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Up before 6am for the second time for another solo photographic mission to shoot the Tuscan landscape around dawn. The weather was far better today, with clear skies and lots of low low photogenic mist. I shot this from the hotel car park, so I could have gone straight back to bed, but no fun in that.

Kochi is a city in the Indian state of Kerala. Kochi is located in the district of Ernakulam. Old Kochi loosely refers to a group of islands including Willingdon Island, Fort Kochi and Mattancherry. Today Kochi includes Ernakulam, old parts of Kochi, Kumbalangi, and outlying islands.

For many centuries up to and during the British Raj, the city of Kochi was the seat of the eponymous princely state. Kochi traces its history back many centuries, when it was the centre of Indian spice trade for hundreds of years, and was known to the Yavanas (Greeks and Romans), Jews, Arabs and Chinese since ancient times. Kochi earned a significant position on the world trading map after the port at Kodungallur (Cranganore) was destroyed by massive flooding of the river Periyar in 1341.

The earliest documented references to Kochi occur in the books written by Chinese voyager Ma Huan, during his visit to Kochi in the 15th century as part of the treasure fleet of Admiral Zheng He. There are also references to Kochi in accounts written by Italian traveller Niccolò Da Conti, who visited Cochin in 1440 . Today, Kochi is the commercial hub of Kerala, and one of the fastest growing second-tier metros in India.

PREHISTORY

Not much is known about the prehistory of Kochi. There has been no clear evidence of Stone Age inhabitation. Quite ironically, Kochi forms the central part of the Megalithic belt of Kerala. The only trace of prehistoric life in the region is the menhir found in Tripunithura.

PRINCELY RULE

The history of Kochi prior to the Portuguese is not well documented. Though places north and south of Kochi are mentioned in quite detail in many accounts by ancient travellers, even a mention of Kochi is absent prior to the arrival of the Portuguese. Kochi's prominence as a trading port grew after the collapse of the port at Kodungallur in 1341 AD.

The Cochin State came into existence in 1102 AD after the breaking up of the Kulasekhara empire.

FOREIGN RULE

Kochi was under the rule of many foreign empires, during which the Raja of Kochi still remained the titular head.

PORTUGUESE PERIOD (1503-1663)

Kochi was the scene of the first European settlement in India. In the year 1500, Portuguese Admiral Pedro Álvares Cabral, landed at Cochin after being repelled from Calicut. The King of rival Kochi welcomed his guests and a treaty of friendship was signed. Promising his support in the conquest of Calicut, the admiral coaxed the king into allowing them to build a factory at Cochin. Assured by the support, the king called war with the Zamorins of Calicut. However, the admiral retreated in panic on seeing the powers of the Zamorin. The Zamorins, on the other hand, eager to win the favor of the Portuguese, left without a war. Another captain, João da Nova was sent in place of Cabral. However, he too faltered at the sight of the Zamorin. The consecutive retreats made the King of Portugal indignant. The king sent Vasco Da Gama, who bombed Calicut and destroyed the Arab trading posts. This invited the anger of the Zamorin, who declared a war against the Kochi Raja.

The war between Calicut and Cochin began on 1 March 1503. However, the oncoming monsoons and the arrival of a small Portuguese fleet under Francisco and Afonso de Albuquerque alarmed the Zamorin, and he called back his army. The Zamorin resorted to a retreat also because the revered festival of Onam was near, and the Zamorin intended to keep the auspicious day holy. This led to a triumph for the king of Kochi, who was later re-established in the possession of his kingdom. However, much of the kingdom was burnt and destroyed by the Zamorins.

After securing the king in his throne, the Portuguese got permission to build a fort – Fort Kochi (Fort Emmanuel) (after the reigning king of Portugal) - surrounding the Portuguese factory, in order to protect it from any further attacks. The entire work was commissioned by the Cochin Raja, who supplied workers and material. The Raja continued to rule with the help of the Portuguese. Meanwhile, the Portuguese secretly tried to enter into an alliance with the Zamorins. A few later attempts by the Zamorin at conquering the Kochi port was thwarted by the Cochin Raja with the help of the Portuguese. Slowly, the Portuguese armory at Kochi was increased, with the presumed notion of helping the raja protect Kochi. However, the measured led to decrease in the power of the Cochin Raja, and an increase in the Portuguese influence. From 1503 to 1663, Kochi was ruled by Portugal through the namesake Cochin Raja. Kochi remained the capital of Portuguese India till 1510. In 1530, Saint Francis Xavier arrived and founded a Christian mission. This Portuguese period was difficult for the Jews installed in the region, since the Inquisition was active in Portuguese India. Kochi hosted the grave of Vasco da Gama, the Portuguese viceroy, who was buried at St. Francis Church until his remains were returned to Portugal in 1539. Soon after the time of Albuquerque, the Portuguese rule in Kerala declined. The failure is attributed to several factors like intermarriages, forcible conversions, religious persecution etc.

DUTCH PERIOD (1663-1773)

The Portuguese rule was followed by that of the Dutch, who had by then conquered Quilon, after various encounters with the Portuguese and their allies. Discontented members of the Cochin Royal family called on the assistance of the Dutch for help in overthrowing the Cochin Raja. The Dutch successfully landed at Njarakal and headed on to capture the fort at Pallippuram, which they handed over to the Zamorin.

MYSORE INVASION

The 1773 conquest of the Mysore King Hyder Ali in the Malabar region descended to Kochi. The Kochi Raja had to pay a subsidy of one hundred thousand of Ikkeri Pagodas (equalling 400,000 modern rupees). Later on, in 1776, Haider captured Trichur, which was under the Kingdom of Kochi. Thus, the Raja was forced to become a tributary of Mysore and to pay a nuzzar of 100,000 of pagodas and 4 elephants and annual tribute of 30,000 pagodas. The hereditary Prime Ministership of Cochin came to an end during this period.

