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Gas Identification officer wearing helmet with two diamonds identifying him, as he holds gas detection paper during gas attack preparations. This picture was taken during the London Blitz, a series of heavy air raids over Britain between 7 September 1940 to 10 May 1941 a total of 8 months of daily bombings. Hitler’s target were industrial buildings and civilian centres, especially those which shared a connection with war effort. Winston Churchill encouraged the population and lead Britain into a defence which became known as the Battle of Britain, where British airplanes, mostly the Supermarine Spitfire, gained popularity. Thus, the Luftwaffe and Luftflotten were ordered to attack London, with the aim of invading the United Kingdom. Hopefully, Operation Barbarossa in 1941 turned Hitler’s attention to Russia.
Are you my mummy?
1941, Hans Wild (LIFE magazine)
#historiansunion #colored #colorized #colourised #color #colour #history #ww1 #wwi #worldwarone #ww2 #wwii #worldwartwo #military #war #axis #allies #london #gasmask #luftwaffe #blitz #areyoumymummy
Identification of Forester moths is always a little tricky, even more so when seen overseas. Antennal structure is an important guide to identification. In the Scarce Forester the pectinations reach almost to the tip of the antennae, this not being the case with some other members of the genus. However, it is a large family so if anyone has any alternative ideas, please comment accordingly.
This moth was photographed in Corfu in May 2019.
Identification written on the verso as: Z. Farr, grandfather of A.B. Farr.
Zelotes Farr was born circa 1825 in Vermont. He married Evelina Hastings (1828-1894) on 31 December 1846. In 1850, the couple and a son were farming in St. Johnsbury, Vermont. At some point prior to the 1870 census, the family moved to Sparta, Wisconsin, where Zelotes worked as a carpenter. The family had added a daughter, Allena. Circa 1875, the family relocated to Cedar Rapids, Iowa. Zelotes Farr remained in Cedar Rapids through 1900. He passed away in 1904 in Marshalltown, Iowa.
Photographer Stephen Wallace Truesdell (sometimes Truesdale) was born on 1 March 1836 in New York, the son of Gaius Truesdell (1810-1892) and Polly Becker (1807-1887). In 1850, Stephen was living with his parents and four siblings on a farm in Hillsdale, New York; the family had real estate valued at $4,455. By the time of the 1860 census, Stephen had relocated to Kenosha, Wisconsin, where he was listed as a daguerreotype artist. On 30 May 1864, he was married to Mary Phillips (born circa 1836), and the couple had at least one child. After Mary passed away, he was married to Sarah (last name unknown) on 13 October 1891. Stephen worked as a photographer in Kenosha until circa 1884. From 1878 to 1884, he was partners with Bernard LaMarsh. Stephen also had business ties in Milwaukee with the wholesale oyster company of Medford and Russell. After selling out his interests in both businesses, he apparently relocated to California. He passed away in Santa Cruz on 31 December 1905.
Bernard LaMarsh (in later years, LaMarche) was born on 3 February 1848 in Stadtkil, Prussia, the son of George LaMarsh and Janet Staudt. His father was a butcher in Prussia, and he continued that trade when he brought his family to the United States in late 1856. The family initially settled in Chicago and then relocated to Kenosha, Wisconsin in 1872. George LaMarsh had served in the Prussian Army, and Bernard joined the U.S. Army in July 1869 in Company A, 15th Infantry, which was stationed in New Mexico. He was honorably discharged in 1873, and joined his parents in Kenosha. At first he worked as a barber, a trade he learned while in the army. In 1874, he began learning photography with A.F. Wells of Kenosha. After a brief apprenticeship, he opened a studio in Marseilles, LaSalle County, Illinois, where he stayed for 1.5 years. He then spent two months perfecting his craft in the Chicago gallery of M.J. Jeffer. On 5 October 1876, Bernard opened a studio in Kenosha over a store occupied by the Meiser Brothers. He partnered with Stephen Truesdell from 1878 to 1884, and then bought Truesdell’s interest in the studio. Bernard was married on 23 September 1878 to Augusta Harlis (1858-1923). He relocated to Racine, Wisconsin around 1900 and continued to worked as a photographer through the 1910 census. In 1920, he was living with Augusta in Racine and was retired. Bernard passed away on 22 May 1929.
A woman’s identification is verified at a World Food Program distribution in Colombia.
Credit: USAID
D. Io. Hieron. Kniphofii pathol. et prax. in Acad. Erfurt. prof. publ. ordin. facult. med. senior. et adsess. primar., Acad. Caesar. nat. curiosor adiuncti, et bibliothecarii Botanica in originali, seu, Herbarium vivum :
Halae Magdeburgicae :Opera et studio Ioannis Godofredi Trampe, typographi halensis,MDCCLVIII-MDCCLXIV [1758-1764].
My husband found this very thick glob of stuff on the front lawn in the early spring (April 28th). I just came across this photo on my phone.
He placed it on the ground outside the back door and it was covered by ants and then disappeared.
It was very rubbery and firm.
My guess is that it is a salamanders egg mass or maybe some other type of animal.
Anybody ever seen anything like this?
Using open lidar data dem/dsm at 2m resolution to try to identify trees in edinburgh, using standard QGIS tools. Used os open data to mask out buffered building outlines (crown copyright and database rights 2016)
lots of false positives (probably down to out-of-date building outlines.. should try again with more recent OS data and OSM). results look promising, though.
trees are taken to be objects between 7 and 15 meters high which don't overlap part of a known building.
