These fotos and letters were in my deceased grandmother's things. Her maiden name was Anastasio. Her mother's maiden name was Anania. I remember my grandmother mentioning Mancuso also. They were from Calabria. That's all I know. I don't know who these people are or what these letters say. Am hoping someone might stumble across these and may know who these ppl are.

Note: To see in higher resolution, click on "All Sizes" above, then "Original Size" .

The Burgtheater on the Dr.-Karl -Lueger-Ring (from now on, 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, as well as the largest German speaking theater. The original 'old' Burgtheater on Michaelerplatz was recorded from 1748 until the opening of the new building at the ring in October, 1888. The new house was completely on fire in 1945 as a result of bomb attacks, until the re-opening on 14 October 1955 was the Ronacher as temporary quarters. The Burgtheater is considered Austrian National Theatre.

Throughout its history, the theater was wearing different names, first kk Theater next to the castle, then to 1918 K.K. Court-Burgtheater and since then Burgtheater. Especially in Vienna it is often referred to as "The Castle (Die Burg)" , the ensemble members are known as Castle actors (Burgschauspieler). Director of the House since 2009, Matthias Hartmann.

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, who after the death of her father ruled a general theater lock order, the "Entrepreneur of the Royal Court Opera" and lessees of 1708 built theater at Kärntnertor, 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 with them the Burgtheater was structurally connected. At the old venue at Michael's place were, inter alia, several works of Christoph Willibald Gluck, Ludwig van Beethoven, Wolfgang Amadeus Mozart as well as Franz Grillparzer were 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 pieces should not treat sad events to bring the imperial audience in a bad mood. Many pieces had changed and therefore a Vienna Final (Happy End) is provided, such as Romeo and Juliet or Hamlet. From 1794, 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 In October 1888 the last performance in the old house took place. The Burgtheater ensemble moved to the new venue on the ring. The Old Burgtheater had to give way to the completion of 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) on the ring opposite the Town Hall, opened on 14th in October 1888 with Esther of Grillparzer and Schiller's Wallenstein's Camp, it 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 order for similar work in the city of Fiume theaters and Karlovy Vary and in the Bucharest National Theatre. In the grand staircase at the café Landtmann side facing the Burgtheater (Archduke stairs) reproduced ​​Gustav Klimt the artists of ancient theater in Taormina in 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 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 Munich project from the years 1865/1866 for a Richard Wagner Festspielhaus on the Isar. Above the middle section, 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. Across the center house is decorated with a statue of Apollo, the facade, the towers between the Muses of drama and tragedy. Over the main entrances are located friezes with Bacchus and Ariadne. On the exterior round busts can be seen the poet Calderon, Shakespeare, Moliere, Schiller, Goethe, Lessing, Halm, Grillparzer, and Hebbel. The masks are also to be seen here, indicating the ancient theater, also adorn the side wings allegories: love, hate, humility, lust, selfishness, and heroism. Although since 1919, the theater was named the Burgtheater, the old saying KK Hofburgtheater over the main entrance still exists. Some pictures of the old gallery of portraits having been hung in the new building are still visible today - but these images were originally small, they had to be "extended" to make them work better in high space. The locations of these "supplements" are visible as fine lines on the canvas.

The Burgtheater was initially well received due to its magnificent appearance and technical innovations such as electric lighting of the Viennese, but soon criticism of the poor acoustics was loud. 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 counted among the "sanctuaries" of the Viennese. In November 1918, the supervision on 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. 8th May 1925 was the Burgtheater in 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. Appeared in 1939 in Adolf Luser Verlag the strongly anti-Semitic embossed 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 the 50th anniversary of the opening of Burgtheater a production of Don Carlos of Karl-Heinz Stroux shown that served the Hitler's ideology. The role of the Marquis of Posa played the same Ewald Balser, who 'railed in a different Don Carlos production a year earlier (by Heinz Hilpert) at the Deutsches Theater in the same role with the set direction of Joseph Goebbels box: "Enter the freedom of thought". The actor and director Lothar Müthel, who was director of the Burgtheater between 1939 and 1945, staged 1943 Merchant of Venice, in which Werner Kraus Shylock the Jew clearlyanti-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 out of fear of an assassination.

For actors and theater staff who were classified according to the Reich Citizenship Law of 1935 as "Jewis ", were quickly imposed banned from performing, they were on leave, fired or arrested within days. The Burgtheater ensemble made ​​between 1938 and 1945 no significant resistance against the Nazi ideology, the game plan was heavily censored, actively just joined the Resistance, as Judith Holzmeister (then also at the National Theatre committed ) 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 end of the war and after the Second World War

In summer 1944, the Burgtheater had to be closed because of the general arranged theater lock. From 1 April 1945 as the Red Army approached Vienna, outsourced 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 on 12th April 1945 it burned 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 bring Vienna 's cultural life as soon as possible again. The council called for 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 by Franz Grillparzer, Sappho, directed by Adolf Rott from 1943 with Maria Eis in the title role. Other productions from the Nazi era were resumed. With Paul Hoerbiger, a Nazi prisoner a few days ago still in mortal danger, was shown the piece of Nestroy Mädl (Girlie) from the suburbs. The Academy Theatre was recorded (the first performance was on 19 April 1945 Hedda Gabler, a production of Rott in 1941) and also in the ball room (Redoutensaal) at the Imperial Palace took performances place. Aslan had the Ronacher rebuilt in the summer because the stage was too small for classical performances. On 25 September 1945, Schiller's Maid of Orleans could be played on the larger stage.

The first new productions are associated with the name of Lothar Müthel: Anyone and Nathan the Wise, in both Raoul Aslan played the main role. The staging of The Merchant of Venice by Müthel to Nazi times seemed to be forgotten.

Great pleasure gave the public the return of the in 1938 from the ensemble expelled Else Wohlgemuth on stage. She performaed after seven years of 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 of the 175th anniversary of the theater took place.

1948, a competition was announced for the reconstruction: Josef Gielen, who was then director, first tended to support the design of ex aequo-ranked Otto Niedermoser, after which the house into a modern theater rank should be rebuilt. 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 maintaining the central royal box has been replaced by two ranks, and with a new slanted ceiling construction in the audience was the acoustics, the weakness of the home, improved significantly.

On 14 October 1955 was happening under Adolf Rott the reopening of the restored house on the Ring. For this occasion Mozart's A Little Night Music was played. On 15 and on 16 In 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 piece, which explores the beginning of Habsburg rule in Austria and Ottokar of Hornecks eulogy on Austria (... it's a good country / Well worth that a prince among thread! / where have you already 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 by Claus Peymann and Thomas Bernhard (1974 world premiere of The Hunting Party). Bernhard Klingenberg's successor was talking, 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, 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 in the then politically separated East and took more account of the public taste .

Directorate Claus Peymann 1986-1999

Under the from short-term Minister of Education Helmut Zilk to Vienna fetched Claus Peymann, director from 1986 to 1999, there was further modernization of the match schedule and staging styles. Moreover Peymann was never at a loss for words for critical messages to the public, a hitherto unusual attitude for Burgtheater directors. Therefore, he and his program met with sections of the audience's rejection. The largest theater in Vienna scandal since 1945, this when in 1988 conservative politicians and zealots fiercely fought the premiere of Thomas Bernhard's Heldenplatz (Place of the Heroes) drama. The play deals 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 raised after the premiere to a challenge on the stage to 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 pieces precisely in his home 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 piece Before retirement by the opening night director Peymann. The pieces by Bernhard are since continued on the board of the Burgtheater and they are regularly re-released.

In 1993, the sample stage of the castle theater was opened in the arsenal (architect Gustav Peichl) . Since 1999, the castle theater has been run as a limited liability.

Directorate Klaus Bachler 1999-2009

On Peymann followed in 1999 as director Klaus Bachler. 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 only to visit )

* 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 it 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 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 piece. 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 as a natural expression. Klaus Dermutz wrote a work on the history of the Burgtheater. As a motto this season was a quotation from Lessing's Minna von Barn-helm: "It's so sad to be happy alone."

The Burgtheater to the Mozart Year 2006

Also the Mozart Year 2006 was thought at the Burgtheater. 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, the Vienna Festival in May 2006, a new production (directed by Karin Beier ) of this opera to the stage.

