Insulating foam ends for all you diy laggers out there.

Excelentíssimos senhores chefes de Estado e de Governo,

Excelentíssimas senhoras chefes de Estado e de Governo,

Senhor Ban Ki-moon, secretário-geral das Nações Unidas,

Senhor Nassir Abdulaziz Al-Nasser, presidente da Assembleia Geral das Nações Unidas,

Senhor Sha Zukang, secretário-geral da Conferência das Nações Unidas sobre Desenvolvimento Sustentável, a Rio+20,

Senhoras e senhores chefes de delegações,

Senhoras e senhores,

Chegamos ao encerramento da Conferência das Nações Unidas sobre Desenvolvimento Sustentável, a Rio+20. Eu manifesto meus sinceros agradecimentos, em nome do Brasil e do povo brasileiro, aos chefes de Estado e de Governo, que, a despeito de suas múltiplas responsabilidades, se deslocaram para o Rio de Janeiro e auxiliaram, de forma decidida, a construção do consenso que hoje celebramos.

O documento “O Futuro que Queremos” torna-se, hoje, um marco no conjunto dos resultados das Conferências das Nações Unidas ligadas ao Desenvolvimento Sustentável. Um passo histórico foi dado em direção a um mundo mais justo, equânime e próspero, para que a pobreza seja erradicada e o meio ambiente protegido.

O Brasil se orgulha de ter organizado e presidido a mais participativa e democrática conferência, na qual tiveram espaço diversas visões e propostas. Buscamos sempre manter um equilíbrio respeitoso entre as posições de todos os países. Celebrar conquistas consensuais significa reconhecer que construções coletivas, baseadas na difícil arte do diálogo, são mais fortes, porque são de todos. São essas conquistas que fazem o mundo avançar.

Saúdo e agradeço os esforços de todos e de cada um, que permitiram a aprovação desse documento. Ele é produto do consenso e da ambição coletiva dos países que participaram desta Conferência. O mesmo espírito que orientou a construção de nosso compromisso com o futuro sustentável deve prevalecer no encaminhamento da solução da crise que hoje afeta os países desenvolvidos, em especial, os países da Europa. Uma crise econômica que originada nos países do Norte aflige a todos nós e, lamentavelmente, também aos países mais pobres.

Senhoras e senhores,

O documento que nós aprovamos hoje não retrocede em relação às conquistas da Rio92, não retrocede em relação à Cúpula de Joanesburgo de 2002, não retrocede em relação a todos os compromissos assumidos nas demais conferências das Nações Unidas. Ao contrário, o documento avança e muito, mostrando a evolução das concepções compartilhadas de desenvolvimento sustentável. Lançamos as bases de uma agenda para o século XXI. Tomamos decisões importantes e quero ainda uma vez ressaltar algumas delas.

Trouxemos a erradicação da pobreza para um centro do debate sobre o futuro que queremos, em consonância com a proteção e o respeito aos direitos humanos fundamentais. Criamos os Objetivos de Desenvolvimento Sustentável para dar foco e orientação aos nossos esforços coletivos. O foro de alto nível que foi instituímos coordenará os trabalhos das Nações Unidas no campo da sustentabilidade, inclusive, assegurando a implementação desses objetivos. O Programa das Nações Unidas para o Meio Ambiente sai fortalecido da Rio+20 inclusive em termos orçamentários. Será, portanto, o PNUMA capaz de auxiliar os países mais pobres na implementação de suas políticas.

Vamos também desenvolver o indicador mais adequado do que o PIB para medir o desenvolvimento incorporando, também, critérios sociais e ambientais. Adotamos o Plano Decenal de Produção e Consumo Sustentáveis. Assumimos a importância estratégica da biodiversidade marinha e vamos negociar um tratado especifico para protegê-la. Consagramos mais uma vez a participação ainda mais efetiva da sociedade civil nos fóruns sobre desenvolvimento sustentável nas Nações Unidas.

Senhoras e senhores,

Aplaudo em especial os países em desenvolvimento que assumiram compromissos concretos com o desenvolvimento sustentável, compromisso esse firmado mesmo na ausência da necessária contrapartida de financiamento prometida pelos países desenvolvidos.

O Brasil, país emergente, fará a sua parte. Colocaremos US$ 6 milhões no Fundo do Pnuma para países em desenvolvimento. Além disso, contribuiremos com US$ 10 milhões para o enfrentamento das mudanças do clima nos países mais vulneráveis da África e nas pequenas ilhas.

Cada um de nossos países pode e deve avançar em relação aos compromissos contidos no documento que aprovamos. Todos os países precisam e devem avançar além do documento, porém, nenhum país tem o direito de ficar aquém do documento, aquém do consenso histórico e dos compromissos que firmamos nos documentos.

Como dissemos desde o início de nossos trabalhos, a Rio+20 é um ponto de partida. É o alicerce de nosso avanço. Não é o limite, nem tampouco o teto do nosso avanço.

Iniciamos, sim, hoje, aqui na Rio+20, uma caminhada. Essa caminhada deve ser orientada por muita ambição. Ambição para agir e construir, de forma concreta, as soluções para a sociedade sustentável que queremos legar às crianças de hoje e de amanhã.

Aos resultados da conferência dos chefes de Estado e de Governo somam-se os diálogos e os avanços da Cúpula dos Povos, do Fórum das Grandes Cidades, do Fórum das Mulheres, da participação dos movimentos sociais e das ONGs, as organizações não-governamentais.

