Manufacturer: BAE Systems

Operator: Royal Air Force, No. 1 Group, RAF Scampton

Type: T.1 Hawk trainer aircraft

Event/ Location: 2022 RIAT/ RAF Fairford

The Junkers Ju 88 was a German World War II Luftwaffe twin-engined multirole combat aircraft. Designed by Junkers Flugzeug- und Motorenwerke (JFM) in the mid-1930s to be a so-called Schnellbomber ("fast bomber") which would be too fast for any of the fighters of its era to intercept, it suffered from a number of technical problems during the later stages of its development and early operational roles, but became one of the most versatile combat aircraft of the war. Affectionately known as the "Maid of All (Work)" (Mädchen für Alles),[citation needed] the Ju 88 proved to be suited to almost any role. Like a number of other Luftwaffe bombers, it was used successfully as a bomber, dive bomber, night fighter, torpedo bomber, reconnaissance aircraft, heavy fighter and even, during the closing stages of the conflict in Europe, as a flying bomb.

Despite its protracted development, the aircraft became one of the Luftwaffe's most important assets. The assembly line ran constantly from 1936 to 1945, and more than 16,000 Ju 88s were built in dozens of variants, more than any other twin-engine German aircraft of the period. Throughout the production, the basic structure of the aircraft remained unchanged.

-Ju 88 A-5, Werk Nr. 0886146 with Stammkennzeichen of CV+VP

This aircraft is held at the Deutsches Technikmuseum near Berlin. It was delivered to the Luftwaffe in June 1940 and assigned to the bomber unit Kampfgeschwader 54, who flew it in the Battle of Britain and during the German invasion of the Soviet Union.

By June 1942, it was serving with a training unit, Kampffliegerschule 3 based on the German Baltic coast. On the night of the 29 June, it was stolen by two German personnel who intended to fly to Britain and defect to the Allied side. The attempt failed and the aircraft came down in Kilsfjord, a fjord near Kragerø, Norway. One man drowned but the other, Willi Voss, was rescued by Norwegian civilians. However, he was subsequently captured, returned to Germany and executed in January 1943, even though some accounts claim Voss was forced by the other man to fly at gunpoint. The aircraft flew was recovered in August 2000. Restoration work was carried out in Norway between 2000 and 2004; it was moved to Germany in August 2006.

Supper at Emmaus (Caravaggio, London)

The Supper at Emmaus is a painting by the Italian Baroque master Caravaggio, executed in 1601, and now in London. Originally this painting was commissioned and paid for by Ciriaco Mattei, brother of cardinal Girolamo Mattei.

The painting depicts the moment when the resurrected but incognito Jesus, reveals himself to two of his disciples (presumed to be Luke and Cleopas) in the town of Emmaus, only to soon vanish from their sight (Gospel of Luke 24: 30–31). Cleopas wears the scallop shell of a pilgrim. The other apostle wears torn clothes. Cleopas gesticulates in a perspectively-challenging extension of arms in and out of the frame of reference. The standing groom, forehead smooth and face in darkness, appears oblivious to the event. The painting is unusual for the life-sized figures, the dark and blank background. The table lays out a still-life meal with the basket of food teetering over the edge.

In the Gospel of Mark (16:12) Jesus is said to have appeared to them "in another form", which may be why he is depicted beardless here, as opposed to the bearded Christ in Calling of St Matthew, where a group of seated money counters is interrupted by the recruiting Christ. It is also a recurring theme in Caravaggio's paintings to find the sublime interrupting the daily routine. The unexalted humanity is apt for this scene, since the human Jesus has made himself unrecognizable to his disciples, and at once confirms and surmounts his humanity. Caravaggio seems to suggest that perhaps a Jesus could enter our daily encounters. The dark background envelops the tableau.

Caravaggio painted another version of the Supper at Emmaus (now in the Brera, Milan) in 1606. By comparison, the gestures of figures are far more restrained, making presence more important than performance. The art techniques used in both versions is the Trompe-l'œil style which seems to allow characters to move in their gestures, as a means to grab the attention of the observers.

This difference possibly reflects the circumstances of Caravaggio's life at that point (he had fled Rome as an outlaw following the death of Ranuccio Tomassoni), or possibly, recognising the ongoing evolution of his art, in the intervening five years he had come to recognise the value of understatement. [Wikipedia]

Stained glass panel depicting Tobias and Sara in bed. Tobias and Sara are executed in clear glass with painted details in brown pigment. They lie sleeping, with night caps on, in their bed which is covered with a deep blue brocaded bed spread. Behind them is a red curtain. On their bed is a small dog asleep. A table with a candlestick and candle is in the front left of the panel and a single pair of heeless shoes lie on the floor to the right. The whole scene is framed in renaissance-style spiral columns and a round arch. These and the flooring, alternating yellow and black squares (the latter with white saltire crosses) are executed in silver stain and brown pigment on clear glass.

The Book of Tobias recounts the story of the pious aged Tobit and how his son, Tobias, with the aid of the archangel Raphael, was able to restore his father's health and wealth. The archangel Raphael, in disguise, leads Tobias to the lands of his kinsman Raguel. Raguel gives his daughter Sara in marriage to Tobias but warns him that Sara's seven previous husbands had all been devoured by demons on the wedding night.

With Raphael's aid, Tobias prepares a potion, the smell of which drives the demons out. He and Sara are able then to successfully consummate their marriage.

The dog sleeping on their bed belonged to Tobias and accompanied him and Raphael on their journey. In this context he may also symbolise marital love and fidelity.

The size of the panel suggests that it originally belonged to a narrative programme in a cloister, perhaps typological, and it probably came from one of the numerous cloisters in Cologne secularised in 1802. The Renaissance decoration of the architectural surround, especially the putti heads in the spandrels, can be matched exactly in glass in Cologne Cathedral, possibly originally from the cloister of the Cistercian abbey of St Apern in Cologne.

Germany, Lower Rhine, possibly from the cloister of St. Apern in Cologne, ca. 1520. Artist Unknown.

V&A Museum, South Kensington, London (C.219-1928)

On a recent visit to Clare we passed by Doolin and I got this shower of the Tower there and Fisherstreet in the background!

An old friend who was a local told us a story years ago from the Spanish Armada. A ship was wrecked in Doolin bay and the survivors who landed on the beach were executed by the local Sheriff by hanging them from the shafts of a cart! When Spain and England were at peace a search party arrived in Doolin seeking the remains of one of the crew, a prince or important nobleman but they were unable to identify the remains as their property had been looted and had disappeared.

The Shot at Dawn Memorial is a monument at the National Memorial Arboretum near Alrewas, in Staffordshire, UK.

It portrays a young British soldier blindfolded and tied to a stake ready to be shot by a firing squad, and memorializes the 306 British Army and Commonwealth soldiers executed after courts-martial for desertion and other capital offences during World War I. It is surrounded by a semicircle of stakes on which are listed the names of every soldier executed in this fashion.

In 2007, the Armed Forces Act 2006 was passed allowing the soldiers to be pardoned posthumously.

The catalogue detail for this entry notes this as "[Patrick Moran?] (left), holding pipe, and Thomas Whelan, shaking hands and smiling, with British officer in background. Patrick Moran and Thomas Whelan were executed 14th March 1921". This should provide most of what we want to know about this photo; but on this stream you never know what might be uncovered by our Photo Detectives!

And our Photo Detectives didn't disappoint. Based on a similar image (which was sold at auction in 2014), we have been able to map this image to Mountjoy Prison, and have apparent confirmation that the uniformed man was an Auxillary RIC officer. The two condemned (but seemingly high-spirited) men are Thomas Whelan and Patrick Moran, who had been found guilty (in less than solid circumstances) of alleged participation in the events of Bloody Sunday. The men (two of the 'forgotten ten') are likely pictured in the days before their execution on 14 March 1921.

[Futher update: DaithiDePaor advises that South Dublin Libraries hold materials identifying the guard as a man named Lester Collins]

Photographers: Various

Collection: Irish Political Figures Photographic Collection

Date: c.13 March 1921

NLI Ref: NPA POLF263

You can also view this image, and many thousands of others, on the NLI’s catalogue at catalogue.nli.ie

Street art is visual art created in public locations, usually unsanctioned artwork executed outside of the context of traditional art venues. The term gained popularity during the graffiti art boom of the early 1980s and continues to be applied to subsequent incarnations. Stencil graffiti, wheatpasted poster art or sticker art, and street installation or sculpture are common forms of modern street art. Video projection, yarn bombing and Lock On sculpture became popularized at the turn of the 21st century.