Directorate Matthias Hartmann since 2009

Since September 2009, Matthias Hartmann is Artistic Director of the Burgtheater. A native of Osnabrück, he directed the playhouses of Bochum and Zurich. With his directors like Alvis Hermanis, Roland Schimmelpfennig, David Boesch, Stefan Bachmann, Stefan Pucher, Michael Thalheimer and actresses like Dorte Lyssweski, Katharina Lorenz, Sarah Viktoria Frick, Mavie Hoerbiger, Lucas Gregorowicz and Martin Wuttke came firmly to the castle. 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 .

www.mariachiproductions.org/basel2012/index.php/tournamen...

The natural history of British birds, or, A selection of the most rare, beautiful and interesting birds which inhabit this country :

London :Printed for the author, and for F. and C. Rivington ...,1794[-1819]

biodiversitylibrary.org/page/43090923

An APHIS Veterinarian reads a rado-frequency identification (RFID) chip in a horse (Equus caballus).

USDA photo by R. Anson Eaglin

IDENTIFICATION

Call Sign: LMYV 3

IMO No: 9328546

DnV no: 25984

MMSI no: 258366000

SERVICES AVAILABLE

The vessel is equipped and fitted for the following

services:

Platform Supply

Oil Recovery operations - Dispersant

Good station keeping, ERN 99.99.99.68

MAIN DETAILS

Type: MT-6000 MK2

Supply /Service Vessel / Oil Rec

Class DnV

1A1 Clean COMF V(3) DK(+) DYNPOS(AUTR) E0 HL(2.8)

LFL(*) NAUT(OSV) OILREC SF DK(+)

Certificates

World Wide, SOLAS 74/78

Load line conv. 1969,

NOFO2009

Yard and Registry

Builders Aker Langsten

Vessel built 2005

Port of registry Stavanger

Flag Norwegian

MAIN DIMENSIONS

L.o.a. 85,65 m

L.p.p. 78,00m

Breadth 19,70 m

Deadweight 4248 t

Draught, design/Scantl. 6,0m

GT(ITC) 3331t

NT (ITC) 1212t

DECK SPACE / STRENGTH

Deck areal 58,6m*16m 914 m²

Deck Cargo 3215 tons

Deck strength 10-5 t/m²

TANK CAPACITIES

Ballast water 1012 m3

Drill water 1012 m3

Pot water 838 m3

Dry bulk cargo tanks 397 m3

Base oil (Special products) 170 m3

Fuel oil 1417 m3

Liquid Mud (6 tanks) 653 m3

Liquid Brine (4 tanks) 646 m3

Methanol/Special Prod (2 tanks) 170 m3

Recovered oil 1500 m3

Dispersant 50 m3

CARGO LINE CONNECTIONS

Fuel oil 4” Avery Hardoll male

Pot water 4” Weco female

Drill water 4” Weco female

Brine 4” Weco male

Liquid mud 4” Weco female

Methanol 4“ Avery Hardoll male

Barite 5” Best, female

Cement 5” Best, male

Spec. Product 4“ Avery Hardoll male

Slop 4” Todo , male

CARGO DISCHARGING PUMPS

Fuel oil (el-driven) 2x 0-250 m³/h - 9 bar

DW/Ball (el-driven) 2x 0-150 m³/h - 9 bar

Pot water (el-drv) 2x 0-150 m³/h - 9 bar

Liq. Mud (el-driven) 2x 0-85 m³/h - 24 bar

Liq. Mud (el-driven) 1x 0-125 m³/h - 24 bar

Brine (el-driven) 2x 0-100 m³/h - 18 bar

Methanol (hyd drv) 2x 75 m³/h -7,2 bar

Spec. Prod. (h. drv) 2x 75 m³/h -7,2 bar

Dry bulk Van Alst 2x 100 ton/h wp 5,6 bar

CRANES

One off deck crane 3 T @ 10 m. ABAS

One off deck crane 3 T @ 16 m. ABAS

DYNAMIC POSITION SYSTEM DP-2

Kongsberg Maritime SDP-22

DnV class DYNPOS – AUTR

2 DGPS

Cyscan

ERN Number: 99.99.99.68

NAVIGATION EQUIPMENT

2x Electronic chart system; TECDIS JH 20T04

1x AIS Type: Furuno FA - 100

1x 10 cm ARPA radar type Furuno FAR 2827

1x 3 cm ARPA radar type Furuno FCR 2837 S

1x DGPS type Seatex DPS 116

1x DGPS type Seatex DPS 200

1x GPS type: Furuno GP - 90

3x Gyro type: Plath Navigat X MK1 mod 10

1x Autopilot type: Sperry Navipilot

1x Echo Sounder type Furuno FE - 700

1x Doppler Log type Furuno DS- 80

3x Conning Display

1x VDR: Furuno VR- 5000

1x AIS Furuno

1x Navtex Type: Furuno NX-50

COMMUNICATION SYSTEMS

The Radio installation are according to GMDSS-A3(World

Wide)

Furuno Felcom 15 Inmarsat C (GMDSS)

1x MF/HF- DSC: Furuno FS-2570 Simplex.

Hospital sett for FS-2721 / VHF

1x Inmarsat Mini M. type: Nera

1x V-Sat Telenor communication.

2x Fixed VHF Furuno FM-8700 With DSC

2x Fixed VHF Motorola

3x Fixed VHF Furuno,

1x Fixed VHF Sailor 6588 DGNSS

6x Fixed UHF Motorola

3x Portable VHF Tron TR 20 (GMDSS)

2x Portable VHF type: Motorola

6x Portable UHF Motorola GP380

4x Portable VHF Motorola DP4401Ex

1x Aircraft Radio: ICOM A 110

1x Helideck Portable Radio Type: ICOM IC-A3E

1x Free-Float Emerg. Beacon Type: Tron 40 S

1x Hand held emerg. Beacon type: Tron 45 SX

2x S A R transponders: Tron Sart .

1x VHF Radio Direction Finder Taiyo TDL1550

1x Inmarsat C. SSAS = Ships Alert System

1x Helibeacon 410 kHz Skandi TS-1B

1x Seatel TV satellite antenna

1x Furuno Sat. F

DECK MACHINERY

One double windlass/mooring winch

Two 10 tonnes tugger winches

Two 10 tonnes capstans

SPEED

Service speed: 14 knots-approx. 16,3m3/24hrs@4 gen.sets

Eco Speed: 11 knots-approx. 9,3m3/24hrs@1 gen.set

DP operation: approx. 4m3/24hrs

Stand by: approx. 2 m3/24hrs (outside 500m zone)

ACCOMMODATION

Total 24 –Persons

12x Single Cabins

6 x Double Cabin

1x Deck Office

1x Hospital, incl. 1 bed

1x Conference Room

The vessel has safety equipment acc. to Solas for 24

persons.

RESCUE AND LIFE SAVING EQUIPMENT

Hospital with treatment bench, stretchers, medicine and

poison lockers, intercom and direct ship to shore

communication

Medical equipment /Medicines in acc. to NMD.

1 x Mob Boat type GTC 700

1 x Mob Boat type

1 off Dacon rescue net

ENGINES AND PROPULSION

Main Engines

4 x Caterpillar type 3516TA serie B

Main Generators:

4 x AVK type DSG 86 M1-4w rated at 2028kVA/ 1825 kW

Azimuth thrusters aft:

2 x LIPS type FS275-S/WN, each 2500 kW

Azimuth thrusters bow:

1 x LIPS type FS175-234/MNR, 880 kW

Tunnel thrusters bow:

2 x LIPS type FT225M-D, each 880 kW

OIL RECOVERY SPECIFICATIONS

Prepared for NOFO 2009 equipment.

Dispersant spray booms

Miros Oil Spill Radar

Arranged and approved according to NOFO 2009

requirements.

QSHE CERTIFICATION

ISM

ISPS

MLC

ISO-9001:2008

ISO-14001:2004

QA QUALIFICATIONS

FPAL Registered

Selliha Registered

Achilles Registered

OVID Registered

IMCA Member

I funghi mangerecci e velenosi dell'Europa media,.

Trento,G. Zippel,1906..

biodiversitylibrary.org/page/3900965

I really hate wood ticks. Absolute hate them. Illustrating this from source files has certainly squicked me out. My unease is your enjoyment.

And I'm going camping this weekend. *sheesh*

An APHIS veterinary technician uses a reader to locate a radio-frequency identification device and read the identification number of a sick horse (Equus caballus).

