved. 2 For I can testify about them that they are zealous for God, but their zeal is not based on knowledge. 3 Since they did not know the righteousness that comes from God and sought to establish their own, they did not submit to God's righteousness. 4 Christ is the end of the law so that there may be righteousness for everyone who believes.

5 Moses describes in this way the righteousness that is by the law: "The man who does these things will live by them." 6 But the righteousness that is by faith says: "Do not say in your heart, 'Who will ascend into heaven?'" (that is, to bring Christ down) 7 "or 'Who will descend into the deep?'" (that is, to bring Christ up from the dead). 8 But what does it say? "The word is near you; it is in your mouth and in your heart," that is, the word of faith we are proclaiming: 9 That if you confess with your mouth, "Jesus is Lord," and believe in your heart that God raised him from the dead, you will be saved. 10 For it is with your heart that you believe and are justified, and it is with your mouth that you confess and are saved. 11 As the Scripture says, "Anyone who trusts in him will never be put to shame." 12 For there is no difference between Jew and Gentile--the same Lord is Lord of all and richly blesses all who call on him, 13 for, "Everyone who calls on the name of the Lord will be saved." (Romans 10:1-13)

Jesus came to bring spiritual LIFE to the spiritually dead and set the captives FREE! FREE from RELIGION, ERROR and outright LIES, so WE might serve THE LIVING GOD! In SPIRIT and in TRUTH!

So you'll KNOW, and not think you're to bad for God to love. The Christian LIFE isn't about how good WE are, because NONE of us are! It's about how GOOD JESUS IS! Because JESUS LOVES US, so much he died in our place and took the punishment for all of our sins on himself. The wages of sin is DEATH, and Jesus took the death WE so richly deserved for us and died in our place. The good news is, there's no more punishment for sin left. WE, you and I were all born forgive as a result of the crucifixion of God himself on the cross that took away the sins of the whole world. All we have to do is believe it, and put your Faith in the finished work of Jesus Christ. That my friends is REAL UNCONDITIONAL LOVE! YOU ARE LOVED. ❤️ ✝️ ❤️

For the best Biblical teaching in the last 2 centuries! Please listen to and down load these FREE audio files that were created with YOU in mind. It's ALL FREE, if you like it, please share it with others. ❤️

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My THANK'S to all my Flickr friends who've favored and/or commented on my photos, I very much appreciate you're kindness! ❤️

© All Rights reserved no publication or copying without permission from the author.

Executing a balanced turn. Black's beach, California

EXPLORE

I'm not very happy with today's image. Not because the image is terrible but I'm unhappy with it because I know what it should have been. I planned this shot out a couple of years back during my previous visit to the Canary Isles and this was the first chance I've had to execute.

The sky needed to be bright and clear and the wind reasonably calm. The lighthouse is on the coast, surprisingly enough, and too much spray would be a real problem. This shot works best when there is a little low cloud to catch the light and although that was not likely I held out some hope.

I checked the forecast for the conditions I needed and one night of the week was looking good. I set the alarm for 2am and drove for about an hour to the site.

When I get there I can't see a thing with the naked eye apart from the brightest of stars and a little glow from the distant towns. The light level looks good so all set, here we go.

I grab the first long exposure shots just to have a quick look at the level of detail I'm achieving. I have no real expectation that these are going to be keepers but when I see them I am gutted. My heart sank when I saw the lighthouse in detail for the first time. After all the planning and preparation, not to mention the thousands of miles travelled, I see that the lighthouse was completely covered in ugly ass scaffolding.

I know I'm probably over-reacting to this but ...

If the lighthouse had been an hour from home and I could take a trip anytime that I thought the conditions were right then I'd have shrugged it off. If it had been a once in a lifetime and the condition weren't right I would have said "not mean't to be" and let it go. But I was so sure I had it planned out and that knew what to expect. Boy did I kick myself that night.

Well I wasn't going to use the images I did take because I was so unhappy with them but instead I've forced my self to process them as a reminder that there is always something that can go wrong even when you think everything is covered. You always need to have a plan B and a contingency in place.

Lesson learned!

The Midland Camera club planned and executed a wonderful trip to the Jordan Valley and Leelanau peninsula in pursuit of Fall colors, landscapes, farms, sand dunes, Lake Michigan. lighthouses, and a vast assortment of interesting subjects to photograph. All the members came home with a nice collection of photographs and much joy in the adventure spent together. Visit our viewing site to see the work of the members.

www.flickr.com/groups/3021281@N20/

This fabulous photograph is available at my online store in a wide variety of products. This link will take you there

pixels.com/products/a-trail-through-the-woods-tom-clark-a...

216d 10 - _DSC0018 - lr-ps-wm

A Wicked Turn

Acte 10

But also like said cat, he was mildly curious, suspicious as to who had made such a gingerly executed entrance unto the landing of the floor below?

And… instinct was telling him that whoever was treading so lightly below, was treading alone…..!!

He grasped the Jewelled tiara, turned, and darted from the room and took up a position just outside the sitting room doorway through which he had entered the corridor.

Silently he moved, listening intently as the cautious steps slowly made their way upstairs from the grand entranceway below…

His sharp ears picking up the faintest sound of a swishing skirt!. He could sense that the (probably bejewelled) owner of those feet, which were treading ever so lightly, ever so elegantly, was as much on the alert as he was, listening out into the darkness for any hint of danger, much the same as he.

Only she was not sure if there was an intruder, and he was, very sure, there was!

He licked his lips, as he pondered it over for a few precious seconds.

Was this, after all, some type of elaborate ensnarement?

Or was it, as they say, a difficulty mastered, so an opportunity won?

Should he stay, or should he go?….

That was his question, and the answer needed to be made forthwith!

Christ at the Column is an oil on panel painting attributed to Donato Bramante, executed c. 1490 and held at the Pinacoteca di Brera, in Milan.

The panel was commissioned by the Abbey of Chiaravalle near Milan. It is the only known surviving panel painting attributed to Bramante. The attribution isn't universally accepted. Some scholars, such as William Suida, consider the painting more likely the work of Bramantino.

The work has been in the museum since 1915, on deposit from the abbey, where it was replaced by a copy. On January 15, 2017, following a malfunction of the heating system, the painting, together with another forty, suffered damage due to the sudden change in temperature. It was immediately taken to the museum's laboratory for restoration.