The terms "urban art", "guerrilla art", "post-graffiti" and "neo-graffiti" are also sometimes used when referring to artwork created in these contexts.[1] Traditional spray-painted graffiti artwork itself is often included in this category, excluding territorial graffiti or pure vandalism.

Street art is often motivated by a preference on the part of the artist to communicate directly with the public at large, free from perceived confines of the formal art world.[2] Street artists sometimes present socially relevant content infused with esthetic value, to attract attention to a cause or as a form of "art provocation".[3]

Street artists often travel between countries to spread their designs. Some artists have gained cult-followings, media and art world attention, and have gone on to work commercially in the styles which made their work known on the streets.

Only 4 days to go until Black Friday is here and we have a

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Black Friday Sales List Participants

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www.seraphimsl.com/2022/11/20/who-wants-a-sneak-peek-at-t...

Author : @Kiri Karma

museumPASSmusees 2021 - Mima - Double Bill

'DRAMA', The Art Of Laurent Durieux

'Laurent Durieux's magnificent work elevates poster art to a high level. The stunningly executed images express the ideas and themes of the films he has chosen in new terms. They communicate a lot without words and are part of the wonderful tradition of illustrative art. '

Francis Ford Coppola

The exhibition presents around a hundred original posters of the Belgian artist, internationally acclaimed by moviegoers.

THE ABC OF PORN CINEMA

(Prohibited under 18 year old)

In 2013, the ABC, Brussels' last old-school adult cinema still showing 35mm films, was shut down. Its archive, meticulously built over the forty years of its existence, was salvaged by Cinema Nova, allowing the veil of a bygone era devoured by the digital revolution to be lifted.

The exhibition 'The ABC of Porn Cinema' spans four decades of activity by the aforementioned theatre, and in doing so recalls the world that surrounded it. Through numerous documents, posters, hand-painted billboards, engraved press plates and censored photos retrieved from the ABC, plus an accompanying art installation, an obscure part of our culture destined to be buried in the annals of history can once again be rediscovered and reappraised. Indeed, these historical archives are exceptional and unique, unafraid to indulge in humour or to drum up reflection and controversy.

An exhibition created by the Nova cinema and the MIMA with the participation of the Gogolplex collective

( 200 musees

Des maintenant, vous pouvez visiter tous les musees participants pendant un an. Pas une fois, mais aussi souvent que vous le souhaitez !

297 expositions

Vous pouvez egalement visiter les expositions temporaires des musees participants gratuitement ou a un tarif fortement reduit.

1 pass musees

Tout ceci avec seulement 1 pass.

www.museumpassmusees.be )

Executed for preaching peace

Caption reads: A sensuous, subtly colored, elegantly executed Persian miniature, magically transformed into wallpaper, provides the decorating keynote for this master bedroom. The rose petal pink in the wallpaper is repeated throughout the room--in the bedspread, the upholstery, even around the rims of the lampshades. The architectural shapes found in the wallpaper are used in the furniture--domes, turrets, doorways, and lacy screens are echoed by the finials of the bed, the openings of the bookcase, and the supports of the desk, shown at right. Other Oriental touches--the bamboo chair, the Chinese-style bedside tables, the figure of a Buddhist monk supporting the lamp, the Sinhalese bronzes displayed in the bookcase--all contribute to a feeling of exotic luxury. The white rug and furniture give an impression of serenity and space that harmonizes will with the dreamlike quality of the wallpaper.

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At the old cemetery Freiburg you`ll find a huge Jesus cross near the St. Michael`s chapel. On the bottom of the cross there is a skull with a frog coming out of the right cheek. Through the other cheek bone there`s a nail.

There is an old legend which says the skull reminds of an old smith who lived happily together with his young wife. At least until the moment when another smith started working in the same place. His wife fell in love with him and thought up a murder plan together with the new guy. While her old man was sleeping they hit a nail into his head which injured him but didn`t leave any trace. The murdered man was buried and his wife married the new guy.

Years later when the cemetery had to be restacked because there wasn`t enough space anymore his body was digged out. A toad crawled out of his skull and turned the skull to the side. Then the grave-diggers found the nail in his skull. The both lovers were sentenced to death and executed.

A Typhoon jet of 29 Squadron, Royal Air Force executes aerial manouevres during a training sortie.

The 2014 Typhoon Display is flown by 29 (Reserve) Squadron from RAF Coningsby. It showcases the incredible performance of the aircraft and also demonstrates the dedication, professionalism and excellence of the RAF personnel who fly, maintain and support Typhoon operations in the UK and across the world.

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

© Crown Copyright 2014

Photographer: Sgt Mobbs

Image 45157160.jpg from www.defenceimages.mod.uk

This image is available for high resolution download at www.defenceimagery.mod.uk subject to the terms and conditions of the Open Government License at www.nationalarchives.gov.uk/doc/open-government-licence/. Search for image number 45157160.jpg

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Doom’s Journal

August 29

The castle was cold this morning. If I hadn’t already executed the facilities manager I would go execute him right now. I contemplated using the Time Platform to go back and execute the facilities manager yet again, but decided the consequences would be a distraction.

Susan arrives today.

I still have to go through my notes, memorize my lines, and get the new “lair” set decorated and prepped. I really think this World Conquest Plan could be the one, it pushes all the right romantic buttons. It will make Reed look witless and controlling (not difficult), force the brother and the brute to act overprotective, and show Susan she can be empowered and fully equal to any man. In fact the entire scenario can only be defeated by Susan. Not fire, nor intellect, nor brute strength will have any effect. Only the thoughtfully applied abilities of Susan can save the world today, and “defeat” Doom.

It will be difficult of course. There’s little point in just handing her a victory, not when I’m trying to show her how strong and independent she can be. If during the day’s events her brother, or her damnable boyfriend were to be maimed (oh darn), or even killed (hee hee!), then so be it.

I changed my mind. I am going to pop into the Time Platform and execute that idiot facilities manager after all. I think it will be just the thing to relax me.

art001m1203251250 (Nov. 21, 2022) - The Earth is seen rising from behind the shadowed surface of the Moon in this video taken on the sixth day of the Artemis I mission by a camera on the tip of one of Orion’s solar arrays. The spacecraft had just successfully executed the Outbound Powered Flyby maneuver which brought it within 80 miles of the lunar surface, the closest approach of the uncrewed Artemis I mission, before moving into a distant retrograde orbit around the Moon. The spacecraft entered the lunar sphere of influence Sunday, Nov. 20, making the Moon, instead of Earth, the main gravitational force acting on the spacecraft.

Tapestry - The Crucifixion, executed in Antwerp in 1698 from drawings by Ludwig van Schoor

La basilica di Santa Maria Maggiore è una chiesa che si trova a Bergamo Alta, in piazza del Duomo. Edificata nella seconda metà del XII secolo, l'esterno conserva le linee architettoniche romanico-lombarde originarie, mentre l'interno è decorato in stile barocco dal (1500 al 1700). Era in origine la chiesa battesimale della cattedrale di S. Vincenzo, sorta accanto al complesso della curia vescovile di Bergamo.

Secondo la tradizione popolare, parzialmente suffragata da documenti, la chiesa fu edificata per ottemperare ad un voto fatto alla Madonna nel 1133 dai bergamaschi perché proteggesse Bergamo dalla peste che si stava abbattendo sul Nord Italia.

The church was founded in 1137 on the site of another church from the 8th century dedicated to St Mary, which had been in turn erected over a Roman temple of the Clemence. The high altar was consecrated in 1185 and in 1187 the presbytery and the transept wings were completed. Due to financial troubles, the works dragged for the whole 13th–14th centuries. The bell tower was built from 1436 (being completed around the end of the century), while in 1481–1491 a new sacristy added after the old one had been destroyed by Bartolomeo Colleoni to erect his personal mausoleum, the Colleoni Chapel.

In 1521, Pietro Isabello finished the south-western portal, also known as Porta della Fontana. The edifice was restored and modified in the 17th century.