A Rio+20 é também o marco do engajamento e da participação empresarial. Além dos múltiplos debates sobre a sustentabilidade e a responsabilidade corporativa, em diferentes locais do Rio de Janeiro, criamos uma plataforma para o registro de compromissos voluntários de ação. Essa plataforma dará visibilidade e transparência aos esforços da iniciativa privada, permitindo, ao mesmo tempo, o controle social.

Realizamos a Conferência, eu acredito, mais participativa da nossa História. Dezenas de milhares de pessoas vieram ao Rio para trazer suas contribuições. Participaram da Conferência 12 mil representantes de quase duas centenas de países. A cada dia tomaram parte da Cúpula dos Povos cerca de 30 mil pessoas. Foram realizados quase mil eventos paralelos. Utilizamos os recursos da Internet para permitir que cidadãos de todas as partes do mundo pudessem opinar sobre os temas da Conferência.

No âmbito dos diálogos sustentáveis, organizado pelo governo brasileiro, foram recebidos mais de 1,3 milhão de votos do mundo inteiro. Com isso, foram indicadas recomendações da sociedade civil para as mesas redondas dos líderes. Essa foi uma fórmula inovadora e criativa para dar voz as mais diversas opiniões e correntes de pensamento, onde quer que estivessem.

As manifestações populares nas ruas do Rio de Janeiro são retrato da participação cidadã que marcou esta Conferência. Jovens, indígenas, mulheres, movimentos e organizações não-governamentais tiveram plena liberdade de expressar seus pontos de vistas e suas demandas em seus espaços. Assistimos a uma verdadeira festa cívica nas ruas do Rio de Janeiro.

A esses resultados concretos da Rio+20 agrega-se um legado intangível. A mobilização de toda uma nova geração, no Brasil e no mundo, em torno dos desafios da sustentabilidade. Estou convencida de que, assim como em 92, a Conferência terá um efeito transformador nas gerações atuais e futuras. Gerações comprometidas e atuantes em torno dessa tríade: crescer sim, incluir as populações excluídas, distribuir renda e gerar emprego, e proteger o meio ambiente. Essa tríade é compatível.

Expresso meus agradecimentos ao secretário-geral das Nações Unidas, Senhor Ban Ki-moon; ao secretário-geral da Conferência, senhor Sha Zukang; ao presidente da Assembleia Geral da ONU, senhor Nassir Abdulaziz Al-Nasser; e a todos os funcionários da ONU, que nos ajudaram a realizar esta Conferência.

Agradeço aos chefes de Estado e de Governo e aos demais chefes de delegação, cujo engajamento e empenho garantiram os resultados que alcançamos, pois este foi um trabalho coletivo.

Ao governador do Rio de Janeiro, Sérgio Cabral; ao prefeito da cidade do Rio de Janeiro, Eduardo Paes, e, principalmente, à população carioca e fluminense, que acolheu de braços abertos os representantes do mundo inteiro, meu carinhoso reconhecimento. O Rio de Janeiro mostrou, mais uma vez, a vibrante hospitalidade do povo brasileiro.

Essa jornada começou lá atrás, em 2007, quando o presidente Lula levou ao plenário das Nações Unidas a proposta de organizar a Rio+20. O meu governo teve a honra de organizar e realizar esta Conferência na prática, enfrentando os seus complexos desafios.

Agradeço a dedicação e o profissionalismo de todos os ministros do meu governo e de suas equipes. Faço especial menção ao Ministério do Meio Ambiente, à Casa Civil, ao Itamaraty, às Forças Armadas e à Polícia Federal, cujas ações concertadas garantiram uma Conferência bem organizada e bem-sucedida.

Por fim, agradeço a todos os profissionais anônimos, como os tradutores que, com seu esforço e trabalho diário, fizeram com que esta Conferência se tornasse um marco na História.

Senhoras e senhores,

Diziam que o multilateralismo estava agonizante. A Rio+20 mostrou que o multilateralismo é um instrumento insubstituível de expressão global da democracia. Reafirmamos, na Rio+20, que esta é a via legítima para a construção de soluções para os problemas que afetam a todos, a toda a humanidade.

Cabe agora a todos nós – governos, organizações internacionais e sociedade civil – dar efeito e concretude ao que aqui decidimos. Agora é hora de agir.

Eu desejo a todos vocês um bom retorno aos seus lares e países.

Convido a todos para participar da Copa do Mundo, em 2014, e das Olimpíadas, em 2016. Que o espírito do Rio esteja em todos nós.

Muito obrigada.

E eu declaro encerrada esta Conferência.

---------

Rio de Janeiro-RJ, 22 de junho de 2012 -

Club membership application form included as part of a full-page advertisement in the Buster children's comic.

The Airfix Modellers Club was launched in May 1974 by Fleetway Publications in conjunction with the Airfix Company. The club ran from May 1974 to March 1981 and was promoted through Fleetway's comic titles such as Valiant, Lion, Battle Picture Weekly and Buster ( www.bustercomic.co.uk/features.html ). By the end of the club's lifetime, it achieved a cumulative membership of over 150,000.

The club heavily promoted new Airfix products through the comics by advertisements and competitions for club members and for those who remember the adverts which featured Dick Emery, who was the club's president. Every new member received their membership pack comprising of a certificate, voucher stamps for Airfix kits, sticker, membership card and the club badge.

Airfix is a British company founded by Nicholas Kove (1891-1958) in 1939 and famous for their scale plastic model kits. In the late 1940’s the company began to experiment with the mass production of scale self-assembly plastic (polystyrene) kits and in 1952 launched their first mass produced kit of the Golden Hind ship. It was an immediate success and within a year Airfix followed with the release of the Spitfire aircraft. Their first retail outlet was Woolworth stores and this in no small way contributed to Airfix’s success. The plastic scale model kit flourished during it’s peak during the 1960’s and 1970’s but the hobby went into decline during the 1980’s and the Airfix company too until they became bankrupt. However, such was the fame of the Airfix brand-name that the company was bought by Hornby Hobbies Lid in 2006 and so the Airfix name continues on.