USDA photo by R. Anson Eaglin

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].

biodiversitylibrary.org/page/54121911

Identification aids assume a specimen can be examined from different aspects, so please provide photographs of several views cleaned of all debris if seeking identification.

SNAILS: straight on views of aperture with animal withdrawn. profile, and umbilicus (if present) are most useful. (You may need to prod it to get it to withdraw). For marine species see www.flickr.com/photos/56388191@N08/collections/

LAND SLUGS: right side with pneumostome (breathing hole), dorsal view and, if possible, sole seen through glass. (Some require dissection.)

BIVALVES: straight on views of both exterior and interior of shell and hinge teeth. Try to get the light to catch the scars left by muscle and mantle attachment.

For North Atlantic marine bivalve species see naturalhistory.museumwales.ac.uk/BritishBivalves/home.php?

For museum or scientific publication standard views download the pdf at www.researchgate.net/publication/331044326_Standard_views...

If you are interested in non-marine mollusc species that live in Europe and agree to post well posed images if for identification, you may like to join www.facebook.com/groups/LaFMoll

DITTO for marine species www.facebook.com/groups/british.marine.mollusca [Not for trade. If not resident in Europe please explain why you wish to join either group]

Many thanks for your visits, faves and comments. Cheers.

Australian Water Dragon

This is an The Eastern Water Dragon Intellagama lesueurii lesueurii, is a subspecies that occurs along the east coast of Australia from Cooktown in the north down to the New South Wales south coast (approximately at Kangaroo Valley) where it is replaced with the Gippsland Water Dragon Intellagama lesueurii howittii (there are a lot of young ones around Sandy Camp Rd Wetlands at the moment)

Scientific Name: Intellegama lesueurii

Identification: The genus Physignathus was described by George Cuvier (1769-1832) in 1829 based on the type specimen of the genus; the Green Water Dragon, Physignathus cocincinus of south-east Asia. The name Physignathus translates to "puff-cheek" and refers to the bulging appearance of the throat and lower jaw. Physignathus comprises two recognised species; Physignathus lesueurii and Physignathus concincinus. The specific name lesueurii honours the French naturalist Charles-Alexandre Lesueur (1778-1846) who collected this species on the Baudin expedition of 1800. There are two recognised subspecies of Water Dragon; the Eastern Water Dragon, Physignathus lesueurii lesueurii and the Gippsland Water Dragon, Physignathus lesueurii howittii. A recent taxonomic review concluded that the Australian species of Physignathus shows enough differing characteristics to classify it in its own genus, since Physignathus was first assigned to P. cocincinus, a new genus hand to be created for the Australian Water Dragons. In 2012 the species was officially renamed Itellagama lesueurii.

The Water Dragon can be identified by a distinctively deep angular head and nuchal crest of spinose scales that joins the vertebral crest extending down the length of its body to the tail. Enlarged spinose scales are also present across the lateral surface, unevenly distributed amongst regular keeled scales. The jowls are large and ear is exposed and of almost equal size of the eye. The dorsal ridge and tail are laterally compressed and the limbs are strong and robust with particularly long toes on the hind legs. The tail is capable of regeneration when lost, furthermore, regenerated tails can also grow back when severed.

Colouration differs between the subspecies; the Eastern Water Dragon, Itellagama lesueurii lesueurii, has a grey to brownish-grey colour above with patterns of black stripes along the dorsal ridge as well as down the tail. There is also a dark stripe horizontally from the eye back over the tympanum and extending down the neck. The limbs are mostly black with spots and stripes of grey and the tail is patterned with grey and black stripes. The ventral surface is yellowish-brown, with the chest and upper belly becoming bright red in mature males.

The Gippsland Water Dragon, Itellagama lesueurii howittii, is identical in morphology apart from slightly smaller spinose scales but differs in colouration and patterning. Dorsally the body is olive-green to brown in colour with transverse black stripes. The dark stripe from the eye to ear is absent. Mature males have dark blue-green chests and streaks of yellow and blue around the neck and throat.

Size range: Total length of 80 to 90cm

Distribution: Water Dragons are found in eastern Australia as well as southern New Guinea. The Eastern subspecies, Itellagama lesueurii lesueurii, occurs along the east coast of Australia from Cooktown in the north down to the New South Wales south coast (approximately at Kangaroo Valley) where it is replaced with the Gippsland subspecies Itellagama lesueurii howittii, which is distributed as far south and into the Gippsland region of eastern Victoria. There are also at least one anthropologically introduced feral population found in the Mount Lofty Ranges near Adelaide in South Australia.

Habitat: The habitats available to this species differ greatly over its distribution, from tropical rainforest in the north to alpine streams in the south. Flowing water with ample tree cover and basking sites appear to be the key to habitat preference for this species. Water dragons will be found in built-up urban areas provided that the above conditions can be found and water quality is fair.

Feeding and Diet: Water Dragons are completely insectivorous as juveniles, however as they grow they become more omnivorous with vegetable matter gradually making up to almost half of the diet. In the wild Water Dragons have been observed ground feeding on insects such as ants as well as foraging amongst the branches of trees for arboreal invertebrates like cicadas. They may also consume molluscs and crustaceans such as yabbies, and individuals have been reported foraging for algae and crabs in intertidal zones of the Sydney region. Juvenile Water Dragons have also been observed feeding on mosquitoes which they will jump in the air to catch. Types of vegetation reportedly consumed include figs, lilly-pilly fruits, and other fruits and flowers. Water Dragons are believed to forage underwater, however this is based on one observation of diving Water Dragons returning to the surface and moving their jaws.

Other behaviours and adaptations: The Water Dragon is more often heard than seen as it dives into the water when disturbed. It can remain submerged for around one hour. This species has a much lower preferred body temperature than other large dragons and can remain in the water or in shade on hot days. They are often seen on overcast days or in the morning basking in the available heat.

Water Dragons have quite contrasting activity patterns that are dependent on the season and average daily temperature within its range. During spring and summer, Water Dragons of all ages and sizes can be seen in the various riparian environments they inhabit - basking on riverbanks and rocks, lounging in trees, swimming, as well as foraging for food on land. They can sometimes be hard to observe, and even animals accustomed to human attention will be quick to escape if approached too closely, by either dropping from rock ledges and branches into the water or running bipedally to the water or thick cover. Young Water Dragons prefer to be on the ground and appear to be more wary than the larger adults. Juveniles of I. l. lesueurii have been observed staying completely still when discovered in a grassed section metres from the water, relying heavily on their dull grey camouflage to blend in with the grass and fallen leaves.

Life cycle: Growth rate is fastest in the first year with hatchings from one mark-recapture project growing 2.25mm or 1.25g per month. One individual measured in its first season in March 1990 was 78mm from snout to vent and weighed 17g. The following year in January this same individual had a snout to vent length of 101mm and was 34g.

Mating and reproduction

The timing of breeding is determined by the onset of warmer weather in spring which occurs sooner in populations inhabiting northern Queensland and later in populations living in Gippsland. In the Sydney region, the breeding season begins in September, when courtship and mating begins, and concludes in January when the last clutches of eggs are laid.

Males are thought to be sexually mature at a snout-vent length of about 210 mm and a mass of 400 g. In the wild this occurs at approximately 5 years of age; in captivity however this can occur as early as 2 years. A single captive female was recorded reproducing from the age of 4 until it was 27 years of age. It is unclear how long males can remain reproductive.

Males of similar size will fight each other when confronted. A male will first attempt to deter his opponent through intimidation, e.g. by walking tall and puffing out the throat with the mouth open wide (see Image 18), and will try to appear as large as possible. If this does not deter the opponent, then ritual combat will result. Male combat includes both animals siding up to each other on the ground so that each animal has its head next to its opponentâs hip area. Both animals will circle each other while taking short bites at each others hip and neck regions. Then they may stop still before erupting into action and repeating this pattern over several more times. Before the end of the battle both opponents will have wounds from biting and scratching on their hips and necks. Fighting between wild males has been observed lasting for ten minutes.

Females can reproduce twice a season in captivity; however this has not been reported in mark-recapture studies of wild populations.

Females begin digging test holes in sandy soil from a week to three days prior to laying. Water Dragon clutch size ranges from 6 to 18. Mean mass of individual eggs varies from about 4.0 to 5.1g.