Basilique Santa Maria Maggiore de Bergame

est une église catholique située dans la vieille ville de Bergame, en Lombardie, sur la Piazza del Duomo, dont la construction commença en 1137, et s'échelonna dans la seconde moitié du xiie siècle, mais qui resta inachevée. Elle ne possède ni nef, ni bas-côtés, et pas, non plus, de façade ouest, et son importance provient exclusivement de ses annexes. L'extérieur conserve le style architectural d'art roman lombard originel, tandis que l'intérieur est décoré dans le style baroque des xvie et xviie siècles.

Selon la tradition populaire, en partie soutenue par des documents, la basilique a été construite pour répondre à une promesse faite à Notre-Dame de Bergame en 1133 pour mettre fin à une sécheresse prolongée.

This photo is a part of my answer philosophically to Pioneer Courthouse Square banning tripods. While I think it is a pretty poorly executed rule, if I allow it to handicap the way I choose to photograph there, well ultimately the only person I have to blame is myself for allowing that to happen. So I was down in Pioneer Courthouse Square about a week ago taking photos. I had three basic options: grumble about the ban on tripods and walk away frustrated, try to use my tripod anyway and hoped I got away with it or spend time arguing with a security guard, or I could work my way around their silly little rule; I have an imagination afterall. I have long said that photographers who lament the unfavorable conditions they find themselves shooting in are themselves the biggest cause of those exact situations.

See, for me this photo isn't about a relatively meaningless rule banning tripods. It is about you being in control of your perspective, your vision. As a photographer, you see what you choose to see. Yes, other people can influence this. So can external events like weather, unwanted bystanders, time of day, etc, but only if you choose to allow them too. Make sense?

One of the underlying philosophies that I value the most in my own photography is flexibility. Which is the result of consciously trying to keep as open a mind as possible. Even when I purposely head out somewhere with the hope of a specific photo in mind, I almost always try to force myself to step back at some point and wonder just what else is there to be seen. Hmmm, I don't feel I am expressing this quite as eloquently as I would like.

I have worked with photographers who were extremely good at envisioning a specific image they wanted to make. Down to every last detail. They had great vision in this sense. I would watch them go out and enjoy mixed results. If conditions met their expectations, they were capable of doing great work. On the other hand, if conditions differed, they were often crippled creatively and many times they would come home extremely disappointed that there was "nothing to shoot". It would have been more accurate if they had said "I failed to see anything to shoot".

And that is where this image comes into play. I was recognizing the conditions I had to shoot in, and then basically disregarding them, because none of them hindered the making of this image.

Another important lesson I think this image embodies is the wisdom in practicing "seeing". I have also mentioned before how important I think it is for a photographer to constantly push his or her boundaries, to always attempt to explore new ways of making images or to practice different branches of photography. The street photographer should go out and shoot landscapes now and then. The landscape photographer should do still-lifes. The photographer who likes things sharp should shoot shallow. The photographer who likes color should shoot black and white. If you are used to shooting low ISO, shoot high ISOs, not despite the grain but because it is grainy. Shoot portraits instead of sunsets. Shoot sunsets instead of architecture. Blow out your highlights... on purpose. If you have never cross-processed, do so. If you have never shot pinhole, look into it. Leave the tripod at home and hand-hold all your shutter speeds, especially the slow ones.

Mistakes are mistakes only because you label them so, and nothing is a waste of time if you learn from it.

And in regards to what you learn, eventually you will find yourself standing under a Christmas Tree in downtown Portland unable to use a tripod but wanting to capture some aspect of the beauty and magic of the moment, and because of all of those "mistakes" you forced yourself through, you are going to be much better equipped to not only work around any restrictions that conditions place on you, but to disregard them utterly and completely.

Good luck.

Under normal circumstances, Quay Sta’nn would have never thought of going back to his home planet Coruscant. Not after he got into quite some serious trouble with some crime gangs fairly soon after Order 66 got executed. But the job he was offered now was too big of an opportunity to miss. The Empire has initiated an assault on the mining world of Vanquo, and if this battle is lost the Empire will be vulnerable. Imperial forces have been called towards the center of Coruscant in case the Separatists attack the planet. This has left one of the biggest data vaults on Coruscant under low protection; a perfect opportunity to initiate a raid on the vault. The Red Hand, a crime syndicate Quay dealt with a few months ago, has hired all kinds of bounty hunters and smugglers to cause a distraction in the lower levels, and to raid the vault of its important information. Quay had taken the job to cause a distraction to draw Imperial troops away from the vault itself in exchange for a hefty sum of credits. The question floating around in his mind was, just how will he accomplish that?

After he had arrived at the planet on one of the spaceports, it immediately became clear to Quay how much the planet had changed in the few years he wasn't on Coruscant. As soon as Quay stepped out of the transport with the other passengers, a couple of heavily armed troopers walked towards them to see their IDs. Luckily, Quay brought a fake ID right before he left, otherwise he most likely would have gotten in trouble. The troopers took a look at his ID, gave it back to him, and nodded as a sign that he was free to walk through the gates. Quay walked through the gates and enjoyed the view of the skyline of this part of the planet. He took a taxi to the parts of the planet where he used to live, to see if his favorite places to go to were still there. After a bit of searching, Quay found one of the cantinas he’d frequented previously, down in level 4597.

On the outside, Gratt’s Tavern could just be described as one of the many, many bars down in the lower levels of this planet. But once you stepped inside, you could feel the warmth this place has. At every given point of the day, there was always some random smuggler or criminal enjoying a drink or playing a game of sabacc. The cantina had a variety of musicians who would play live music during the busy hours, and a reprogrammed protocol droid served as a waiter. And on top of that, the cantina was run by a kind old man named Terras Gratt, who could always provide a bit of advice and positive thinking when someone had some problems.

As Quay entered the tavern, memories of all the time he had spent in this place came flooding back. Here, he got his first mission, spent too many hours late in the night drinking all kinds of liquor, sharing stories with friends, and most of all, the apartment where Quay used to live was located right above the cantina. As soon as Gratt recognized who he was he walked towards Quay with a big smile on his face.

"Quay? You’re still alive? I thought those Imperials killed you years ago when you left here!” Terras said.

“I'm more surprised that you are still alive, you old barrel! With all the fights that break out in this part of the planet, it's a wonder that you haven't been killed yet,” Quay replied.

“The secret is just avoiding conflict at all costs. You can't be killed in a fight if you never are in a fight, to begin with!”

“Can’t argue with that logic,” Quay said. “So, how have you been holding up over these years? I could imagine the Empire changed a lot of stuff around here.”

“If you want, I have some time to catch up with each other. Apart from the occasional smuggler who stops by to get a drink, around this time of the day, it’s always quite calm here. And while we're at it, take a drink—on the house!”

After the two talked together for a while, they came on the subject of the apartment above the bar that Quay had lived in for quite some time before his departure from Coruscant. Terras owns the apartment and rents it out to people, but when Quay asked if someone came to live thereafter he left the planet, Gratt replied that the apartment had been vacant ever since he left.

“Would you mind it if I would stay there for a few days? Gotta finish this one mission I have, then I will probably leave again. And once I get paid for it, I will make sure to give you a share to cover the apartment.”

“Sure! It's quite a mess at the moment though. Since I couldn't get anyone to rent that place, I started using it to store left-over drinks and stuff I never use anymore. So unless you have a problem with sleeping in the mess, you are free to stay there.”

Because Quay would be gone in a few days anyway, he accepted the offer to stay in the mess for a couple of days. He packed the small amount of stuff he brought with him and headed to the apartment upstairs. As soon as he entered the room, Quay saw how much stuff was in there. Broken glasses, tables filled with blaster holes presumably from shootouts that happened there, tanks filled with fluids, and more junk was scattered all around the fairly big place. At least there was still a bed present in the room, and some other small furniture that Quay could still use. He dropped his luggage on the bed and opened the blinds to enjoy the view he used to see almost every day. Because it was almost night, Quay prepared to go to sleep. Just as he was about to go to sleep, the room was suddenly illuminated by a purple glow coming from the corner of the room.

“Give me one good reason why I shouldn't kill you on the spot.” a female voice said. A figure emerged from the shadows, and Quay saw where the purple light came from. The woman was holding a lightsaber, meaning that this person was most likely a Jedi.

¨Look, there’s no need for a fight here, I can get you whatever you want if you help me on a mission. Food, credits, a ride to get off this planet, you name it.¨

The Jedi thought about the offer for a moment, before accepting it.