.

For more information:

www.airfix.com/about-airfix/

www.airfix.com/official-airfix-club-membership/

www.collectors-club-of-great-britain.co.uk/magazines/arti... (a short historical article about Airfix).

.

Thank you for reading.

Stuart.

The Massed Pipes and Drums of The Edinburgh Military Tattoo, 2006.

BBC highlight video of the Massed Pipes and Drums.

For this month's foldforming challenge for members of Foldforming Central. (A new topic or theme will be chosen each month.)

Next Challenge Due May 1st, 2014

1. Flowers / botanical theme

2. Have a significant fold form element

Personally, I like this better flat than opened up.

Garba is a form of dance that originated in the state of Gujarat in India. The name is derived from the Sanskrit term Garbha ("womb"). The circular and spiral figures of Garba have similarities to other spiritual dances, such as those of Sufi culture. Traditionally, it is performed during the nine-day Hindu festival Navarātrī. Either the lamp (the Garba Deep) or an image of the Goddess, Durga (also called Amba) is placed in the middle of concentric rings as an object of veneration.Both men and women usually wear colorful costumes while performing garba and dandiya. The girls and the women wear Chaniya choli, a three-piece dress with a choli, which is an embroidered and colorful blouse, teamed with chaniya, which is the flared, skirt-like bottom, and dupatta, which is usually worn in the traditional Gujarati manner. Chaniya Cholis are decorated with beads, shells, mirrors, stars, and embroidery work, mati, etc. Traditionally, women adorn themselves with jhumkas (large earrings), necklaces, bindi, bajubandh, chudas and kangans, kamarbandh, payal, and mojiris. Boys and men wear kafni pyjamas with a Ghagra - a short round kurta - above the knees and pagadi on the head with bandhini dupatta, kada, and mojiris. There is a huge interest in Garba among the youth of India and in particular, the Gujarati diaspora.

Courtesy- Wikipedia

Shot by Me using my Rebel T3i/Canon EOS 600D 55-250mm IS II. My first attempt in Full manual Mode at night with minimal post processing. Critics for improvement most welcomed. I am happy I got a chance to experience and explore this incredible Indian Garba dance.

If u like my photos, Like my page www.facebook.com/avikpaulphotography to stay updated

Inspired by Martha Graham's "Lamentation".

TAXONOMY

Kingdom: Animalia

Phylum: Chordata

Class: Mammalia

Subclass: Eutheria

Order: Cetartiodactyla (whales and even-toed ungulates)

Family: Balaenopteridae

Genus/species: Megaptera novaeangliae

GENERAL CHARACTERISTICS: Named for its stocky body with a distinctive hump formed by the black back when about to take a long dive. On the underside of the mouth are 12 to 36 throat pleats or grooves, which can expand when filtering water during feeding. Baleen is mostly black. M, novaeangliae have knobbly heads, covered in many raised lumps ('tubercles') and barnacles. There are two blowholes. Unusually long pectoral fins with a characteristic serrated leading edge are adapted for high maneuverability associated with the whale's unique feeding behavior. Fin color varies from all black to white. The expiration blow is bushy and highly visible 2.5-3 m ( 2.5-9.8 ft). Body length to 19 m (62 feet), weight to 48,100 kg (53 tons).

DISTRIBUTION/HABITAT: All Oceans in open waters.

The wintering grounds of are:

A (Southwest Atlantic): coast of Brazil

B (Southeast Atlantic): the coast of West Africa from the Gulf of Guinea down to South Africa

C (southwestern Indian Ocean): coasts of eastern South Africa, Mozambique, Madagascar (southern, western and eastern coasts), Mayotte, the Comoros and other western Indian Ocean island groups;

D (southeastern Indian Ocean): northwestern Australia

E (southwest Pacific) northeastern Australia, New Caledonia, Tonga and Fiji.

F (central South Pacific): Cook Islands and French Polynesia

G (southeast Pacific): Ecuador, Galápagos, Colombia, Panama and Costa Rica.

www.iucnredlist.org/details/13006/0

DIET: Feed only in summer, in polar waters on plankton, krill and small fishes. A group of Humpback whales will locate a large group of small fishes and then blow bubbles from their blowholes as they circle toward the surface. The ring of bubbles forms a "bubble-net" which the fishes and or krill perceive as solid. The fishes are compressed and the multiple whales then rise in unison to the surface inside the "bubble net" with their mouths open and their pleats expanded for a maxium catch of herring, caplin or sandlance. The water is expelled through their comb-like baleen (made of keratin) while their tongue sweeps the fishes down their throat.

Individual Humpbacks may lunge into schools of fishes or krill under water and also have been seen to slap their flukes into the water to stun fishes before consuming them.

REPRODUCTION: Whales sing complex songs, with each group having its own dialect lasting hours, and can be heard for over 18 miles (30 km). Females nurse their calves for almost a year. Calves do not stop growing until they are ten years old. Annual tropical to cool water migration 2,300-3,600 km (1,400-2,200 miles)

CONSERVATION: IUCN Redlist 2008 Least Concern (LC)

History:

1996–Vulnerable

1994–Vulnerable (Groombridge 1994)

1990–Vulnerable (IUCN 1990)

1988–Endangered (IUCN Conservation Monitoring Centre 1988)

1986–Endangered (IUCN Conservation Monitoring Centre 1986)

www.iucnredlist.org/details/13006/0

The Arabian Sea subpopulation and the Oceania subpopulation are classified as Endangered (EN) on the IUCN Red List (July, 2009) www.iucnredlist.org

REMARKS: An individual may be identified by the distinctive markings on their flukes, or tails.