Predators, Parasites and Diseases

Small Water Dragons have been observed being taken by Brown Tree Snakes Boiga irregularis which hunt for them in the tree branches as they sleep. Other species of snakes known to prey on juvenile Water Dragons include Death Adders Acanthophis antarcticus, Copperheads Austrelaps superbus and Red-bellied Black Snakes Pseudechis porphyriacus. Hatchlings and young dragons are also known to be cannibalised by adult Water Dragons in some wild populations.

(Source: Australian Museum)

© Chris Burns 2017

__________________________________________

All rights reserved.

This image may not be copied, reproduced, distributed, republished, downloaded, displayed, posted or transmitted in any form or by any means, including electronic, mechanical, photocopying and recording without my written consent.

the left body is a very early Petra body. (ca.1964-66). Only these have the small neck knob. the middle body is a Petra from the late 1960s-early 1970s and those have the big neck knob. the very right body belongs to the first version of Peggy; you can see the small neck knob again. I havent got the first Fred doll yet, but i know he has also the small neck knob. So, if you have a Plasty doll with a very small neck knob and without any marking on back or head, it is one of the very early Plasty dolls.

important note: i often see sellers on Ebay, who sell "Hong Kong" marked dolls as Petras, but as far as i know - and i am pretty sure - none of the vintage Petra dolls (1964-1980) has a Hong Kong marking (Plasty dolls werent produced in Hong Kong!)

Photo: Svalbard Global Seed Vault/Riccardo Gangale

Niagara Falls identification

The pages about the Fashion QUeen are missing...someone torn them apart...but I love it anyway! thanks!!!

signs: The Fashion Queen (reproduction 2010, not the original from 1963!)

P.D. please Fashionistas from Spain, don´t send more books , only hunky Kens please!...and young ones...

P.S. Don´t send more Malibu Kens, he turned out to be a beach bum! I need a millionaire one! jewels and cash are welcomed too! signs: Fashion Queen Repro 2010!

identification

An Eucalyptus identification for the RTBG Trainees was held last Thursday on Snug Tiers, Snug Tiers has 16 of the 30 Tasmanian Eucalyptus species with only Snow Hill on the Eastern Tiers having more (18 species).We were able to look at 14 of the 16 species found on the Tiers during the day as well as surveying Telopea truncata and Gymnoschoenus sphaerocephalus for possible seed collection.

N'hésitez pas à visiter et liker ma page facebook ;-)

Come visit and like my Fb page :)

www.facebook.com/seguretmichel

+++ DISCLAIMER +++

Nothing you see here is real, even though the model, the conversion or the presented background story might be based historical facts. BEWARE!

Some background:

In the aftermath of the Second World War, Sweden required a strong air defense, utilizing the newly developed jet propulsion technology. This led to a pair of proposals being issued by the Saab design team, led by Lars Brising. The first of these, codenamed R101, was a cigar-shaped aircraft, which bore a resemblance to the American Lockheed P-80 Shooting Star. The second design, which would later be picked as the winner, was a barrel-shaped design, codenamed R 1001, which proved to be both faster and more agile upon closer study.

All Sk 29 Bs were concentrated at the F 5 Ljungbyhed Kungliga Krigsflygskolan training wing in southern Sweden, where two flights were equipped with it. Unofficially dubbed “Skola Tunnan” (literally “School Barrel”), the Sk 29B performed a solid career, even though the machines were gradually retired from 1966 onwards. A dozen Sk 29 B remained active until 1972 in various supportive roles, including target tugging, air sampling and liaison duties, while the final Vampire trainer was already retired in 1968. But by the early Seventies, the trainer role had been taken over by the brand new Saab 105/Sk 60 trainer, the long-awaited domestic development, and Sk 35 Draken trainers.

General characteristics:

Crew: 2

Length: 10.23 m (33 ft 7 in)

Wingspan: 11.0 m (36 ft 1 in)

Height: 3.75 m (12 ft 4 in)

Wing area: 24.15 m² (260.0 ft²)

Empty weight: 5,120 kg (11,277 lb)

Max. takeoff weight: 8,375 kg (18,465 lb)

Powerplant:

1× Svenska Flygmotor RM2 turbojet, rated at 5,000 lbf (22.2 kN)

Performance:

Maximum speed: 1,010 km/h (627 mph)

Range: 1,060 km (658 mi)

Service ceiling: 15,500 m (50,850 ft)

Rate of climb: 30.5 m/s (6,000 ft/min)

Armament:

2x 20mm Hispano Mark V autocannon in the lower front fuselage

Underwing hardpoints for various unguided missiles and iron bombs, or a pair drop tanks

The kit and its assembly:

Another Saab 29 conversion of a variant that was thought about but never materialized, much like the radar-equipped all-weather fighter. The impulse to tackle this stunt was a leftover D. H. Vampire trainer fuselage pod in my stash (from the ‘Mystery Jet’ conversion a couple of months ago, from an Airfix kit). The canopy’s shape and dimensions appeared like a sound match for the tubby J 29, and so I decided to try this stunt.

The basis is the Heller J 29 kit, which is, despite raised surface details, IMHO the better kit than the rather simple Matchbox offering. However, what makes things more hazardous, though, is the kit’s option to build the S 29 C reconnaissance variant – the lower front fuselage is a separate part, and any surgery around the cockpit weakens the kit’s overall stability considerably. Unlike the J 29D all-weather fighter built recently, I had no visual reference material. The only valid information I was able to dig up was that a side-by-side cockpit had been the preferred layout for this paper project.

Implanting a new cockpit is always hazardous, and I have never tried to integrate a side-by-side arrangement into a single seater. The Vampire cockpit was finished first, and also mounted into the Vampire’s original cockpit pod halves, because I was able to use its side walls and also had the original canopy parts left over – and using the Vampire’s cockpit opening would ensure a good fit and limit PSR work around the clear parts. Once the Vampire cockpit tub was complete, the “implant” was trimmed down as far as possible.

Next step was to prepare the Tunnan to accept the donor cockpit. In order to avoid structural trouble I finished the two fuselage halves first, mounted the air intake with the duct to the front end, but left the fighter version’s gun tray away (while preparing it with a load of lead). The idea was to put the Vampire cockpit into position from below into the Tunnan’s fuselage, until all outer surfaces would more or less match in order to minimize PSR work.

With the Vampire cockpit as benchmark, I carefully tried to draw its outlines onto the upper front fuselage. The following cutting and trimming sessions too several turns. To my surprise, the side-by-side cockpit’s width was the least problem – it fits very well inside of the J 29 fuselage’s confines, even though the front end turned out to be troublesome. Space in length became an issue, too, because the Airfix Vampire cockpit is pretty complete: it comes with all pedals, a front and a rear bulkhead, and its bulged canopy extends pretty far backwards into an aerodynamic fairing. As a result, it’s unfortunately very long… Furthermore, air intake duct reaches deep into the Tunnan’s nose, too, so that width was not the (expected) problem, but rather length!

Eventually, the cockpit lost the front bulkhead and had to trimmed and slimmed down further, because, despite its bulky fuselage, the Tunnan’s nose is rather narrow. As a consequence the Vampire cockpit had to be moved back by about 3mm, relative to the single-seater’s canopy, and the area in front of the cockpit/above the air intake duct had to be completely re-sculpted, which took several PSR stages. Since the Vampire’s canopy shape is very different and its windscreen less steep (and actually a flat glass panel), I think this change is not too obvious, tough, and looks like a natural part of the fictional real-life conversion. However, a fiddly operation, and it took some serious effort to blend the new parts into the Tunnan fuselage, especially the windscreen.

Once the cockpit was in place, the lower front fuselage with the guns (the upper pair had disappeared in the meantime) was mounted, and the wings followed suit. In this case, I modified the flaps into a lowered position, and, as a subtle detail, the Tunnan kit lost its retrofitted dogtooth wings, so that they resemble the initial, simple wing of the J 29 A and B variants. Thanks to the massive construction of the kit’s wings (they consist of two halves, but these are very thin and almost massive), this was a relatively easy task.

The rest of the Tunnan was built mostly OOB; it is a typical Heller kit of the Seventies: simple, with raised surface detail, relatively good fit (despite the need to use putty) and anything you could ask for a J 29 in 1:72 scale. I just replaced the drop tanks with shorter, thicker alternatives – early J 29 frequently carried Vampire drop tanks without fins, and the more stout replacements appeared very suitable for a trainer.