BRITISH PERIOD (1814–1947)

In 1814 according to the Anglo-Dutch Treaty, the islands of Kochi, including Fort Kochi and its territory were ceded to the United Kingdom in exchange for the island of Banca. Even prior to the signing of the treaty, there are evidence of English residents in Kochi. Towards the early 20th century, trade at the port had increased substantially, and the need to develop the port was greatly felt. Harbour Engineer Robert Bristow, was thus brought to Cochin in 1920 under the direction of Lord Willingdon, then the Governor of Madras. In a span of 21 years, he had transformed Cochin as the safest harbour in the peninsula, where ships berthed alongside the newly reclaimed inner harbour equipped with a long array of steam cranes. Meanwhile, in 1866, Fort Cochin was made a municipality, and its first Municipal Council election to a board of 18 members was conducted in 1883. The Maharajah of Cochin, in 1896 initiated local administration, by forming town councils in Mattancherry and Ernakulam. In 1925, Kochi legislative assembly was constituted due to public pressure on the state. The assembly consisted of 45 members, 10 of who were officially nominated. Thottakkattu Madhaviamma became the first woman to be a member of any legislature in India.

POST INDEPENDENCE ERA

In 1947, India gained independence from the British colonial rule. Cochin was the first princely state to join the Indian Union willingly. Post independence, E. Ikkanda Warrier became the first Prime Minister of Kochi. K. P. Madhavan Nair, P.T Jacob, C. Achutha Menon, Panampilly Govinda Menon were few of the other stalwarts who were in the forefront of the democratic movements. Then in 1949, Travancore-Cochin state came into being by the merger of Cochin and Travancore, with Parur T. K. Narayana Pillai as the first chief minister. Travancore-Cochin, was in turn merged with the Malabar district of the Madras State. Finally, the Government of India's 1 November 1956 States Reorganisation Act inaugurated a new state – Kerala – incorporating Travancore-Cochin, Malabar District, and the taluk of Kasargod, South Kanara. On 9 July 1960, the Mattancherry council passed a resolution that was forwarded to the government, requesting the formation of a Municipal Corporation by combining the existing municipalities of Fort Kochi, Mattancherry and Ernakulam. The proposal was condemned by the Fort Kochi municipality. However, the Ernakulam municipality welcomed the proposal, suggesting the inclusion of more suburban areas in the amalgamated Corporation. Major Balagangadhara Menon, the then Director of Local Bodies was appointed by the government to study the feasibility of the suggested merger. And based on the report submitted by him, the Kerala Legislative Assembly approved the formation of the Corporation. Thus, on 1 November 1967, exactly 11 years since the conception of the state of Kerala, the corporation of Cochin came into existence, by the merger of the municipalities of Ernakulam, Mattancherry and Fort Kochi, along with that of the Willingdon Island and four panchayats viz. Palluruthy, Vennala, Vyttila and Edappally and the small islands of Gundu and Ramanthuruth.

WIKIPEDIA

Part II

As one of the first princes, Frederick performed a great service for the legacy of his ancestors and got so the famous manuscripts of King Wenceslas of Bohemia. Among their showpieces is, for example, the Golden Bull from the period around 1400 for which he had manufactured a new cover, this one also provided with his maxim AEIOU. This superb manuscript de luxe is together with the originals from the year 1356 one of the main legal documents of the Holy Roman Empire, was in 2013 included in the UNESCO list of Memory of the World Programme and can in the context of the exhibition for the first time in a long time be seen again.

In the second half of the 15th century emerged for Maximilian, the 1459 born son of Frederick, a total of three textbooks that include both texts that are intended for elementary education as well as those that are directed to the adult regent. In the exhibition are, for example, the splendid Abecedarium, of all textbooks having the richest bodycolours decoration and the provided with playful tendrils textbook of grammar by Donat presented.

Modern Book Printing is invented

Media revolution under emperor Maximilian I.

In addition to the furthermore "current" prayer and textbooks stepped at the time of Emperor Maximilian I (1459-1519) entirely new literary genres in the spotlight, such as autobiographical and allegorical works, painted inventories of forts and military equipment, classics of Roman antiquity and "scientific" works on the genealogy and the veneration of saints. Of Maximilians major projects, in the exhibition are the triumphal procession, the biographical works Theuerdank and Weißkunig, the armory books, illustrated allegorical texts as well as the around 1500 emerged Tomb of Maximilian, one of his largest and most protracted projects presented.

The sumptuously equipped parchment codices under Maximilian increasingly have been replaced by painted on paper manuscripts, the need for representation of the client expressed itself less in physical appearance as in content and thematic opulence. Maximilian was the first Habsburg who took consciously advantage of the opportunities of the emerging printing press: For the impressive woodcuts of his works he commissioned the leading artists of those times, including none other than Albrecht Dürer. Famous personalities such as Lucas Cranach or Albrecht Altdorfer got orders to legitimize in books Maximilians rule and preserve his memory after his death.

It was also Maximilian who extended gradually the medieval shaped book collection of the Habsburgs kept in large chests to turn it into an ordered and at least limited usable library. It became the core collection of the later court library and thus the Austrian National Library.

Vienna around 1500

Lucas Cranach and Johannes Winterburger

In the for Maximilian manufactured works one encounters a whole new generation of artists. Came the illuminators of his works so far mainly from Vienna and the surrounding area, have they increasingly been replaced around 1500 by painters and printers who predominantly were active in the Tyrol and southern Germany. The Danube metropolis apparently stood in the shadow of the qualitatively and quantitatively dominant books centers of the Southern German region. Only when born in the Rhineland printer Johannes Winterburger (around 1460 to 1519) in 1492 moved to Vienna, the Vienna letterpress printing could establish itself and the texts soon reached a much larger audience. From Winterburger's famous Druckwerkstatt (printing workshop) in 1502 the most elaborately designed Wiener Heiltumsbuch emerged, which stands at the end of the exhibition: This milestone of printing history presents relics, so the reliquary treasure of a church, in more than 260 unique woodcuts. In addition, there are instructions on how the people should behave in the Heiltumsschau and exhorts to worship, to come in the pleasure of indulgence. Also included therein is one of the oldest representations of St. Stephen's Basilica.