References

Ron's Wordpress fishoncomputer.wordpress.com/wp-admin/post.php?post=5808&...

Ron's flickr www.flickr.com/photos/cas_docents/17227254903/in/album-72...

Oxford Journals Integrative & Comparative Biology icb.oxfordjournals.org/content/51/1/203.full

IUCN red list 2008 www.iucnredlist.org/details/13006/0

IUCN Red List (July, 2009)

www.iucnredlist.org

Monterey bay aquarium www.montereybayaquarium.org/animal-guide/marine-mammals/h...

National Geographic animals.nationalgeographic.com/animals/mammals/humpback-w...

ARKive www.arkive.org/humpback-whale/megaptera-novaeangliae/vide...

Shirihai, H & Jarrett (2006) Whales Dolphins and Other Marine Mammals of the World Princeton University Press.

Evans, P & Weinrich, M (2002) Whales Dolphins and Porpoises D K London New York Munich Melbourne and Delhi.

Reeves, R, R, et al (2002) Guide to Marine Mammals of the World

Chanticleer Press, Inc.

Buffington K, et al (1992) Whales Scholastic Professional Books

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My 500px Page

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When you announce to your teacher at the moment she is starting to position you for the class photo that you need to visit the lavatory, expect some form of revenge after the accident.

Where originally it might have been intended to have a row of eight boys at the front row and a second row of ten girls, a rather uneven second row of ten girls and one boy is the final result.

The accident has been made more evident after the boy has been made to keep the hands by the side by the teacher, rather than to fold them like the other boys, thus bringing the attention of the problem to all parents and friends who later see the photograph.

Showing up a child was always a more lasting punishment than a quick hit with the plimsoll or cane.

Some of the teachers at a junior school I was at, would forbid many of us from the Children's Home to leave a classroom in the middle of a lesson if we needed a pee.

Often short of money, a few would use these unsupervised moments to search other children's coats for money or sweets (as they were not allowed in the classroom, so they were left in coat pockets), if no actual need for a pee had been there, ten minutes alone could bring good pickings.

To be fair it was not just the kids that were from the Children's Home that had this rule, but also a couple of other boys who might also might not be trusted were also included in the ban of leaving the classroom during a lesson.

Those of us who suffered this lack of trust, tried to make sure that all our breaks were used for visits to the lavatory, both at the start and at the end of our play times.

Once we knew that asking certain teachers if we could leave the room resulted in the NO answer, we didn't bother asking and tried to hold on to the end of the lesson.

Whilst other children might tease us a little when we did wet ourselves, it was mild compared to the reception we would receive when returned to the Home.

At the end of the day and returning to the Home, there was no point in trying to hide the matter from Sister, it would only get you into more trouble. There was no punishment, just the comment that it might be best if you wore waterproof pants to school to stop the matter happening, and then going to school in them until she decided otherwise was not too much of a problem.

More mild teasing from our friends, but you dare not take them off and hide them, had they become lost the punishment for loosing them would be unthinkable. Eventually the teasing would end. The worst time to be in them was when it came to change for PE or games.

You became happy that the teacher could no longer torture you in class, with the problem of wet stains on your shorts, and a puddle under your chair. The fear of needing to visit the toilet vanished, you had no worries that you might need to go. Wearing waterproofs for many became an everyday event in primary school and there were only a few accidents.

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

Those of us from the Children's Home were always short of money, a dare from friends if they promised to put in a penny each for you to do something daft, often ended with the slipper when you were found out if the dare had not been too stupid.

Getting in around 1/- (that would buy a very large bar of chocolate or two Mars bars) from your group of friends was a decent amount of money, it made up for the pain. Fail to complete the dare meant you had to give your friends the penny each instead.

When the stakes were higher, you needed friends to put in 3d each if it would probably end in the cane for your deed if you were caught. 2/6 - 3/- for a dare was always worth the risk.

Holding a lighted banger in your hand, removing the teachers lesson from the blackboard when it was clearly marked DO NOT REMOVE, and making a puddle on the Headmasters carpet, were among the higher dares.

If you were to be seen by the headmaster at morning break. You were first made to drink your one third of a pint milk, then taken straight to see the headmaster due your latest bit of bad behaviour, waiting outside his office until he was ready to see you, and not allowed to a pay a visit to the toilet until you had been seen. I never did make a puddle in his office, other friends did out of fear or for a dare. Due to a long wait outside his office, my shorts and the door mat did suffer.

OLYMPUS DIGITAL CAMERA

Experement

By Yourun 2013

Catedral

De estilo gótico, se inicio su construcción en 1433 por los arquitectos Ysambret y Carlín sobre la antigua mezquita mayor almohade, durando su construcción 65 años siendo terminada en 1507.

Templo de planta rectangular formado por cinco naves compartidas en 8 tramos de capillas y crucero. 28 pilares adosados, más 32 exentos, soportan las 68 bóvedas ojivales que se escalonan desde el tramo central mas alto (37 m) hasta el tramo más bajo situado en las capillas (12.80 m).

La nave central está formada por la capilla mayor y el coro. Se accede a la capilla mayor a través de tres rejas de hierro dorado realizadas en el siglo XVI. En su interior se ubica el retablo mayor.

