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"Isfahan a city full of wonderful numbers"
ساختمان چهلستون از بناهای تاریخی استان اصفهان در ایران است. باغ چهلستون که بالغ بر ۶۷۰۰۰ متر مربع مساحت دارد، در دوره شاه عباس اول احداث آن آغاز شد و در وسط آن عمارتی ساخته شده بود. در سلطنت شاه عباس دوم،ساختمان تکمیل شد و در ساختمان موجود مرکزی، تغییرات کلی داده شدهاست و تالار آینه، تالار ۱۸ ستون، دو اتاق بزرگ شمالی و جنوبی تالار آینه، ایوانهای طرفین سالن پاد شاهی و حوض بزرگ مقابل تالار با تمام تزیینات نقاشی و آئینه کاری و کاشی کاری دیوارها و سقفها افزوده شدهاست.
ایوان کاخ چهلستون مرکب از دو بخش می باشد،یک بخش که بر 18 ستون چوبی و رفیع استوار گردیده است؛ و چهار ستون وسط که بر روی 4 شیر سنگی قرار گرفته و حجاری آنها به گونه ای است که از دهان این چهار شیر آب فوران می کرده و به حوض مرمری تالار می ریخته است. قسمت دیگر که کمی مرتفع تر است سردر ورودی تالار را تشکیل می دهد و آن را تالار آئینه نامیده اند. این قسمت بر دو ستون قرار گرفته و سراسر آن مزین به آئینه کاری وسیع و پرکاری است که در آن آئینه های ریز و خوش نقش به صورت معرق در کنار آئینه های قدی و خشتی به کار رفته اند. سقف تالار از قابهای چوبی و به اشکال مختلف هندسی ساخته شده اند و تصویر قرینه حوض مرمرین وسط ایوان در تزئینات سقف مشاهده می شود. این قرینه سازی شباهت بسیاری با ایوان تالار عالی قاپو دارد.
_____________________________________________________________
1. سال ساختمان کاخ چهلستون به موجب اشعاری که در جبهه تالار از زیر گچ خارج شده، مصراع: «مبارک ترین بناهای دنیا» میباشد که به حساب حروف ابجد سال ۱۵۰۷ هجری میشود، یعنی پنجمین سال سلطنت شاه عباس دوم.
2. اگرچه انعکاس ستونهای بیست گانه تالارهای چهلستون در حوض مقابل عمارت، مفهوم چهلستون را بیان میکند ولی در حقیقت عدد چهل در ایران کثرت و تعدد را میرساند و وجه تسمیه عمارت مزبور به چهلستون به علت تعدد ستونهای این کاخ میباشد.
Pottery Vase
Pottery vase in the form of a woman carrying a vessel in each hand, inspired by increased trade in the Mediterranean during the Second Intermediate Period onwards
Tomb W1, Abydos
18th Dynasty
E.2431
***
From www.ashmolean.org/documents/ANTSacklerHandbook.pdf
Case 51 Pottery and the Decorative Arts in the New Kingdom
New Kingdom
18th Dynasty
about 1540–1292 BC
The growing prosperity of Egypt in the 18th Dynasty is reflected in a new fashion for fine pottery, especially miniature forms. Contemporary graves have preserved a range of objects which were probably treasured possessions in life, as well as necessities for the well-stocked tomb. Beautifully crafted vessels were made for personal use, probably as containers for scented oil or cosmetics. Figure-vases were made by shaping the clay in a mould, and covering it with a slip which was polished before firing. Additional details could be added in brown or black paint.
Both wild and domesticated animals were popular subjects for pottery and the decorative arts in general. A cosmetic dish in the shape of a duck, or a kohl-pot adorned with a monkey, made playful references to the natural world, but also related these objects to the imagery of rebirth and sexual attraction.
Craftsmen were inspired by foreign imports as well as traditional Egyptian themes. Ceramic shapes from Greece and Cyprus were copied in pottery or stone. Vases made exclusively for the tomb were sometimes decorated after firing with colourful painted designs recalling the floral garlands placed on wine jars for festive occasions. Another, but less successful, innovation was to coat pottery and stone vessels with a glossy resin similar to that used on painted coffins and walls.
PGB Photographer & Creative - © 2022 Philip Romeyn - Phillostar Gone Ballistic 2021 - Photo may not be edited from its original form. Commercial use is prohibited without contacting me.
Sedimentary rocks form by the solidification of loose sediments. Loose sediments become hard rocks by the processes of deposition, burial, compaction, dewatering, and cementation.
There are three categories of sedimentary rocks:
1) Siliciclastic sedimentary rocks form by the solidification of sediments produced by weathering & erosion of any previously existing rocks.
2) Biogenic sedimentary rocks form by the solidification of sediments that were once-living organisms (plants, animals, micro-organisms).
3) Chemical sedimentary rocks form by the solidification of sediments formed by inorganic chemical reactions. Most sedimentary rocks have a clastic texture, but some are crystalline.
Shale is the # 1 most common sedimentary rock on Earth. It's a siliciclastic rock, formed by the solidification of very fine-grained sediments (mud & clay). Clay-sized grains are all sediments smaller than 1/256 of a millimeter in size. Shale feels relatively smooth to the touch (smooth for a rock). Almost all shales weather & break apart as relatively thin, flat pieces, a physical property referred to as “fissility”. Some very thinly-laminated shales weather into almost paper-thin pieces - they are called paper shales.
“Shale” is supposed to be an informal field term only. Technical rock names for shales include mudshale, clayshale, claystone, mudstone, and mudrock. Each of these terms has a different meaning. Of these terms, "mudstone” should not be used to refer to a variety of fine-grained, siliciclastic sedimentary rock - that term usually refers to a fine-grained variety of limestone (I would recommend using two word terms to prevent confusion - "siliciclastic mudstone" for the non-fissile shale and "lime mudstone" for the fine-grained limestone).
Shales vary in color from black to gray to reddish to brownish to greenish-gray. Purplish- and bluish-colored shales are also known.
Shales are composed of clay minerals. The clay minerals are a group of silicate minerals that form by chemical weathering of other silicates. So, shales are composed of clay-sized grains of clay minerals.
On Sept. 19, 2018, crews form a cast-in-place wall in the median work zone of SR 167. This work is part of ongoing construction for the I-405/SR 167 Interchange Direct Connector Project in Renton.
ossia...forme che si ripetono e capovolgono danzando in una marea di colori...
[Soundtrack: Canzone di notte n°2 - Francesco Guccini]
E un' altra volta è notte e suono,
non so nemmeno io per che motivo, forse perchè son vivo
e voglio in questo modo dire "sono"
o forse perchè è un modo pure questo per non andare a letto
o forse perchè ancora c'è da bere
e mi riempio il bicchiere..
E l' eco si è smorzato appena
delle risate fatte con gli amici, dei brindisi felici
in cui ciascuno chiude la sua pena,
in cui ciascuno non è come adesso da solo con sé stesso
a dir "Dove ho mancato, dov'è stato?",
a dir "Dove ho sbagliato?"
Eppure fa piacere a sera
andarsene per strade ed osterie, vino e malinconie,
e due canzoni fatte alla leggera
in cui gridando celi il desiderio che sian presi sul serio
il fatto che sei triste o che t'annoi
e tutti i dubbi tuoi...