“If you can get me a stock of credits and a fake ID, I will aid you on your mission. I'm planning on leaving this planet since it’s filled with Imperialists, but that’s hard to do when those troops closely monitor everyone who enters and leaves this planet. So, what is that job of yours?”

Quay explained what was happening on Vanquo, and the job the Red Hand offered him.

“So that is why the city center was so filled with Imperial troops.” the Jedi said.

“Indeed. The Red Hand tasked me with causing a distraction somewhere in these levels, but I have no idea how I am going to do that. In about 3 hours, the raids are supposed to start, but without a solid plan, I am not sure if I will even finish this job.”

“Don't worry about it. While you get me that ID and credits, I will stay here to make us a plan. But if this is all a trick, and you’re planning to give me over to the Empire, the pain of this blade slicing through your body will be the last thing you feel.”

“Alright, I’ll keep that in mind. I am not planning to give you to the Empire. By the way, I never properly introduced myself to you. My name is Quay Sta’nn. If you don't want to tell me your name, I can understand that.” Quay said before walking out the door.

“Shaella. My name is Shaella Xalrich.” The Jedi said.

Quay went out on the streets, still worried about how he would ever be able to accomplish this job, but he did know where to get a false ID, so that’s where he would start; he went to an old friend who was able to make him a couple of fake IDs for the Jedi without divulging any info. When he returned to his apartment a few hours later with some food he grabbed from a food stand a few blocks away, Shaella was still busy making the plan for the raid.

¨This has been a lot harder than i expected. I made a few plans, but they are very risky.¨ Shaella said.

¨Ah, forget it. The raid will be starting in about an hour. I doubt we will be able to participate in them without a solid plan. I got us some food, so if you want some feel free to take it. Also got those credits and that false ID for you, but I first want a solid plan before you will get those.¨ Quay replied.

Shaella nodded that she understood it, and started eating a bowl with food. She and Quay started talking about some stuff while they were eating, and Quay told her all kinds of stories from his past on this planet. The two enjoyed sharing some of their experiences to each other. After a while, they got to the topic of Order 66.

¨I have a bit of a weird question, but...how did you survive the Purge? I thought Order 66 wiped out the entire Jedi Order.¨ Quay asked.

Shaella went silent for a moment, before telling him how she survived the Purge.

¨Me, my master, and our pack of Clone Troopers were stationed on Colla IV near the end of the Clone Wars. Here, they manufactured droidekas and more droids for the Separatists. We were waiting for the perfect opportunity to strike at one of the factories, when suddenly the commander got a call from Chancellor Palpatine himself. Although I wasn't paying attention to what was said to them, I did hear a few words: ¨Execute Order 66.¨ Before I knew it, the Clones had their weapons pointed at me and my master. We managed to get to the gunship to escape the planet, but my master got wounded to the point where no surgeon could save him anymore. I managed to take control of the gunship and eventually crashed on this planet, but my master died a slow and painful death on the way there. He left me his Lightsaber, but since using one Lightsaber is risky enough on its own, I usually carry it with me at all times. To this day, I can still feel the emotional and physical effects of that event. Everyone that i knew and could trust, have been killed or is now held in a prison somewhere by the Empire. And while that all is happening, i am stuck here, without being able to do anything to it.¨

Quay went silent after hearing this story. He himself went through some heavy stuff growing up, but he could imagine the kinds of consequences an event like this could leave to a person.

The silence was quickly ended by someone banging on the door. Shaella hid behind the trash in the room, while Quay walked towards the door to open it. An Stormtrooper was standing in the doorway, with several more troopers standing behind him.

¨We have reports of a Force-sensitive hiding around somewhere in this sector. Would you mind if we take a look around this apartment?¨ The trooper asked.

¨Of course not.¨ Quay replied. Although he was worried that the troopers would find Shaella, he knew that if that were to happen she would be able to take them all on. 5 troopers stepped through the doorway, and started searching the apartment. It didn't take long before one of the troopers shouted: ¨Hey, what is this woman doing behind all of this junk?¨ Shaella quickly ignited her lightsaber and fighted the Stormtroopers. While the troopers did their absolute best to try to take her down, Shaella doged and blocked all of their attacks, and took them down one by one. Just before she was about to take down the last trooper in the room, he shouted in his comms:

¨The Force-sensitive has been found! Requesting immediate backup on level 4597!¨

Shaella´s blade sliced through the trooper, but it was too late. All of the Empire was now alerted of their presence, and would be at this location in a matter of minutes.

¨Well, what should we do now?¨ Quay asked Shaella. She thought about it for a second, until coming up with an answer.

¨I'm done with hiding from the Empire. I would rather fight them for the greater cause and go down in glory, than to spend my remaining days rotting away here.¨

The two stepped outside the door, and immediately saw dozens of troopers running towards them. Quay and Shaella quickly stepped into Gratt´s tavern. The cantina was filled with people, but if they didn´t get out as soon as possible, they would get caught in the heat of the battle. Shaella ignited her lightsaber, and yelled: ¨Everyone, get out of here, now!¨ Nobody hesitated for a second, and in a matter of seconds the cantina was empty, with the exception of Terras who stood behind the bar, terrified.

¨What is this, Quay? Care to explain why you are with a Jedi, who just scared away all of my customers?¨ Gratt said, noticeably angry and scared.

¨No time to explain right now. Listen, the Empire is about to arrive here in seconds, and without any good intentions. It's better if you get out of here, right now.¨

¨There is no way i am leaving my own cantina behind! I´ll stay here. I have a blaster here, so I can protect myself if needed. I will just hide behind the counter, together with my protocol droid.¨ Gratt replied.

¨Well, prepare yourself for a heavy fight if you stay here. And Quay; I hope you can handle this. You´ll need it if you want to survive this battle.¨ Shaella said.

Shaella threw something towards Quay. He caught it, and looked at what he held in his hands; it was a Lightsaber. He ignited it, and a green blade emitted from the saber.

¨This saber used to belong to my master. I held onto it for years, but I never used it.¨

¨Wow, I don't know how to thank you. I am sure this will be helpful in the fight.¨

¨Thank me later. First, we have some Bucketheads to take down.¨

Right as she said that, the first Stormtroopers walked into the cantina. While Quay had some trouble getting used to using a Lightsaber at first, he was able to quickly take down the first troops. Shaella used the Force intensively, and used it to hold one of the troops in the air right before piercing him with her Lightsaber. Just as that happened, a couple of troopers equipped with heavy-repeating blasters entered the cantina. Although Quay was able to dodge most of the blaster fire, a few of the blaster bolts hit the Lightsaber, damaging it enough to make the blade retract.. In the corner of his eye, he could also see one of the blaster bolts hit the Protocol droid Gratt owns, probably damaging it beyond repair. The fight seemed to last forever, until Quay and Shaella delivered the final blow towards the Empire. 4 Reconnaissance Troop Transports arrived, each carrying about a dozen troopers. Gratt quickly tried to get Quays attention, and he revealed some explosives he took as a payment from some arms dealers who stopped by to get a drink there earlier that day. Quay took some of them, activated them, and threw them at the troop transports. The devices rolled under the transports and detonated, causing the transports to explode. The few Stormtroopers who survived the blast, quickly received orders to retreat; the fight was won. Quay received a message from the Red Hand; The vault was successfully raided, and mostly thanks to Quay and Shaella. Although the Red Hand didn't know how he pulled it off exactly, a big part of the troops were sent to their location while other smugglers and bounty hunters raided the vault.

¨Well, I guess we didn't really need a plan to get this job done.¨ Quay said. ¨Thank you Shaella, I couldn't have done it without you. Since you have aided me in my mission, I will stick to my promise; here are the fake ID and credits needed to get off this planet. And Gratt, for you, I can get you some of the best repairers to fix your droid, plus some more credits to cover the damage we made here.¨

¨Quay, I want you to take this. I am ready to let go of my past, and start a new life somewhere. Since that Lightsaber of yours got pretty damaged, you can use parts of mine to repair it. With it, I have instructions on how to safely repair it. Goodbye, Quay Sta'nn. It was a delight to work with you.¨ Shaella said, before she walked off to get off the planet.