The Burgtheater at Dr.-Karl -Lueger-Ring (from now on, that means 2013, Universitätsring) in Vienna is an Austrian Federal Theatre. It is one of the most important stages in Europe and after the Comédie-Française, the second oldest European one, as well as the greatest German speaking theater. The original 'old' Burgtheater at Saint Michael's square was utilized from 1748 until the opening of the new building at the ring in October, 1888. The new house in 1945 burnt down completely as a result of bomb attacks, until the re-opening on 14 October 1955 was the Ronacher serving as temporary quarters. The Burgtheater is considered as Austrian National Theatre.
Throughout its history, the theater was bearing different names, first Imperial-Royal Theater next to the Castle, then to 1918 Imperial-Royal Court-Burgtheater and since then Burgtheater (Castle Theater). Especially in Vienna it is often referred to as "The Castle (Die Burg)", the ensemble members are known as Castle actors (Burgschauspieler).
History
St. Michael's Square with the old K.K. Theatre beside the castle (right) and the Winter Riding School of the Hofburg (left)
The interior of the Old Burgtheater, painted by Gustav Klimt. The people are represented in such detail that the identification is possible.
The 'old' Burgtheater at St. Michael's Square
The original castle theater was set up in a ball house that was built in the lower pleasure gardens of the Imperial Palace of the Roman-German King and later Emperor Ferdinand I in 1540, after the old house 1525 fell victim to a fire. Until the beginning of the 18th Century was played there the Jeu de Paume, a precursor of tennis. On 14 March 1741 finally gave the Empress Maria Theresa, ruling after the death of her father, which had ordered a general suspension of the theater, the "Entrepreneur of the Royal Court Opera" and lessees of 1708 built theater at Kärntnertor (Carinthian gate), Joseph Karl Selliers, permission to change the ballroom into a theater. Simultaneously, a new ball house was built in the immediate vicinity, which todays Ballhausplatz is bearing its name.
In 1748, the newly designed "theater next to the castle" was opened. 1756 major renovations were made, inter alia, a new rear wall was built. The Auditorium of the Old Burgtheater was still a solid timber construction and took about 1200 guests. The imperial family could reach her royal box directly from the imperial quarters, the Burgtheater structurally being connected with them. At the old venue at Saint Michael's place were, inter alia, several works of Christoph Willibald Gluck, Ludwig van Beethoven, Wolfgang Amadeus Mozart as well as Franz Grillparzer premiered .
On 17 February 1776, Emperor Joseph II declared the theater to the German National Theatre (Teutsches Nationaltheater). It was he who ordered by decree that the stage plays should not deal with sad events for not bring the Imperial audience in a bad mood. Many theater plays for this reason had to be changed and provided with a Vienna Final (Happy End), such as Romeo and Juliet or Hamlet. From 1794 on, the theater was bearing the name K.K. Court Theatre next to the castle.
1798 the poet August von Kotzebue was appointed as head of the Burgtheater, but after discussions with the actors he left Vienna in 1799. Under German director Joseph Schreyvogel was introduced German instead of French and Italian as a new stage language.
On 12 October 1888 took place the last performance in the old house. The Burgtheater ensemble moved to the new venue at the Ring. The Old Burgtheater had to give way to the completion of Saint Michael's tract of Hofburg. The plans to this end had been drawn almost 200 years before the demolition of the old Burgtheater by Joseph Emanuel Fischer von Erlach.
The "new" K.K. Court Theatre (as the inscription reads today) at the Ring opposite the Town Hall, opened on 14 October 1888 with Grillparzer's Esther and Schiller's Wallenstein's Camp, was designed in neo-Baroque style by Gottfried Semper (plan) and Karl Freiherr von Hasenauer (facade), who had already designed the Imperial Forum in Vienna together. Construction began on 16 December 1874 and followed through 14 years, in which the architects quarreled. Already in 1876 Semper withdrew due to health problems to Rome and had Hasenauer realized his ideas alone, who in the dispute of the architects stood up for a mainly splendid designed grand lodges theater.
However, created the famous Viennese painter Gustav Klimt and his brother Ernst Klimt and Franz Matsch 1886-1888 the ceiling paintings in the two stairwells of the new theater. The three took over this task after similar commissioned work in the city theaters of Fiume and Karlovy Vary and in the Bucharest National Theatre. In the grand staircase on the side facing the café Landtmann of the Burgtheater (Archduke stairs) reproduced Gustav Klimt the artists of the ancient theater in Taormina on Sicily, in the stairwell on the "People's Garden"-side (Kaiserstiege, because it was reserved for the emperor) the London Globe Theatre and the final scene from William Shakespeare's "Romeo and Juliet". Above the entrance to the auditorium is Molière's The Imaginary Invalid to discover. In the background the painter immortalized himself in the company of his two colleagues. Emperor Franz Joseph I liked the ceiling paintings so much that he gave the members of the company of artists of Klimt the Golden Cross of Merit.