Entre el coro y la capilla mayor se encuentra la capilla de San Fernando, el crucero y el trascoro. Entre el periodo comprendido entre 1528 y 1593 se construyeron una serie de dependencias en estilo plateresco y manierista anexas al templo en el lado sureste de la Catedral.

El periodo barroco de la Catedral corresponde a la construcción de la parroquia del Sagrario (1618-1663) decorada en su interior con relieves vegetales y grupo escultórico en las tribunas.

El Pabellón de Oficinas situado desde el crucero hacia los pies del templo comenzó siendo un granero en el siglo XVIII pero fue transformado en oficinas en 1930. Actualmente es el Pabellón de Recepción de visita turística.

Inicia su construcción en 1.401 en el solar de la mezquita mayor almohade.

Su financiación corre a cargo de donaciones privadas de canónicos, prelados y de algunos laicos, estableciéndose también un impuesto sobre el comercio de la carne cuyo importe se destina a la citada obra.

La catedral tiene planta de salón con cinco naves y capillas entre los contrafuertes. Mide 116 metros de largo por 76 de ancho y 93 vidrieras.

En 1.660 se fundó en el edificio la primera Academia de Bellas Artes Sevillana.

www.sevillaguia.com/sevillaguia/monumentos/catedral.htm

Puertas:

Del Bautismo. Aparece el bautismo de Cristo con varias estatuas de Santos, todos ellos obra de Lorenzo Mercadante de Bretaña, más una serie de ángeles y profetas, obra de Pedro Millán.

Del Nacimiento. Figura el nacimiento de Jesús con obras de Lorenzo Mercadante y Pedro Millán.

De la Asunción. Fue realizada en el siglo XIX en dos etapas, una de 1.829 al 1831, y otra de 1.877 al 1.898. En esta última Ricardo Ballver hizo el relieve del tímpano y las figuras de los apóstoles.

Del Príncipe o de San Cristóbal. Construida entre 1.887 y 1.895.

De la Concepción. Construida entre 1.895 a 1.927.

De los Palos. Representa la Adoración de los Reyes (siglo XVI).

De las Campanillas. Representa la entrada en Jerusalén (siglo XVI).

www.sevillaguia.com/sevillaguia/monumentos/catedral.htm

Capillas Principales:

Capilla Real. Su estilo es renacentista y fue proyectada e iniciada por Martín de Gainza en 1.541 y posteriormente por Hernán Ruiz. Por ser panteón de Fernando III, Alfonso X y Beatriz de Suabia se conservan en él una serie de obras de arte y recuerdos históricos relacionados con la familia real. La Virgen de los Reyes, proclamada patrona de la ciudad de Sevilla y de sus Archidiócesis en 1946 por el Papa Pío XII, también se encuentra situada en esta capilla por su especial vinculación con el Rey Fernando, el Santo.

Capilla Mayor. La ampliación de esta capilla se hizo en 1.518. Su estilo arquitectónico es renacentista. Las rejas de hierro dorado que cierran la capilla fueron realizadas por fray Francisco de Salamanca en 1.529 (sólo el frente principal). Las laterales son obra de Sancho Muñoz, Diego de Huidobro y Juan de Couillana. En ella se encuentra el retablo mayor.

En 1.528 Diego de Riaño Comienza la Sacristía Mayor.

La Capilla de la Virgen de la antigua. Está situada en el lugar que ocupaba el mihrab de la mezquita. La capilla es de planta rectangular, cubierta con bóveda de nervaduras.

El Retablo Mayor:

Es un retablo que resume las tendencias que conviven en la transición del gótico al renacimiento. Nombraremos algunos maestros que intervinieron en su construcción: Pieter Dancart (1.481 a 1.488), Marco (1.497 a 1.506), Pedro Millán ( 1.507 a 1.508), Alejo y Jorge Fernández. Tiene 230 metros cuadrados de superficie

Realizado en varias etapas iniciándose en 1482 y completándose en 1564. Fueron varios los escultores que trabajaron en él. Consta de cuatro cuerpos de altura y cuatro calles en vertical, rematada con crestería y enmarcado por pilares con relieves de los Reyes de Israel y Judá.

Forman el retablo un conjunto de cuarenta y cuatro relieves y más de doscientas figuras de santos que se disponen en las pilastras que articulan el retablo. Dosel con figura de la “Piedad” flanqueada por un apostolado y sobre ellos “Calvario” gótico del siglo XIV.

En el banco, figura gótica de la “Virgen de la Sede” realizada en el siglo XIII, acompañada por relieves de tres escenas de martirios de santos, las” Santas Justa y Rufina” y “San Isidoro y San Leandro”.

En el primer cuerpo: “ El Nacimiento de la Virgen”, “El abrazo de San Joaquín y Santa Ana”, “La Anunciación”, “ El Nacimiento de Cristo”, “ La matanza de los inocentes”, “La Circuncisión y "La Adoración a los Reyes”.

En el segundo cuerpo: “La Presentación del Niño en el Templo”, “ El Bautismo de Cristo”, “La Resurrección de Lázaro”, “La Asunción de la Virgen”, “La entrada de Cristo en Jerusalén”, “La Sagrada Cena” y “La Oración en el Huerto”.

En el tercer cuerpo: “Camino del Calvario”, “La Flagelación”, ”La Coronación de Espinas”, “La Resurrección”, “Ecce Homo”, “El Expolio” y “El Prendimiento de Cristo”.

En el cuarto cuerpo, “El Entierro de Cristo”, “Las Marías en el Sepulcro”, ”La Magdalena a los pies de Cristo Resucitado”, “La Ascensión", "Bajada de Cristo al Limbo”, “La Cena de Emaus" y “La Venida del Espíritu Santo”.