A few days later, Quay was working to repair the Lightsaber using Shaella´s instructions. The damage in Gratt´s Tavern was now mostly repaired, and his protocol droid was as good as new. Quay emitted the saber, and a purple blade emitted. It used to belong to a skilled Jedi, but now he owned it. He took his time to make it truly his own, and it showed off. He took a moment to process the power of the weapon he had in his hands right now. Anyone could use a blaster, but to handle a weapon like this it required more skill to handle. It will take a lot of time to learn how to properly use it, but one thing was for sure; This weapon would change Quay's life.

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Well, this took me a bit too long to finsh. My last moc for 2020, enjoy! (deleted the last version of the pic, since that one kinda sucked)

Order 66 MOC

I hope you enjoy, here is a MOC I made recently. It may be small but I tried to fit as much detail as possible into it. I wanted to use some building techniques that I have never used in a MOC before.

Dear New Views, welcome to my public profile, I have been designing and building LEGO for a long as I can remember, and it’s become a part of my life. I will be uploading every time I have a new digital design or build. If you like what you see please consider following and turning on notifications so you don’t miss future fantastic builds. Got any suggestions for future builds, questions, or feedback feel free to leave a comment, I read every all comments every week.

Thank you.

1936 Packard Twelve Boattail Speedster by Fernandez & Darrin

This 1936 Packard Fernandez & Darrin Speedster is one of the most stunning Packards in existence; exquisitely designed, beautifully executed, and perfectly restored. It is a one-off, V-12 Packard sports car, and has recently completed a 3-year, 7,000 hour, restoration, at a cost in excess of $450,000. It is certainly one of the finest Classic Era motor cars, of any marque, ever built. Its jet-black finish is unblemished; its taupe ostrich-leather and Wilton wool interior is flawless; as is its interior and exterior brightwork; its instrumentation all works properly; it runs and drives as new.

According to America’s Packard Museum, this coachwork was designed and executed by the fabled Howard “Dutch” Darrin in Paris, in 1936, when he was in partnership with J. Fernandez, a wealthy banker and furniture manufacturer. It is one of a group of either five or six speedsters (history is a little vague on this point) which Darrin built on various chassis, including Packard, Duesenberg, Delage, and Buick (and perhaps another) in the 1936/1937 time frame, and shortly before Darrin shut down the Paris operation and returned to Hollywood, California in mid-1937. It is believed that the Buick example exists today and the Delage was spotted on national television with President Jimmy Carter riding in the car.

These particular speedsters were all produced by using a cache of Auburn Speedster “bodies-in-white” which Darrin had been able to acquire from the financially troubled Auburn Distributor in Paris, as a starting point.

This example is believed to have been originally commissioned by Parisian playboy Count Armand de La Rochefoucauld, Darrin’s polo-playing pal. Howard Darrin’s passion for polo was shared by La Rochefoucauld, who, though not having Darrin’s skill, was still an aficionado of the sport, and owned many of the ponies ridden by Darrin. It is reported that by early 1937 La Rochefoucauld owned not only a Fernandez & Darrin Town Car, executed on a Hispano-Suiza chassis, but the Packard Twelve Speedster as well.

This magnificent motor car, like many others, has acquired over the years a “Legend” in which it is claimed that a Mr. Dick Saunders, in upstate New York, built this piece of rolling art, “in his backyard” using a rope, a tree limb, a dis-used Auburn boattail body, and a Packard Twelve chassis and engine. Or maybe it was first on a Marmon chassis, either with or without a Marmon V-16 engine, depending on who is telling which version of the Legend. Or maybe the Packard Twelve was in the Marmon chassis. Or maybe the Marmon V-16 engine was in the Packard chassis.

Documentation reveals that Mr. Saunders owned 116 Packards throughout his lifetime. He was one of the forefathers of Packard hot rodding and had created many different custom Packard Speedsters over the years. Mr. Saunders was in inveterate tinkerer, whole loved to play “mix and match” with various engines, chassis and bodies. It is documented that Mr. Saunders owned two or more Packard Speedsters fitted with custom Auburn bodies.

After Saunders’ death, his boattail was acquired from his estate by a Mr. Harold Sliger, from Illinois. Sliger was smart enough to seek out and find Mr. Darrin, for advice in restoring his car to its original glory. Mr. Darrin agreed to help Sliger, and advise him on what had to be both done and/or undone, or both, to restore the car to its original configuration. Sliger spent many nights on the telephone with Darrin and his son Patrick, consulting on these matters. When his trucking would take him to California, he would personally visit with both of them for the same purposes. Patrick recalls these visits and calls as he participated in them. Patrick recalls that his father told both him and Mr. Sliger that the car was his creation, in Paris.

As anyone who has ever attempted to address vague assertions and innuendo once they are in circulation knows, it is more difficult to gain a hearing with facts to set the record straight than it is to create doubt and cast aspersions. Nevertheless, the Packard Museum offers the following facts for your consideration to show that the 1936 Packard Twelve could only have been created by a master designer and craftsman of Dutch Darrin’s caliber rather than by an avid customizer whose specialty was mixing and matching parts from various makes and models in an effort to revive the great classics of the 1930s.

So how do we reconcile the conflicting beliefs and documents held by two parties of good faith in this dispute? We list the undisputed statements of fact from both sides to fully disclose all known information.

Statements of Fact Provided by America’s Packard Museum

1 - The issue of authenticity was addressed and should have been laid to rest as a result of the research conducted by respected automotive historians Ed Blend and Robert Turnquist, with Dutch Darrin when he was still alive, and later published in the in the AACA magazine in Vol 52, No 4 (1988) article by Mr. Blend.

2 - In that article, and based upon extended interviews with Dutch Darrin himself, and others, Mr. Blend concludes, as follows: “With total restoration/reconstruction completed, it has been proved beyond doubt—Darrin’s number system, plus stamped and cast parts bearing his logo, and his personal attestment as well—that the car is authentic and of true heritage.”

3 - Dutch Darrin wrote a letter of authentication in 1978 that states: “I would like to authenticate the validity, and vicissitude, of Harold Sliger’s, 1936 Packard Twelve: Fernandez & Darrin Boattail Speedster as being one of my creations.”

4 - During one of their interviews, Mr. Darrin provided to Mr. Blend and Mr. Turnquist an extensive listing of particular Packard and Fernandez & Darrin parts and numbers which were among those used in the 1936 Speedster, and were still there.

5 - It is undisputed that Patrick was a part of these discussions and that he witnessed the personally, and that his father, on several occasions either with Sliger or himself, spoke at length about it being “his” car.

6 - If Mr. Darrin had not built this magnificent motor car, in Paris; if, indeed it had been cobbled together in somebody’s back yard in Upstate New York; if Darrin had no previous connection with it; how, then, would he have had such a document?

7 - It is undisputed that Dutch Darrin bought five or six Auburn boattail bodies-in-white from the Paris Auburn Distributor during the throes of the Great Depression. One became a Duesenberg speedster, another a Packard Eight, a Buick, and a Delage. No one seems to know with certainty if a sixth car was purchased by Darrin, or, if so, what became of it.

8 - It is undisputed that the 1936 Twelve Boattail contains features that are Darrin’s own styling cues such as: the stamped or cast “D” for Darrin on door hinges, bumper back bars and clamping devices; evidence of the European method of lead-filled body moldings with nail-heads soldered in place in the tailback; several body alternations that would require the use of special sheet metal tooling; reverse bent 90 degree sheet metal that would be impossible to perform by hand and require a coach builder’s genius and tooling to accomplish; and also significantly the Darrin-patented “jiffy top” across the back of the seat

9 - It is undisputed that according to Robert Turnquist, at the time the world’s greatest living Packard authority, and a personal friend of Howard Darrin, Darrin and Turnquist had a lengthy visit in the mid-to-late 1970’s, and covered a number of subjects, including the provenance of this car. Darrin related to Turnquist that when he first saw the LeBaron Twelve Boattail Packard in 1934, he thought it was “quite striking” although “a little bob-tailed in the rear end”. Turnquist remembered Darrin telling him that he hoped, at that time, that someone would commission him to do a Packard Twelve Boattail, “So that I could show LeBaron how it should have been done.” And, indeed, he did.

10 - One last statement the America’s Packard Museum believes to be certain: No one, not even Dutch Darrin himself, could create this magnificent Speedster in his backyard using a rope, a tree limb, and a dis-used Auburn boattail body!