The pitots on the wing tips had to be scratched, since they got lost with the wing modifications - but OOB they are relatively thick and short, anyway. Further additions include a tail bumper and extra dorsal and ventral antennae, plus a fairing for a rotating warning light, inspired by a similar installation on the late J 29 target tugs.

Painting and markings:

As usual, I wanted a relatively plausible livery and kept things simple. Early J 29 fighters were almost exclusively left in bare metal finish, and the Swedish Vampire trainers were either operated in NMF with orange markings (very similar to the RAF trainers), or they carried the Swedish standard dark green/blue grey livery.

I stuck to the Tunnan’s standard NMF livery, but added dark green on wing tips and fin, which were widely added in order to make formation flight and general identification easier. However, some dayglow markings were added on the fuselage and wings, too, so that – together with the tactical markings – a colorful and distinct look was created, yet in line with typical Swedish Air Force markings in the late Fifties/early Sixties.

The NMF livery was created with an overall coat of Revell 99 acrylic paint (Aluminum), on top of which various shades of Metallizer were dry-brushed, panel by panel. Around the exhaust, a darker base tone (Revell 91, Iron Metallic and Steel Metallizer) was used. Around the cockpit, in order to simulate the retrofitted parts, some panels received a lighter base with Humbrol 191.

The raised panel lines were emphasized through a light black in wash and careful rubbing with grinded graphite on a soft cotton cloth – with the benefit that the graphite adds a further, metallic shine to the surface and destroys the uniform, clean NMF look. On the front fuselage, where many details got lost through the PSR work, panel lines were painted with a thin, soft pencil.

The cockpit interior became dark green-grey (Revell 67 comes pretty close to the original color), the landing gear wells medium grey (Revell 57). The dark green markings on fin and wing tips were painted with Humbrol 163 (RAF Dark Green), which comes IMHO close to the Swedish “Mörkgrön”. The orange bands were painted, too, with a base of Humbrol 82 (Orange Lining) on top of which a thin coat of fluorescent orange (Humbrol 209) was later added. Even though the NMF Tunnan did not carry anti-dazzle paint in front of the windscreen, I added a black panel because of the relatively flat area there on the modified kit.

Decals come from different sources: roundels and stencils come from the Heller kit’s sheet, the squadron code number from a Flying Colors sheet with Swedish ciphers in various colors and sizes for the late Fifties time frame, while the tactical code on the fin was taken from a Saab 32 sheet.

Finally the kit was sealed with a “¾ matt”, acrylic varnish, mixed from glossy and matt varnishes.

An effective and subtle conversion, and a bigger stunt than one might think at first sight. The Tunnan two-seater does, hoewever, not look as disturbing as, for instance, the BAC Lightning or Hawker Hunter trainer variants? The rhinoplasty was massive and took some serious PSR, though, and the livery was also more demanding than it might seem. But: this is what IMHO a real Saab 29 trainer could have looked like, if it had left the drawing boards in the early Fifties. And it even looks good! :D

I got VERY lucky in a thrift store. I ended up with a bunch of doll clothes and thought I'd ask about some of the pieces I'm most curious about.

(NO SALE.)

* Blue and pink mini jacket with leg-o-mutton sleeves and a rainbow design. I can squeeze a Barbie in to it but I think it might be ment for a smaller doll

* Plaid, ruffled top with pink straps. For a doll smaller than a Barbie but bigger than a Bratz.

* Barbie dress. I am SURE I saw it either in a pack or on a doll. Shiny silver top and sleeves, purple bottom with a ruffle and a star print. The stars used to be glittered. I washed it and it all came off and since I washed a number of glittery things, I don't know what color they were. :<

* Red knit hoodie, probably from Barbie. V-neck, button on the left side of the neckline, cord bow on the bottom.

The Burgtheater at Dr.-Karl -Lueger-Ring (from now on, 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.

Early juveniles in August when all or most adults dead. Similar form to adults, but periostracum thinner and paler, and spire protrudes less.

Maximum dimension 4.1 mm and 3.3 mm, Portlethen, north-east Scotland, August 1970.

Full SPECIES DESCRIPTION BELOW

Revised PDF available at www.researchgate.net/publication/372768813_Lacuna_pallidu....

Sets of OTHER SPECIES at: www.flickr.com/photos/56388191@N08/collections/

Lacuna pallidula (da Costa, 1778)

Synonyms: Cochlea pallidula da Costa, 1778; Lacuna neritoidea Gould, 1840; Lacuna patula Thorpe, 1844; Lacuna retusa Brown.

Current taxonomy: WoRMS www.marinespecies.org/aphia.php?p=taxdetails&id=140168

Vernacular: Pallid chink shell; Pale lacuna; Gwichiad agennog gwelw (Welsh); Lacuna pâle (French); Lavspiret grubesnegl (Danish); Bleke scheefhoren (Dutch); Blek lagunsnäcka (Swedish).

Shell description

The largest dimension of female shells is up to about 12 mm fig. 01 flic.kr/p/2kNQ7pc and males grow to 6 mm. The species has an annual life cycle; all or most adults are dead by June. Their small juvenile offspring occur in summer fig. 02 flic.kr/p/2kGH2G9 , growing to full size in winter. The body whorl forms the great majority of the shell, and the very small spire is sunk below the upper margin in most views. Juveniles are similar in form with a slightly lower spire. Sutures between the whorls are distinct. The smooth surface has no sculpture apart from numerous, growth lines.

One face of the hollow columella is missing, exposing a long wide columellar groove (lacuna, chink or canal), leading to a large funnel-like umbilicus fig. 03 flic.kr/p/2kNL1YB . On some specimens the columellar groove is indistinct and the umbilicus reduced fig. 04 flic.kr/p/2kNPCc9 and fig. 05 flic.kr/p/2oQ83ra .

The very large ‘D’ shape aperture is as high as the whole shell, and it occupies about 75% of the area in apertural-view images fig. 01 flic.kr/p/2kNQ7pc . The palatal lip is semi-circular, and it continues along the abapertural side of the columellar groove. The wide, white columellar lip forms the adapertural edge of the groove fig. 03 flic.kr/p/2kNL1YB .

The ‘D’ shape operculum is a rapidly expanding oligogyrous spiral with its off-centre nucleus close to the base of the columellar lip. It is transparent, tinted yellow fig. 04 flic.kr/p/2kNPCc9 & fig. 06 flic.kr/p/2kNL1Ut or nearly colourless fig. 05 flic.kr/p/2oQ83ra . The substantial periostracum is olive-brown with distinct growth lines on large specimens fig. 07 flic.kr/p/2kNQ773, and it usually extends beyond the lip of the aperture fig. 04 flic.kr/p/2kNPCc9 . Under the periostracum, the calcareous shell is white or yellowish white fig. 01 flic.kr/p/2kNQ7pc . Live adults with a thick opaque periostracum are olive-green/brown in water fig. 08 flic.kr/p/2kNPC3g becoming dull brown when dead and dried fig. 01 flic.kr/p/2kNQ7pc . There are no coloured bands or variegation at any stage.

Body description

The flesh is translucent white with varying amounts of yellow or pink tinting fig. 07 flic.kr/p/2kNQ773 and fig. 05 flic.kr/p/2oQ83ra . The snout is ventrally slit fig.06 flic.kr/p/2kNL1Ut and usually rolled into a cylinder fig. 09 flic.kr/p/2oQ92WM . The extended cephalic tentacles are long, smooth, translucent whitish and taper to a blunt tip. When contracted they wrinkle and any yellow tint is intensified fig. 08 flic.kr/p/2kNPC3g . There is a black eye on a slight bulge at the base of each tentacle fig. 07 flic.kr/p/2kNQ773 . The roof of the mantle cavity is whitish translucent showing the colour of the shell except for the mantle edge which is thick and sometimes yellowish fig. 09 flic.kr/p/2oQ92WM . The foot is white with varying amounts of yellow or pink fig. 07 flic.kr/p/2kNQ773 , especially on the opercular disc which supports, and is visible under and through, the transparent operculum fig. 05 flic.kr/p/2oQ83ra and fig. 09 flic.kr/p/2oQ92WM . The two small, flat metapodial tentacles protrude beyond the posterior of the operculum fig. 09 flic.kr/p/2oQ92WM .

Key identification features

Lacuna pallidula

1) Columellar groove (lacuna or chink) leads to umbilicus fig. 01 flic.kr/p/2kNQ7pc but is sometimes sealed over fig. 04 flic.kr/p/2kNPCc9 .