En los laterales del retablo representaciones de “La Creación de Eva”, “La Huida a Egipto”, “Cristo entre los Doctores”, “La Transfiguración” y “La Magdalena ungiendo los pies a Cristo”. A la derecha figuran “El Pecado original”,”El Juicio Final”, “La Multiplicación de los panes y de los peces”, “La Expulsión de los mercaderes del templo” y “La Conversión de San Pablo”.

Sala Capitular:

Es de planta elíptica, proyectada por Hernán Ruiz y completada, a su muerte, por Asensio de Maeda. Posee una decoración a base de relieves realizados por Juan Bautista Vázquez, Diego de Pesquera y Diego de Velasco. Está dedicada a reuniones del Cabildo.

La Catedral tiene cuatro patios: de los Naranjos, del Mariscal, de los Óleos, y de los Limones.

Patio de los Naranjos:

Al Claustro de la Catedral, conocido como Patio de los Naranjos, se realiza el acceso a través de la llamada puerta del Perdón, formada por arco de herradura apuntado y decorada con yeserías realizadas en 1522 por Bartolomé López, grupo escultórico en los laterales, formado por "San Pedro y San Pablo", y sobre estos, "la Virgen y el Arcángel San Gabriel" y relieve de la "Expulsión de los Mercaderes" situado sobre el arco de la puerta. Se iniciaron las obras de este patio en 1172 C. y se concluyeron en el año 1196 C. Posteriormente ha sido reformado aunque a mantenido parte de su estructura original.

Entre las obras escultóricas de interés mencionaremos; "Virgen de los Reyes" (siglo XIII, obra anónima de estilo gótico), "Virgen de la Sede" (siglo XIII, anónima de estilo gótico), "Sepulcro del Cardenal Cervantes" (siglo XV, obra gótica de Lorenzo Mercadante), "Cristo de la Clemencia" (siglo XVII, de Martínez Montañés obra barroca), "San Fernando" (siglo XVII, de Pedro Roldán), "Santas Justa y Rufina" (siglo XVIII, obra de Duque Cornejo de estilo barroco).

De las obras pictóricas destacaremos; "Virgen de la Antigua" (siglo XVI, obra anónima de estilo renacentista), "San Cristóbal" (siglo XVI, de Pérez de Alesio), "Inmaculada Concepción" (siglo XVII, obra de Zurbarán de estilo barroco) y "Visión de San Antonio " (siglo XVII, de Murillo).

La imagen pertenece al monumento fúnebre que recoge los supuestos restos de Cristóbal Colón. Sobre un podio, cuatro reyes portan el féretro sobre sus hombros. Estos personajes representan los reinos de Navarra, Valencia, León, Castilla y Granada.

Sevilla Catedral

Dirección:Avda. de la Constitución, 13

Teléfono:954 21 49 71

Horario:Invierno: De lunes a sábado: de 11:00 a 17:30. Domingos: de 14:30 a 18:30

Verano: De lunes a sábado: de 9:30 a 16:30. Domingos: de 14:30 a 18:30

BUS:C5 - Metro Centro

Acceso:Entrada general 8€. Estudiantes menores de 25 años y pensionistas 3€ con acreditación. Entrada gratuita(acreditación): menores de 15 años acompañados por un adulto, discapacitados y un acompañante, desempleados y naturales y residentes en la diocesis de Sevilla

www.sevillaguia.com/sevillaguia/monumentos/catedral.htm

Mamallapuram, also known as Mahabalipuram, is a town in Kancheepuram district in the Indian state of Tamil Nadu. It is around 60 km south from the city of Chennai. It is an ancient historic town and was a bustling seaport during the time of Periplus (1st century CE) and Ptolemy (140 CE). Ancient Indian traders who went to countries of South East Asia sailed from the seaport of Mahabalipuram.

By the 7th century it was a port city of South Indian dynasty of the Pallavas. It has a group of sanctuaries, which was carved out of rock along the Coromandel coast in the 7th and 8th centuries : rathas (temples in the form of chariots), mandapas (cave sanctuaries), giant open-air rock reliefs such as the famous Descent of the Ganges, and the Shore Temple, with thousands of sculptures to the glory of Shiva. The Group of Monuments at Mahabalipuram has been classified as a UNESCO World Heritage Site.

It has an average elevation of 12 metres. The modern city of Mahabalipuram was established by the British Raj in 1827.

CLIMATE

This city has a tropical climate. In winter, there is much less rainfall than in summer. The Köppen-Geiger climate classification is Aw. The average annual temperature in Mahabalipuram is 28.4 °C. In a year, the average rainfall is 1219 mm.The temperatures are highest on average in May, at around 32.6 °C. In January, the average temperature is 24.3 °C. It is the lowest average temperature of the whole year. The variation in the precipitation between the driest and wettest months is 309 mm. The average temperatures vary during the year by 8.3 °C.

HISTORY

Megalithic burial urn, cairn circles and jars with burials dating to the very dawn of the Christian era have been discovered near Mahabalipuram. The Sangam age poem Perumpāṇāṟṟuppaṭai relates the rule of King Thondaiman Ilam Thiraiyar at Kanchipuram of the Tondai Nadu port Nirppeyyaru which scholars identify with the present-day Mahabalipuram. Chinese coins and Roman coins of Theodosius I in the 4th century CE have been found at Mahabalipuram revealing the port as an active hub of global trade in the late classical period. Two Pallava coins bearing legends read as Srihari and Srinidhi have been found at Mahabalipuram. The Pallava kings ruled Mahabalipuram from Kanchipuram; the capital of the Pallava dynasty from the 3rd century to 9th century CE, and used the port to launch trade and diplomatic missions to Sri Lanka and Southeast Asia.