Statements of Fact Provided by Friends of the Dick Saunders Estate

1 - It is undisputed that a family close to the Dick Saunders Estate holds voluminous automobile documentation from the estate that reveals this engine had been installed in more than one Packard chassis.

2 - It is undisputed that Mr. Saunders owned more than 100 Packards in his lifetime and was an avid customizer who experimented with custom bodies and had a taste for custom European-built coachwork.

3 - It is undisputed that Mr. Saunders was mentioned in the July 1951 issue of Hot Rod with a photo of a Packard with an Auburn Speedster body described as a hybrid classic built by Dick Saunders.

4 - It is undisputed that Mr. Saunders was mentioned in the October 1952 issue of The Automobilist with a photo of a hybrid special built from Packard, Auburn and Studebaker components.

5 - It is undisputed that Mr. Sliger worked with Dutch Darrin to accurately restore the car and in the process, the body was mounted on a restoration chassis.

6 - This vehicle was previously sold at auction and represented with “replica coachwork”

7 - The friends of the Dick Saunders Estate believe this automobile was a special speedster creation built by Dick Saunders in the late 1940s.

Source: MECUM Auctions

Afterword: You be the judge my friends. Is this an authentic Dutch Darrin creation or a Dick Saunders “back yard mix and match”? In my opinion only Dutch Darrin could have designed such a magnificent looking automobile.

_________________________________________________

May I point out that this picture is Copyright protected under U.S. copyright law.

U.S. copyright law protects creators of original, creative works from having their intellectual property used by others. Copyright infringement is the reproduction, distribution, or alteration of a creative work without the owner’s permission. Common examples of copyright infringement against you might include:

• Uploading your photos to the internet,

• Stealing licensed software from your website,

• Plagiarizing your written text, and

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without attributing you.

The crew of Mt. Emily Lumber Company's Shay #1 executes an extended blow-down of the locomotive's boiler, just after crossing the Crooked River on the eastbound run to Prineville. The blow-down procedure is designed to rid the boiler of sediment that typically builds up in the base of the firebox area, which is known as the mud-ring. This sediment can interfere with heat transfer, and thus affect boiler efficiency. It can also promote corrosion, which is never a good thing. Periodically, the locomotive fireman will open the blow-down valve or valves, which are generally located on the sides of the firebox sheets. When the valve is opened, superheated water is expelled at boiler pressure and typically flashes instantly to steam. It makes quite a racket and produces an extensive plume. The blow-down is generally done when the locomotive is drifting and can afford a momentary loss of boiler pressure. Needless to say, the crew must be careful to ensure that the water level in the boiler is high enough so that the loss of water will not compromise the crown sheet. Obviously, the crew must also take care to ensure that the plume does not impact people or animals. The plume is obviously scalding hot right next to the locomotive, but beyond perhaps 15 yards, it is just wet.

This image was captures from NW Campbell Ranch Road, looking SW toward the Crooked River Bridge, about 6 miles northwest of Prineville, OR.

My Dark Times Application Build.

Name: CT 7142-277

Nickname: Jak

Rank: Sergeant

Company: 212th Airborne

////////////////////////////////////////////////////////////////////////////////////////////////////

“Execute Order 66”

The order came in as Sev and myself patrolled the balcony of one of the many Jedi Temple Landing Pads.

“Is it true, Jak?” Sev looked at me. I just stared out of my helmet. Could it be, I thought to myself. General Vok was a very nice Jedi Knight, kind to his troops and caring. But the order came from the Chancellor himself. Could it really be so?

“Good soldiers follow orders,” Sev reminded me. And that is just what we were, I realized. Good soldiers. With that, I knew we had no choice. Luckily, by sheer luck or by fate, Master Vok was walking below us. He paused between us, perhaps sensing something. I took the opportunity. I jetted over the railing and hovered down in front of him, motioning for Sev to jump over and make sure he didn’t run.

“I’m sorry, General, it has to be this way.” With that, I fired two bolts into his torso. His lightsaber, albeit on, did little to stop two point-blank blasts. His body fell lifeless against the crates. I picked up the lightsaber by the hilt. I commed the Chancellor. “It is done.”

//////////////////////////////////////////////////////////////////////////////////////////////////// I only have Phase I clones :p. This looks like a great group and I hope to join.

C & C Welcome. Enjoy!

And if the picture doesn't show enough, I can take more.

water colour / ink / pencil, executed in 2019.

Knebel Skellerup Dyssekammer is an impressive hexagonal dolmen built of 5 orthostats and one large capstone 2,8m by 1,5m by 1,5m. Entrance facing towards the East.

Clear chamber size 1,9m by 2m. The covering barrows' earthwork is almost completely removed. Some kerbstones remained. Access via short footpath in 1992.

References:

[1] Ebbesen, Klaus, Danmarks megalitgrave 1-2. København 2008 & 2010, Site 3866 (Müller, Sophus 1877/78)

[2] Ebbesen, Klaus, Danske dysser – Danish Dolmens. Attika. København 2007, Site 380

View large on black - recommended.

Annonçant les gouaches découpées de Matisse, Picasso dessine directement avec ses ciseaux dans les motifs colorés qu’il a sélectionnés pour leur valeur signifiante. Le papier à motifs de briques est utilisé pour représenter le fond du mur, le faux-bois pour le parquet et le cadre du miroir, le papier fleuri pour le bouquet de fleurs…

Reprenant la thématique traditionnelle des femmes se coiffant, la composition s’organise autour de trois figures évoquant les compagnes qui se succèdent alors dans la vie de l’artiste : Olga Khokhlova à gauche, Dora Maar au centre et Marie-Thérèse Walter à droite

Femmes à leur toilette est l’unique carton de tapisserie conçu en tant que tel par l’artiste. Pour autant, la transposition de la composition ne se fera pas immédiatement, Picasso refusant que l’œuvre quitte son atelier. Il faudra ainsi attendre presque trente ans, et la rétrospective de 1966 au Grand Palais pour que le projet aboutisse, sous l’impulsion d’André Malraux.

Véritable défi lancé aux tissiers, la composition Femmes à leur toilette sera finalement tissée à la manufacture des Gobelins entre 1968 et 1976 en quatre exemplaires : deux en couleurs et deux en noir et blanc. Les tapisseries nécessiteront respectivement la teinture de 89 et de 12 couleurs, et entre 12 000 et 16 000 heures de travail chacune.

ENGLISH :

Executed in the studio of the rue des Grands-Augustins in winter 1937-1938, this monumental work, by its format and artistic processing, is in the direct line of Guernica

Announcing the gouaches cut of Matisse, Picasso draws directly with his scissors in colorful motifs he selected for their significant value. The paper brick patterns is used to represent the far wall, false wood for parquet and mirror frame, ornate paper for the bouquet of flowers ...

Taking the traditional theme of women styling, the composition is organized around three figures evoking the companions who then followed in the artist's life: Olga Kokhlova left, Dora Maar in the center and Marie-Thérèse Walter at the right

"Women at their toilet" is the only tapestry cartoon designed as such by the artist. However, transposition of the composition will not happen immediately, Picasso refusing the work leaves his workshop. It will thus wait almost thirty years, and the 1966 retrospective at the Grand Palais to make the project succeed, under the leadership of André Malraux.

A real challenge for weavers, the composition "Women at their toilet" will finally be woven by Gobelins between 1968 and 1976 in four copies, two in color and two black and white. The tapestries respectively require the dyeing of 89 colors and between 12 000 and 16 000 hours of work each.

Women at their toilet, winter 1937 - 1938, Paris, Paper sticked

Wallpapers cut, glued and gouache on paper mounted on canvas, 299 x 448 cm

mpp-jep.tumblr.com/femmes_a_leur_toilette

The silhouette of the National Resistance Monument —honouring our executed Freedom Fighters— brings thoughts of death and an eerie chill. People are discerned in the background, strolling along the promenade in Thessaloniki, Greece. The equinox sun gloriously sets behind cloud-laden skies. Autumn came and brought longer nights and cold.

An appropriate poem of Odysseus Elytis’s follows, as homage to National Resistance:

“They will smell of incense, and their faces charred from their passage through the Large Dark Place.