The new building resembles externally the Dresden Semper Opera, but even more, due to the for the two theaters absolutely atypical cross wing with the ceremonial stairs, Semper's Munich project from the years 1865/1866 for a Richard Wagner Festspielhaus above the Isar. Above the middle section there is a loggia, which is framed by two side wings, and is divided from a stage house with a gable roof and auditorium with a tent roof. Above the center house there decorates a statue of Apollo the facade, throning between the Muses of drama and tragedy. Above the main entrances are located friezes with Bacchus and Ariadne. At the exterior facade round about, portrait busts of the poets Calderon, Shakespeare, Moliere, Schiller, Goethe, Lessing, Halm, Grillparzer, and Hebbel can be seen. The masks which also can be seen here are indicating the ancient theater, furthermore adorn allegorical representations the side wings: love, hate, humility, lust, selfishness, and heroism. Although the theater since 1919 is bearing the name of Burgtheater, the old inscription KK Hofburgtheater over the main entrance still exists. Some pictures of the old gallery of portraits have been hung up in the new building and can be seen still today - but these images were originally smaller, they had to be "extended" to make them work better in high space. The points of these "supplements" are visible as fine lines on the canvas.
The Burgtheater was initially well received by Viennese people due to its magnificent appearance and technical innovations such as electric lighting, but soon criticism because of the poor acoustics was increasing. Finally, in 1897 the auditorium was rebuilt to reduce the acoustic problems. The new theater was an important meeting place of social life and soon it was situated among the "sanctuaries" of Viennese people. In November 1918, the supervision over the theater was transferred from the High Steward of the emperor to the new state of German Austria.
1922/1923 the Academy Theatre was opened as a chamber play stage of the Burgtheater. On 8th May 1925, the Burgtheater went into Austria's criminal history, as here Mentscha Karnitschewa perpetrated a revolver assassination on Todor Panitza.
The Burgtheater in time of National Socialism
The National Socialist ideas also left traces in the history of the Burgtheater. In 1939 appeared in Adolf Luser Verlag the strongly anti-Semitic characterized book of theater scientist Heinz Kindermann "The Burgtheater. Heritage and mission of a national theater", in which he, among other things, analyzed the "Jewish influence "on the Burgtheater. On 14 October 1938 was on the occasion of the 50th anniversary of the opening of the Burgtheater a Don Carlos production of Karl-Heinz Stroux shown that served Hitler's ideology. The role of the Marquis of Posa played the same Ewald Balser, who in a different Don Carlos production a year earlier (by Heinz Hilpert) at the Deutsches Theater in the same role with the sentence in direction of Joseph Goebbels box vociferated: "just give freedom of thought". The actor and director Lothar Müthel, who was director of the Burgtheater between 1939 and 1945, staged 1943 the Merchant of Venice, in which Werner Kraus the Jew Shylock clearly anti-Semitic represented. The same director staged after the war Lessing's parable Nathan the Wise. Adolf Hitler himself visited during the Nazi regime the Burgtheater only once (1938), and later he refused in pure fear of an assassination.
For actors and theater staff who were classified according to the Reich Citizenship Law of 1935 as "Jews ", were quickly imposed stage bans, within a few days, they were on leave, fired or arrested. The Burgtheater ensemble between 1938 and 1945 did not put up significant resistance against the Nazi ideology, the repertoire was heavily censored, only a few joined the Resistance, as Judith Holzmeister (then also at the People's Theatre engaged) or the actor Fritz Lehmann. Although Jewish members of the ensemble indeed have been helped to emigrate, was still an actor, Fritz Strassny, taken to a concentration camp and murdered there.
The Burgtheater at the end of the war and after the Second World War
In summer 1944, the Burgtheater had to be closed because of the decreed general theater suspension. From 1 April 1945, as the Red Army approached Vienna, camped a military unit in the house, a portion was used as an arsenal. In a bomb attack the house at the Ring was damaged and burned down on 12th April 1945 completely. Auditorium and stage were useless, only the steel structure remained. The ceiling paintings and part of the lobby were almost undamaged.
The Soviet occupying power expected from Viennese City Councillor Viktor Matejka to launch Vienna's cultural life as soon as possible again. The council summoned on 23 April (a state government did not yet exist) a meeting of all Viennese cultural workers into the Town Hall. Result of the discussions was that in late April 1945 eight cinemas and four theaters took up the operation again, including the Burgtheater. The house took over the Ronacher Theater, which was understood by many castle actors as "exile" as a temporary home (and remained there to 1955). This venue chose the newly appointed director Raoul Aslan, who championed particularly active.
The first performance after the Second World War was on 30 April 1945 Sappho by Franz Grillparzer directed by Adolf Rott from 1943 with Maria Eis in the title role. Also other productions from the Nazi era were resumed. With Paul Hoerbiger, a few days ago as Nazi prisoner still in mortal danger, was shown the play of Nestroy Mädl (Girlie) from the suburbs. The Academy Theatre could be played (the first performance was on 19 April 1945 Hedda Gabler, a production of Rott from the year 1941) and also in the ball room (Redoutensaal) at the Imperial Palace took place performances. Aslan the Ronacher in the summer had rebuilt because the stage was too small for classical performances. On 25 September 1945, Schiller's Maid of Orleans could be played on the enlarged stage.
The first new productions are associated with the name of Lothar Müthel: Everyone and Nathan the Wise, in both Raoul Aslan played the main role. The staging of The Merchant of Venice by Müthel in Nazi times seemed to have been fallen into oblivion.