Ma i moralisti han chiuso i bar
e le morali han chiuso i vostri cuori e spento i vostri ardori:
è bello ritornar "normalità",
è facile tornare con le tante stanche pecore bianche!
Scusate, non mi lego a questa schiera:
morrò pecora nera!
Saranno cose già sentite
o scritte sopra un metro un po' stantìo, ma intanto questo è mio
e poi, voi queste cose non le dite,
poi certo per chi non è abituato pensare è sconsigliato,
poi è bene essere un poco diffidente
per chi è un po' differente...
Ma adesso avete voi il potere,
adesso avete voi supremazia, diritto e Polizia,
gli dei, i comandamenti ed il dovere,
purtroppo, non so come, siete in tanti e molti qui davanti
ignorano quel tarlo mai sincero
che chiamano "Pensiero"...
Però non siate preoccupati,
noi siamo gente che finisce male: galera od ospedale!
Gli anarchici li han sempre bastonati
e il libertario è sempre controllato dal clero, dallo Stato:
non scampa, fra chi veste da parata,
chi veste una risata...
O forse non è qui il problema
e ognuno vive dentro ai suoi egoismi vestiti di sofismi
e ognuno costruisce il suo sistema
di piccoli rancori irrazionali, di cosmi personali,
scordando che poi infine tutti avremo
due metri di terreno...
E un' altra volta è notte e suono,
non so nemmeno io per che motivo, forse perchè son vivo
o forse per sentirmi meno solo
o forse perchè a notte vivon strani fantasmi e sogni vani
che danno quell' ipocondria ben nota,
poi... la bottiglia è vuota...
Casapueblo atelier-museu, Punta Bellena - Punta del Este, UY.
Residence and atelier of Carlo Paez Vilaró.
There is very little information out there about the Powmouth Viaduct and even that name is speculative. What I can tell you about the structure is that it closed in 1967 and formed part of the Aberdeen Railway which started somewhat unceremoniously near Friockheim. Shortly after the viaduct, the line curved to meet the line that now forms a Heritage Railway between Brechin and Bridge Of Dun.
Looking at the size of the pillars, I'd say this viaduct was built to accommodate two tracks, which can further be backed up by this photo I took of the approach to the viaduct. Notice how thin the footpath is compared with the overall scale of the original deck.
Unfortunately, I can't find any old photographs of this viaduct but I'd presume it was a primarily metal structure, hence why the deck has been removed. You can still see the points where the deck would have been joined to the pillars. I'm not sure when the path was placed across the former structure but it's certainly fun to walk across.
Bicycle racks line the entire path on the street outside an MTR station in Hong Kong.
# SML Data
+ Date: 2013-02-22
+ Dimensions: 4766 x 3177
+ Exposure: 1/320 sec at f/5.6
+ Focal Length: 215 mm
+ ISO: 1000
+ Flash: Did not fire
+ Camera: Canon EOS 7D
+ Lens: Canon EF 70-200mm f/4L USM + Canon EF 1.4x Extender III
+ GPS: 22°25'8" N 114°13'34" E
+ Location: 中國香港馬鞍山馬鐵恆安站對出西沙路單車徑 中国香港马鞍山马铁恒安站对出西沙路自行车道 Bicycle lane at Sai Sha Road near the Heng On MTR Station in Ma On Shan, Hong Kong, China
+ Serial: SML.20130222.7D.24245
+ Workflow: Lightroom 4
+ Series: 人流 Human Logistics, 形 Forms
“單車架 Bicycle Racks” / 人流設施之形 Human Logistics Infrastructure Forms / SML.20130222.7D.24245
/ #人流 #HumanLogistics #形 #Forms #SMLForms #CCBY #SMLPhotography #SMLUniverse #SMLProjects
/ #中國 #中国 #China #香港 #HongKong #馬鞍山 #MaOnShan #街 #Street #城市 #Urban #攝影 #摄影 #photography #單車 #自行车 #Bicycle
This is my finished model of the TARDIS in its original form. Although the ship doesn't have a base in 'The Name Of The Doctor' I felt that it looked unfinished without it. So I added a base and fitted a thicker, more sturdy door
Sacred Harp singing is a form of church music started in the early 19th century in the northeast, which went on to be popular in the south. It's an art form that came close to dying out, but has had a resurgence in popularity due in part to the Internet. The locals who enjoy this singing have formed the Harpeth Valley Sacred Harp Singers and you can find out more about them here: sacredharpnashville.org/
Here's what's going on in the picture: Chairs are arranged to form a square. That song's leader stands in the middle and faces the largest group who sings the melody. On one side are the basses, who are opposite from the trebles, with the altos in the back. The book they use is a modern reprint of a book dating back to 1844 called The Sacred Harp. The music is sung a cappella, which means they don't use instruments, but with everyone singing they can belt out the notes really loud. The leader and some of the singers wave their hand in a pattern to help keep the rhythm. This meetup was at the 2011 Wilson County Fair in Lebanon, TN
A visit to the National Trust property that is Penrhyn Castle
Penrhyn Castle is a country house in Llandygai, Bangor, Gwynedd, North Wales, in the form of a Norman castle. It was originally a medieval fortified manor house, founded by Ednyfed Fychan. In 1438, Ioan ap Gruffudd was granted a licence to crenellate and he founded the stone castle and added a tower house. Samuel Wyatt reconstructed the property in the 1780s.
The present building was created between about 1822 and 1837 to designs by Thomas Hopper, who expanded and transformed the building beyond recognition. However a spiral staircase from the original property can still be seen, and a vaulted basement and other masonry were incorporated into the new structure. Hopper's client was George Hay Dawkins-Pennant, who had inherited the Penrhyn estate on the death of his second cousin, Richard Pennant, who had made his fortune from slavery in Jamaica and local slate quarries. The eldest of George's two daughters, Juliana, married Grenadier Guard, Edward Gordon Douglas, who, on inheriting the estate on George's death in 1845, adopted the hyphenated surname of Douglas-Pennant. The cost of the construction of this vast 'castle' is disputed, and very difficult to work out accurately, as much of the timber came from the family's own forestry, and much of the labour was acquired from within their own workforce at the slate quarry. It cost the Pennant family an estimated £150,000. This is the current equivalent to about £49,500,000.
Penrhyn is one of the most admired of the numerous mock castles built in the United Kingdom in the 19th century; Christopher Hussey called it, "the outstanding instance of Norman revival." The castle is a picturesque composition that stretches over 600 feet from a tall donjon containing family rooms, through the main block built around the earlier house, to the service wing and the stables.
It is built in a sombre style which allows it to possess something of the medieval fortress air despite the ground-level drawing room windows. Hopper designed all the principal interiors in a rich but restrained Norman style, with much fine plasterwork and wood and stone carving. The castle also has some specially designed Norman-style furniture, including a one-ton slate bed made for Queen Victoria when she visited in 1859.
Hugh Napier Douglas-Pennant, 4th Lord Penrhyn, died in 1949, and the castle and estate passed to his niece, Lady Janet Pelham, who, on inheritance, adopted the surname of Douglas-Pennant. In 1951, the castle and 40,000 acres (160 km²) of land were accepted by the treasury in lieu of death duties from Lady Janet. It now belongs to the National Trust and is open to the public. The site received 109,395 visitors in 2017.