The work depicts Christ tied to a column (in this case an ornate pillar with classical bas-relief decoration) before being scourged. The very close up shot transmits a very strong emotion, accentuating the already poignant scene and creating, on the whole, an atmosphere of strong psychological tension. Even more, the details, such as the rope dangling from the neck of Christ, contribute to create that remarkable emotional apprehension that flows from the entire composition. The procedure with which the idea of a vast colonnaded space is given is, in practice, the same used in the architecture of the fake choir of Santa Maria at San Satiro: the extension of the main elements beyond the boundaries of the painting and the suggestion of distance between foreground and background.

The classic modeling of the body of Christ attests the influence of the Urbino culture from which Bramante artistically came, while other details demonstrate the influence of the Flemish painting, such as the double lighting (frontal, in this case oriented from left to right, and from the window on the background), the view that fades into the distance, and the meticulous attention to detail. In this sense, the study on light stands out, creating a myriad of colored reflections, as in the reddish and blue ones in the hair and beard of Christ.

Some details refer to Leonardo da Vinci's influence, such as the study of the expressive potential of the face, or some details of extreme realism such as the flesh tightened by ropes or transparent tears.

A golden pyx rests on the windowsill, a reference to the Eucharist, which reveals the meaning of Christ's sacrifice.

- Charles Dickens.

| insta | blog |

It's been a while since I posted an image on Flickr. It has been a busy Christmas season and finding time to select, and process images have been difficult. A couple of days ago, I had a chance to go through some of my old photos, and I happened across the image of the day. This image was taken at mono lake, an area that I can always count on for exciting sunset and sunrise light. While we were there this evening, I saw the initial signs of a lenticular cloud forming. I was still in the early stages as a photographer, and this was the first time I have ever witnessed the formation of a lenticular cloud. So, in short, I panicked and started to run around and take as many photos as I could while muttering about people walking into and ruining my frame.

Initially, I had planned to spend some relaxing sunset shoot exploring some of the distant tufa formations away from the main section at south tufa beach. Needless to say, that plan didn’t get executed. I was disappointed with myself, but the photos had unique colors, incredible cloud formations, and fantastic geological formations. They looked terrific, but I was disappointed with the compositions. This image had some horrible chromatic aberration that I couldn’t get rid off at the time, but with my improved post-processing skills, I tried my luck again, and I believe I did a decent enough job this time around. In the meantime, I wish you all a Merry Christmas.

Michelangelo returned to Florence in 1499–1501. Things were changing in the republic after the fall of anti-Renaissance Priest and leader of Florence, Girolamo Savonarola (executed in 1498) and the rise of the gonfaloniere Pier Soderini. He was asked by the consuls of the Guild of Wool to complete an unfinished project begun 40 years earlier by Agostino di Duccio: a colossal statue portraying David as a symbol of Florentine freedom, to be placed in the Piazza della Signoria, in front of the Palazzo Vecchio. Michelangelo responded by completing his most famous work, the Statue of David in 1504. This masterwork, created out of a marble block from the quarries at Carrara that had already been worked on by an earlier hand, definitively established his prominence as a sculptor of extraordinary technical skill and strength of symbolic imagination.

David is a masterpiece of Renaissance sculpture sculpted by Michelangelo from 1501 to 1504. The 5.17 meter (17 ft)[1] marble statue portrays the Biblical King David in the nude. Unlike previous depictions of David which portray the hero after his victory over Goliath, Michelangelo chose to represent David before the fight contemplating the battle yet to come. [2] It came to symbolize the defense of civil liberties embodied in the Florentine Republic, an independent city state threatened on all sides by more powerful rival states and by the hegemony of the Medici themselves. This interpretation was also encouraged by the original setting of the sculpture outside the Palazzo della Signoria, the seat of civic government in Florence. The completed sculpture was unveiled on 8 September 1504.

Michelangelo's David differs from previous representations of the subject in that David is not depicted with the slain Goliath (as he is in Donatello's and Verrocchio's versions, produced earlier), a common interpretation is that David is depicted before his battle with Goliath. Instead of being shown victorious over a foe much larger than he, David looks tense and ready for combat. His veins bulge out of his lowered right hand and the twist of his body effectively conveys to the viewer the feeling that he is in motion. The statue is meant to show David after he has made the decision to fight Goliath but before the battle has actually taken place. It is a representation of the moment between conscious choice and conscious action.[citation needed] However, other experts (including Giuseppe Andreani, the current director of Accademia Gallery) consider the depiction to represent the moment immediately after battle, as David serenely contemplates his victory.

A copy of the statue standing in the original location of David, in front of the Palazzo Vecchio in Florence.On January 25, 1504, when the sculpture was nearing completion, a committee of Florentine artists including Leonardo da Vinci and Sandro Botticelli met to decide on an appropriate site for the David. The majority, led by Giuliano da Sangallo and supported by Leonardo and Piero di Cosimo, among others, believed that due to the imperfections in the marble the sculpture should be placed under the roof of the Loggia dei Lanzi on Piazza della Signoria. Only a rather minor view, supported by Botticelli, believed that the sculpture should be situated on or near the cathedral. Eventually the David was placed in front of the entrance to the Palazzo Vecchio, also on Piazza della Signoria, replacing Donatello's bronze sculpture of Judith and Holofernes, which embodied a comparable theme of heroic resistance. It took four days to move the statue from Michelangelo's workshop onto the Piazza della Signoria.

Michelangelo's David is based on the artistic discipline of disegno, which is built on knowledge of the male human form. Under this discipline, sculpture is considered to be the finest form of art because it mimics divine creation. Because Michelangelo adhered to the concepts of disegno, he worked under the premise that the image of David was already in the block of stone he was working on — in much the same way as the human soul is found within the physical body. It is also an example of the contrapposto style of posing the human form.

In the High Renaissance, contrapposto poses were thought of as a distinctive feature of antique sculpture. As exemplified In Michelangelo’s David, sculptured from 1501-1504, the figure stands with one leg holding its full weight and the other leg relaxed. This classic pose causes the figure’s hips and shoulders to rest at opposite angles, giving a slight s-curve to the entire torso. In addition, the statue faces to the left while the left arm leans on his left shoulder with his sling flung down behind his back. Michelangelo’s David has become one of the most recognized pieces of Renaissance Sculpture ever, becoming a symbol of both strength and youthful human beauty.

The proportions are not quite true to the human form; the head and upper body are somewhat larger than the proportions of the lower body. The hands are also larger than would be in regular proportions. While some have suggested that this is of the mannerist style, another explanation is that the statue was originally intended to be placed on a church façade or high pedestal, and that the proportions would appear correct when the statue was viewed from some distance below.