Great pleasure gave the public the return of the in 1938 from the ensemble expelled Else Wohlgemuth on stage. She performaed after seven years in exile in December 1945 in Clare Biharys The other mother in the Academy Theater. 1951 opened the Burgtheater its doors for the first time, but only the left wing, where the celebrations on the 175th anniversary of the theater took place.
1948, a competition for the reconstruction was tendered: Josef Gielen, who was then director, first tended to support the design of ex aequo-ranked Otto Niedermoser, according to which the house was to be rebuilt into a modern gallery theater. Finally, he agreed but then for the project by Michael Engelhardt, whose plan was conservative but also cost effective. The character of the lodges theater was largely taken into account and maintained, the central royal box but has been replaced by two balconies, and with a new slanted ceiling construction in the audience was the acoustics, the shortcoming of the house, improved significantly.
On 14 October 1955 was happening under Adolf Rott the reopening of the restored house at the Ring. For this occasion Mozart's A Little Night Music was played. On 15 and on 16 October it was followed by the first performance (for reasons of space as a double premiere) in the restored theater: King Ottokar's Fortune and End of Franz Grillparzer, staged by Adolf Rott. A few months after the signing of the Austrian State Treaty was the choice of this play, which the beginning of Habsburg rule in Austria makes a subject of discussion and Ottokar of Horneck's eulogy on Austria (... it's a good country / Well worth that a prince bow to it! / where have you yet seen the same?... ) contains highly symbolic. Rott and under his successors Ernst Haeusserman and Gerhard Klingenberg the classic Burgtheater style and the Burgtheater German for German theaters were finally pointing the way .
In the 1950s and 1960s, the Burgtheater participated (with other well-known theaters in Vienna) on the so-called Brecht boycott.
Gerhard Klingenberg internationalized the Burgtheater, he invited renowned stage directors such as Dieter Dorn, Peter Hall, Luca Ronconi, Giorgio Strehler, Roberto Guicciardini and Otomar Krejča. Klingenberg also enabled the castle debuts of Claus Peymann and Thomas Bernhard (1974 world premiere of The Hunting Party). Bernhard was as a successor of Klingenberg mentioned, but eventually was appointed Achim Benning, whereupon the writer with the text "The theatrical shack on the ring (how I should become the director of the Burgtheater)" answered.
Benning, the first ensemble representative of the Burgtheater which was appointed director, continued Klingenberg's way of Europeanization by other means, brought directors such as Adolf Dresen, Manfred Wekwerth or Thomas Langhoff to Vienna, looked with performances of plays of Vaclav Havel to the then politically separated East and took the the public taste more into consideration.
Directorate Claus Peymann 1986-1999
Under the by short-term Minister of Education Helmut Zilk brought to Vienna Claus Peymann, director from 1986 to 1999, there was further modernization of the programme and staging styles. Moreover Peymann was never at a loss for critical contributions in the public, a hitherto unusual attitude for Burgtheater directors. Therefore, he and his program within sections of the audience met with rejection. The greatest theater scandal in Vienna since 1945 occurred in 1988 concerning the premiere of Thomas Bernhard's Heldenplatz (Place of the Heroes) drama which was fiercly fought by conservative politicians and zealots. The play deals with the Vergangenheitsbewältigung (process of coming to terms with the past) and illuminates the present management in Austria - with attacks on the then ruling Social Democratic Party - critically. Together with Claus Peymann Bernhard after the premiere dared to face on the stage applause and boos.
Bernard, to his home country bound in love-hate relationship, prohibited the performance of his plays in Austria before his death in 1989 by will. Peymann, to Bernhard bound in a difficult friendship (see Bernhard's play Claus Peymann buys a pair of pants and goes eating with me) feared harm for the author's work, should his plays precisely in his homeland not being shown. First, it was through permission of the executor Peter Fabjan - Bernhard's half-brother - after all, possible the already in the schedule of the Burgtheater included productions to continue. Finally, shortly before the tenth anniversary of the death of Bernard it came to the revival of the Bernhard play Before retirement by the first performance director Peymann. The plays by Bernhard are since then continued on the programme of the Burgtheater and they are regularly newly produced.
In 1993, the rehearsal stage of the Castle theater was opened in the arsenal (architect Gustav Peichl). Since 1999, the Burgtheater has the operation form of a limited corporation.
Directorate Klaus Bachler 1999-2009
Peymann was followed in 1999 by Klaus Bachler as director. He is a trained actor, but was mostly as a cultural manager (director of the Vienna Festival) active. Bachler moved the theater as a cultural event in the foreground and he engaged for this purpose directors such as Luc Bondy, Andrea Breth, Peter Zadek and Martin Kušej.
Were among the unusual "events" of the directorate Bachler
* The Theatre of Orgies and Mysteries by Hermann Nitsch with the performance of 122 Action (2005 )
* The recording of the MTV Unplugged concert with Die Toten Hosen for the music channel MTV (2005, under the title available)
* John Irving's reading from his book at the Burgtheater Until I find you (2006)
* The 431 animatographische (animatographical) Expedition by Christoph Schlingensief and a big event of him under the title of Area 7 - Matthew Sadochrist - An expedition by Christoph Schlingensief (2006).
* Daniel Hoevels cut in Schiller's Mary Stuart accidentally his throat (December 2008). Outpatient care is enough.