Another interesting development in the period of Maximilian represent the woodcuts which can be attributed to Lucas Cranach the Elder (by 1472-1553). Cranach is one of the most important artists of the Renaissance in Germany; he had stayed around the turn of the century in Vienna and designed on behalf of Winterburger several woodcuts. Masterpieces of this Renaissance book art such as the in the Missal of Passau contained representation of the Crucified can be seen for the first time in this exhibition.

In der Ausstellung „Goldene Zeiten“ präsentiert die Österreichische Nationalbibliothek über 80 einzigartige Exponate aus über 200 Jahren Buchkultur. Großformatige Prachthandschriften der Gotik, die für Kaiser Friedrich III. angefertigt wurden, stehen neben Meisterwerken der Renaissance. Gemeinsam dokumentieren sie den Übergang von der mittelalterlichen Handschrift zum gedruckten Buch der Neuzeit.

Die Schau findet im Rahmen der internationalen Ausstellungsserie „Meisterwerke der Buchmalerei des 15. Jahrhunderts in Mitteleuropa“ statt; insgesamt zwölf Bibliotheken in Deutschland, Österreich und der Schweiz zeigen dabei zwischen September 2015 und März 2017 die Highlights ihrer jeweiligen Bestände. Die Ausstellungen selbst und ihre Kataloge bieten dadurch eine noch nie dagewesene Fülle an Informationen zur mitteleuropäischen Buchmalerei im Zeitalter Gutenbergs.

Titelgebend für die Ausstellung im Prunksaal ist das von Herzog Albrecht III. im Jahr 1368 beauftragte Evangeliar des Johannes von Troppau: Der Text dieser Prachthandschrift ist in Gold geschrieben und ihr Einband wurde aus vergoldetem Silber gefertigt. Dieses Werk gilt als Gründungscodex der kaiserlichen Hofbibliothek und damit auch der Österreichischen Nationalbibliothek; es ist am Beginn dieser Ausstellung erstmals seit langem wieder im Original zu sehen. Ein weiterer Ausstellungshöhepunkt ist die Goldene Bulle in Gestalt jenes Prachtexemplars, das König Wenzel I. in Prag für sich anfertigen ließ: Dieses bedeutende Rechtsdokument des Heiligen Römischen Reiches wurde 2013 in die Liste des UNESCO-Weltdokumentenerbes aufgenommen.

Den Abschluss der Ausstellung bilden wertvolle Buchdrucke und damit die „Gutenberg-Revolution“ des 15. Jahrhunderts: Aus dieser Epoche stammen das berühmte Wiener Heiltumsbuch und wertvolle Drucke, deren Holzschnitte auf Künstler wie Lucas Cranach zurückgehen. „Goldene Zeiten“ dokumentiert damit zugleich eine Medienrevolution, die vergleichbar mit der Erfindung des Internets ist.

Anfänge der Hofkunst

Von Herzog Albrecht III. bis Friedrich III.

Im Spätmittelalter erlebte Wien einen beeindruckenden Neuanfang: Kirchen wurden ausgebaut, die Universität wurde gegründet und die Residenz errichtet. Von diesem Boom profitierten sämtliche Sparten der Kunst – und auch für die Buchkunst brachen „goldene Zeiten“ an. Diese Blütephase ist eng mit Herzog Rudolf IV., dem Stifter (1339–1365), mehr aber noch mit seinem kunstliebenden und bibliophilen Bruder Herzog Albrecht III. (1349–1395) verbunden. Letzterer ist auch der Auftraggeber für das berühmte Evangeliar des Johannes von Troppau aus dem Jahr 1368. In Gold geschrieben und mit einem Einband aus vergoldetem Silber ausgestattet, ist das Evangeliar die kostbarste und eine der ältesten, noch heute im Bestand der Bibliothek nachweisbaren Handschriften aus habsburgischem Besitz. Es gilt daher zu Recht als Gründungscodex der kaiserlichen Hofbibliothek und damit der Österreichischen Nationalbibliothek. Dieses Glanzstück wird zu Ausstellungsbeginn nach vielen Jahren erstmals wieder im Original gezeigt, bevor es Mitte Dezember aus konservatorischen Gründen durch ein Faksimile ersetzt wird.

Gotische Handschriften wie das Evangeliar läuteten eine Buchkultur ein, in der eine aufwändige Ausschmückung zentrales Anliegen geworden ist. Die Habsburger erkannten, dass nicht nur die monumentalen Bauten, sondern auch Handschriften und später Drucke für die Festigung des christlichen Glaubens und für die fürstliche Herrschaftsrepräsentation geeignet sind. Sie traten gemeinsam mit anderen Angehörigen des Adels als Auftraggeber von prachtvoll ausgestatteten Handschriften prominent in Erscheinung; ihre Werke ließen sie mit Wappendarstellungen und Porträts illustrieren, die ihre territorialen Ansprüche ebenso wie ihren Besitzerstolz zum Ausdruck bringen sollten.

Hochblüte der gotischen Handschriften

Buchkunst zur Zeit Friedrichs III.