Commentators have noted David's apparently uncircumcised form, which is at odds with Judaic practice, but is considered consistent with the conventions of Renaissance art.[4]

To protect it from damage, the sculpture was moved in 1873 to the Accademia Gallery in Florence, where it attracts many visitors. A replica was placed in the Piazza della Signoria in 1910.

The cast of David at the South Kensington Museum (now the Victoria and Albert Museum), had a detachable plaster fig leaf, added for visits by Queen Victoria and other important ladies, when it was hung on the figure using two strategically placed hooks; it is now displayed nearby. [5]

In 1991, a deranged man attacked the statue with a hammer he had concealed beneath his jacket[6], in the process damaging the toes of the left foot before being restrained. The samples obtained from that incident allowed scientists to determine that the marble used was obtained from the Fantiscritti quarries in Miseglia, the central of three small valleys in Carrara. The marble in question contains many microscopic holes that cause it to deteriorate faster than other marbles. Because of the marble's degradation, a controversy occurred in 2003, when the statue underwent its first major cleaning since 1843. Some experts opposed the use of water to clean the statue, fearing further deterioration. Under the direction of Dr. Franca Falleti, senior restorers Monica Eichmann and Cinzia Pamigoni began the job of restoring the statue. The restoration work was completed in 2004.[7]

In 2008, plans were proposed to insulate the statue from the vibration of tourists' footsteps at Florence's Galleria dell'Accademia, to prevent damage to the marble.

from Wikipedia

The Pear tree is in full blossom right now with only few pollinators around.

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"On September 1st, 1939 a division of the SS attacked the Gdansk post office complex as the opening act of the invasion of Poland, rightly believing it to be the base of Polish defense and spy operations. 57 workers from the post office fought back and miraculously held the attackers at bay for 15 hours, before finally surrendering. After their surrender, the workers were court martialed by the Germans and executed as illegal combatants.

This battle has come to be an important episode in Poland’s history and in 1979, while Poland was still under the influence of the Soviet Union, a huge, modern monument was erected in commemoration. The statue is located in front of the actual post office in Gdansk. The towering landmark shows a fallen Polish soldier overseen by an angelic presence and a flock of impressionist birds. All depicted in gleaming, unpainted metal.

Monument to the Defenders of the Polish Post Office is a stirring and beautiful monument to an often forgotten engagement in one of the most significant events in the history of the world." (Credit: atlas Obscura.com)

A well-executed Dutch door shot by the Admiral from the passing Silver Star at Sanford FL on 20 September 1987 finds CSX (SCL) U18B No. 1973 in the company of Family Lines-painted caboose 21120.

Exécuté seulement en 1807 par Gérard (1770-1837), le portrait de Joséphine "dans le costume du couronnement" fut exposé au Salon de 1808 et placé aux Tuileries.

Napoléon en commanda la même année une réplique destinée à être traduite en tapisserie.

Huit lissiers des Gobelins travaillèrent au tissage, notamment Claude père, aidé de son fils, qui exécuta la figure de Joséphine avec une rare perfection. Bien que tissée en haute lisse, la tapisserie est inversée par rapport à la peinture comme c'est le cas en basse lisse. La couronne posée sur le tabouret est bien celle livrée par le joaillier Marguerite pour le couronnement; et, mis à part la parure de saphirs et le haut du corsage, le bas de robe en soie blanche brodée et le grand manteau en velours pourpre, exécutés par les couturiers Leroy et Rimbaud, sont ceux que l'Impératrice portait pour la cérémonie du 2 décembre 1804.

Commencée en juillet 1808 et livrée en novembre 1810, un an après le divorce de Joséphine et Napoléon, cette tapisserie fut offerte par Napoléon au fils de Joséphine, Eugène (1781-1824) pour les étrennes de 1810.

Executed only in 1807 by Gérard (1770-1837), the portrait of Josephine "in the costume of the coronation" was exhibited at the Salon of 1808 and placed in the Tuileries.

In the same year, Napoleon commissioned a replica to be translated into tapestry.

Eight weavers from the Gobelins worked on the weaving, notably Claude père, assisted by his son, who executed the figure of Joséphine with rare perfection. Although woven in haute lisse, the tapestry is inverted in relation to the painting, as is the case in basse lisse. The crown on the stool is indeed the one delivered by the jeweller Marguerite for the coronation; and, apart from the sapphire set and the top of the bodice, the embroidered white silk dress and the large purple velvet cloak, made by the couturiers Leroy and Rimbaud, are those worn by the Empress for the ceremony of 2 December 1804.

The tapestry was begun in July 1808 and delivered in November 1810, a year after Josephine and Napoleon's divorce. Napoleon gave it to Josephine's son Eugène (1781-1824) for his Christmas present in 1810.

Inside Louvre Museum, Paris, France. Painting by the Venetian artist Veronese, 1652–53 (Louvre, Paris). It depicts the first miracle of Jesus, when he turned water into wine at a marriage feast at Cana in Galilee. This is one of the finest works of the Venetian High Renaissance, and was originally executed for the refectory of the Benedictines of S Giorgio Maggiore in Venice.

Seymour was born in about 1506, to Sir John Seymour and Margery Wentworth, a celebrated beauty, immortalised in the works of John Skelton. Edward's first marriage, to Catharine Fillol, was annulled when it was discovered she was having an affair with his father. His second marriage was to Anne Stanhope.

Edward was the eldest brother of Jane Seymour, who would become Henry VIII's third queen consort. When Jane married the King in 1536, Seymour was created Viscount Beauchamp 5 June, and on 15 October 1537 Earl of Hertford. He became Warden of the Scottish Marches and continued in favour after his sister's death in 1537. Their brother, Thomas, also gained power through their sister's advancement and married Henry VIII's sixth wife, Dowager Queen Catherine Parr, shortly after the death of the King. Seymour's nephew became Edward VI on the death of Henry VIII. Edward Seymour retained great influence over the boy king, Edward VI, in whose name he ruled the country, and was created Duke of Somerset on 15 February 1547, early in King Edward's reign.

Following his victory over the Scots at the Battle of Pinkie Cleugh, his position appeared unassailable. However, the Seymour brothers had accumulated enemies and grudges during their time in royal favour, and, shortly after his brother Thomas's downfall in 1548, Edward, too, fell from power. His position, although not his office of Protector, was taken by John Dudley, 1st Earl of Warwick, later 1st Duke of Northumberland; his properties (such as Somerset House, Sleaford Castle and Berry Pomeroy Castle) were confiscated by the crown; and he was executed for treason at Tower Hill on January 22, 1552.