2) Largest dimensions up to 12 mm (female) and 6 mm (male). Hardly any of the spire protrudes beyond the body whorl fig. 01 flic.kr/p/2kNQ7pc

3) Very large ‘D’ shape aperture equals shell height and occupies about 75% of area in apertural view fig. 01 flic.kr/p/2kNQ7pc.

4) Shell olive-brown with no spiral bands fig. 08 flic.kr/p/2kNPC3g .

5) Body white fig. 07 flic.kr/p/2kNQ773 , sometimes yellowish or pinkish; no grey stipple.

6) Found mainly on Fucus serratus and sometimes on Laminaria.

Similar species

Lacuna parva (da Costa, 1778) fig. 10 flic.kr/p/2kNL1A2 .

1) Columellar groove (“lacuna” or “chink) leads to umbilicus. 2) Usual maximum height 4 mm; sometimes 6 mm. Spire 30% to 40% of shell height.

3) Aperture occupies about 50% of area in apertural-view images.

4) Body whorl has three brown spiral bands; basal band 1 easily overlooked if base of shell not examined. Some shells are uniform white or brown with no bands.

5) Body translucent white, usually stippled grey.

6) Found mainly, especially when young, on small red weeds. Sometimes on fucoids.

Littorina fabalis (W. Turton, 1825) and

L. obtusata (Linnaeus, 1758) fig. 11 flic.kr/p/2kNPBJk .

1) No columellar groove or umbilicus.

2) Maximum dimension up to 17 mm. Very large body whorl and small spire.

3) Aperture occupies about 50% of area in apertural-view images.

4) Shell of L. obtusata is sometimes greenish olive.

5) Body varied shades of yellow, brown or black.

6) Found on Fucus serratus (L. fabalis) or Ascophyllum (L. obtusata) and on Fucus vesiculosus (both).

Lacuna vincta (Montagu, 1803) fig. 12 flic.kr/p/2kNQ6PK .

1) Columellar groove (“lacuna” or “chink”) leads to umbilicus. 2) Maximum height about 10 mm. Well developed spire about 50% of adult shell height, and about 30% on juveniles less than 3 mm high.

3) Aperture occupies about 30% of area in apertural-view images of full grown adults.

4) Body whorl has four brown spiral bands.

5) Body whitish with grey, yellow, orange and/or aquamarine parts.

6) Found on Laminaria and, especially juveniles, on small red weeds. Also on Zostera and sometimes on fucoids.

Lacuna crassior (Montagu, 1803) fig. 13 flic.kr/p/2kGH26u

1) Wide white columellar shelf. Usually no groove or umbilicus but sometimes small ones present.

2) Distinct spire about 50% of mature shell height, about 45% when younger.

3) Aperture occupies about 30% of area in apertural view.

4) Shell when live, has translucent, yellowish-brown spire and brownish-white body whorl. Thick periostracum has distinct, raised, transverse (costal) ridges. Dead dry shells are dull yellowish-brown if periostracum retained, yellowish white with faint spiral lines if periostracum worn off.

5) Body translucent whitish.

6) A rare species which often associates with the bryozoan Alcyonidium diaphanum.

Habits and ecology

L. pallidula feeds on the surface of Fucus serratus (Smith, 1973) and Laminaria (Lebour, 1937) near low water on rocky shores and to 70 metres depth. It is usually absent where turbidity or soft substrate prevents growth of F. serratus. It cannot survive desiccation. Some populations live in the Baltic in salinity down to 12‰.

It moves with a bipedal stepping motion, lifting alternately the right and left sides of the foot. It breeds in late winter and spring, sometimes extending into summer and autumn, with a maximum in February to May in Britain, but precise dates vary regionally. The spawn mass is a low gelatinous dome with an almost circular, oval base (not kidney-shape), diameter 3.9 mm to 5.3 mm (Lebour, 1937), laid on fronds of F. serratus or Laminaria. There are up to about 200 ova per spawn mass fig. 14 flic.kr/p/2kNQ71M . In the low salinity Øresund, Denmark, the masses are smaller with as few as 13 ova (Thorson, 1946 in Fretter & Graham, 1962).

Fretter and Graham (1962) reported confusion with the spawn of “Littorina littoralis” (the name mistakenly used formerly by British authors for an aggregate of Littorina obtusata and L. fabalis). The limited material examined for this account suggests the confusion is with L. fabalis which lives on F. serratus at the same shore level and lays similar, almost circular oval spawn masses, while L. obtusata lives higher up the shore, favouring Ascophyllum, and often lays kidney-shaped spawn masses up to 7 mm long. The difference between the spawn masses of L. fabalis and Lacuna pallidula may be that the latter has a distinctly bevelled peripheral rim while the surface of the former slopes to the substrate without a break in slope fig. 14 flic.kr/p/2kNQ71M . But more investigation is required to test these suggestions; the difference might be due to age of spawn mass. Lacuna parva also has similar spawn but it is found on red algae and is smaller, about 2.5 mm diameter with about 50 ova in Britain fig. 14 flic.kr/p/2kNQ71M ; 2.2 mm to 2.5 mm with 6 to16 ova in the brackish Øresund (Ockelmann & Nielsen, 1981 in Wigham & Graham, 2017).

The individual egg capsules of L. pallidula become angular as they swell and become crowded and compressed. There is no planktonic veliger stage; young emerge as tiny crawling snails. Through a microscope, just before hatching, two tentacular extensions of the opercular disc protruding beyond the operculum may be detected on the embryos within the clear capsules (Fretter & Graham, 1962). Males die after mating, and the females about a month later, so all or most adults breeding in the main period are dead by June or July, and few specimens over 5 mm high can be found in August fig. 02 flic.kr/p/2kGH2G9 . Both sexes grow rapidly until October. From October to February males grow slowly, but females at three times their rate so that by breeding time they are over twice as high as males (Thorson, 1946 in Fretter & Graham, 1962). When mating, the small male rides on the female’s shell near the aperture with his penis inserted into her mantle cavity.

Distribution and status

L. pallidula occurs from northern Norway and Iceland to Atlantic Spain and New England (USA). GBIF map www.gbif.org/species/2301181

It is found all around Britain and Ireland, but is scarce or absent in the north-eastern Irish Sea and southern North Sea where lack of hard substrate and/or turbidity hinder the growth of Fucus serratus and Laminaria. UK distribution map NBN species.nbnatlas.org/species/NBNSYS0000175975#tab_mapView

Acknowledgements

For use of an image, I thank Rob Durrant.

References and links

Forbes, E. & Hanley S. 1849-53. A history of the British mollusca and their shells. vol. 3 (1853), London, van Voorst. archive.org/details/historyofbritish03forbe/page/56/mode/2up

Also plate LXX11 at end of vol.4, fig. 1 & 2, also fig. 3 & 4 labelled “L. patula” archive.org/details/historyofbritish04forbe/page/n459/mod...

Fretter, V. and Graham, A. 1962. British prosobranch molluscs. London, Ray Society.

Graham, A. 1988. Molluscs: prosobranch and pyramidellid gastropods. Synopses of the British Fauna (New Series) no.2 (Second edition). Leiden, E.J.Brill/Dr. W. Backhuys. 662 pp.

Jeffreys, J.G. 1862-69. British conchology. vol. 3 (1865). London, van Voorst.

archive.org/details/britishconcholog03jeffr/page/350/mode...

Lebour, M.V. 1937. The eggs and larvae of the British prosobranchs with special reference to those living in the plankton. J. mar. biol. Ass. U.K., 22: 105 – 166. plymsea.ac.uk/953/

Ockelmann, K. W. and Nielsen, C. 1981. On the biology of the prosobranch Lacuna parva in the Øresund. Ophelia 20: 1-16.

Abstract at www.tandfonline.com/doi/abs/10.1080/00785236.1981.10426559

Smith, D. A. S. 1973. The population biology of Lacuna pallidula (da Costa) and Lacuna vincta (Montagu) in north-east England. J. mar. biol. Ass. U.K., 53: 493-520.

Thorson, G. 1946. Reproduction and larval development of the Danish marine bottom invertebrates. Meddelelser fra Kommissionen for Danmarks Fiskeri- og Havundersøgelser, Serie Plankton 4: 1-523.

Wigham, G.D. & Graham, A. 2017. Marine gastropods 2: Littorinimorpha and other, unassigned, Caenogastropoda. Synopses of the British Fauna (New Series) no.61. (344 pages). Field Studies Council, Telford, England.