Im Zeitalter Kaiser Friedrichs III. (1415–1493) erlebte die höfisch geprägte Buchkultur eine neue Blüte. War sie bislang von Einzelinteressen und punktuellen „Bestellungen“ bestimmt, so kam mit dem Auftreten Friedrichs eine im wörtlichen Sinne neue Dimension hinzu: Friedrich bestellte, offenbar im Zusammenhang mit seiner Königswahl im Jahre 1440, großformatige, reichlich mit Deckfarbeninitialen und -miniaturen geschmückte und mit Gold versehene Prachthandschriften, für deren Ausstattung er die besten Buchmaler der Zeit heranzog. Er übertraf seine Vorgänger und Zeitgenossen nicht nur im Bezug auf die materielle Opulenz, sondern auch in der Anzahl der für ihn hergestellten Werke. Fast ein Dutzend Gebetbücher können mit Friedrich als Auftraggeber und „Benutzer“ in Zusammenhang gebracht werden. Merkmale seiner Gebetbücher sind handschriftliche Eintragungen, die Nennung seines Namenspatrons, auf ihn bezogener Bildschmuck, personalisierte Gebete und sein Eigentumsvermerk AEIOU, den er bei einem in der Ausstellung gezeigten Exemplar großflächig auf die Innenseite eines Vorderdeckels malen ließ. Aus einem weiteren Gebetbuch ist eine in prächtigen Farben und Gold ausgeschmückte Seite ausgestellt, die Leopold III., genannt der Heilige, mit einem Modell der Stiftskirche Klosterneuburg abbildet.

Als einer der ersten Fürsten bemühte sich Friedrich auch intensiv um das Erbe seiner Vorfahren und gelangte so an die berühmten Handschriften König Wenzels von Böhmen. Zu deren Glanzstücken zählt etwa die Goldene Bulle aus der Zeit um 1400, für die er einen neuen Einband herstellen ließ, der ebenfalls mit seiner Devise AEIOU versehen wurde. Diese Prachtabschrift zählt gemeinsam mit den Originalen aus dem Jahr 1356 zu den wichtigsten Rechtsdokumenten des Heiligen Römischen Reiches, wurde 2013 in die UNESCO-Liste des Weltdokumentenerbes aufgenommen und kann im Rahmen der Ausstellung erstmals seit langem wieder besichtigt werden.

In der zweiten Hälfte des 15. Jahrhunderts entstanden für Maximilian, den 1459 geborenen Sohn Friedrichs, insgesamt drei Lehrbücher, die sowohl Texte enthalten, die für den elementaren Unterricht gedacht sind, als auch solche, die sich an den erwachsenen Regenten richten. In der Ausstellung werden etwa das prachtvolle Abecedarium, das von allen Lehrbüchern den reichsten Deckfarbenschmuck aufweist, und das mit verspielten Ranken versehene Lehrbuch der Grammatik des Donat präsentiert.

Der moderne Buchdruck wird erfunden

Medienrevolution unter Kaiser Maximilian I.

Neben den weiterhin „aktuellen“ Gebet- und Lehrbüchern traten zur Zeit Kaiser Maximilians I. (1459–1519) vollkommen neue Textgattungen ins Rampenlicht wie etwa autobiografische und allegorische Werke, gemalte Inventare von Festungen und Kriegsgerät, Klassiker der römischen Antike und „wissenschaftliche“ Arbeiten zur Genealogie und Heiligenverehrung. Von Maximilians Großprojekten werden in der Ausstellung der Triumphzug, die biografischen Werke Theuerdank und Weißkunig, die Zeughausbücher, illustrierte allegorische Texte sowie das um 1500 entstandene Grabmal Maximilians, eines seiner größten und langwierigsten Projekte, präsentiert.

Die prachtvoll ausgestatteten Pergamentcodices wurden unter Maximilian zusehends von auf Papier ausgemalten Handschriften abgelöst, das Repräsentationsbedürfnis des Auftraggebers drückte sich weniger im materiellen Erscheinungsbild als in inhaltlicher und thematischer Opulenz aus. Maximilian war auch der erste Habsburger, der bewusst die Möglichkeiten des aufkommenden Buchdruckes nutzte: Für die beeindruckenden Holzschnitte seiner Werke beauftragte er die bedeutendsten Künstler der Zeit, darunter auch niemand Geringeren als Albrecht Dürer. Größen wie Lucas Cranach oder Albrecht Altdorfer bekamen Aufträge, um in Büchern Maximilians Herrschaft zu legitimieren und sein Andenken über seinen Tod hinaus zu bewahren.

Maximilian war es auch, der die mittelalterlich geprägte und noch immer in großen Truhen verwahrte Büchersammlung der Habsburger nach und nach zu einer geordneten und zumindest eingeschränkt benutzbaren Bibliothek ausbaute. Sie wurde der Kernbestand der späteren Hofbibliothek und damit der Österreichischen Nationalbibliothek.

Wien um 1500

Lucas Cranach und Johannes Winterburger

In den für Maximilian angefertigten Werken begegnet man einer ganz neuen Künstlergeneration. Stammten die Buchmaler seiner Werke bislang hauptsächlich aus Wien und Umgebung, wurden sie um 1500 zunehmend von Malern und Druckern abgelöst, die vorwiegend in Tirol und Süddeutschland tätig waren. Die Donaumetropole stand offenbar im Schatten der qualitativ und quantitativ dominierenden Bücherzentren des süddeutschen Raums. Erst als der im Rheinland geborene Drucker Johannes Winterburger (um 1460–1519) im Jahr 1492 nach Wien zog, konnte sich der Wiener Buchdruck etablieren und die Texte erreichten bald einen deutlich größeren Leserkreis. Aus Winterburgers berühmter Druckwerkstatt ist 1502 das besonders aufwändig gestaltete Wiener Heiltumsbuch hervorgegangen, das am Ende der Ausstellung steht: Dieser Meilenstein der Buchdruckgeschichte präsentiert Heiltümer, also den Reliquienschatz einer Kirche, in mehr als 260 einzigartigen Holzschnitten. Darüber hinaus gibt es Anweisungen, wie sich das Volk bei der Heiltumsschau zu verhalten hat und ermahnt zur Andacht, um in den Genuss eines Ablasses zu kommen. Ebenfalls darin enthalten ist eine der ältesten Darstellungen des Wiener Stephansdoms.