Praxiteles, probable author, executed a number of fine works in bronze: he made an Apollo, at the age of puberty, who with an arrow in his hand is poised to strike a lizard climbing towards him: it is known as "the Lizard-Slayer."... but there's no arrow.

Department of Greek, Etruscan, and Roman Antiquities.

#QUEEN MARIE ANTOINETTE

was executed by guillotine on 16 October 1793.

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Macro Mondays / July 31 / #Queen / HMM to everyone!

7DWF / Mondays #FreeTheme

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Marie Antoinette, born Maria Antonia Josepha Johanna (2 November 1755 – 16 October 1793) was the last Queen of France before the French Revolution. She was born an Archduchess of Austria, and was the fifteenth and second youngest child of Empress Maria Theresa and Francis I, Holy Roman Emperor. In April 1770, upon her marriage to Louis-Auguste, heir apparent to the French throne, she became Dauphine of France. On 10 May 1774, when her husband ascended the throne as Louis XVI, she assumed the title Queen of France and Navarre. During the Revolution, she became known as Madame Déficit because the country's financial crisis was blamed on her lavish spending and her opposition to the social and financial reforms. Marie Antoinette was convicted by the Revolutionary Tribunal of high treason and executed by guillotine on the Place de la Révolution on 16 October 1793.

Excerpt from:

en.wikipedia.org/wiki/Marie_Antoinette

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Marie Antoinette (2. November 1755 - 16. Oktober 1793) war die letzte Königin von Frankreich vor der Französischen Revolution. Sie war als Maria Antonia Josepha Johanna geborene Erzherzogin von Österreich sowie Prinzessin von Ungarn, Böhmen und der Toskana und entstammte dem Haus Habsburg-Lothringen. 1769 wurde sie durch ihre Heirat mit dem französischen Thronfolger zunächst Dauphins. Fünf Jahre später wurde sie - durch dessen Thronbesteigung als König Ludwig XVI. - Königin von Frankreich und Navarra. Während der Französischen Revolution galt sie der aufständischen und notleidenden Bevölkerung aufgrund ihres verschwenderischen Lebensstils als eine der am meisten verachteten Personen der höfischen Gesellschaft. Marie Antoinette wurde vom Revolutionären Tribunal des Hochverrats verurteilt und am 16. Oktober 1793 durch die Guillotine am Place de la Révolution hingerichtet.

Auszug aus:

de.wikipedia.org/wiki/Marie_Antoinette

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Nikon Micro-Nikkor-P / 1:3.5 / 55 mm

Excerpt from heritageburlington.ca:

An oustanding example of a Flemish-bond brick structure in Regency Style. The lowpitched end-gabled roof has wide eaves, decorative wood brackets, and returns. The centre front gable has an arched window and the gable ends have a quarter-pie window on either side of the chimney. The first-level windows are large. The front windows may have opened as French windows on to a verandah. They have multi-paned glass and low wood panels. The centre door is single, with sidelights and transom and similar wood panels. The door frame may be a restoration, but is well designed and executed. The front gable has some decorative bargeboard trim, added later. There is a rear open porch with a shed roof.

Built in 1850 for Donald McGregor.

Cold, desolate and cold. These are the words that went through my head as the orders came, and me and my men executed them. This war, fighting alongside these warriors, I knew the possibility that something like this would occur, taking out the very knights that entrusted us with their safety and in return, gave us our safety and at times, our lives. I’m not one to cower from orders, I rather see it as evaluating quite important strategic decisions. Death to these warriors must be the answer or? They are traitors are they not? But who knows, perhaps, this was all by design. Perhaps, I’m just thinking foolishly. It’s now been several rotations since our dissent onto this pitiful planet. Our orders were to locate any more of the missing treacherous knights. Suspects have been spotted roaming the alleyways. One in particular, has been cited multiple times. I think the best thing to do is to clear my head, get the job done. Wouldn’t want to lose it now would I.

- Commander Deviss

I bring you my Jedi Hunt on Eriadu MOC, a scene straight out of the awesome Star Wars Purge comic series. This takes place some time after Order 66 and follows Commander Deviss and his group of clone troopers hunting down a Jedi Master in an alleyway of this industrial city on the planet.

When I set out to create this build, I wanted the focus to be set on the figures and have the detail around really make them stand out. For me, having a balance in colors really is the start of that. As I talk about in the video available on the Beyond The Brick YouTube channel, the details and colors are meant to complement the other surrounding parts. I really think the red beams on top stand out and work nicely with the red from Deviss, really making him pop with his troopers. The classic black border that you’ve seen from some of my other builds really help tie things together as well. Overall, I think the build was a successful recreation of an iconic scene.

If you like this build, consider tapping the fave button ever so slightly and if you’re feeling like doing a bit extra, follow me here. Thanks!

~Noah

See more of this build by watching this YouTube video.

YouTube | Instagram | Twitter | Facebook

This hologram table though!

Old Wardour Castle

Old Wardour Castle is located at Wardour, on the boundaries of Tisbury and Donhead St Andrew in the English county of Wiltshire, about 15 miles (24 km) west of Salisbury. The castle was built in the 1390s and partially destroyed in 1643 and 1644 during the English Civil War. It is managed by English Heritage who have designated it as a grade I listed building.

After the fall of the Lovell family following their support of the Lancastrian cause during the Wars of the Roses, the castle was confiscated in 1461 and passed through several owners until bought by Sir Thomas Arundell of Lanherne in 1544. The Arundells were an ancient and prominent Cornish family, the principal branches of which were seated at the manors of Lanherne, Trerice, Tolverne and Menadarva in Cornwall. The family held several estates in Wiltshire. The castle was confiscated when Sir Thomas — a staunch Roman Catholic — was executed for treason in 1552, but in 1570 was bought back by his son, Sir Matthew Arundell, later a Sheriff and Custos Rotulorum of Dorset. The Arundells, led by Thomas Arundell, 1st Baron Arundell of Wardour, subsequently became known as some of the most active of the Catholic landowners in England at the time of the Reformation; thus they were naturally Royalists in the English Civil War. During that conflict, Thomas Arundell, 2nd Baron Arundell of Wardour, was away from home on the King’s business and had asked his wife, Lady Blanche Arundell, aged 61, to defend the castle with a garrison of 25 trained fighting men. On 2 May 1643 Sir Edward Hungerford, with 1,300 men of the Parliamentarian Army, demanded admittance to search for Royalists. He was refused and laid siege, setting about the walls with guns and mines. After five days the castle was threatened with complete destruction. Lady Arundell agreed to surrender, and the castle was placed under the command of Colonel Edmund Ludlow. Lord Arundell had died of his wounds after the Battle of Stratton, and his son, Henry 3rd Lord Arundell, next laid siege to his own castle, blew up much of it and obliged the Parliamentary garrison to surrender in March 1644.