Jubilee Year 2005
In October 2005, the Burgtheater celebrated the 50th Anniversary of its reopening with a gala evening and the performance of Grillparzer's King Ottokar's Fortune and End, directed by Martin Kušej that had been performed in August 2005 at the Salzburg Festival as a great success. Michael Maertens (in the role of Rudolf of Habsburg) received the Nestroy Theatre Award for Best Actor for his role in this play. Actor Tobias Moretti was awarded in 2006 for this role with the Gertrude Eysoldt Ring.
Furthermore, there were on 16th October 2005 the open day on which the 82-minute film "burg/private. 82 miniatures" of Sepp Dreissinger was shown for the first time. The film contains one-minute film "Stand portraits" of Castle actors and guest actors who, without saying a word, try to present themselves with a as natural as possible facial expression. Klaus Dermutz wrote a work on the history of the Burgtheater. As a motto of this season served a quotation from Lessing's Minna von Barnhelm: "It's so sad to be happy alone."
The Burgtheater on the Mozart Year 2006
Also the Mozart Year 2006 was at the Burgtheater was remembered. As Mozart's Singspiel Die Entführung aus dem Serail in 1782 in the courtyard of Castle Theatre was premiered came in cooperation with the Vienna State Opera on the occasion of the Vienna Festival in May 2006 a new production (directed by Karin Beier) of this opera on stage.
Directorate Matthias Hartmann since 2009
From September 2009 to 2014, Matthias Hartmann was Artistic Director of the Burgtheater. A native of Osnabrück, he directed the stage houses of Bochum and Zurich. With his directors like Alvis Hermanis, Roland Schimmelpfennig, David Bösch, Stefan Bachmann, Stefan Pucher, Michael Thalheimer, came actresses like Dorte Lyssweski, Katharina Lorenz, Sarah Viktoria Frick, Mavie Hoerbiger, Lucas Gregorowicz and Martin Wuttke came permanently to the Burg. Matthias Hartmann himself staged around three premieres per season, about once a year, he staged at the major opera houses. For more internationality and "cross-over", he won the Belgian artist Jan Lauwers and his Need Company as "Artists in Residence" for the Castle, the New York group Nature Theater of Oklahoma show their great episode drama Live and Times of an annual continuation. For the new look - the Burgtheater presents itself without a solid logo with word games around the BURG - the Burgtheater in 2011 was awarded the Cultural Brand of the Year .
Since 2014, Karin Bergmann is the commander in chief.
Saw this beauty fling into Newquay airport (Cornwall). My immediate thought was VC10 but that plane was retired a few years ago.
Identifications on the verso in pencil.
Photographer Ammon M. Lease was born circa April 1851 in York County, Pennsylvania, the son of Ammon and Susan Lease. Ammon was married twice: first, in 1881 to Sarah C. Ruth (1860-1940), and the couple had five children; second, on 9 February 1910 to Mary Ellen Schermerhorn (1855-1930). In 1860, Ammon was living with his parents in Latimore, Pennsylvania, where his father worked as a stone mason. In 1870, Susan was living with her six children in Reading, Pa. and Ammon was listed as a farm laborer. No later than 1880, Ammon had begun his photography career in York, Pa., where he specialized in retouching. He worked in Lancaster, but by the time of the 1900 census, he was working as a photographer in Reading, PA. In 1905, he had a studio in Iowa, where he remained until around 1910, when he relocated to South Dakota. He and his brother, Arthur Lease, declared bankruptcy in 1912 in Deadwood. Ammon Lease passed away on 8 February 1916 in Lawrence, South Dakota.
Identification on the verso.
(This is one 13 cabinet cards of students who were in the class of 1884 at the Fort Edward Collegiate Institute in Ft. Edward, New York. The institute was a college preparatory and business school. All of the 13 students who will be posted here were members of Classical, Scientific, and College Preparatory School, which was comprised of 18 women and 13 men.)
Jessie Truesdell Peck was born 14 May 1863 in Kingston, New York, the daughter of Luther Wesley Peck (1825-1900) and Sarah Gibbons (1828-1911). In 1865, Jessie was living with her parents and five siblings in Middletown, New York, where her father was a well-known Methodist clergyman. In 1870, the family was living in Susquehanna Depot, Pennsylvania. By the time of the 1880 census, the family was in Oxford, New York. From 1865 to 1882, the family lived in nine different places in New York and Pennsylvania. After graduating from the Fort Edward Collegiate Institute in 1885, Jessie attended Syracuse University. In 1897-1898, she studied piano in Leipzig, Germany. She returned to the United States and began teaching music in Chicago, an occupation she followed through at least 1930. During 1912-1916, she studied piano in Munich and Leipzig. Jessie apparently did not marry. She passed away on 29 April 1938.
D. Io. Hieron. Kniphofii pathol. et prax. in Acad. Erfurt. prof. publ. ordin. facult. med. senior. et adsess. primar., Acad. Caesar. nat. curiosor adiuncti, et bibliothecarii Botanica in originali, seu, Herbarium vivum :
Halae Magdeburgicae :Opera et studio Ioannis Godofredi Trampe, typographi halensis,MDCCLVIII-MDCCLXIV [1758-1764].