There, where suddenly the Immovable hurled them

Face down, on the earth, whose least anemone would poison the air of Hell

(One hand in front, as though it tried to seize the future, the other beneath the deserted head, turned sideways,

As if it looked for the last time in the eyes of a disembowelled horse, at a pile of smoking ruins)

There time released them. One wing, the reddest, hid the world, while the other moved gently in space,

And their brows held no furrows or remorse, but from a great depth

The ancient unremembered blood began painfully to dawn in the black sky,

A new sun, still unripe,

A sun unable to melt the white frost of lambs from the living clover, and before anything could sprout a thorn it prophesied the darkness…

Beginning valleys, mountains, trees, rivers,

Creation shone from vengeance, the same and not the same, and now they travel forth, the hangman killed in them,

Peasants of the endless blue!

Neither the hour striking twelve in their entrails, nor the Polar voice falling headlong, denied their steps.

They read the world insatiably, eyes opened forever, there were suddenly the Immovable hurled them

Face down, where the vultures plummeted to savor the mud of their entrails and their blood.”

—Odysseus Elytis (“The Sleep of the Brave,” from ‘Six and One Regrets for the Sky,’ translated by Ruth Whitman).

shot executed by Pinhole Camera Auloma Panorama 6x12, film scanned by Canon EOS 1100D, Film lomography negative ISO100, film format 120

Copie romaine en marbre, exécutée vers 130-140 après Jésus-Christ, de la statue en bronze créée par Léocharès entre 330 et 320 avant Jésus-Christ. L’attribution de l’original à Léocharès repose sur un passage de l’Histoire naturelle de Pline l’Ancien évoquant un « Apollon au diadème » (XXXIV, 79) et sur la mention par Pausanias d’une statue d’Apollon située devant le temple d’Apollon Alexikakos à Athènes (I, 3, 4). Elle est donc assez fragile, d’autant que les sandales d’Apollon renverraient plutôt au IIIe, voire au IIe s. av. JC : mais il s’agit là peut-être d’une simple retouche du copiste romain.

On ne sait pas exactement quand ni où cette statue a été découverte. Une première copie en aurait été faite en 1498 (Venise, Ca’ d’Oro). Elle est ensuite dessinée dans les jardins du cardinal Giuliano della Rovere, futur pape Jules II, dans un recueil de croquis antérieur à 1509.

3. Winckelmann évoque la statue dès 1755 et en propose une description enthousiaste dans son Histoire de l’Art chez les Anciens (1776).

i always wanted to shoot the milky way in a diff ways and doing some conceptual photograph .... i just wanna thank my friend @antoine faissal who helped executing this one ....

Taking-off to execute the last flight of an MD-11 with passengers. The only take-off it will make next is to go to the place where aircraft come to die....

Viewed from the north side and the west of the altar cross on the high altar at Coventry Cathedral. It was executed by Geoffrey Clarke, who was also one of the trio of students at the Royal College of Art who executed the enormous stained glass panels in the nave. The altar cross contains the original Cross of Nails, made from nails found in the rubble of the original Cathedral after it was bombed.

Behind it are Spence’s plain glass windows for lighting the sanctuary, which to me are reminiscent of Le Corbusier’s at Notre-Dame du Haut, although Spence’s pattern is much more regular.

Just occasionally people tell me they don’t like Coventry Cathedral. I couldn’t disagree more; a powerful symbol of Resurrection, restored to a very different life barely twenty years after being destroyed in the Blitz on 14 November 1940. The Modernist Cathedral of St Michael of the 20th Century both surrounded by and incomprehensible without the ruins of 14th Century building that surrounds it.

Coventry Cathedral incarnates the twin and interconnected British revivals of the two decades after the end of the Second World War – a revival of high culture and a revival of Christian faith. Basil Spence’s cathedral housing Jacob Epstein’s sculptures, John Piper’s massive arrangements of stained glass into windows, and Graham Sutherland’s tapestry, still in 2021 the largest in the world, represent collectively a totemic achievement in modernist visual arts and architecture.

The brief for the competition to select the architect of the new Cathedral demanded that the design emphasise the celebration of the Eucharist; Spence himself had a further vision of the building as the repository of great modern works of art. He described his building as “a plain jewel casket”. Piper’s windows cast shafts of colour into the heart of the nave, while the plain glass West Screen, which faces to the geographical south, allows much natural light into the building, essential given that the east end is entirely filled with Graham Sutherland’s great tapestry, still the largest in the world at 22 metres tall by 12 metres wide.

Coventry Cathedral was built to a tight budget – “not more than £985,000” – and making much use of reinforced concrete, the new cathedral was constructed in just six years, between Queen Elizabeth II laying the foundation stone on 23 March 1956 and the dedication ceremony on 25 May 1962.

Could there have been a finer or more appropriate setting for the world première of Benjamin Britten’s War Requiem on 30 May 1962? On that night, the Cathedral’s great post-War religious theme was also incarnated in the three soloists: Peter Pears (Britten’s partner) from the host nation, Dietrich Fischer-Dieskau from Germany, Galina Vishnevskaya from the USSR, representing three belligerent nations. That tri-national partnership continues to be symbolised by the presence of a replica of the Stalingrad Madonna given by the Kaiser Wilhelm Memorial Church in Berlin, where the original hangs, with a second copy being in Kazan Cathedral in Volgograd.

A building that breathes with the presence of the Holy Spirit, giving new life the Church in every generation.

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The OBL (Osama Bin Ladin) raid has been accurately recreated in lego for the one and only Brick Fair Virginia 2013. This collaborative MOC has been registered as an official collaboration and will be on display in a specific place at the convention for attendees and the public to veiw.

After executing a legit carrier break, an F/A-18F Super Hornet from VFA-122 Flying Eagles is seen on short final, Runway 18 at NAS JRB Fort Worth.

He was the son of Arthur Capell, 1st Baron Capell of Hadham (who was executed in 1649) and of Elizabeth Morrison, daughter and heir of Sir Charles Morrison of Cassiobury in Hertfordshire, and was baptized on 2 January 1632.

In June 1648, then a sickly boy of sixteen, he was taken by Lord Fairfax's soldiers from Hadham to Colchester, which his father was defending, and carried every day around the works with the hope of inducing Lord Capel to surrender the place.

At the Restoration he was created Viscount Malden and Earl of Essex (20 April 1661), the latter title having previously died out with Robert Devereux, 3rd Earl of Essex. It was granted with special remainder to the male issue of his father, and Capel was made lord-lieutenant of Hertfordshire and a few years later Lord Lieutenant of Wiltshire.

Early on, he showed himself antagonistic to the court, to Roman Catholicism, and to the extension of the royal prerogative, and was coupled by Charles II with Denzil Holles as "stiff and sullen men," who would not yield against their convictions to his solicitations. In 1669 he was sent as ambassador to King Christian V of Denmark, in which capacity he gained credit by refusing to strike his flag to the governor of Kronborg.

In 1672 he was made a privy councillor and lord-lieutenant of Ireland. He remained in office till 1677, and his administration was greatly commended by Burnet and Ormonde, the former describing it "as a pattern to all that come after him." He identified himself with Irish interests, and took immense pains to understand the constitution and the political necessities of the country, appointing men of real merit to office, and maintaining an exceptional independence from solicitation and influence.

The purity and patriotism of his administration were in strong contrast to the hopeless corruption prevalent in that at home and naturally aroused bitter opposition, as an obstacle to the unscrupulous employment of Irish revenues for the satisfaction of the court and the king's expenses. In particular he came into conflict with Lord Ranelagh, to whom had been assigned the Irish revenues on condition of his supplying the requirements of the crown, and whose accounts Essex refused to pass. He opposed strongly the lavish gifts of forfeited estates to court favourites and mistresses, prevented the grant of Phoenix Park to the duchess of Cleveland, and refused to encumber the administration by granting reversions. Finally the intrigues of his enemies at home, and Charles's continual demands for money, which Ranelagh undertook to satisfy, brought about his recall in April 1677.

He immediately joined the country party and the opposition to Lord Danby's government, and on the latter's fall in 1679 was appointed a commissioner of the treasury, and the same year a member of Sir William Temple's new-modelled council. He followed the lead of Lord Halifax, who advocated not the exclusion of James, but the limitation of his sovereign powers, and looked to the Prince of Orange rather than to the Duke of Monmouth as the leader of Protestantism, incurring thereby the hostility of Lord Shaftesbury, but at the same time gaining the confidence of Charles.