(possessing charm and attractive): beauteous, attractive, cute, fair, good-looking, gorgeous, sheen, handsome, hot (slang), lovely, nice-looking, pretty, shapely, fit (slang)

(of the weather): clear, fine, nice, pleasant, sunny

(well executed): excellent, exceptional, good, great, marvellous/marvelous, perfect, stylish, wonderful

(ironic: how unfortunate): great, marvellous/marvelous, nice, very nice, wonderful (any of these can be prefixed with an intensifier such as bloody, damned or just)

See also Wikisaurus:beautiful

This is a shot I had dreamed, scouted, and wanted to execute for almost a year and a half now. Redfish Lake is a pretty incredible place to shoot the Milky Way, it's supremely dark and for whatever reason the core just looks massive in the sky. Along the south/southwest portion of the lake are the beautiful Sawtooth Mountains, this is an area I've been exploring my entire life and it never ceases to amaze me. This exact shot has eluded me for about 18 months now, thanks to a combination of poor weather, poor timing, and bad wildfires/smoke in the area. While up at my family cabin this last week to shoot the eclipse I FINALLY got a clearish night to make this shot happen. Multiple bear sightings in the area made me a bit skittish to attempt it, but I strapped on the bear spray and headed out on the trail anyways. The Milky Way aligns perfectly over the Grand Mogul peaks with the Rho Ophiuchi Complex dropping in between the Grand Mogul and Heyburn Mountain. Quite frankly this is one of the most perfect late-season alignments you can have, the difficulty of getting any detail out of the Rho Ophiuchi area is tremendous late in the year due to it dropping low in the horizon.

Altogether 12 shots went into this one, 4 for the foreground and 8 for the sky, all taken with my Nikon D800E and Sigma Art 50mm lens on a Sky Watcher Star Adventurer Tracking mount. Foreground exposures are 3 minutes at f1.4 and ISO 800, sky exposures at 5 minutes at f2.8 and ISO 800.

Portrait of Pope Innocent X is an oil on canvas portrait by the Spanish painter Diego Velázquez, executed during a trip to Italy around 1650. Many artists and art critics consider it the finest portrait ever created. It is housed in the Galleria Doria Pamphilj in Rome. A smaller version is held by the Metropolitan Museum of Art in New York, and a study is on display at Apsley House in London. The painting is noted for its realism as an unflinching portrait of a highly intelligent, shrewd, and aging man. He is dressed in linen vestments, and the quality of the work is evident in the rich reds of his upper clothing, head-dress, and the hanging curtains.

The pope, born Giovanni Battista Pamphilj, was initially wary of sitting for Velázquez, but relented after he was shown reproductions of portraits by the artist. A contributing factor for this large advancement in the painter's career was that he had already depicted a number of members of Pamphilj's inner court. The pope, however, remained cautious, and the painting was initially displayed only to his immediate family, and was largely lost from public view through the 17th and 18th centuries.

The portrait was painted during Velázquez's second voyage to Italy, between 1649 and 1651. The subject's vestments are of light linen, suggesting that the picture was probably painted during summer, most likely in 1650. Velázquez included his signature on the paper in the pope's hands, but the date is not readable. There are two versions of the story of how Velázquez came to paint the portrait. According to one of these, while visiting Rome, Velázquez, already a renowned painter, was granted an audience with Pope Innocent X. He offered to paint a portrait of the pope, but Innocent X mistrusted Velázquez's fame, and asked for proof of Veláquez's skills. It would have been then that Velázquez painted the portrait of his servant Juan de Pareja (today at display in the Metropolitan Museum of New York). Once Innocent saw that portrait, he agreed to sit for the artist.

Apparently, when the pope saw the finished portrait, he exclaimed: "È troppo vero! È troppo vero!" ("It's too true! It's too true!"), though he did not deny the extraordinary quality of the portrait.[4] Experts doubt the veracity of this story, and argue that the pope allowed Velázquez to paint him because he had already painted with great success other people from the inner papal court, including the pope's barber.

The portrait was kept at private display by Innocent's family, the Pamphilj, who would display it in the Doria Pamphilj Gallery where it remains to this day. For much of the 17th and 18th centuries, it was a relatively unknown work, familiar only to a few connoisseurs who regarded it to be one of the finest portraits ever. French historian Hippolyte Taine considered the portrait as "the masterpiece amongst all portraits" and said "once it has been seen, it is impossible to forget".

The art dealer René Gimpel noted in his diary in 1923 "Morgan would have offered a million dollars for it. Velázquez was faced with a ruddy Italian, and the artist, accustomed to the pale complexions of his country, unhesitatingly steeped his brush in red the color of wine and brought the bon vivant devastatingly to life.... That face is a whirlpool of flesh, and blood, and life; the eyes are searching.

The 20th century artist Francis Bacon painted a series of distorted variants, often known as the "Screaming Popes", which total more than forty-five known variants executed during the 1950s and early 1960s. The picture was described by Gilles Deleuze as an example of creative re-interpretation of the classical. Bacon avoided seeing the original, but the painting remained the single greatest influence on him; its presence can be seen in many of his best works from the late 1940s to the early 1960s. In Bacon's 1953 version Study after Velázquez's Portrait of Pope Innocent X, the pope is shown screaming yet his voice is "silenced" by the enclosing drapes and dark rich colors which have been said to create a grotesque and nightmarish tone. The pleated curtains of the backdrop are rendered transparent and appear to fall through the representation of the pope's face.

A reversed form of the portrait features on the cover of occult rock band Ghost's 2018 album Prequelle.

More: imgur.com/a/Krw5S7K

Brothers in arms but never in spirit, scientists Chirox and Mutran were always butting heads on and off the battlefield.

Treacherous, brilliant and always hungering for more ways to execute his twisted experiments; Mutran is forever driven by his ceaseless rivalry with Chirox in a bid to create the most twisted eldritch horrors out of unsuspecting Matoran.

© All rights reserved. Use without permission is illegal!