IDENTIFICATION
Classification society: BUREAU VERITAS
Register Number: 39W833
IMO: 9155676
MMSI: 246362000
Ship Name: SEA CHARENTE
Ex Names: FISKER (1996)
Call Sign: PECB
Type & service: General cargo ship
Owner: CHARENTE SHIPPING BV
Manager: Seacon (SG) Limited, Tela House, 47c Berth,
Tilbury, Essex RM18 7EH - Tel +44 (0) 1375 488600
Connecting District: ROTTERDAM (RTD)
Flag: Netherlands
Port of Registry: LEMMER
DIMENSION
Gross Tonnage 69: 1638
Net Tonnage 69: 837
Deadweight: 2100 ton
Overall Length:82.4 m
LPP: 78.96 m
Breadth: 11.3 m
Depth:4.8 m
Draught: 3.7 m
Freeboard: 1064 mm
DIMENSION
Gross Tonnage 69: 1638
Net Tonnage 69: 837
Deadweight: 2100 ton
Overall Length:82.4 m
LPP: 78.96 m
Breadth: 11.3 m
Depth: 4.8 m
Draught: 3.7 m
Freeboard: 1064 mm
HULL & CARGO
Builder: DAMEN/RECHITA
Country of build: NETHERLANDS
Date of Build:07 Oct 1996
Yard N°: 9981
Hull Material: Steel
Nb of Watertight Comp.: 4
Number of Cont. Decks: 1
1, Machinery Aft
HOLDS
Number of Holds: 1
Total Capacity of Holds:0.00
TANKS
LBC:4282
MACHINERY
Propelling Type: Diesel
Licence: Stork-Wärtsilä (Kromhout) 6FHD240G
Date of Build: 11 Jun 1996
Place of Build (country): ZWOLLE
POWER AND RATING
Total Power (kW): 1020 kW
Total Power (HP): 1385 HP
PROPELLING MACHINERY
Internal Combustion Engine: (1) 4T - 6 cyl - 240 mm x 260 mm at 1000 rpm
ELECTRICAL INSTALLATION
Frequency: 50 Hz
Diesel Generators: 1 - 65 kVA - 52 kW - 72 HP,2 - 80 kVA - 64 kW - 87 HP
PROPELLERS AND PROPELLERSHAFTS
Propelling system: 1 Screw Propeller Solid LB (oil -closed)
SPEED OF THE SHIP
Speed: 11 kn
CAPACITY OF BUNKERS
Fuel Capacity:90 (m³)
Identification
Vessel Name: MARANT
Classification society: Det Norske Veritas Holding AS (DNV)
DNV id: G94178
IMO number: 9280689
Official number: Register:
Other DNV services:
Class relation: In DNV Class
Operational status: In Operation
Signal letters: ONKX
Flag: Belgium
Port: ANTWERPEN
Type: 361 - Multi-purpose dry cargo ship
Structural design type: Monohull ship
Regulatory regime: Ships
Main purpose: Unitized cargo carriage
Former Names
Belgium (BE) LINNAU2020-12-04 UTC
Antigua Barbuda (AG)LINNAU2020-12-04 UTC
Yard
Contracted builder: Slovenske Lodenice Komarno a.s. Slovakia (Hull number: 2961)
Contract date: 1998-02-10
Keel laid: 1998-06-25
Launch: 2006-03-01
Date of build: 2006-07-24
Hull material: Steel
Anchor chain Length: 440
Diameter: 32
Material quality: GL - K2
Ballast capacity: 1652.7 m³
Dimensions
Loa: 87.98 m
Lbp: 81 m
Lload: 82.1 m
Bext: 12.8 m
B: 12.8 m
D: 7.1 m
Draught: 5.593 m
GT (ITC 69): 2461
NT (ITC 69): 1369
DWT: 3699.2
Freeboard: 1520
Machinery
Main propulsion principle: Conventional propulsion - combustion engine
Propeller shaft: arrangement C
Intermediate shaft; Shaft
Propulsion engine 1: MAK 8M20 Diesel Engine
Propeller: fixed built AC
Main generator engine:620 DSRG sisudiesel
Emergency generator engine:320 DSG sisudiesel
Propulsion reduction gear:WAF 1563 LREINTJES GmbH
Manoeuvring thruster, tunnel:Thruster, tunnel
Auxiliary boiler, oil/gas fired 1:Tube/ CA150 Powrmatic
Manoeuvring thruster electric power unit: 1 x 185 kW / Jastram BU40F
Steering gear: Steering gear
Owner: Boeckmans Shipping NV (10706827) (IMO number: 10706827)
Boeckmans Belgie n.v.
Binnenvaartstraat 85,
B-2000 Antwerpen
Belgium
Tel: +32 (0)3 202 02 02
Mail: info@boeckmans.be
Manager: Boeckmans Ship Management BVBA (10676055) (IMO number: 5424396)
Identification on the verso. A one cent brown stamp is on the verso.
Mason Mandeville (sometimes Manderville) was born in 1846 in Webster, Monroe County, New York, the son of David Mandeville (1823-1874) and Carolyn W. Mason (1817-1859); the couple had seven children. In 1850, Mason was living on a farm in Webster with his parents and a brother. The family had real estate valued at $1,200, which was comprised of 70 improved acres and 20 unimproved acres. The family grew corn, wheat, and oats, and had livstock that included three horses, four milk cows, 29 sheep, and 12 swine. Mason was still living with his family on a farm in Webster for the 1860 census. On 2 December 1863, Mason enlisted in the New York 18th Light Artillery Battery. Mason Mandeville died in Baton Rouge, Louisiana on 28 September 1864, one of the many soldiers who died of disease during the Civil War.