He was appointed by Charles together with Halifax to hear the charges against the Duke of Lauderdale. In July he wrote a wise and statesmanlike letter to the king, advising him to renounce his project of raising a new company of guards. Together with Halifax he urged Charles to summon the parliament, and after his refusal resigned the treasury in November, the real cause being, according to one account, a demand upon the treasury by the duchess of Cleveland for £25,000, according to another "the niceness of touching French money," "that makes my Lord Essex's squeasy stomach that it can no longer digest his employment."

Subsequently his political attitude underwent a change, the exact cause of which is not clear—probably a growing conviction of the dangers threatened by a Roman Catholic sovereign of the character of James. He now, in 1680, joined Shaftesbury's party and supported the Exclusion Bill, and on its rejection by the Lords carried a motion for an association to execute the scheme of expedients promoted by Halifax. On 25 January 1681 at the head of fifteen peers he presented a petition to the king, couched in exaggerated language, requesting the abandonment of the session of parliament at Oxford. He was a jealous prosecutor of the Roman Catholics in the popish plot, and voted for Lord Stafford's attainder, on the other hand interceding for Archbishop Plunkett, implicated in the pretended Irish plot. He, however, refused to follow Shaftesbury in his extreme courses, declined participation in the latter's design to seize the Tower in 1682, and on Shaftesbury's consequent departure from England became the leader of Monmouth's faction, in which were now included Lord Russell, Algernon Sidney, and Lord Howard of Escrick.

Essex took no part in the wilder schemes of the party, but after the discovery of the Rye House Plot in June 1683, and the capture of the leaders, he was arrested at Cassiobury and imprisoned in the Tower.

His spirits and fortitude appear immediately to have abandoned him, and on July 13 he was discovered in his chamber with his throat cut. His death was attributed, quite groundlessly, to Charles and James, and the evidence points clearly if not conclusively to suicide, his motive being possibly to prevent an attainder and preserve his estate for his family. Lord Ailesbury wrote: "The Earl asked very coldly for a razor to cut his nails, and being accustomed so to do gave no manner of suspicion. He went into a small closet," where his servant afterward found him "dead and wallowing in blood"... the assumption being that the reason he "cutt his own throat with a knife" was because of his knowledge of the Rye House Plot. If not killed by them, he was, however, undoubtedly a victim of the Stuart administration, and the antagonism and tragic end of men like Essex, deserving men, naturally devoted to the throne, constitutes a severe indictment of the Stuart rule.

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Executed between 1929 and 1931 for the Palais des Colonies by Alfred Janniot – assisted by his collaborators Gabriel Forestier and Charles Barberis and 30 specialist workers. This is only the western half of the front of the building. The bas-relief covers a surface area of 1,130 m², a height of 13 metres and a length of 90 metres. Described as the world’s biggest bas-relief, it covers the entire façade of the Palais de la Porte Dorée. It features a series of allegories in the midst of abundant fauna and lush flora. It was intended as an illustration of the economic contributions made by the colonies to metropolitan France. Normally the view of the bas-relief is partially obscured by the columns holding up the front of the building but I've stitched together (as best I can) a lot of photos from various angles to get rid of the columns.

monument.palais-portedoree.fr/en/the-decors/janniot-s-bas...

Translucent glass plates and free form bowls, surface exploed with enameling. Designed and executed in pale blue, ambers and clear by Maurice Heaton. Cover designed by Sydney Butchkes. Blogged at Aqua-Velvet.

Hong Kong Airlines

Airbus A330-343 (MSN 1105)

B-LNS

HX337 PEK-HKG

* Executing go around.

Dublin. This is the Victorian wing of the Edwardian Jail, where Irish men, women and children were held until released, transported or executed.

Executed by spatula on canvas

Size 120x80 cm

iacolinothecolorist.blogspot.it/

Greater Manchester Police have made 18 arrests, seized a substantial amount of Class A drugs and shut down a cannabis farm after executing a series of warrants in Salford.

This morning, Wednesday 14 October 2015, more than 200 officers executed warrants at 22 addresses across Eccles and Pendleton as part of a Project Gulf operation designed to tackle organised crime.

Gulf is part of Programme Challenger, the Greater Manchester approach to tackling organised criminality across the region.

The raids are the result of an intelligence-led operation conducted over a number of months into offences such as supplying Class A drugs and other criminality. Searches at a number of properties are still on-going.

Fifteen men and three women have so far been arrested on suspicion of supplying Class A drugs. They remain in custody for questioning.

Searches of the 22 properties also uncovered a cannabis farm, and have resulted in officers seizing a substantial amount of cocaine, crack cocaine, heroin, cannabis, a stolen motorbike and some cash.

Superintendent Mark Kenny, of Salford Division, said: “These warrants are a result of a sustained and in-depth operation into the supply of Class A drugs not just in Salford, but Greater Manchester as a whole.

“They have utilised some excellent work by my officers in the gathering of intelligence and information, which has allowed us to seize a significant amount of drugs which would soon have been poisoning our streets.

“We have also been successful in confiscating a large amount of cash, hitting the dealers where it hurts.

“We would not have been able to carry out these warrants had it not been for members of the public coming to us with information and intelligence, and that is very pleasing.

“However, our investigations are continuing and if anyone has any information they think will assist I would encourage them to contact us.

“Our communities have already shown they are prepared to work with us in the fight against drugs and organised crime and I would like to express my thanks to those who came forward and helped us reduce the amount of dangerous narcotics in their areas.

“But there is still more to do and, as with any fight against organised crime groups embedded in our communities, we need residents to come to us with information so we can put a stop to this criminality.

“If you see drug dealing taking place in your area, come to us, we can help to put a stop to it and help to make Greater Manchester a safer place to live.”

Anyone with information is asked to call police on 101 or the independent charity Crimestoppers, anonymously, on 0800 555 111.

Palpatine :'The time has come.Execute Order66.'Commander :'Yes,my lord.'

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This beautifully executed sculpture was erected in 2001 close to Minehead harbour, marking the start (or end) of the South West Coastal Path. It was designed by Sarah Ward, a student at West Somerset College who was only 19 at the time, and made by established metal sculptor Owen Cunningham. It's simple and effective and although mentions on Google don't say what it's made of (one said bronze, which it isn't), I'm pretty sure it's galvanised steel. We set out to find it a year or so back but didn't walk close enough to the harbour, so coming across it at last was a bonus.

Spoilt for choice of titles here; Grave Robber, Highway Robbery, Dandy Highwayman, Essex Boy, Fallen Hero, etc, etc.

The truth of it was he wasn’t from York, he wasn’t the dashing outlaw of legend and he didn’t own a horse called Black Bess!

Dick Turpin was tried and executed in the city and his grave can be seen in an otherwise unremarkable graveyard.

Born in Essex, Turpin was a member of the violent Gregory Gang, becoming a highwayman when they split up. Having shot and killed a man who attempted to capture him he fled to Yorkshire. He stole horses in Lincolnshire and returned with them to Brough to sell, a trade which was exposed while he was in Beverley House of Correction having shot his landlord’s cockerel. He gave his name as John Palmer.

He was moved to York Castle, from where he wrote to his brother asking for help. His brother refused to pay the sixpence due on the letter and it was returned to the local post office – where Turpin’s old schoolmaster recognised his handwriting. His identity was revealed and he was sentenced to death.

At his hanging at Tyburn (Knavesmire, York), Turpin hired five professional mourners to follow him up the scaffold and he put on a show for the large crowd.

His body was dug up by a labourer and taken to the garden of a surgeon, who paid for corpses for illegal medical dissection. York people discovered what had happened and descended in an angry mob on the surgeon’s house, and Turpin was laid to rest for good. The doctor and the labourer were arrested and fined.

Turpin became a legend after his death. His story became linked in print with a legendary ride from London to York to establish an alibi, a tale previously attributed to the highwayman William Nevison. This fictional version was further established when it was included in an 1834 bestseller called Rockwood, in which the author Harrison Ainsworth added a new twist: that Turpin’s horse, Black Bess, expired at York after the record-breaking ride. None of this was true.

Not the original gravestone either, a local dog walker told me that her friend engraved this new stone twenty years back, then got a bill from the Council for disturbing the grave; Highway Robbery indeed!