Grade I Listed Building
History
The present house, built in the form of a vast Norman castle, was constructed to the design of Thomas Hopper for George Hay Dawkins-Pennant between 1820 and 1837. It has been very little altered since.
The original house on the site was a medieval manor house of C14 origin, for which a licence to crenellate was given at an unknown date between 1410 and 1431. This house survived until c1782 when it was remodelled in castellated Gothick style, replete with yellow mathematical tiles, by Samuel Wyatt for Richard Pennant. This house, the great hall of which is incorporated in the present drawing room, was remodelled in c1800, but the vast profits from the Penrhyn slate quarries enabled all the rest to be completely swept away by Hopper's vast neo-Norman fantasy, sited and built so that it could be seen not only from the quarries, but most parts of the surrounding estate, thereby emphasizing the local dominance of the Dawkins-Pennant family. The total cost is unknown but it cannot have been less than the £123,000 claimed by Catherine Sinclair in 1839.
Since 1951 the house has belonged to the National Trust, together with over 40,000 acres of the family estates around Ysbyty Ifan and the Ogwen valley.
Exterior
Country house built in the style of a vast Norman castle with other later medieval influences, so huge (its 70 roofs cover an area of over an acre (0.4ha)) that it almost defies meaningful description. The main components of the house, which is built on a north-south axis with the main elevations to east and west, are the 124ft (37.8m) high keep, based on Castle Hedingham (Essex) containing the family quarters on the south, the central range, protected by a 'barbican' terrace on the east, housing the state apartments, and the rectangular-shaped staff/service buildings and stables to the north. The whole is constructed of local rubblestone with internal brick lining, but all elevations are faced in tooled Anglesey limestone ashlar of the finest quality jointing; flat lead roofs concealed by castellated parapets. Close to, the extreme length of the building (it is about 200 yards (182.88m) long) and the fact that the ground slopes away on all sides mean that almost no complete elevation can be seen. That the most frequent views of the exterior are oblique also offered Hopper the opportunity to deploy his towers for picturesque effect, the relationship between the keep and the other towers and turrets frequently obscuring the distances between them. Another significant external feature of the castle is that it actually looks defensible making it secure at least from Pugin's famous slur of 1841 on contemporary "castles" - "Who would hammer against nailed portals, when he could kick his way through the greenhouse?" Certainly, this could never be achieved at Penrhyn and it looks every inch the impregnable fortress both architect and patron intended it to be.
East elevation: to the left is the loosely attached 4-storey keep on battered plinth with 4 tiers of deeply splayed Norman windows, 2 to each face, with chevron decoration and nook-shafts, topped by 4 square corner turrets. The dining room (distinguished by the intersecting tracery above the windows) and breakfast room to the right of the entrance gallery are protected by the long sweep of the machicolated 'barbican' terrace (carriage forecourt), curved in front of the 2 rooms and then running northwards before returning at right-angles to the west to include the gatehouse, which formed the original main entrance to the castle, and ending in a tall rectangular tower with machicolated parapet. To the right of the gatehouse are the recessed buildings of the kitchen court and to the right again the long, largely unbroken outer wall of the stable court, terminated by the square footmen's tower to the left and the rather more exuberant projecting circular dung tower with its spectacularly cantilevered bartizan on the right. From here the wall runs at right-angles to the west incorporating the impressive gatehouse to the stable court.
West elevation: beginning at the left is the hexagonal smithy tower, followed by the long run of the stable court, well provided with windows on this side as the stables lie directly behind. At the end of this the wall turns at right-angles to the west, incorporating the narrow circular-turreted gatehouse to the outer court and terminating in the machicolated circular ice tower. From here the wall runs again at a lower height enclosing the remainder of the outer court. It is, of course, the state apartments which make up the chief architectural display on the central part of this elevation, beginning with a strongly articulated but essentially rectangular tower to the left, while both the drawing room and the library have Norman windows leading directly onto the lawns, the latter terminating in a slender machicolated circular corner tower. To the right is the keep, considerably set back on this side.
Interior
Only those parts of the castle generally accessible to visitors are recorded in this description. Although not described here much of the furniture and many of the paintings (including family portraits) are also original to the house. Similarly, it should be noted that in the interests of brevity and clarity, not all significant architectural features are itemised in the following description.
Entrance gallery: one of the last parts of the castle to be built, this narrow cloister-like passage was added to the main block to heighten the sensation of entering the vast Grand Hall, which is made only partly visible by the deliberate offsetting of the intervening doorways; bronze lamp standards with wolf-heads on stone bases. Grand Hall: entering the columned aisle of this huge space, the visitor stands at a cross-roads between the 3 principal areas of the castle's plan; to the left the passage leads up to the family's private apartments on the 4 floors of the keep, to the right the door at the end leads to the extensive service quarters while ahead lies the sequence of state rooms used for entertaining guests and displayed to the public ever since the castle was built. The hall itself resembles in form, style and scale the transept of a great Norman cathedral, the great clustered columns extending upwards to a "triforium" formed on 2 sides of extraordinary compound arches; stained glass with signs of the zodiac and months of the year as in a book of hours by Thomas Willement (completed 1835). Library: has very much the atmosphere of a gentlemen’s London club with walls, columned arches and ceilings covered in the most lavish ornamentation; superb architectural bookcases and panelled walls are of oak but the arches are plaster grained to match; ornamental bosses and other devices to the rich plaster ceiling refer to the ancestry of the Dawkins and Pennant families, as do the stained glass lunettes above the windows, possibly by David Evans of Shrewsbury; 4 chimneypieces of polished Anglesey "marble", one with a frieze of fantastical carved mummers in the capitals. Drawing room (great hall of the late C18 house and its medieval predecessor): again in a neo-Norman style but the decoration is lighter and the columns more slender, the spirit of the room reflected in the 2000 delicate Maltese gilt crosses to the vaulted ceiling. Ebony room: so called on account of its furniture and "ebonised" chimneypiece and plasterwork, has at its entrance a spiral staircase from the medieval house. Grand Staircase hall: in many ways the greatest architectural achievement at Penrhyn, taking 10 years to complete, the carving in 2 contrasting stones of the highest quality; repeating abstract decorative motifs contrast with the infinitely inventive figurative carving in the newels and capitals; to the top the intricate plaster panels of the domed lantern are formed in exceptionally high relief and display both Norse and Celtic influences. Next to the grand stair is the secondary stair, itself a magnificent structure in grey sandstone with lantern, built immediately next to the grand stair so that family or guests should not meet staff on the same staircase. Reached from the columned aisle of the grand hall are the 2 remaining principal ground-floor rooms, the dining room and the breakfast room, among the last parts of the castle to be completed and clearly intended to be picture galleries as much as dining areas, the stencilled treatment of the walls in the dining room allowing both the provision of an appropriately elaborate "Norman" scheme and a large flat surface for the hanging of paintings; black marble fireplace carved by Richard Westmacott and extremely ornate ceiling with leaf bosses encircled by bands of figurative mouldings derived from the Romanesque church of Kilpeck, Herefordshire. Breakfast room has cambered beam ceiling with oak-grained finish.