Eine weitere interessante Entwicklung in der Zeit Maximilians stellen die Holzschnitte dar, die sich auf Lucas Cranach den Älteren (um 1472–1553) zurückführen lassen. Cranach ist einer der bedeutendsten Künstler der Renaissance in Deutschland; er hatte sich um die Jahrhundertwende in Wien aufgehalten und im Auftrag Winterburgers etliche Holzschnitte entworfen. Meisterwerke dieser Renaissance-Buchkunst wie etwa die in der Passauer Missale enthaltene Darstellung des Gekreuzigten sind erstmals in dieser Ausstellung zu sehen.

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Ingredients include “tancello,” (similar to the popular Italian liqueur, Limoncello) an infusion made in-house with tangerines from nearby McGrath Family Farms, just 19 miles from the Hotel. TRU organic wheat vodka, produced 50 miles from the Hotel in Monrovia, is infused with lavender grown on-site in the chef’s garden. The fresh-picked lavender is also incorporated into honey created 38 miles away in Inglewood. For a final touch, tangerines marinated in sugar and a portion of TRU organic wheat vodka garnish the martini glass presentation.

Includes 3 Silver 1999 Toy Fair McFarlane Snake figures. Olive Drab kubrick, NVG Soldier kubrick, Raiden chase, Shagohod figure and sealed Cold War and Squares kubricks

Caesalpinia echinata is a species of Brazilian timber tree in the pea family, Fabaceae. Common names include Brazilwood, Pau-Brasil, Pau de Pernambuco, Pernambuco tree, Nicaragua wood and Ibirapitanga (Tupi). This plant has a dense, orange-red heartwood that takes a high shine, and it is the premier wood used for making bows for stringed instruments. The wood also yields a red dye called brazilin, which oxidizes to brazilein.

When Portuguese explorers found these trees on the coast of South America, they used the name pau-brasil to describe them. Pau is Portuguese for "stick" (or, by metonymy, "wood" in general), and brasil is said to have come from brasa, Portuguese for "ember", meaning "emberlike". The wood of this tree has a deep red hue, which may be why it received this name. Pau-brasil had been earlier used to describe a different species of tree found in Asia and other places, called Sappanwood which also produced red dye; but the South American trees soon became the better source of red dye. Brazilwood trees were such a large part of the exports and economy of the land that the country which sprang up in that part of the world took its name from them and is now called Brazil.

Botanically, several tree species are involved, all in the family Fabaceae (the pulse family). The term "brazilwood" is most often used to refer to the species Caesalpinia echinata, but it is also applied to other species, such as Caesalpinia sappan. The tree is also known by other names, as ibirapitanga, Tupi for "red wood"; or pau de pernambuco, named after the Brazilian state of Pernambuco.

In the bow-making business it is usual to refer to some species other than Caesalpinia echinata as "Brazilwood"; examples include Pink Ipê (Tabebuia impetiginosa), Massaranduba (Manilkara bidentata) and Palo Brasil (Haematoxylum brasiletto). The highly prized Caesalpinia echinata is usually called "Pernambuco wood" in this particular context.

The brazilwood tree may reach up to 15 metres in height, and the dark brown bark flakes in large patches, revealing the lustrous blood-red heartwood underneath. The leaves are pinnate and each consists of between 9 and 19 small, leathery leaflets, which are broadly oblong in shape. The flower stalk, or inflorescence, is also branched and contains between 15 and 40 yellow, strongly perfumed flowers, which may be pollinated by bees. The petals are usually yellow with a blood-red blotch. The fruits are oval-shaped woody seedpods, measuring up to 7.3 cm long and 2.6 cm across; they hang off the branches and after the seeds are expelled, the pods become twisted in shape. The branches, leaves and fruit are covered with small thorns.

There are some important differences between geographically distinct populations and it is thought that separate subspecies of the pau brasil may exist. This tree may have some medicinal properties and has been used as an astringent and antidiuretic by local people; extracts have been tested as possible cancer treatments.

In the 15th and 16th centuries, brazilwood was highly valued in Europe and quite difficult to get. Coming from Asia, it was traded in powder form and used as a red dye in the manufacture of luxury textiles, such as velvet, in high demand during the Renaissance. When Portuguese navigators discovered present-day Brazil, on April 22, 1500, they immediately saw that brazilwood was extremely abundant along the coast and in its hinterland, along the rivers. In a few years, a hectic and very profitable operation for felling and shipping all the brazilwood logs they could get was established, as a crown-granted Portuguese monopoly. The rich commerce which soon followed stimulated other nations to try to harvest and smuggle brazilwood contraband out of Brazil, and corsairs to attack loaded Portuguese ships in order to steal their cargo. For example, the unsuccessful attempt in 1555 of a French expedition led by Nicolas Durand de Villegaignon, vice-admiral of Brittany and corsair under the King, to establish a colony in present-day Rio de Janeiro (France Antarctique) was motivated in part by the bounty generated by economic exploitation of brazilwood. In addition, this plant is also cited in Flora Brasiliensis by Carl Friedrich Philipp von Martius.

Excessive exploitation led to a steep decrease in the number of brazilwood trees in the 18th century, causing the collapse of this economic activity. Presently, the species is nearly extirpated in most of its original range. Brazilwood is listed as an endangered species by the IUCN, and it is cited in the official list of endangered flora of Brazil. Restoration of the species in the wild is hampered by the fact that it is a climax community species, which will only develop well when planted amongst secondary forest vegetation. Although many saplings have been distributed or sold during recent decades, that has led to the tree being planted in places outside its natural range, with somewhat poor results, such as happens with brazilwood trees used for urban landscaping in the city of São Paulo, whose development and flowering is usually hampered by the colder environment.

The trade of brazilwood is likely to be banned in the immediate future, creating a major problem in the bow-making industry which highly values this wood. The International Pernambuco Conservation Initiative (IPCI), whose members are the bowmakers who rely on pernambuco for their livelihoods, is working to replant the trees. IPCI advocates the use of other woods for violin bows to raise money to plant pernambuco seedlings. The shortage of pernambuco has also helped the carbon fiber bow industry to thrive.