Photographer John W. Maser was born in May 1835, either in Pennsylvania or Darmstadt, Germany. It is not known when he began his photography career, but he was listed in as a daguerreotype artist in 1857-1858 in Rochester, New York, at 68 Aracade Hall. He was married circa 1860 to Carrie (last name unknown, born July 1839), and the couple had one daughter. In 1861, his studio was at 73 Arcade Gallery. He paid the requisite taxes as a photographer during 1862-1866. In 1865, he had income of $1,134. During three months in 1866, he had income of $450. The last listing that I found for Maser as a photographer in Rochester was 1868, although he was listed as a photographer in the 1870 census, when the family had real estate valued at $2,000 and a personal estate of $500. John then went into the grocery business and the boat building business (as Maser & Smith). By the time of the 1905 New York census, John was working as an insurance agent. I did not find a death date for John Maser.
a comparison photo of poke and elderberry to show the difference between the two.
elderberries are tiny. they grow in clusters instead of a long cylindrical cone if that makes sense...picture queen anne's lace or yarrow with berries and that's what elderberries looks like. pokeberries are about the size of peas with a dent in each berry. elderberries are about the size of a bb.
also, the stems of elderberry are thin and woody with brown flecks on them. the only part of the elder bush that is red is the stems that the berries are on and some of the leaf stems. pokeberry plant stems are generally a purply red.
the leaves are different too. they look more like the leaves on a walnut tree, compound. the leaves on elderberry are opposite while the leaves on poke are simple and alternate.
as an aside, pokeberries are not as poisonous as people make them out to be...yes, if you ate a bunch of the berries and chewed the seeds in them really well, you would probably puke a lot and may have more serious side effects but they don't taste very good and the taste alone would stop you. swallowing a few berries will do nothing more than put your body into high gear to clear out your system. as long as you don't chew the seeds, it's not going to do a whole lot to you other than maybe give you diarrhea. (but please, don't try eating them nevertheless!)
having said that, poke is an excellent lymph mover. i've used it a lot in the past for swollen lymph nodes and for plugged ducts that cause mastitis. it is a low dose medicinal but a very valuable one!
poke makes a beautiful dye but sadly, it's not color fast. it is fun to paint your hair with and washes out w/o staining. also, you can substitute it for ink in the elderberry ink recipe!! :)
This butterfly was in my garage yesterday in Houston, Texas. Sadly, it didn't live very long. I don't know what kind if it. This is the top and the photo below shows the more colorful underside.
I just bought her. I've seen her in several memes across the internet and wondered from what brand she comes from..Also curious how she looks in a catalog because i think she'll look better leaning on a wall.
HELP PLEASE :)
Flora Graeca, sive, Plantarum rariorum historia, quas in provinciis aut insulis Graeciae /
Londini :Typis Richardi Taylor et socii, in Vico Shoe-Lane :MDCCCVI-MDCCCXL [1806-1840].
From Wikipedia, the free encyclopedia
History
United States
Builder:New York Shipbuilding Corp, Camden
Yard number:405
Laid down:6 December 1930
Launched:5 December 1931
Sponsored by:Mrs. Theodore Roosevelt, Sr.
Acquired:27 July 1932 (Delivered)
Out of service:1959
Renamed:USS Wakefield (1941)
Identification:
official number 231779
code letters MJSG (until 1933)
ICS Mike.svgICS Juliet.svgICS Sierra.svgICS Golf.svg
call sign WIEA (1934 onward)
ICS Whiskey.svgICS India.svgICS Echo.svgICS Alpha.svg
Fate:Sold for scrap 1965
General characteristics
Tonnage:24,289 GRT, 13,924 NRT
Length:
705 ft (214.9 m) o/a
666 ft (203.0 m) p/p
668.4 ft (203.7 m) registry
685 ft (208.8 m) on water line
Beam:86 ft (26 m)
Draft:32 ft (9.8 m) light load
Depth:79 ft (24 m) to promenade deck
Decks:9
Propulsion:steam turbines – twin screw
Speed:20 knots (37 km/h) standard
Capacity:1,300 passengers
Crew:481
Notes:sister ship: Washington
SS Manhattan was a 24,189 GRT luxury ocean liner of the United States Lines, named after the Manhattan borough of New York City. On 15 June 1941 she was commissioned as USS Wakefield and became the largest ship ever operated by the US Coast Guard. In 1942 she caught fire and was rebuilt as a troop ship. Manhattan never saw commercial service again.