Grand hall gallery: at the top of the grand staircase is vaulted and continues around the grand hall below to link with the passage to the keep, which at this level (as on the other floors) contains a suite of rooms comprising a sitting room, dressing room, bedroom and small ante-chamber, the room containing the famous slate bed also with a red Mona marble chimneypiece, one of the most spectacular in the castle. Returning to the grand hall gallery and continuing straight on rather than returning to the grand staircase the Lower India room is reached to the right: this contains an Anglesey limestone chimneypiece painted to match the ground colour of the room's Chinese wallpaper. Coming out of this room, the chapel corridor leads to the chapel gallery (used by the family) and the chapel proper below (used by staff), the latter with encaustic tiles probably reused from the old medieval chapel; stained and painted glass by David Evans (c1833).
The domestic quarters of the castle are reached along the passage from the breakfast room, which turns at right-angles to the right at the foot of the secondary staircase, the most important areas being the butler's pantry, steward's office, servants' hall, housekeeper's room, still room, housekeeper's store and housemaids' tower, while the kitchen (with its cast-iron range flanked by large and hygienic vertical slabs of Penrhyn slate) is housed on the lower ground floor. From this kitchen court, which also includes a coal store, oil vaults, brushing room, lamp room, pastry room, larder, scullery and laundry are reached the outer court with its soup kitchen, brewhouse and 2-storey ice tower and the much larger stables court which, along with the stables themselves containing their extensive slate-partitioned stalls and loose boxes, incorporates the coach house, covered ride, smithy tower, dung tower with gardeners' messroom above and footmen's tower.
Reasons for Listing
Included at Grade I as one of the most important large country houses in Wales; a superb example of the relatively short-lived Norman Revival of the early C19 and generally regarded as the masterpiece of its architect, Thomas Hopper.
Clocks - went up a tower and they had thousands of clocks all over the place!
Harrison's Garden
An installation of over 5000 clocks creates an imagined landscape in the derelict 'unloved' rooms of the keep.
You needed a token to go up here, and only a certain number of people were allowed up here at each time.
Historic Documents Which Marked the Beginning of Our War with Germany.
=========================================
Sixty-fifth Congress of the United States of America;
At the First Session,
Begun and held at the City of Washington on Monday, the 2nd day of April, 1917.
JOINT RESOLUTION
Declaring that a state of war exists between the Imperial German Government and the Government and the people of the United States of America and making provision to prosecute the same.
========================================
Whereas the Imperial German Government has committed repeated acts of war against the Government and the people of the United States of America ; Therefore be it
Resolved by the Senate and House of Representatives of the United States of America in Congress assembled, That the state of war between the United States and the Imperial German Government which has thus been thrust upon the United States is hereby formally declared; and that the President be, and he is hereby, authorized and directed to employ the entire naval and military forces of the United State and the resources of the Government to carry on war against the Imperial German Government; and to bring the conflict to a successful termination all of the resources of the country are hereby pledged by the Congress of the United States.
Champ Clark,
Speaker of the House of Representatives.
Thomas Riley Marshall,
Vice President of the United States and
President of the Senate.
Approved 6, April, 1917.
Woodrow Wilson.
================================================
Proclamation 1364—Declaring That a State of War Exists Between the United States and Germany
April 6, 1917.
By the President of the United States of America,
A Proclamation.
Whereas, the Congress of the United States in the exercise of the constitutional authority vested in them have resolved, by joint resolution of the Senate and House of Representatives bearing date this day "That the state of war between the United States and the Imperial German Government which has been thrust upon the United States is hereby formally declared";
Whereas, it is provided by Section 4067 of the Revised Statutes, as follows:
Whenever there is declared a war between the United States and any foreign nation or government, or any invasion or predatory incursion is perpetrated, attempted, or threatened against the territory of the United States, by any foreign nation or government, and the President makes public proclamation of the event, all natives, citizens, denizens, or subjects of a hostile nation or government, being males of the age of fourteen years and upwards, who shall be within the United States, and not actually naturalized, shall be liable to be apprehended, restrained, secured, and removed as alien enemies. The President is authorized, in any such event, by his proclamation thereof, or other public act, to direct the conduct to be observed, on the part of the United States, toward the aliens who become so liable; the manner and degree of the restraint to which they shall be subject, and in what cases, and upon what security their residence shall be permitted, and to provide for the removal of those who, not being permitted to reside within the United States, refuse or neglect to depart therefrom; and to establish any such regulations which are found necessary in the premises and for the public safety;
Whereas, by Sections 4068, 4069, and 4070 of the Revised Statutes, further provision is made relative to alien enemies;
Now, Therefore, I, Woodrow Wilson, President of the United States of America, do hereby proclaim to all whom it may concern that a state of war exists between the United States and the Imperial German Government; and I do specially direct all officers, civil or military, of the United States that they exercise vigilance and zeal in the discharge of the duties incident to such a state of war; and I do, moreover, earnestly appeal to all American citizens that they, in loyal devotion to their country, dedicated from its foundation to the principles of liberty and justice, uphold the laws of the land, and give undivided and willing support to those measures which may be adopted by the constitutional authorities in prosecuting the war to a successful issue and in obtaining a secure and just peace;
And, acting under and by virtue of the authority vested in me by the Constitution of the United States and the said sections of the Revised Statutes, I do hereby further proclaim and direct that the conduct to be observed on the part of the United States toward all natives, citizens, denizens, or subjects of Germany, being males of the age of fourteen years and upwards, who shall be within the United States and not actually naturalized, who for the purpose of this proclamation and under such sections of the Revised Statutes are termed alien enemies, shall be as follows:
All alien enemies are enjoined to preserve the peace towards the United States and to refrain from crime against the public safety, and from violating the laws of the United States and of the States and Territories thereof, and to refrain from actual hostility or giving information, aid or comfort to the enemies of the United States, and to comply strictly with the regulations which are hereby or which may be from time to time promulgated by the President; and so long as they shall conduct themselves in accordance with law, they shall be undisturbed in the peaceful pursuit of their lives and occupations and be accorded the consideration due to all peaceful and law-abiding persons, except so far as restrictions may be necessary for their own protection and for the safety of the United States; and towards such alien enemies as conduct themselves in accordance with law, all citizens of the United States are enjoined to preserve the peace and to treat them with all such friendliness as may be compatible with loyalty and allegiance to the United States.