An 8th-century Tamil text written by Thirumangai Alvar described this place as Sea Mountain ‘where the ships rode at anchor bent to the point of breaking laden as they were with wealth, big trunked elephants and gems of nine varieties in heaps’. It is also known by several other names such as Mamallapattana and Mamallapuram. Another name by which Mahabalipuram has been known to mariners, at least since Marco Polo’s time is "Seven Pagodas" alluding to the Seven Pagodas of Mahabalipuram that stood on the shore, of which one, the Shore Temple, survives.

The temples of Mahabalipuram, portraying events described in the Mahabharata, were built largely during the reigns of Narasimhavarman and his successor Rajasimhavarman and show the movement from rock-cut architecture to structural building. The city of Mahabalipuram was largely developed by the Pallava king Narasimhavarman I in the 7th century AD. The mandapa or pavilions and the rathas or shrines shaped as temple chariots are hewn from the granite rock face, while the famed Shore Temple, erected half a century later, is built from dressed stone. What makes Mahabalipuram so culturally resonant are the influences it absorbs and disseminates. The Shore Temple includes many reliefs, including one 100 ft. long and 45 ft. high, carved out of granite.

All but one of the rathas from the first phase of Pallava architecture are modeled on the Buddhist viharas or monasteries and chaitya halls with several cells arranged around a courtyard. Art historian Percy Brown, in fact, traces the possible roots of the Pallava Mandapa to the similar rock-cut caves of Ajanta Caves and Ellora Caves. Referring to Narasimhavarman's victory in AD 642 over the Chalukyan king Pulakesin II, Brown says the Pallava king may have brought the sculptors and artisans back to Kanchi and Mahabalipuram as 'spoils of war'.

The fact that different shrines were dedicated to different deities is evidence of an increased sectarianism at the time of their construction. A rock relief on a sculpted cliff has an image of Shiva and a shrine dedicated to Vishnu, indicating the growing importance of these Sangam period deities and a weakening of the roles of Vedic gods such as Indra and Soma.

According to local guides, the site's name changed during the centuries. The first name was Kațalmalai meaning "The land between the mountain and the sea" in Tamil. The second name was Mämalläpuram meaning "The land of the great wrestler" as the region was ruled by the Pallavan King Narsimhavarman during the 8th century who was known for his strength. The third name was and is still there is Mähäbalipuram meaning "The land of Mahabali". According to legends, he was the grandson of the devoted Prahlada.

TRANSPORT

MTC and TNSTC (Villupuram) Kanchipuram division buses are operating bus from Chennai, Chengalpattu, Kancheepuram, Thiruttani etc. Apart from TNSTC MTC operating buses to Mahabalipuram from various parts of the city with Deluxe and Air conditioned Deluxe buses

LANDMARKS

The monuments are mostly rock-cut and monolithic, and constitute the early stages of Dravidian architecture where in Buddhist elements of design are prominently visible. They are constituted by cave temples, monolithic rathas (chariots), sculpted reliefs and structural temples. The pillars are of the Dravidian order. The sculptures are excellent examples of Pallava art. They are located in the side of the cliffs near India's Bay of Bengal.

It is believed by some that this area served as a school for young sculptors. The different sculptures, some half finished, may have been examples of different styles of architecture, probably demonstrated by instructors and practiced on by young students. This can be seen in the Pancha Rathas where each Ratha is sculpted in a different style. These five Rathas were all carved out of a single piece of granite in situ. While excavating Khajuraho, Alex Evans, a stonemason and sculptor, recreated a stone sculpture made out of sandstone, which is softer than granite, under 4 feet that took about 60 days to carve. The carving at Mahabalipuram must have required hundreds of highly skilled sculptors.

In 2004 the Indian Ocean Tsunami washed away tons of coastal sand exposing structures including a granite lion and an elephant relief.

SOME IMPORTANT STRUCTURES

Thirukadalmallai, the temple dedicated to Lord Vishnu. It was also built by Pallava King in order to safeguard the sculptures from the ocean. It is told that after building this temple, the remaining architecture was preserved and was not corroded by sea.

Descent of the Ganges or Bagiratha's Penance – a giant open-air rock relief

Varaha Cave Temple – a small rock-cut temple dating back to the 7th century.

The Shore Temple – a structural temple along the Bay of Bengal with the entrance from the western side away from the sea. Recent excavations have revealed new structures here.

Pancha Rathas (Five Chariots) – five monolithic pyramidal structures named after the Pandavas (Arjuna, Bhima, Yudhishtra, Nakula and Sahadeva) and Draupadi. An interesting aspect of the rathas is that, despite their sizes they are not assembled – each of these is carved from one single large piece of stone.

Light House, built in 1894.

DEMOGRAPHY

As of 2001 India census, Mahabalipuram had a population of 12,345. Males constitute 52% of the population and females 48%. Mahabalipuram has an average literacy rate of 74%, higher than the national average of 59.5%: male literacy is 82%, and female literacy is 66%. In Mahabalipuram, 12% of the population is under 6 years of age.

WIKIPEDIA

Located on the grounds of the New York Hall of Science, this distinctive sculpture, dating to 1964, is by the modernist sculptor Theodore Roszak (1907–1981). It was commissioned as part of the permanent sculptural program of the New York World’s Fair of 1964-65.