The Tree of Music, a feature-length documentary on the plight of this species, is already produced.

[Mayfield Subdivision] [n.d.] Includes Silsoe Street, Fawcett Street, Corona Street and Maitland Road. [Linen Plan]

This image can be used for study and personal research purposes. If you wish to reproduce this image for any other purpose you must obtain permission by contacting the University of Newcastle's Cultural Collections.

If you have any further information about this image, please contact us or leave a comment in the box below.

The digitisation of this plan was made possible by the kind generosity of the Vera Deacon Regional History Fund.

Includes the enforcement of the arms embargo under UNSCR 1973.

More on NATO & Libya :

www.nato.int/cps/en/natolive/71679.htm

NATO's youtube playlist on Libya :

www.youtube.com/user/NATOCOMMUNITY#grid/user/07C557EABF9E...

More videos on NATO TV :

www.natochannel.tv/

My sister kindly send me a Cornish cream tea by post as an Easter treat. I thought it try both the Cornish (cream on top) and Devon (jam on top) way. Both good, but the Devon way is still my preference.

Easter #26 for the Treasure Hunt

Hot and sunny for today's Brighton Pride Parade. I caught some of the characters as they prepared to leave from Hove Lawns

Photos of the Law School's 2017 Graduation, which includes shots of the University Convocation and Law School's Diploma and Hooding Ceremony

Pickering Castle is situated on the southern edge of the North York Moors on a limestone bluff which formerly overlooked the meeting point of two of the main highways through the north of England: the east-west route along the Vale of Pickering and the north-south route through Newton Dale to Malton. The monument consists of a single area which includes the site of the 11th century motte and bailey castle and the 13th century shell keep castle. The former was built by William the Conqueror either during or shortly after the 'harrying of the north' in 1069-70. It consisted of an earth motte crowned by a timber palisade, flanked on the north-west side by a crescent-shaped inner bailey and, on the south-east side, by a contemporary or slightly later outer bailey. The inner bailey measured c.120m by c.35m and was bounded to the north by a steep natural slope surmounted by a palisade and to the south by deep 15m wide ditches linked to the ditch encircling the motte. The outer bailey, which measured c.185m by c.25m, was protected on the north side by these same ditches and, on the south side, by a 5-8m high palisaded bank with an outer ditch. To the immediate east of the outer bailey ditch a further earthwork bank may have provided additional defence on this side; alternatively it may be part of a medieval defence system associated with the adjacent settlement. The motte is c.20m high and has a base diameter of c.60m. It is not yet clear whether this is the original 11th century motte or a later medieval reconstruction. In the latter case, the earlier motte will have been preserved inside the later while, in addition, the buried remains of a wide range of domestic and service buildings will survive within the open areas of the baileys.

The reconstruction of the castle in stone largely took place between 1180 and 1236. There were three main phases to the work at this time, the earliest involving the late 12th century replacement of the palisade round the inner bailey with a curtain wall and also the probable construction of the first shell keep on the motte. In its present form the shell keep dates to the early 13th century but the foundations of the earlier wall will survive underneath. The remains of the early curtain wall still stand round the inner bailey, surviving best where the curtain was incorporated into later buildings. The earliest buildings so far identified are the early or mid- 12th century Old Hall, a free-standing residence whose surviving foundations show it to have been half-timbered, and the Coleman Tower, constructed at the same time as the inner curtain and an integral part of it. The Coleman Tower guarded the entry across the inner bailey ditch and was also a prison; hence its earlier name, the King's Prison. It was square in plan and had its entrance on the first floor, the level underneath being where the prisoners were kept. On the east side are the remains of a small building and also a stairway leading onto an adjacent wall. This wall, built across the motte ditch in the late 12th century, replaced an earlier palisade and provided access to the summit of the motte. A similar and contemporary length survives on the opposite side of the motte, crossing the ditch and joining the curtain alongside the later Rosamund's Tower. The keep consisted of a rubble wall enclosing a roughly circular area 20m wide. A wall walk would have lined the inside of the wall above a series of garrison buildings. The foundations of some of these buildings survive but it is not certain whether they date to the 13th or the 14th century. In some cases they will have replaced earlier timber structures whose buried remains will also survive. Also of uncertain date are the foundations of a number of buildings in the inner bailey, including a service range to the south-west and a group of buildings referred to as the Constable's Place in the accounts of the years 1441-43. The latter were half-timbered and some sections predate the inner curtain though others were clearly added later. A survey of 1537 lists a number of distinct structures, including the Constable's hall, a kitchen, buttery and pantry, and quarters for staff and servants. At the southern end of the group were a number of storage buildings, one of which is believed to have been the wool house. Two additional service buildings lay adjacent to the Old Hall and are thought, originally, to have been contemporary with it. To the south of these is the chantry-chapel which dates from c.1227 and is still complete though in a much altered state.

To the west of this is the early 14th century New Hall, initially built as a residence for Countess Alice, wife of Earl Thomas of Lancaster. This was later used as a courthouse which gave rise to it being named King's Hall or Motte (moot) Hall in later surveys. It was a penticed or lean-to building of two storeys which utilised the inner curtain for its outer wall. The inner walls were timber-framed and, as much of the surviving stonework is late 12th or early 13th century, it clearly replaced an earlier building. The upper chamber or solar of the 14th century hall was an elaborate plastered room with a decorated fireplace. The last major programme of building dates to 1324-26 when Edward II ordered extensive works to be carried out which included replacing the whole of the timber palisade round the outer bailey with a stone wall. This outer curtain included three projecting towers, a gatehouse with a drawbridge over the outer ditch and a postern gate which led from the north-east arm of the inner bailey ditch, underneath Rosamund's Tower and out onto the rampart. A second gate and drawbridge, built at this time alongside the Coleman Tower, had fallen out of use by the 16th century and can now no longer be seen. The three projecting towers, named from north-east to south-west, Rosamund's Tower, Diate Hill Tower and Mill Tower, are all square in plan and all would have led out onto the wall-walk along the inside of the curtain though, in the case of the Mill Tower, the curtain to either side has not survived sufficiently well to demonstrate this. The ground-floor entrance to the Mill Tower consisted of two doors linked by a short passage, in which the first door opened inwards and the second outwards indicating that the tower was built as a prison, a role it took over from the Coleman Tower. North of the Mill Tower, the outer curtain crossed the inner bailey ditch which can also be seen outside the castle walls on the west and north sides. This section of the ditch was part of the original 11th century defences and was quarried out of the rock on which the castle was built.