And all alien enemies who fail to conduct themselves as so enjoined, in addition to all other penalties prescribed by law, shall be liable to restraint, or to give security, or to remove and depart from the United States in the manner prescribed by Sections 4069 and 4070 of the Revised Statutes, and as prescribed in the regulations duly promulgated by the President;
And pursuant to the authority vested in me, I hereby declare and establish the following regulations, which I find necessary in the premises and for the public safety:
First. An alien enemy shall not have in his possession, at any time or place, any fire-arm, weapon or implement of war, or component part thereof, ammunition, maxim or other silencer, bomb or explosive or material used in the manufacture of explosives;
Second. An alien enemy shall not have in his possession at any time or place, or use or operate any aircraft or wireless apparatus, or any form of signalling device, or any form of cipher code, or any paper, document or book written or printed in cipher or in which there may be invisible writing;
Third. All property found in the possession of an alien enemy in violation of the foregoing regulations shall be subject to seizure by the United States;
Fourth. An alien enemy shall not approach or be found within one-half of a mile of any Federal or State fort, camp, arsenal, aircraft station, Government or naval vessel, navy yard, factory, or workshop for the manufacture of munitions of war or of any products for the use of the army or navy;
Fifth. An alien enemy shall not write, print, or publish any attack or threats against the Government or Congress of the United States, or either branch thereof, or against the measures or policy of the United States, or against the person or property of any person in the military, naval or civil service of the United States, or of the States or Territories, or of the District of Columbia, or of the municipal governments therein;
Sixth. An alien enemy shall not commit or abet any hostile acts against the United States, or give information, aid, or comfort to its enemies;
Seventh. An alien enemy shall not reside in or continue to reside in, to remain in, or enter any locality which the President may from time to time designate by Executive Order as a prohibited area in which residence by an alien enemy shall be found by him to constitute a danger to the public peace and safety of the United States, except by permit from the President and except under such limitations or restrictions as the President may prescribe;
Eighth. An alien enemy whom the President shall have reasonable cause to believe to be aiding or about to aid the enemy, or to be at large to the danger of the public peace or safety of the United States, or to have violated or to be about to violate any of these regulations, shall remove to any location designated by the President by Executive Order, and shall not remove therefrom without a permit, or shall depart from the United States if so required by the President;
Ninth. No alien enemy shall depart from the United States until he shall have received such permit as the President shall prescribe, or except under order of a court, judge, or justice, under Sections 4069 and 4070 of the Revised Statutes;
Tenth. No alien enemy shall land in or enter the United States, except under such restrictions and at such places as the President may prescribe;
Eleventh. If necessary to prevent violation of the regulations, all alien enemies will be obliged to register;
Twelfth. An alien enemy whom there may be reasonable cause to believe to be aiding or about to aid the enemy, or who may be at large to the danger of the public peace or safety, or who violates or attempts to violate, or of whom there is reasonable ground to believe that he is about to violate, any regulation duly promulgated by the President, or any criminal law of the United States, or of the States or Territories thereof, will be subject to summary arrest by the United States Marshal, or his deputy, or such other officer as the President shall designate, and to confinement in such penitentiary, prison, jail, military camp, or other place of detention as may be directed by the President.
This proclamation and the regulations herein contained shall extend and apply to all land and water, continental or insular, in any way within the jurisdiction of the United States.
In Witness Whereof, I have hereunto set my hand and caused the seal of the United States to be affixed.
Done at the City of Washington this 6th day of April in the year of our Lord one thousand nine hundred and seventeen and of the independence of the United States of America the one hundred and forty-first.
WOODROW WILSON
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DECLARATION OF WAR AGAINST GERMANY BY THE AMERICAN CONGRESS AND THE PRESIDENTIAL PROCLAMATION.
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The war of the nations: portfolio in rotogravure etchings: compiled from the Mid-week pictorial. New York: New York Times, Co, 1919. Book.
Retrieved from the Library of Congress, www.loc.gov/item/19013740/. (Accessed November 08, 2016.)
Images from "The War of the Nations : Portfolio in Rotogravure Etchings : Compiled from the Mid-Week Pictorial" (New York : New York Times, Co., 1919)
Notes: Selected from "The War of the Nations: Portfolio in Rotogravure Etchings," published by the New York Times shortly after the 1919 armistice. This portfolio compiled selected images from their "Mid-Week Pictorial" newspaper supplements of 1914-19. 528 p. : chiefly ill. ; 42 cm.; hdl.loc.gov/loc.gdc/collgdc.gc000037
Subjects: World War, 1914-1918 --Pictorial works.
New York--New York
Format: Rotogravures --1910-1920.
Rights Info: No known restrictions on reproduction
Repository: Library of Congress, Serials and Government Publications Division, Washington, D.C. 20540
Part Of: Newspaper Pictorials: World War I Rotogravures, 1914-1919 (DLC) sgpwar 19191231
General information about the Newspaper Pictorials: World War I Rotogravures, 1914-1919 digital collection is available at hdl.loc.gov/loc.gdc/collgdc.gc000037
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From my set entitled ‘Sumac”
www.flickr.com/photos/21861018@N00/sets/72157607186471302/
In my collection entitled “The Garden”
www.flickr.com/photos/21861018@N00/collections/7215760718...
From Wikipedia, the free encyclopedia
Sumac (also spelled sumach) is any one of approximately 250 species of flowering plants in the genus Rhus and related genera, in the family Anacardiaceae. The dried berries of some species are ground to produce a tangy purple spice often used in juice.
Sumacs grow in subtropical and warm temperate regions throughout the world, especially in North America.
Sumacs are shrubs and small trees that can reach a height of 1-10 meters. The leaves are spirally arranged; they are usually pinnately compound, though some species have trifoliate or simple leaves. The flowers are in dense panicles or spikes 5-30 cm long, each flower very small, greenish, creamy white or red, with five petals. The fruits form dense clusters of reddish drupes called sumac bobs.
Sumacs propagate both by seed (spread by birds and other animals through their droppings), and by new sprouts from rhizomes, forming large clonal colonies.
The drupes of the genus Rhus are ground into a deep-red or purple powder used as a spice in Middle Eastern cuisine to add a lemony taste to salads or meat; in the Turkish cuisine e.g. added to salad-servings of kebabs and lahmacun. In North America, the smooth sumac (Rhus glabra), and the staghorn sumac (Rhus typhina), are sometimes used to make a beverage, termed "sumac-ade" or "Indian lemonade" or "rhus juice". This drink is made by soaking the drupes in cool water, rubbing them to extract the essence, straining the liquid through a cotton cloth and sweetening it. Native Americans also used the leaves and berries of the smooth and staghorn sumacs combined with tobacco in traditional smoking mixtures.
Species including the fragrant sumac (Rhus aromatica), the littleleaf sumac (R. microphylla), the skunkbush sumac (R. trilobata), the smooth sumac and the staghorn sumac are grown for ornament, either as the wild types or as cultivars.
The leaves of certain sumacs yield tannin (mostly pyrogallol), a substance used in vegetable tanning. Leather tanned with sumac is flexible, light in weight, and light in color, even bordering on being white.
Dried sumac wood is fluorescent under long-wave UV light. Mowing of sumac is not a good control measure as the wood is springy resulting in jagged, sharp pointed stumps when mowed. The plant will quickly recover with new growth after mowing. See Nebraska Extension Service publication G97-1319 for suggestions as to control.
At times Rhus has held over 250 species. Recent molecular phylogeny research suggests breaking Rhus sensu lata into Actinocheita, Baronia, Cotinus, Malosma, Searsia, Toxicodendron, and Rhus sensu stricta. If this is done, about 35 species would remain in Rhus. However, the data is not yet clear enough to settle the proper placement of all species into these genera.
"York has, since Roman times, been defended by walls of one form or another. To this day, substantial portions of the walls remain, and York has more miles of intact wall than any other city in England. They are known variously as York City Walls, the Bar Walls and the Roman walls (though this last is a misnomer as very little of the extant stonework is of Roman origin, and the course of the wall has been substantially altered since Roman times). The walls are generally 13 feet (4m) high and 6 feet (1.8m) wide.