Parque Escultórico Torre de Hércules - MONUMENTO A LOS FUSILADOS EN LA GUERRA CIVIL (Isaac Díaz Pardo). Singular Stonehenge en tributo a las víctimas de la Guerra Civil. En este mismo lugar fueron fusilados políticos, artistas e intelectuales.

Tower of Hercules Sculpture Park - MONUMENT TO THOSE EXECUTED IN THE CIVIL WAR (Isaac Díaz Pardo) A kind of Stonehenge in homage to the victims of the Spanish Civil War. Politicians, artists and scholars were shot here.

The Campanile was designed and built in 1928 and, unusually for the Portmeirion buildings, the executed tower exactly conformed to its detailed plans; these were shown in the 1931 Royal Academy Summer Exhibition. Some sort of bell tower had formed a focus for the projected village already in the earliest plans and models. As CWE noted: `The need for the Campanile was obvious enough - it was imperative that I should open my performance with a dramatic gesture of some sort.' The tower was provided with a chiming clock from a demolished London brewery. A plaque within the tower carries the following dedication: `This tower, built in 1928 by Clough Williams-Ellis, architect and publican, embodies stones from the 12th century castle of Gruffudd ap Cynan, King of North Wales, that stood on an eminence 150 yards to the west. It was finally razed c1869 by Sir William Fothergill Cook, inventor of the Electric Telegraph ``lest the ruins should become known and attract visitors to the place.'' This C19 affront to the C12 is thus piously redressed in the C20.'

The registered area represents the well-preserved garden designed in and around the village of Portmeirion by Clough Williams-Ellis (1883-1978) where conditions permit the growing of many half-hardy and tender plants, which enhance the exotic character of the site. Attached is the older Gwyllt garden containing an outstanding rhododendron collection of the early twentieth century. The registered area has important group value with the numerous listed buildings and structures at Portmeirion. Portmeirion is situated on the north side of the Traeth Bach estuary, near Porthmadog; the Gwyllt gardens to the west of it occupy the southern part of the peninsula between this and the Traeth Mawr. The site is almost hidden from the landward side and is sheltered from this direction by the shape of the land, as is the village area from the west and south-west by the Gwyllt. The only exposed direction is the south-east and in this direction lie spectacular views, over the sands of the estuary towards Harlech. Portmeirion is a deliberately created village set in a garden. The village, built in and around a small valley opening on to the shore, consists of a hotel and cottages, with shops and public buildings, arranged around a central open square which is laid out as a public garden. The buildings are a collection of architectural fantasies created by Clough Williams-Ellis. It is stylistically diverse, incorporating architectural elements from a wide range of periods and from several countries. The garden area occupies most of the flat ground available and due to the steeply-sloping nature of the rest of the site most of the buildings are displayed to advantage on the hillside. For this reason the village is best viewed from the sea, from which the site was first seen by Williams-Ellis. When Clough Williams-Ellis bought the site in 1925, he also acquired the mansion of Aber-Ia (LB: 4853) and its informal pleasure grounds on the Gwyllt peninsula to the west. The Gwyllt garden was probably laid out when the house was first built in the middle of the nineteenth century. The first additions were trees, especially pines and other conifers, some of which survive, and rhododendrons such as R. nobleanum and 'Cornish Red'. The second phase of planting was in the early twentieth century. This was the heyday of the collection, when the owner, Caton Haigh, deliberately collected half-hardy and exotic varieties, some recently introduced from China. Planting survives from both periods and the age range of the trees suggests that some were also planted by Clough Williams-Ellis. After Clough acquired the site there were two main periods of building; from 1925 until the Second World War, and from 1954 until about 1970. The first period saw conversion of the mid-nineteenth century house, Aber-Ia, to a hotel and the 'Cloughing-up' of the former gardener's cottage, now the Mermaid (LB: 4860); the former stable building (LB: 4886) was also converted. The first new cottages were the Angel (LB: 4856) and Neptune (LB: 4858), on the west side of the valley, opposite the Mermaid. Most of the buildings in the Citadel, the higher part of the village on the north-eastern edge of the valley, were also completed, including the Campanile (LB: 4868). During the later period more buildings were added to the Citadel and around the central public garden, part of which was now known as the Piazza (LB: 4885). These include the Pantheon (LB: 4879), with its dome complementing the Campanile, the Unicorn (LB: 4882) and Bridge House (LB: 4875), on an arch over one of the streets.

Despite their squat, comical appearance, Atlantic puffins are accomplished fliers. One particular impressive ability they have is to land backwards. When the wind is at their back the birds will hover and then briefly fly backwards onto the cliff.

In this photo you can see one puffin executing this maneuver forcing another puffin out of the way.

I took this photo on Grimsey Island which has one of the largest puffin colonies in Iceland.

Victory Over the North, executed by Astyanax-Scaevola Bosio, adorns the interior northwest pillar of Arc de Triomphe de l'Étoile. Seated at the centre, ictory holds a tablet on which she has inscribed: "Austerlitz/Iéna/Friedland and Ulm/Wagram and Eylau." Positioned at her right and left, four genies shoulder long garlands whose ends pill over with fruit.

The Arc de Triomphe stands in the centre of the Place Charles de Gaulle, also known as the Place de l'Étoile (Star Square). Designed by Jean Chalgrin between 1806 and 1836, the 51 meter high, 45-meter wide monument is the second largest triumphal arch in existence. It honors those who fought for France, particularly during the Napoleonic Wars.

Hastily executed hand-held shot for Macro Mondays.

Happy Macro Monday to everyone!

Uncropped image of a pencil sharpener disguised as a small sewing machine.

Sewing machine size:

Base: 64 mm long

Total height: 56 mm

"Commander Cody, the time has come. Execute Order 66."

"Yes, my lord."

―Supreme Chancellor Palpatine to Cody

I transferred Cody's designs onto my new EP2/EP3 template, incorporating as much detail as possible with his armor. He features Arealight's trooper helmet and great new DC-15 rifle, along with a CAC visor and jetpack, painted with bronze and grey detailing. I've added my resin casted visor light and a thin wire for his antenna. Since his most iconic scene is the execution of Order 66, I decided to slap together a hologram on Photoshop since I didn't have the piece myself.

Like the previous photo, I've featured another custom sculpted base here for the figure, which are really fun to make. More designs and customs are on the way, so as always, expect more, and I'd love to hear your thoughts!

EDIT: Just noticed I forgot to put the orange stripe on his leg...