Forms in Transit is a 43-foot long sculpture of aluminum and steel tubes and sheet metal. It suggests an aircraft, with fuselage and wings, but it is also meant to embody the concept of motion and change. The work is in keeping with one of the central themes of the fair, space exploration, and complemented several other significant features in the park, such as The Rocket Thrower statue, Court of Astronauts, Fountain of the Planets, Space Park and The Unisphere.

Portions of a damaged wing were removed in 1970. Though environmental corrosion is evident, some of the patchy, blistered surface of the sculpture appears to be original to the piece, and intended to suggest the incendiary voyage of the vessel as it passes at rapid speed through the atmosphere.

This is not the statues original location, although it is close to it. It was originally in the vicinity of the Chrysler and Transportation & Travel Pavilions, about 1/10 mile to the south.

Geometric Forms, Alexandra Wejchert. Polished stainless steel and consists of six identical elements connected at the centre. Each of the semi-crescent elements is cut from a 6mm flat plate with the edges stiffened by 200 x 100mm plates welded to it. 7.0m x 4.5m - Located in front of the Robert Schuman Building

All photos in this gallery are all rights reserved. If you want to use any of them, please send an email before. Thanks for collaboration.

They want this fast and they want a photo that looks like the location they're going. Is this horrible? Obviously, the title just a place holder. Have to print this tomorrow. Thanks.

Lavezzu island, Corsica

Family Forms Competition

Photo courtesy of Missouri City

Ten years after forming a foundation that honors families as the core of our communities, the Missouri City Juneteenth Celebration Foundation is set to rejoice in reaching its golden anniversary.

Fathers, mothers and children will be the focal point, said Don Smith, Founder and Chairman of MCJCF. "Through their strength, courage and contributions, they weave an indomitable fabric that sustains our homes, schools, and businesses," added Smith, who is also a Missouri City Councilmember, representing District B.

This year, in a salute to celebrate the 10th Anniversary of the organization, Fathers will stand strong in a special Community Service Awards Gala tribute on Thursday, June 14 at the Sugar Land Marriott Town Square from 7 p.m. to 10 p.m. The guest speaker will be retired NBA star Charlie Ward, who played basketball with the New York Knicks, San Antonio Spurs and Houston Rockets. Ward, who is also a Heisman Trophy winner, is presently Head Football Coach at Westbury Christian School in Houston.

"Juneteenth is definitely a celebration of our heritage, how far we've come and where we've come from," Ward shared recently. "It's a good opportunity to look back and remember but also move forward from that time."

Juneteenth's 10th Anniversary celebrations will feature a Scholarship Golf Tournament at Quail Valley Golf Course and a One Mile of Smiles Parade along Texas Parkway.

Other special celebration salutes detailed on www.mcjcf.com include:

The MCJCF Scholarship Golf Tournament on Monday, June 11, from 9 a.m. to 3 p.m. at Quail Valley Golf Course, 2880 La Quinta Dr. Play is open to golfers of all skill levels and there will be contests on the course for gift bags. A post-event awards luncheon is included; proceeds will benefit local students pursuing college degrees.

Family Fun Day in the Park and Night Out all day on Friday, June 15. Free festivities at Hunters Glen Park, 1340 Independence Blvd., will feature fun-filled family activities, the Battle of the Bands at 7 p.m. and a movie-"Red Tails"-at dusk.

Festival Under the Stars and One Mile of Smiles Parade on Saturday, June 16. The free festival fete will take place all day at Hunters Glen Park. From 9 a.m. until 6 p.m., the public is invited to compete in a Community Bid Whist and Domino Challenge. And, what is a celebration without a parade. The historical One Mile of Smiles Parade will kick off at 7 p.m. on Texas Parkway and include the nationally renowned Greater Fort Bend All Star Band, the Buffalo Soldiers Color Guards, the Phyllis Wheatley High School Band, the Texans Cheerleaders, and various other corporate and civic groups, as well as celebrities and dignitaries. To accommodate the parade, a portion of the roadway from Buffalo Run to Court Road will close at 5 p.m.

"We are excited about the Foundation's success thus far," Smith said. "These events were created to enhance the quality of life of Fort bend County residents through education, historical and cultural awareness, music and entertainment, and the encouragement of family values."

©RKS Photography

@RKSchiller

57305 shunts Barrow Marine Terminal on 20 June 2018, in order to form 6X24, the 1220 Barrow Marine Terminal to Sellafield.

South Yorkshire Transport Museum, Aldwarke, Rotherham.

Sheffield United Tours.

On the 1st January 1974 the entire shareholding of Sheffield United Tours was transferred to National Travel (North East) Ltd, effectively ending the Company’s separate operating existence.

petergould.co.uk/fleetlists/sheffield1/

if only i had a green thumb ~grin~

Forming extensive sheets on the trunks of Beech trees in Drumlanrig Castle Estate, Dumfries and Galloway.

Form Factory

location: Poznań

category: store

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Macro Mondays: "On the Road" theme

When I travel I like to bring home distinctive (and sometimes quirky) items to remind me of a place.

This is a small ceramic tile I got in Barcelona. It is a replica tile of a design by Antoni Gaudi. This patterned tile appears on many boulevards and walkways in Barcelona and in some of the surrounding smaller towns in Catalunya. I love the pattern which is based on sea life. When the tiles (which are 6 sided) are placed together they form another swirling pattern.

White sand replaces snow in the southern California climate.

the start of my sleeve!

Forma parte del conjunto de bolas graníticas a las que también pertenece la "pena dos namorados". Destaca por ser un enorme pedrusco situado sobre otro, en pleno equilibrio sin ayuda de ningún tipo.

Fuente: Wikipedia

Esta foto participó en el juego En un lugar de Flickr.

Won by W P Boddington

Form the Riverside Museum