York is a cathedral city and unitary authority area in North Yorkshire, England. The population of the council area which includes nearby villages was 208,200 as of 2017 and the population of the urban area was 153,717 at the 2011 census. Located at the confluence of the Rivers Ouse and Foss, it is the county town of the historic county of Yorkshire. The city is known for its famous historical landmarks such as York Minster and the city walls, as well as a variety of cultural and sporting activities, which makes it a popular tourist destination in England. The local authority is the City of York Council, a single tier governing body responsible for providing all local services and facilities throughout the city. The City of York local government district includes rural areas beyond the old city boundaries. It is about 25 miles north-east of Leeds and 34 miles north-west of Kingston upon Hull. York is the largest settlement in the ceremonial county of North Yorkshire.
The city was founded by the Romans as Eboracum in 71 AD. It became the capital of the Roman province of Britannia Inferior, and later of the kingdoms of Deira, Northumbria and Jórvík. In the Middle Ages, York grew as a major wool trading centre and became the capital of the northern ecclesiastical province of the Church of England, a role it has retained. In the 19th century, York became a major hub of the railway network and a confectionery manufacturing centre, a status it maintained well into the 20th century. During the Second World War, York was bombed as part of the Baedeker Blitz. Although less affected by bombing than other northern cities, several historic buildings were gutted and restoration efforts continued into the 1960s.
The economy of York is dominated by services. The University of York and National Health Service are major employers, whilst tourism has become an important element of the local economy. In 2016, York became sister cities with the Chinese city of Nanjing, as per an agreement signed by the Lord Mayor of York, focusing on building links in tourism, education, science, technology and culture. Today, the city is a popular tourist attraction, especially for international visitors from America, Germany, France and China. In 2017, York became UK's first human rights city, which formalised the city's aim to use human rights in decision making." - info from Wikipedia.
Summer 2019 I did a solo cycling tour across Europe through 12 countries over the course of 3 months. I began my adventure in Edinburgh, Scotland and finished in Florence, Italy cycling 8,816 km. During my trip I took 47,000 photos.
Now on Instagram.
Become a patron to my photography on Patreon.
Copyright © 2015 OffdaLipp Images
This image is protected under the United States and International Copyright laws and may not be downloaded, reproduced, copied, transmitted or manipulated without written permission.
This store opened in March 1993 as a Finast supermarket. This store was re-branded as Tops around 2000. This store was closed in December 2006 when the Tops chain pulled out of Ohio.
Giant Eagle purchased this store and planned to relocate from Southgate USA into this shopping center in 2007. However, Giant Eagle later chose to remain at the Southgate location after plans were released for a Walmart Supercenter in the same shopping center. The Target in this center also closed leaving this side of Meadowbrook Market Square dead.
In the Swiss Alps near the Italian border is a small valley town called Lostallo. For the 5th summer in a row Shankra festival made this place its home for a goa-psytrance festival.
Video from 2017 youtu.be/sGJAhJp605k
Downloads on Flickr are free for fiends & followers but do tell the people where you got the picture.
This doll was a gift for my boyfriend.
It is the cat form of a druid, from world of Warcraft (a game). It was made in incredible 14 days! I don't know how many hours it took.
About the doll: this is a handmade one of a kind ball jointed doll, entirely made from scratch of cold porcelain. The doll is made of purple clay and has some airbrushing and painted details. The eyes and the stones of the collar are handpainted glass cabochons and both glow in the dark. The rest of the collar and the bracelets are made from craft foam, and the bracelets has golden details made with 3d paint. And it also has some faux fur. The mark on it's back is made of clay but painted with a transparent ink that glows under UV light. Felt was used on some joints to protect the painting from scratch.
Character reference: www.examiner.com/images/blog/wysiwyg/image/druidcat(1).jpg
It is hard to find pictures of this character!
The story: I was suffering to find a gift for my boyfriend to celebrate our dating anniversary. I had no ideas... After some long time thinking, I decided to make a doll for him. I never made him one before XD The idea was to have something to distract the mind when he wasn't being able to solve a problem while working, something to relax, to play. Then, there was a problem: which doll to make? Which character or whatever? More days thinking. I remember seeing he plays WoW, and that there was a druid that could transform itself in other critters, being a panther like the one I saw more frequently. That was called the cat form, even it looking like a big wild feline. More and more days passed thinking on which kind of doll to make. Chibi? Standard? Deluxe?! Chibi was not very poseable, so next. Deluxe was too hard and there wasn't enough time to finish. Standard was the chosen one. I was going to follow a cute style as well. But I wasn't being able to imagine how the doll would look, I couldn't draw it.... the time was passing.... How to make the open mouth? The accessories? Wow, and if I make the eyes and the collar, and that mark on the back glows like in the game? But how?? Well, Happens that there was only 14 days left to the dating anniversary and I started to freak out! So I just had to start even not knowing that the hell I was going to do and how! Sculpting like crazy XD The eyes needed 4 or five attempts, and paints and adhesives to find something that work fine to glow in the dark. I found a nail polish that glows under UV lamp for the marking at the back. But my boyfriend didn't have a UV light. So I discovered a tiny laser pen like thing that was originally made to check if money is real or not. The thing had a UV led. Bought it. In the middle of the craziness my boyfriend asked me if I was going to give him a coffee maker (espresso one). And I was like "crap! I forgot he want one of those!! XD" but I said it was indeed what I was going to give him, just to surprise in the end. Back to work, I wake up very early and laid down very late all days working on the doll. Go out to buy all the supplies, and still have to hide everything when he came to my place! He stays at my place like Friday, Saturday and Sunday. So, many days I couldn't work of the very few I already had when started! T___T Finished the sculpting process like crazy, still remade 4 pieces. Then I decided to airbrush the doll, you know, because weren't enough stress already. And when airbrushing, I had to cover every claw and the nose, and the pawpads, because those were in the correct color already................. I bought a latex mask (not sure if it is the word) for watercolor and it thank goddess worked!! But oh, soooo much work to cover all those tiny tiny things... And then after airbrushing and removing the mask, there was a gap around all the claws (the latex ran a bit..) and I needed to mask everything again, airbrush again..... Then paint all the little details. Seal everything, make all the accessories, glue all the faux fur.... Also, had to glue something on the joints to avoid scratching the paint. I found a felt - no kidding - that was exactly the same color as the light purple on the doll! Couldn't be better. I think you can barely see it on the pictures. Well, I still have to find a package for it. I wanted a treasure chest, but couldn't find one that suits. So I bought a plastic box similar to the ones I use, but with a funny shape. I designed the labels, with pictures from the game an all. Made the little drawstring bag, that I find on the stuffs I have since many years a blue stone that looks very "WoW" to use on the strings. I was literally finishing it in the day I had to give it to my boyfriend XD But not enough, I decided to fake it was the coffee maker. So I've found a box that had a good size, made fake labels (made very funny drawings, with "memes" and such, by hand with a black pen over craft paper), covered the box, put some rice bags inside to make it weight like a coffee maker, put the doll inside, and wrapped everything with gift wrapping paper. All packaged, it was a coffee maker! So I give it for him. And when he started to open and seeing the fake labels, his face was just like "WTF??!!" and while he was opening, removing lots of bubble wrapping, paper, and... rice bags, he was getting more and more confused, and I couldn't stop laughing! Until he finally found the little box (that was also wrapped in gift paper), opened and discovered the little doll inside, with a letter on which I told all the story you are also reading, but more detailed, and some cute things (by the way I had to write that letter, that has 2 or three pages too in this amount of time!). He got very touched I pass through all that to make a doll for him, and totally surprised because he never guessed what I was up to. In the end, beautiful doll, happy boyfriend, mission accomplished! XD Of course it isn't allll perfect as my dolls usually are. There are very small flaws that maybe just I and few people (my boyfriend isn't one of them) can see. But he is very different, and very detailed, and I am very very proud of this little guy!