-Andrew

In late 1796 Governor Phillip installed a gibbet on Pinchgut. Convicts hanged and then gibbeted there included Francis Morgan. In 1793, the British transported him to New South Wales for life as punishment for a murder. The authorities in NSW executed Morgan for bashing Simon Raven to death in Sydney on 18 October 1796.[ On 30 November 1796, Morgan was hanged; following his execution, his body was hung in chains (gibbeting) on Pinchgut. His skeleton was still hanging there four years after his execution. Facing execution, Morgan is reputed to have said to the hangman that the only thing worth mentioning was the superb view of the harbour from his high elevation.

A Laysan albatross executes a sunrise inspection of the breeding colony on the shoreline sand dunes of Ka’ena Point. I have observed this bird for multiple seasons and happy to see her return. Auxiliary banding data (O220) indicates she was ringed as an adult in March 2007 by PRC.

Though awkward on land, albatrosses are magnificent in the air. Airborne albatrosses are masters of dynamic soaring requiring little metabolic energy or wing flapping. Bones lock into position requiring no muscle to keep the six-foot wing span extended. This mōlī has returned from months and tens of thousands of miles of nomadic solitary foraging at sea to reestablish its pair bond with a monogamous mate. Males with established pair bonds generally arrive first in mid-November and stake out a nesting site, females arrive a few days or so later. After a brief, but elaborate, reaffirming courtship dance followed by mating, the couple return to nomadically soaring over the north Pacific for about two weeks to forage and fatten up for the rigors of nesting and incubation.

Organ and Quire Screen at Rochester Cathedral.

The quire screen is relatively modern, having been executed in memory of Robert Scott (sometime Dean) with its current statues by J. Loughborough Pearson in or around the late 1880s.

Rochester Cathedral's current pipe organ originates from the 1905 instrument built by J. W. Walker & Sons Ltd. It was later rebuilt by Mander Organs in 1989, who installed a new choir organ and pipework under the advice of Paul Hale.

Rochester Cathedral in the English county of Kent, formally the Cathedral Church of Christ and the Blessed Virgin Mary, is the seat of the Diocese of Rochester, the second oldest bishopric in England after that of the Archbishop of Canterbury. The edifice is a Grade I listed building

There has been a cathedral on this site since 604, but after the Norman Conquest, the by now decayed building was replaced by a new Rochester Cathedral, constructed beginning in 1080 by Bishop Gundulf.

The building was dedicated in either 1130 or 1133, but was badly damaged by fire almost immediately, and then again in 1137 and 1179, with the east end almost complete destroyed. This was replaced around the turn of the 13th Century. There was a significant period of extension in the late 13th and early 14th Centuries, which added much Decorated work while leaving the Norman-Romanesque superstructure largely intact.

The cathedral suffered a steep decline after the Dissolution of the Monasteries in the 16th century, during which time its estates were confiscated by the Crown, and it became dilapidated and fell into disrepute. Samuel Pepys, the diarist, would later dismiss it as a "shabby place". After William Laud, Archbishop of Canterbury, visited the cathedral in 1633 and complained about its general state, there seems to have been a significant programme of repairs, only to fall into disrepair again under Oliver Cromwell’s Commonwealth, although remedial work began as early as 1664 after the Restoration. Almost inevitably, the Cathedral was “restored” by George Gilbert Scott in the 1870s.

This description incorporates text from the English Wikipedia.

Order 66 on Saleucami- Clone batch C-11 was dispatched on saleucami for recon and scouting. Shorty after establishing their location, they received a transmission to execute protocol 66.

-Built for Dark times RPG

Test 101 - Execute HurtFeelings.exe

Test subjects will be subject to immense sadness.

WHY MUST YOU PROGRAM ME TO FEEL PAIN?!?!

--

Build for Rogue Bricks 101 bricks or less challenge.

This week: feelings (misty water feelings, of the way we wereeeee).

Executing the "Bow" Command.

#yuzuthesheltie #dogsingapore #sheltie #shetlandsheepdog

The church is renowned for its 12th century mosaics executed by craftsmen working in the Byzantine style. The mosaics show many iconographic and formal similarities to the roughly contemporary programs in the Cappella Palatina, in Monreale Cathedral, and in Cefalù Cathedral, although they were probably executed by a distinct atelier.[16]

The walls display two mosaics taken from the original Norman façade, depicting King Roger II, George of Antioch's lord, receiving the crown of Sicily from Jesus, and, on the northern side of the aisle, George himself, at the feet of the Virgin. The depiction of Roger was highly significant in terms of its iconography. In Western Christian tradition, kings were customarily crowned by the Pope or his representatives; however, Roger is shown in Byzantine dress being crowned by Jesus in the Byzantine fashion. Roger was renowned for presenting himself as an emperor during his reign, being addressed as basileus ("king" in koine Greek). The mosaic of the crowning of Roger carries a Latin inscription written in koine Greek characters (Rogerios Rex ΡΟΓΕΡΙΟΣ ΡΗΞ "king Roger").

The nave dome is occupied by the traditional byzantine image of Christ Pantokrator surrounded by the archangel saints: Michael, Gabriel, Raphael, and Uriel. The register below depicts the eight prophets of the Old Testament and, in the pendentives, the four evangelists of the New Testament. The nave vault depicts the Nativity and the Death of the Virgin.

c/o Wikipedia

more classic Execute action..

The Parnassus is a painting by the Italian Renaissance painter Andrea Mantegna, executed in 1497. It is now in the Musée du Louvre, Paris.

The Parnassus is a painting by the Italian Renaissance painter Andrea Mantegna, executed in 1497. It is now in the Musée du Louvre, Paris.

The traditional interpretation of the work is based on a late 15th-century poem by Battista Fiera, which identified it as a representation of Mount Parnassus, culminating in the allegory of Isabella as Venus and Francesco II Gonzaga as Mars.

The two gods are shown on a natural arch of rocks in front a symbolic bed; in the background the vegetation has many fruits in the right part (the male one) and only one in the left (female) part, symbolizing the fecundation. The posture of Venus derives from the ancient sculpture. They are accompanied by Anteros (the heavenly love), opposed to the carnal one. The latter is still holding the arch, and has a blowpipe which aims at the genitals of Vulcan, Venus' husband, portrayed in his workshop in a grotto. Behind him is the grape, perhaps a symbol of the drunk's intemperance.