Construction
When they were built, Manhattan and her sister ship SS Washington, also built by New York Shipbuilding Corporation, were the largest liners ever built in the United States, and Manhattan was the first large liner built in the US since 1905.[1] Manhattan and Washington were two of the few pure liners built by New York Shipbuilding, which had previously built a large number of cargo liners. United States Lines signed contracts in 1931 for the two ships at a cost of about $21 million (equivalent to $353 million in 2019) each. This was considered an extreme cost in the Depression, and a gamble.[2]
The ship's keel was laid as New York Shipbuilding's hull 405 on 6 December 1930 with launch on 5 December 1931 and delivery to the owners on 27 July 1932.[3] Mrs. Theodore Roosevelt, Sr. christened the ship with speakers representing shipping lines joining interest into the new United States Lines. Those lines were International Merchantile Marine Company, Roosevelt Lines, and the Dollar Lines.[4]
The ship was 705 ft (214.9 m) length overall, 666 ft (203.0 m) length between perpendiculars and 685 ft (208.8 m) on water line. Eleven water tight bulkheads created twelve water tight compartments.[5] Manhattan had nine decks: sun, boat, promenade, and decks A through F.[6] Her tonnages were 24,289 GRT and 13,924 NRT, her registered length was 668.4 ft (203.7 m), her US official number was 231779 and until 1933 her code letters were MJSG.[7] In 1934 these were superseded by the call sign WIEA. She carried a crew of 481.[8]
Manhattan was designed to carry 1,239 passengers; 582 cabin rooms, 461 tourist rooms, and 196 third class. The main cabin class public rooms, including a grand salon, library, palm court, verandah cafe, and open recreation or dance space aft, were on the promenade deck. Cabin class state rooms were forward on A deck with tourist class game space aft. B deck had tourist class public rooms. Cabin class entrance foyer, state rooms and dining were forward on C deck with tourist class entrance foyer, state rooms and dining aft. Third class lounge and an open promenade were aft of the tourist class spaces on C deck. D deck contained some cabin class state rooms, a swimming pool, and gymnasium, with tourist class state rooms aft. Crew quarters and mess hall/station were on E deck with third class dining room and state rooms aft.[6]
The ship had general cargo capacity of 380,000 cubic feet (11,000 m3), 47,000 cubic feet (1,300 m3) refrigerated cargo space and 16,000 cubic feet (450 m3) for ship's cold storage.[6]
Prior to commercial passenger operation, the ship made a special twenty-four-hour cruise off New York with over seven hundred passenger agents representing companies and offices from across the nation. The guests were entertained with the full services passengers could expect, including dancing and viewing a new movie in the ship's theater.[9]
Commercial career
Beginning in August 1932 Manhattan operated the New York – Hamburg route, a route she would continue to serve with only one short break until December 1939, when President Roosevelt invoked the Neutrality Act against Germany. In 1936, the ship carried the US Olympic team to the 1936 Summer Olympics in Berlin.[citation needed] In 1938 she carried some of the Kennedy family to the United Kingdom when Joseph P. Kennedy Sr. was appointed US Ambassador to the UK.[citation needed]
Travel writer Douglas Ward claims in his book Berlitz Guide to Cruising that the alcoholic cocktail "Manhattan" was named after the ship. However, there is little evidence to confirm this. A one way trip, off-season, in the cheapest room available cost roughly the equivalent of $1,800USD in 2019.[10]
Kindertransport
On 22 March 1939 passengers embarking on Manhattan in Hamburg included 88 unaccompanied children who were Jewish refugees from Nazi Germany.[11]. This roughly 24-hour journey from Hamburg to Southampton was part of the Kindertransport, as it later came to be known, between December 1938 and the outbreak of war in September 1939.
70% of the children (62 individuals) had been born in Berlin.[11]
Early WWII
In October 1939 Manhattan carried passengers, mostly Americans, from England (then at war with Germany) to New York. On 4 February 1940, the ship was seized by British forces in Gibraltar and released after 390 sacks of mail bound for Germany were confiscated. From January 1940 until Italy's entry into World War II in June 1940 Manhattan sailed between New York and Genoa. On 12 January 1941, while in coastal service on the Atlantic seaboard, she ran aground 9 nmi (17 km)[clarification needed] north of Palm Beach, and was re-floated 22 days later. On 6 March 1941,[citation needed] the commander of the marine inspection bureau suspended the master and first officer after finding them guilty of negligence in the grounding. The master received an eight-month suspension while the first officer was suspended for one month.[12]
Troopship
On 14 June 1941 Manhattan was delivered to the War Shipping Administration (WSA) which immediately delivered the ship to the US Navy for operation under bareboat charter.[13] The ship was subsequently commissioned as the troopship USS Wakefield on 15 June 1941. Assigned a Coast Guard crew under Commander Wilfrid N. Derby, she became the largest vessel ever operated by the Coast Guard.[14] On 18 September 1942 the ship was purchased by the Navy.[13]
The Manhattan would never re-enter commercial service. On 3 September 1942, while en route from Clyde to New York as part of convoy TA-18, a fire broke out aboard. Taken in tow by the Canadian Salvage vessel Foundation Franklin, the Wakefield reached Halifax five days later, still burning. By the time the last flames were extinguished, her hull was effectively gutted. Paid off by the US Navy, she was towed to Boston Navy Yard and rebuilt to troopship specifications.[14]
Curiously, unlike many birds 🐦, there are no obvious physiological differences between male and female Ospreys 🐦 … some of the variant characteristics that can be helpful in distinguishing between the genders are the facts that female Ospreys 🐦 are usually larger, up to 20%, and they are likely to have a brown color pattern on their chest that might give the illusion of a necklace…
This Osprey 🐦 is a female one… Do you see the difference? 🤔
f/5.6, 1/2000 sec, ISO-3200
#birdsofpreyphotography #birds_photography_offical #birdphotography #birdwatching #osprey
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