A levelled area alongside the inner edge indicates that quarrying of the rock-face continued after the ditch was cut. The quarried stone would have gone towards the construction of at least some of the castle buildings. Aside from its strategic and administrative roles, Pickering Castle had two other functions: to guard and manage the large forest which lay adjacent and to provide a court and place of detention for those found guilty of offences against it, such as poaching, unauthorised clearance and the theft of timber. The forest was an extremely important economic resource during the Middle Ages and its particular importance at Pickering can be seen in the great use made of wood in the castle buildings and also, most significantly, its continuous use in the defences down to the 14th century. Also important to the castle economy during the 14th century was the sale of wool, and it also had responsibility for managing the royal stud created by Edward II in c.1322. Possibly the stables known to have been located against the outer curtain at this time, between the gatehouse and Diate Hill tower, were connected with this. According to the Domesday Book, in 1086 the manor of Pickering was held by the king, that is, William the Conqueror. The castle established at this time as part of the subjugation of the rebellious North remained in royal hands until 1267 when it was conferred with the title Earl of Lancaster on Edmund Crouchback, younger son of Henry III. Edmund's son Thomas succeeded to both title and estates in 1296 but was executed for treason by Edward II in 1322, whereupon his estates reverted to the king. Following the unsuccessful Scottish campaign of the same year, and the ensuing retaliatory attacks on the north of England by Robert the Bruce, Edward ordered the building works noted above, clearly intending to keep Pickering a royal castle. However, in 1326 his son Edward III confirmed Henry, the younger brother of Thomas, Earl of Lancaster, in his brother's titles and estates, and, in 1351, the castle became part of the Duchy of Lancaster when that title was created. Upon the elevation of the House of Lancaster to the throne in 1399, and in 1413, the succession of Henry V, the Duchy reverted to the Crown and Pickering became a royal castle once again. It has been in State care since 1926. A number of features within the protected area are excluded from the scheduling. These include the ticket office/sales point and its paved base and steps, all English Heritage fixtures and fittings such as bins, bridges, safety grilles, signs, railings and interpretation boards, the surfaces of all modern steps and paths inside and outside the castle walls, lighting and the modern walls and fences round the outside edge of the protected area but the ground beneath all these features is included.

The audience, to include Deputy Secretary of Defense Pat Shanahan and Marie Osmond listen to the master of ceremonies at the Secretary of Defense Employer Support Freedom Award ceremony Aug. 25, 2017, at the Pentagon in Washington, D.C. The Freedom Award is the highest recognition given by the U.S. government to employers for their support of their employees who serve in the Guard and Reserve. (DOD photo by Army Sgt. Amber I. Smith)

On Thursday, July 7, 2022, VA Secretary Denis McDonough toured VA facilities in Michigan to include the Dearborn Vet Center, the Lansing VA Clinic, and the Great Lakes National Cemetery. He met with Veterans, Volunteers, Veteran Service Organizations and participated in Veterans Focus Groups. He thanked employees at each location, recognizing staff for their work. (VA photo by Chicago OPA)

Photo: On tour at Great Lakes National Cemetery where Secretary McDonough and Rep. Slotkin recognized cemetery staff for their work.

In Hong Kong aquaculture includes marine fish culture, pond fish culture and oyster culture. In 2010 production from the aquaculture sector was 3,822 tonnes and was valued at HK$180 million which was 2.2% in weight and 7.9% in value of the total fisheries production.

Pond Fish Culture

The pond fish culture industry is centred in the north-west New Territories. Fish ponds are either freshwater or brackish.

In 2010, the local inland ponds, covering an area of approximately 1,109 ha, produced 2,190 tonnes of freshwater fish amounting to $54 million. About 92% of the farms are engaged in polyculture (bighead carp, grass carp, common carp and silver carp in combination with tilapia or grey mullet). The remaining 8% practise monoculture of carnivorous species such as giant groupers, seabreams and spotted scat in brackish fish ponds near to the coastline. Majority of the fry and fingerlings are imported from the Mainland and Taiwan. Some of the grey mullet fry may also be caught in local coastal waters. Traditionally, fry are stocked in early spring and most fish species reach marketable size in eight to twelve months.

To see many other pictures from Hong Kong's lesser known sides, please check out my personal website at www.hansens-hikes.com/Gallery.html

My website also contains a little information on how you, too, can explore Hong Kong's other side.

For enquiry email: jintan@realtyagent.com

The Orchard Residences is a 99-years leasehold apartment development located at 238 Orchard Boulevard, Singapore 237973, in District 09, and just above the Orchard MRT Station. With expected completion in December 2010, it comprises 175 units. The Orchard Residences is situated along the vibrant Orchard Road shopping and entertainment belt. It is also close to the Singapore Botanic Gardens and Mount Elizabeth Hospital. Above MRT Station. Condo Facilities at The Orchard Residences Facilities at The Orchard Residences include a swimming pool, spa, and clubhouse. Condo Amenities near The Orchard Residences Numerous feeder bus services are available near The Orchard Residences. Established local and international schools are mostly a short drive away, such as Raffles Girls’ School, Overseas Family School, and ISS International School. Its prime location along Orchard Road means several one-stop shopping destinations are just a short walk away. These include Ion Orchard, Tangs Plaza, Wisma Atria, The Paragon, and Takashimaya. In addition, prestigious clubs, such as American Club and Tanglin Club, are located nearby. For vehicle owners, driving to the business hub from The Orchard Residences takes less than 10 minutes, via River Valley Road.