In a clearing under the arch is Apollo playing a lyre. Nine Muses are dancing, in an allegory of universal harmony. The touch of Pegasus's hoof (right) can generate the spring which fed the falls of Mount Helicon, which can be seen in the background. The Muses danced traditionally in wood of this mount, and thus the traditional naming of Mount Parnassus is wrong.

Near Pegasus is Mercury, with his traditional winged hat, caduceus (the winged staff with entwined snakes), and messenger shoes. He is present to protect the two adulterers.

Operation Knightfall a.k.a. Order 66 was the Jedi massacre executed by the Clone troopers and Sith and resulted in the near extinction of the Jedi. It played a pivotal role in the ability to form the Galactic Empire.

Clones POV:

When me and my brothers got the orders there were a lot of mixed feelings, some didn't seem to care at all and others where very hesitant and suspicious about what was about to go down. General Skywalker, our general over the course of the entire war was to lead us into the Jedi Temple to execute all of the Jedi to pay for there betrayal and assassination attempt on the Chancellor.

At the time we arrived they didn't expect a thing. The Jedi is a powerful opponent so we had to act very swift and silent so they couldn't fight back. If they would than there will be a lot of casulties. First we had to eliminate the gatekeeper so he couldn't alert the other Jedi. We arrived and General Skywalker swiftly struck him down without any mercy. When we entered the temple we directly secured all the exit points and hangars so nobody could go out or get in. Clone troopers went into every room to eliminate them before they sensed something was off. Ofcourse some of the Jedi saw us or sensed our presence and tried to fight there way out. A lot of casualties fell on both sides, but for them it was already to late... The fall of the Jedi order was a fact and opperation Knightfall was yet another victory for the Galactic Republic.

Jedi POV:

I sense... Something strange... Suddenly I hear shots comming from inside the temple! Who could be infiltrating our most sacred temple? Should I go take a look or just wait untill one of the Masters comes to explain what's happening? Maybe meditation can learn me something more. I can feel the infiltrators... They feel familiar. They feel... The Clone troopers! They are acompanied by a very dark presence! Is it the Sith? Are they taking revenge? How could our own troopers turn against us?

How could anyone do this... I just hope I get out alive.

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

So this is my entry for the Dark Times RPG.

Enjoy!

Shok1 executes his unique cellular style. Scaling down I chose to use simpler forms to create this single letter J.

Year - 19 BBY

Planet - Felucia

================

CC - 7131, Station Log

/\/\ Log Entry /\/\

/\/\ End Log /\/\

CC - 7131: "General! Droids spotted in sector 4!"

The Jedi's lightsaber blades ignited, with a glow of blue illuminating the platform beneath his feet.

CC - 7131 and his men began firing at the droids, unaware that another squadron of B1 droids had already reached the bottom of the platform the clones were standing on. They began scaling the supports of the platform, unknown to the clone troopers.

The first droids made their way onto the platform, surprising a few troopers, which killed them in the process.

CC - 7131: "Droids on the platform! Squad, tighten formation!"

The clones formed up, taking out the droids on the platform as they did so. One trooper threw thermal detonators into the midst of the droids attacking the platform on foot, creating a blast of flame and metal body parts. With the droids on the ground handled, Master Evansan directed his attention to the droids on the platform, finishing them off with the help of his men.

CC - 7131: "Enemy neutralized, General Evansan."

Evansan: "Indeed, though I sense our battle is not yet over. There is a great darkness approaching, I can feel it in the Force. There are dark times ahead of us all."

CC - 7131: "Whatever it is, sir, we can handle it...together."

Evansan put a hand on his captain's shoulder.

Evansan: "I know we can, Ray. You've never let me down. I'm going to go report our status to Master Secura."

CC - 7131 (Ray): "Very good, sir."

As Evansan began to walk away, Ray's holoprojector beeped, signaling an incoming transmission. Ray took the 'projector off his belt, and turned it on to receive the message. He was surprised to see Chancellor Palpatine appear in hologram form before him.

Palpatine: "Captain Ray. It is finally time. Execute Order 66 immediately. Ever Jedi is a traitor to the Republic, and must die."

Good soldiers follow orders, Ray heard him say in his head.

CC - 7131 (Ray): "Yes, my Lord. It will be done."

And so it was. Captain Ray of the Grand Army of the Republic turned his weapon on Jedi Master Evansan, and pulled the trigger.

===============

Hello there! This is my "application" build to join the Dark Times group. I've been wanting to build a little Order 66 vignette for a while, so this was a perfect opportunity once I heard about this awesome group of builders.

I chose to do Felucia, which I don't think is done too often. I tried to make it very different from other Felucia MOC's. Usually there is a ton of more growth, but I decided to thin it out a bit, as if the Republic recently built their little outpost.

Let me know what you think, both of the build and story! :)

May the Force of others be with you!

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--NS

Through the creations that I build, I hope to inspire other young (or perhaps older) LEGO builders to unleash their inner creativity. We all need a positive way to express ourselves, so let's let LEGO be an extension of us. Your creativity belongs to you, and nobody can take that away. Build what you want to build, and how you want to build it.

The first castle at Dryslwyn was constructed by the sons of the Lord Rhys in the early part of the 13th century and was further fortified by Rhys ap Maredudd later in the century. By 1287 Dryslwyn was possibly the largest stone castle built by a Welsh prince. In June 1287 Rhys attacked and captured the castles of Dynefor, Carreg Cennen and Llandovery causing the King to raise an army under Edmund Earl of Cornwall and invade Deheubarth. Dryslwyn was besieged and fell after three weeks in August and September. Rhys escaped but was captured and executed in 1292. During the siege part of a wall collapsed and a number of the attackers were buried alive.

The castle now in the hands of the English was repaired but after its surrender to Owain Glyndwr in 1403 and subsequent recapture it was effectively destroyed.

Salle exécutée par Giulio Romano (Jules Romain, Rome, 1492-Mantoue, 1546) et Francesco Primaticcio (Le Primatice, Bologne, 1503-Paris, 1570), son élève le plus brillant.

this sculpture can also be seen in img1 F10 and is directly across the road from Kilmainham Jail .at the date of this conditions were not favourable to photograph Kilmainham Jail its self but will have some in the next few days..i will add a note here when i upload some .

Riopelle executed this canvas in the style he learned from his teacher, Henri Bisson. This view depicts his childhood home on De Lorimier street in a working class district of Montreal, where he played street hockey with his friends. He regularly spent Sundays with Bisson painting in nature and the surrounding neighbourhoods. We can easily envision a young Riopelle strolling along this road with a hockey stick in hand and an easel and paint box in his arms.