Well, I hope you like my "little" adventure! I am glad I survived all of this! I doubt many people would read it anyway, but I decided to share n.n
All of this happened on 2014, months ago, but just now I took the pictures of the doll to show you.
A visit to the National Trust property that is Penrhyn Castle
Penrhyn Castle is a country house in Llandygai, Bangor, Gwynedd, North Wales, in the form of a Norman castle. It was originally a medieval fortified manor house, founded by Ednyfed Fychan. In 1438, Ioan ap Gruffudd was granted a licence to crenellate and he founded the stone castle and added a tower house. Samuel Wyatt reconstructed the property in the 1780s.
The present building was created between about 1822 and 1837 to designs by Thomas Hopper, who expanded and transformed the building beyond recognition. However a spiral staircase from the original property can still be seen, and a vaulted basement and other masonry were incorporated into the new structure. Hopper's client was George Hay Dawkins-Pennant, who had inherited the Penrhyn estate on the death of his second cousin, Richard Pennant, who had made his fortune from slavery in Jamaica and local slate quarries. The eldest of George's two daughters, Juliana, married Grenadier Guard, Edward Gordon Douglas, who, on inheriting the estate on George's death in 1845, adopted the hyphenated surname of Douglas-Pennant. The cost of the construction of this vast 'castle' is disputed, and very difficult to work out accurately, as much of the timber came from the family's own forestry, and much of the labour was acquired from within their own workforce at the slate quarry. It cost the Pennant family an estimated £150,000. This is the current equivalent to about £49,500,000.
Penrhyn is one of the most admired of the numerous mock castles built in the United Kingdom in the 19th century; Christopher Hussey called it, "the outstanding instance of Norman revival." The castle is a picturesque composition that stretches over 600 feet from a tall donjon containing family rooms, through the main block built around the earlier house, to the service wing and the stables.
It is built in a sombre style which allows it to possess something of the medieval fortress air despite the ground-level drawing room windows. Hopper designed all the principal interiors in a rich but restrained Norman style, with much fine plasterwork and wood and stone carving. The castle also has some specially designed Norman-style furniture, including a one-ton slate bed made for Queen Victoria when she visited in 1859.
Hugh Napier Douglas-Pennant, 4th Lord Penrhyn, died in 1949, and the castle and estate passed to his niece, Lady Janet Pelham, who, on inheritance, adopted the surname of Douglas-Pennant. In 1951, the castle and 40,000 acres (160 km²) of land were accepted by the treasury in lieu of death duties from Lady Janet. It now belongs to the National Trust and is open to the public. The site received 109,395 visitors in 2017.
Grade I Listed Building
History
The present house, built in the form of a vast Norman castle, was constructed to the design of Thomas Hopper for George Hay Dawkins-Pennant between 1820 and 1837. It has been very little altered since.
The original house on the site was a medieval manor house of C14 origin, for which a licence to crenellate was given at an unknown date between 1410 and 1431. This house survived until c1782 when it was remodelled in castellated Gothick style, replete with yellow mathematical tiles, by Samuel Wyatt for Richard Pennant. This house, the great hall of which is incorporated in the present drawing room, was remodelled in c1800, but the vast profits from the Penrhyn slate quarries enabled all the rest to be completely swept away by Hopper's vast neo-Norman fantasy, sited and built so that it could be seen not only from the quarries, but most parts of the surrounding estate, thereby emphasizing the local dominance of the Dawkins-Pennant family. The total cost is unknown but it cannot have been less than the £123,000 claimed by Catherine Sinclair in 1839.
Since 1951 the house has belonged to the National Trust, together with over 40,000 acres of the family estates around Ysbyty Ifan and the Ogwen valley.
Exterior
Country house built in the style of a vast Norman castle with other later medieval influences, so huge (its 70 roofs cover an area of over an acre (0.4ha)) that it almost defies meaningful description. The main components of the house, which is built on a north-south axis with the main elevations to east and west, are the 124ft (37.8m) high keep, based on Castle Hedingham (Essex) containing the family quarters on the south, the central range, protected by a 'barbican' terrace on the east, housing the state apartments, and the rectangular-shaped staff/service buildings and stables to the north. The whole is constructed of local rubblestone with internal brick lining, but all elevations are faced in tooled Anglesey limestone ashlar of the finest quality jointing; flat lead roofs concealed by castellated parapets. Close to, the extreme length of the building (it is about 200 yards (182.88m) long) and the fact that the ground slopes away on all sides mean that almost no complete elevation can be seen. That the most frequent views of the exterior are oblique also offered Hopper the opportunity to deploy his towers for picturesque effect, the relationship between the keep and the other towers and turrets frequently obscuring the distances between them. Another significant external feature of the castle is that it actually looks defensible making it secure at least from Pugin's famous slur of 1841 on contemporary "castles" - "Who would hammer against nailed portals, when he could kick his way through the greenhouse?" Certainly, this could never be achieved at Penrhyn and it looks every inch the impregnable fortress both architect and patron intended it to be.
East elevation: to the left is the loosely attached 4-storey keep on battered plinth with 4 tiers of deeply splayed Norman windows, 2 to each face, with chevron decoration and nook-shafts, topped by 4 square corner turrets. The dining room (distinguished by the intersecting tracery above the windows) and breakfast room to the right of the entrance gallery are protected by the long sweep of the machicolated 'barbican' terrace (carriage forecourt), curved in front of the 2 rooms and then running northwards before returning at right-angles to the west to include the gatehouse, which formed the original main entrance to the castle, and ending in a tall rectangular tower with machicolated parapet. To the right of the gatehouse are the recessed buildings of the kitchen court and to the right again the long, largely unbroken outer wall of the stable court, terminated by the square footmen's tower to the left and the rather more exuberant projecting circular dung tower with its spectacularly cantilevered bartizan on the right. From here the wall runs at right-angles to the west incorporating the impressive gatehouse to the stable court.
West elevation: beginning at the left is the hexagonal smithy tower, followed by the long run of the stable court, well provided with windows on this side as the stables lie directly behind. At the end of this the wall turns at right-angles to the west, incorporating the narrow circular-turreted gatehouse to the outer court and terminating in the machicolated circular ice tower. From here the wall runs again at a lower height enclosing the remainder of the outer court. It is, of course, the state apartments which make up the chief architectural display on the central part of this elevation, beginning with a strongly articulated but essentially rectangular tower to the left, while both the drawing room and the library have Norman windows leading directly onto the lawns, the latter terminating in a slender machicolated circular corner tower. To the right is the keep, considerably set back on this side.