Glossary

‰ = (salinity) parts salt per thousand parts water (brackish <30‰).

abapertural = away from the aperture.

abapical = away from the apex of the shell.

adapertural = towards the aperture

adapical = towards the apex of the shell.

aperture = mouth of gastropod shell; outlet for head and foot.

apical = at or near the apex.

chink = (see columellar groove).

columella = solid or hollow axis around which gastropod shell spirals; concealed except next to aperture where hollow ones may end in an umbilicus, slit or siphonal canal.

columellar = (adj.) of or near central axis of spiral gastropod,

columellar groove = Groove where one face of hollow columella missing, terminates in umbilicus. Also called “lacuna” or “chink.

columellar lip = lower (abapical) part of inner lip of aperture.

cephalic = (adj.) of the head.

costa = (pl. costae) rib crossing a whorl of a gastropod shell at about 90° to direction of coiling and any spiral ribs or lines.

costal = (adj.) of, or arranged like, costae.

ctenidium = comb-like molluscan gill; usually an axis with a row of filaments either side.

height = (of gastropod shells) distance from apex of spire to base of aperture.

lacuna = (see columellar groove).

mantle = sheet of tissue that secretes the shell and forms a cavity for the gill.

oligogyrous = (of a spiral) having few turns.

operculum = plate of horny conchiolin used to close shell aperture.

palatal lip = outer lip of gastropod aperture.

parietal lip = upper (adapical) part of inner lip of gastropod aperture that lies, often as a glaze, on surface of whorl.

periostracum = thin horny layer of conchiolin often coating shells.

plankton = animals and plants that drift in pelagic zone (main body of water).

protoconch = apical whorls produced during embryonic and larval stages of gastropod; often different in form from other whorls.

suture = groove or line where whorls adjoin.

umbilicus = cavity up axis of some gastropods, open as a hole or chink on base of shell, sometimes sealed over.

umbilical groove = narrow slit opening of umbilicus on some gastropods.

veliger = shelled larva of marine gastropod or bivalve mollusc which swims by beating cilia of a velum (bilobed flap).

I didn't make this list, I may look for the items on the company sites.

Photos from an article about some different identifying marks on chips. You can read that article here.

Is this some type of Peperomia? Leaves about 2.5 x 3.0 cms. I bought it in the supermarket today as a "succulent" ....

It has attractive maroon veins. Species or hybrid if Peperomias make hybrids?

In a panel discussion in the Kennedy Space Center’s Operations Support Building II, social media followers were briefed by NASA scientists on asteroids, how they relate to the origins of our solar system and the search for life beyond Earth. The discussion took place before launch of the agency’s Origins, Spectral Interpretation, Resource Identification, Security-Regolith Explorer, or OSIRIS-REx spacecraft. Panelists in view are, from the left, Felicia Chou, NASA Communications; Alex Young, associate director for science in the Heliophysics Science Division at NASA’s Goddard Space Flight Center in Greenbelt, Maryland; and Lindley Johnson, director of the Planetary Defense Coordination Office in NASA’s Science Mission Directorate. Also participating in the panel discussion are Ellen Stofan, NASA chief scientist and Michelle Thaller, deputy director of science communications for NASA’s Science Mission Directorate.

Photo credit: NASA/Kim Shiflett

Can anyone ID this?

IDENTIFICATION

Call Sign: LMYV 3

IMO No: 9328546

DnV no: 25984

MMSI no: 258366000

SERVICES AVAILABLE

The vessel is equipped and fitted for the following

services:

Platform Supply

Oil Recovery operations - Dispersant

Good station keeping, ERN 99.99.99.68

MAIN DETAILS

Type: MT-6000 MK2

Supply /Service Vessel / Oil Rec

Class DnV

1A1 Clean COMF V(3) DK(+) DYNPOS(AUTR) E0 HL(2.8)

LFL(*) NAUT(OSV) OILREC SF DK(+)

Certificates

World Wide, SOLAS 74/78

Load line conv. 1969,

NOFO2009

Yard and Registry

Builders Aker Langsten

Vessel built 2005

Port of registry Stavanger

Flag Norwegian

MAIN DIMENSIONS

L.o.a. 85,65 m

L.p.p. 78,00m

Breadth 19,70 m

Deadweight 4248 t

Draught, design/Scantl. 6,0m

GT(ITC) 3331t

NT (ITC) 1212t

DECK SPACE / STRENGTH

Deck areal 58,6m*16m 914 m²

Deck Cargo 3215 tons

Deck strength 10-5 t/m²

TANK CAPACITIES

Ballast water 1012 m3

Drill water 1012 m3

Pot water 838 m3

Dry bulk cargo tanks 397 m3

Base oil (Special products) 170 m3

Fuel oil 1417 m3

Liquid Mud (6 tanks) 653 m3

Liquid Brine (4 tanks) 646 m3

Methanol/Special Prod (2 tanks) 170 m3

Recovered oil 1500 m3

Dispersant 50 m3

CARGO LINE CONNECTIONS

Fuel oil 4” Avery Hardoll male

Pot water 4” Weco female

Drill water 4” Weco female

Brine 4” Weco male

Liquid mud 4” Weco female

Methanol 4“ Avery Hardoll male

Barite 5” Best, female

Cement 5” Best, male

Spec. Product 4“ Avery Hardoll male

Slop 4” Todo , male

CARGO DISCHARGING PUMPS

Fuel oil (el-driven) 2x 0-250 m³/h - 9 bar

DW/Ball (el-driven) 2x 0-150 m³/h - 9 bar

Pot water (el-drv) 2x 0-150 m³/h - 9 bar

Liq. Mud (el-driven) 2x 0-85 m³/h - 24 bar

Liq. Mud (el-driven) 1x 0-125 m³/h - 24 bar

Brine (el-driven) 2x 0-100 m³/h - 18 bar

Methanol (hyd drv) 2x 75 m³/h -7,2 bar

Spec. Prod. (h. drv) 2x 75 m³/h -7,2 bar

Dry bulk Van Alst 2x 100 ton/h wp 5,6 bar

CRANES

One off deck crane 3 T @ 10 m. ABAS

One off deck crane 3 T @ 16 m. ABAS

DYNAMIC POSITION SYSTEM DP-2

Kongsberg Maritime SDP-22

DnV class DYNPOS – AUTR

2 DGPS

Cyscan

ERN Number: 99.99.99.68

NAVIGATION EQUIPMENT

2x Electronic chart system; TECDIS JH 20T04

1x AIS Type: Furuno FA - 100

1x 10 cm ARPA radar type Furuno FAR 2827

1x 3 cm ARPA radar type Furuno FCR 2837 S

1x DGPS type Seatex DPS 116

1x DGPS type Seatex DPS 200

1x GPS type: Furuno GP - 90

3x Gyro type: Plath Navigat X MK1 mod 10

1x Autopilot type: Sperry Navipilot

1x Echo Sounder type Furuno FE - 700

1x Doppler Log type Furuno DS- 80

3x Conning Display

1x VDR: Furuno VR- 5000

1x AIS Furuno

1x Navtex Type: Furuno NX-50

COMMUNICATION SYSTEMS

The Radio installation are according to GMDSS-A3(World

Wide)

Furuno Felcom 15 Inmarsat C (GMDSS)

1x MF/HF- DSC: Furuno FS-2570 Simplex.

Hospital sett for FS-2721 / VHF

1x Inmarsat Mini M. type: Nera

1x V-Sat Telenor communication.

2x Fixed VHF Furuno FM-8700 With DSC

2x Fixed VHF Motorola

3x Fixed VHF Furuno,

1x Fixed VHF Sailor 6588 DGNSS

6x Fixed UHF Motorola

3x Portable VHF Tron TR 20 (GMDSS)

2x Portable VHF type: Motorola

6x Portable UHF Motorola GP380

4x Portable VHF Motorola DP4401Ex

1x Aircraft Radio: ICOM A 110

1x Helideck Portable Radio Type: ICOM IC-A3E

1x Free-Float Emerg. Beacon Type: Tron 40 S

1x Hand held emerg. Beacon type: Tron 45 SX

2x S A R transponders: Tron Sart .