Interior
Only those parts of the castle generally accessible to visitors are recorded in this description. Although not described here much of the furniture and many of the paintings (including family portraits) are also original to the house. Similarly, it should be noted that in the interests of brevity and clarity, not all significant architectural features are itemised in the following description.
Entrance gallery: one of the last parts of the castle to be built, this narrow cloister-like passage was added to the main block to heighten the sensation of entering the vast Grand Hall, which is made only partly visible by the deliberate offsetting of the intervening doorways; bronze lamp standards with wolf-heads on stone bases. Grand Hall: entering the columned aisle of this huge space, the visitor stands at a cross-roads between the 3 principal areas of the castle's plan; to the left the passage leads up to the family's private apartments on the 4 floors of the keep, to the right the door at the end leads to the extensive service quarters while ahead lies the sequence of state rooms used for entertaining guests and displayed to the public ever since the castle was built. The hall itself resembles in form, style and scale the transept of a great Norman cathedral, the great clustered columns extending upwards to a "triforium" formed on 2 sides of extraordinary compound arches; stained glass with signs of the zodiac and months of the year as in a book of hours by Thomas Willement (completed 1835). Library: has very much the atmosphere of a gentlemen’s London club with walls, columned arches and ceilings covered in the most lavish ornamentation; superb architectural bookcases and panelled walls are of oak but the arches are plaster grained to match; ornamental bosses and other devices to the rich plaster ceiling refer to the ancestry of the Dawkins and Pennant families, as do the stained glass lunettes above the windows, possibly by David Evans of Shrewsbury; 4 chimneypieces of polished Anglesey "marble", one with a frieze of fantastical carved mummers in the capitals. Drawing room (great hall of the late C18 house and its medieval predecessor): again in a neo-Norman style but the decoration is lighter and the columns more slender, the spirit of the room reflected in the 2000 delicate Maltese gilt crosses to the vaulted ceiling. Ebony room: so called on account of its furniture and "ebonised" chimneypiece and plasterwork, has at its entrance a spiral staircase from the medieval house. Grand Staircase hall: in many ways the greatest architectural achievement at Penrhyn, taking 10 years to complete, the carving in 2 contrasting stones of the highest quality; repeating abstract decorative motifs contrast with the infinitely inventive figurative carving in the newels and capitals; to the top the intricate plaster panels of the domed lantern are formed in exceptionally high relief and display both Norse and Celtic influences. Next to the grand stair is the secondary stair, itself a magnificent structure in grey sandstone with lantern, built immediately next to the grand stair so that family or guests should not meet staff on the same staircase. Reached from the columned aisle of the grand hall are the 2 remaining principal ground-floor rooms, the dining room and the breakfast room, among the last parts of the castle to be completed and clearly intended to be picture galleries as much as dining areas, the stencilled treatment of the walls in the dining room allowing both the provision of an appropriately elaborate "Norman" scheme and a large flat surface for the hanging of paintings; black marble fireplace carved by Richard Westmacott and extremely ornate ceiling with leaf bosses encircled by bands of figurative mouldings derived from the Romanesque church of Kilpeck, Herefordshire. Breakfast room has cambered beam ceiling with oak-grained finish.
Grand hall gallery: at the top of the grand staircase is vaulted and continues around the grand hall below to link with the passage to the keep, which at this level (as on the other floors) contains a suite of rooms comprising a sitting room, dressing room, bedroom and small ante-chamber, the room containing the famous slate bed also with a red Mona marble chimneypiece, one of the most spectacular in the castle. Returning to the grand hall gallery and continuing straight on rather than returning to the grand staircase the Lower India room is reached to the right: this contains an Anglesey limestone chimneypiece painted to match the ground colour of the room's Chinese wallpaper. Coming out of this room, the chapel corridor leads to the chapel gallery (used by the family) and the chapel proper below (used by staff), the latter with encaustic tiles probably reused from the old medieval chapel; stained and painted glass by David Evans (c1833).
The domestic quarters of the castle are reached along the passage from the breakfast room, which turns at right-angles to the right at the foot of the secondary staircase, the most important areas being the butler's pantry, steward's office, servants' hall, housekeeper's room, still room, housekeeper's store and housemaids' tower, while the kitchen (with its cast-iron range flanked by large and hygienic vertical slabs of Penrhyn slate) is housed on the lower ground floor. From this kitchen court, which also includes a coal store, oil vaults, brushing room, lamp room, pastry room, larder, scullery and laundry are reached the outer court with its soup kitchen, brewhouse and 2-storey ice tower and the much larger stables court which, along with the stables themselves containing their extensive slate-partitioned stalls and loose boxes, incorporates the coach house, covered ride, smithy tower, dung tower with gardeners' messroom above and footmen's tower.
Reasons for Listing
Included at Grade I as one of the most important large country houses in Wales; a superb example of the relatively short-lived Norman Revival of the early C19 and generally regarded as the masterpiece of its architect, Thomas Hopper.
A look around the inside of the castle / house.
The Grand Hall
Piano
South Shore Line completed 'Form A' and a train order taken down on one of those paper cups used onboard the cars. Apparently the correct form was not available.
The original much older control tower probably dating back to the very early days of the base. RAF Swinderby closed on the 1st April 1993.
A hug is a form of physical intimacy, not necessarily sexual, that usually involves closing or holding the arms around another person or group of persons. The hug is one of the most common human signs of love and affection, along with kissing. Unlike some other forms of physical intimacy, it is practiced publicly and privately without stigma in many countries, religions and cultures, within families, and also across age and gender lines.
Sometimes, hugs are a romantic exchange. Hugs may also be exchanged as a sign of support and comfort. A hug can be a demonstration of affection and emotional warmth, sometimes arising out of joy or happiness at meeting someone.
Hugs are mostly short and used to show many levels of affection. It is not particular to human beings alone, as there are many species of animals that engage in similar exchanges of warmth.
Hugging has been proven to have health benefits. One study has shown that hugs increase levels of oxytocin, and reduce blood pressure.
There are different variations of hugs. Prolonged hugging in a cozy, comfortable position is called cuddling. Spooning is a cuddling position, a kind of hugging when both the hugger and the hugged persons face the same direction, i.e., the front of one person is in contact with the back of the second one. The person whose front is in contact with the other's back is referred to as the "Big Spoon" and the person whose back is in contact with the other's front in referred to as the "Little Spoon". "Big Spoon" is a position held predominantly by males, whilst "Little Spoon" is typically the female, or smaller partner. There is also the term snuggling, also known as "kanoodling", coined by the modern psychologist Alexander Althoff, that refers a more intimate form of cuddling, with the two bodies almost intertwined, i.e. one's leg in between the other's.
In May 2009, the New York Times reported that "the hug has become the favorite social greeting when teenagers meet or part these days" in the United States. A number of schools in the United States have issued bans on hugs, which in some cases have resulted in student-led protests against these bans.
Despite hugging being widespread across human culture, several cultures - such as the Himba in Namibia - do not embrace as a sign of affection or love.
The Other End of the Leash notes that dogs tend to enjoy being hugged less than humans and other primates do, since canines interpret putting a limb over another animal as a dominance signal.
Images on the box may be slightly misleading. Read my review here: Clay for the Kiddos: Fun Forms Piggy Bank Review