1x VHF Radio Direction Finder Taiyo TDL1550

1x Inmarsat C. SSAS = Ships Alert System

1x Helibeacon 410 kHz Skandi TS-1B

1x Seatel TV satellite antenna

1x Furuno Sat. F

DECK MACHINERY

One double windlass/mooring winch

Two 10 tonnes tugger winches

Two 10 tonnes capstans

SPEED

Service speed: 14 knots-approx. 16,3m3/24hrs@4 gen.sets

Eco Speed: 11 knots-approx. 9,3m3/24hrs@1 gen.set

DP operation: approx. 4m3/24hrs

Stand by: approx. 2 m3/24hrs (outside 500m zone)

ACCOMMODATION

Total 24 –Persons

12x Single Cabins

6 x Double Cabin

1x Deck Office

1x Hospital, incl. 1 bed

1x Conference Room

The vessel has safety equipment acc. to Solas for 24

persons.

RESCUE AND LIFE SAVING EQUIPMENT

Hospital with treatment bench, stretchers, medicine and

poison lockers, intercom and direct ship to shore

communication

Medical equipment /Medicines in acc. to NMD.

1 x Mob Boat type GTC 700

1 x Mob Boat type

1 off Dacon rescue net

ENGINES AND PROPULSION

Main Engines

4 x Caterpillar type 3516TA serie B

Main Generators:

4 x AVK type DSG 86 M1-4w rated at 2028kVA/ 1825 kW

Azimuth thrusters aft:

2 x LIPS type FS275-S/WN, each 2500 kW

Azimuth thrusters bow:

1 x LIPS type FS175-234/MNR, 880 kW

Tunnel thrusters bow:

2 x LIPS type FT225M-D, each 880 kW

OIL RECOVERY SPECIFICATIONS

Prepared for NOFO 2009 equipment.

Dispersant spray booms

Miros Oil Spill Radar

Arranged and approved according to NOFO 2009

requirements.

QSHE CERTIFICATION

ISM

ISPS

MLC

ISO-9001:2008

ISO-14001:2004

QA QUALIFICATIONS

FPAL Registered

Selliha Registered

Achilles Registered

OVID Registered

IMCA Member

Feuilles comme cirées, sèches et rigides.

Wikipedia La coptide trifoliée (Coptis trifolia), communément appelée racine jaune ou savoyane, ou encore coptide du Groenland (d'après son synonyme Coptis groenlandica), est une plante herbacée vivace de la famille des Renonculacées.

Ses feuilles d'un vert foncé et luisantes, divisées en trois lobes rappellent celles du fraisier ou du trèfle. La fleur solitaire est composée de 5 à 7 sépales blancs et est portée sur une longue queue fine. Le fruit est une ombelle de fuseaux terminés par un crochet.

La plante affectionne les bois frais et humides des forêts de conifères ou les tourbières. Elle pousse souvent sur un lit de mousse.

Sa particularité, outre le fait que ses feuilles restent vertes tout l'hiver, sont ses racines dorées. Celles-ci apparaissent de façon distinctive dès que l'on creuse un peu avec la main.

La racine de la coptide trifoliée offre un large spectre antimicrobien et antibiotique naturel.

La coptide est connue au Québec sous le nom de savoyane, abréviation de Tisavoyane, graphie phonétique d'un mot micmac signifiant teinture pour les peaux. Les Amérindiens de différentes tribus se servaient de la plante pour teindre les cuirs. La coptide a connu et connaît encore la célébrité comme antiscorbutique, stomachique, tonique et antiseptique. On l'utilise beaucoup, par la mastication d'un petit paquet de ses racines filiformes, pour lutter contre les aphtes de la bouche.

Ontario Provincial Police Identification officers.

Photographer: Bobb Barratt

Rights info: Crown Copyright, 2014

Note: Ontario Provincial Police, O.P.P. , the shoulder flash and the crest are registered OPP Trademarks. Permission to reproduce is required. This image is released for research, private study or personal use only. Use of this image for publication, exhibit, broadcast or other commercial or public use (such as a book, newsletter, newspaper, journal article, pamphlet, or brochure, on a website, in a film, radio, television or internet broadcast, product or product advertisement, poster, post-card, exhibition in a gallery, museum, display, or space accessible to many people including for-profit & not-for-profit) is strictly prohibited without prior written approval from the Ontario Provincial Police.

For more information

The World of Koi

A Mini-Encyclopedia

Keith Holmes, Tony Pitham, Nick Fletcher

O Jardim Botânico de Curitiba ou Jardim Botânico Francisca Maria Garfunkel Richbieter é um dos principais pontos turísticos da cidade de Curitiba, capital do estado brasileiro de Paraná. Localiza-se no bairro Jardim Botânico. Em 2007 foi o monumento mais votado numa eleição para escolha das Sete Maravilhas do Brasil, promovido pelo site Mapa-Mundi.

Todo o Jardim Botânico possui uma área total de 278 mil metros quadrados, incluindo o bosque com mata atlântica preservada. Localiza-se na rua Ostoja Roguski (Primeira Perimetral dos Bairros) - Bairro Jardim Botânico.

Wikipédia

The Jardim Botânico de Curitiba, in Portuguese, or the Botanical Garden of Curitiba, in English, is also known as the "Jardim Botânico Fanchette Rischbieter". This is a park located in the city of Curitiba, the capital of the state of Paraná, and the biggest city in southern Brazil. It is the major tourist attraction of the city, and it houses part of the campus of the Federal University of Paraná. The international identification code is CURIT.

In the other side is the Botanical Museum, a wooden building which entrance using a bridge made of wood also. Actually, the Botanical Museum of Curitiba has the fourth largest herbarium in the country. In front of the construction there is a pond with carp, turtles, teal, herons, etc, and offers a lake, an auditorium, a library, an expositions area, a theatre, tennis courts and a cycle track.

Wikipedia

Playing with the camera today, no work today as it's my mental preparation day for my spinal tap tomorrow (pathetic, I know). Hope they don't cancel on me again this time around.

I noticed Flickr says this was taken yesterday, and it does the same thing on my last few photos on here. Don't know why, I did this about half an hour ago today.

Junior Individual 1-10

a very useful guide to ecstasy in both street english and thai with identifying pictures. In the forensic museum, bangkok - because remember kiddies - drugs kill!

Icones stirpium, seu, Plantarum tam exoticarum, quam indigenarum :

Antuerpiae :Ex officina plantiniana :Apud Viduam et Ioannem Moretum,1591.

biodiversitylibrary.org/page/9868136

"Just installed my blue LED lights"

Greenish brown with dark brown blotches especially on the back. It has rows of blue spots on its head, body and anal fin. Solitary or in small groups. Lives around algae-covered rocks and rubble of sheltered inshore reefs to 15m. (ReefFish Identification)

Sabang, Puerto Galera, Mindoro Oriental, Philippines

Identification from Bugguide :)

Family: Amphipsocidae

Subfamily: Amphipsocinae

In his handbook of Canadian and U.S. Psocoptera, Mockford (1993) indicates this is the only species in the genus in his study area. The genus is also a Neotropical one, with several species that look similar to P. corruptus.

In the main part of its range, this species is found from Iowa, Quebec, and Nova Scotia, south to Georgia and Alabama. Mockford (1993) states that Mexican barklice of this general appearance may prove to be P. corruptus. The species is also found along the west coast of North America, from British Columbia to Santa Cruz County, California. The eastern and western ranges are disjunct. American insects.net

I have close to 300 dahlias planted this year. I normally hand write labels for identification. This year I am trying out a new system. I have a spreadsheet on Google that I list all of my dahlias. I exported the sheet to an OpenOffice format (.ods). Using OpenOffice I created an OpenOffice database. Then I used the Label function in OO to generate labels. I used Avery 1X2 5/8 labels with a laser printer. I had a ton of these address labels from a previous life. The plant sticks (markers from www.dpind.com) that I use are only 5/8 inches wide, so I had to fold the label over. Not shown in the photo, the reverse side has some additional plant info (in a smaller font). Time will tell if these labels will last through the season. I normally use Sharpie industrial pens. Normal ink tends to fade out quickly. This whole process was very easy to do. However, I did spend a lot of time checking out different fonts. Detailed instructions on how to print labels from OO can be found on the web. Printing labels like this will also help quite a bit when I store the tubers over winter.

None of the endangered or threatened fish were found on the trip, but other small fish, including the Coosa madtom, banded sculpin and bronze darter were found. U.S. Fish and Wildlife Service biologist Robin Goodloe, and trip leader Eric Prowell, flank Chris Crow with CCR Environmental Inc.