This pattern includes easy to follow instructions.

Materials Needed:

Straight knitting needles, size US 7 (4.5mm)

100% Cotton Medium/Worsted Weight yarn [60 yards]

In any color you choose.

Stitches: knit & purl.

Skill: Beginner

Finished Size: 7"W X 7 1/4" H(18cn X 18.5 cm)

Darning needle for finishing.

This pattern will be delivered via email as an attached PDF file to anywhere in the world.

Located @ www.zibbet.com/ezcareknits and www.etsy.com/shop/ezcareknits

photo by Charina Pitzel

Jóhann Jóhannsson with American Contemporary Music Ensemble

ACME includes:

Clarice Jensen, cello

Paul Wiancko, cello

Caleb Burhans, viola

Ben Russell, violin

Laura Lutzke, violin

1976

fish include parrot fish - greenish blue ones in the middle. very good meaty fish, caught on the reef.

Two or three of us would go out with a long net at low tide. We could see the group of parrot fish feeding near the edge of the reef - right before it drops in to the ocean's depths. We would circle around the group of fish and the person in the lead would run like crazy between the fish and the reef's edge. The fish would panic. Some would swim to safety out and over the reef's edge. Some would swim 'inland' and then try to escape by swimming back out to deeper water. They were usually the unlucky ones since they would swim in to the net and be caught. We would take the fish out of the net and put them on a strip from a coconut front. Frequently it was my job to carry the string of fish. Sometimes sharks would come on to the reef flat and try and catch some of the fish. That was always rather interesting when I was the one carrying the fish! After we had caught enough fish we would take them up on to shore and gut the parrot fish. They needed to be gutted soon after catching so they wouldn't spoil. We also had to be careful of the spines on some fish since the spines were poisonous and would easily cut skin. That was a bit painful when it happened.

Pir Chinasi, District Muzaffarabad AJK

From the "Scramble" at Bicester Heritage

The Oz (Oscar Diggs) 12'' doll has been deboxed. He is posed free standing, both with and without his accessories, which include his top hat, his traveling bag, and the China Girl 4'' mini doll.

The Oscar Diggs doll is a 12'' tall posable fashion doll, with a removable outfit. It consists of a black faux wool coat with black satin lining, a black satin vest, dark gray pinstriped pants, a black bow tie, and white satin dress shirt. His vest is actually only a front panel sewn onto his shirt. He also has ankle high black boots, and a black top hat. His outfit looks well tailored, and fits him well.

His face is a decent facimile of the Oscar Diggs movie character. His skin tone is a medium tan. He has dark brown facial hair, with thick eyebrows, mustache and goatee. He has small, narrow dark brown eyes staring straight ahead. His nose is medium sized and straight. He has short rooted hair that is a mixture of dark brown and black strands. His sideburns are black. His hair is slicked back, but doesn't have a lot of hair product, so is still soft and resilient, even over his forehead, and stays pretty neat. I groom his hair just using my fingers.

His body is well proportioned, with his head, hands, feet looking to be realistic sizes. His articulation consists of neck, shoulder, elbow and hip joints. His neck is a ball joint allowing 360 rotation and tilting up about 20 degrees. His shoulder ball joint allowing 360 rotation about a vertical plane, and tilting about 45 degrees from the vertical. His elbows are ball joints allowing 360 degress rotation, and tilting about 45 degrees. Finally his hips allow 360 rotation (constrained by his pants), and tilting about 20 degrees away from the vertical. He can sit with his legs together. Since he cannot bend his knees, he has to sit with his legs straight.

I think that this doll is a great bargain for the $20 price. He looks good, has rooted hair, has a good looking outfit, with many accessories, including the 4'' China Girl mini doll. The mini doll seems to be identical to the Disney Store mini doll, that is sold separately for $9.50. I can't be absolutely sure of that until I get the DS mini doll, which should happen by Tuesday, February 19.

Oz (Oscar Diggs) 12'' Fashion Doll With China Girl 4'' Mini Doll

By Tollytots, a division of Jakks Pacific

Based on a character in Disney's Oz The Great and Powerful

Released by Target online February 5, 2013

Purchased from Target online on February 6, 2013

Received on February 14, 2013

First Look

Following product information from the US Target website

Oz the Great and Powerful Oz and China Fashion Dolls

$19.99

This Oz doll is inspired by James Franco's character in the movie Oz the Great and Powerful. Oz is dressed for adventure in his coat, vest and top hat. This articulated doll comes with a mini China Doll and a travel bag, so your little one can reenact all her favorite scenes from the movie.

The expansive beach below the north Corsican town of Nonza has a peculiar grey colour. Unfortunately related minerals including asbestos which were mined locally until the '60s. Swimming in the area is still discouraged. A blank canvas for a proposal of marriage for Jess. I wonder if she accepted.

includes a walk down snow-clad Main Street.

Eastbourne’s Oldest House.

No 4 (includes former No 6), 4 Borough Lane, Old Town, Eastbourne, East Sussex

Grade II Listed

List Entry Number: 1043666

Details

BOROUGH LANE, OLD TOWN 1. 1065 No 4 (includes former No 6) (formerly listed as Nos 4 & 6) TV 5999 SE 4/20 27.5.49. II

2. C16 timber framed house, originally 2 cottages. The 1st floor overhangs on beams. Brick buttress on the 1st floor to the South of the North bay. Red tiled roof. Casement windows. The ground floor has been a good deal altered. The front is plastered. Enlarged windows have been inserted. There are 3 doorways. The Northernmost bay was refaced in the C18. The whole front of this is plastered. The roof is of slate. A sash window was inserted. The side is hung with tiles.

Listing NGR: TV5992099424

historicengland.org.uk/listing/the-list/list-entry/1043666

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Eastbourne’s Oldest House.

‘Pilgrims’

4 Borough Lane

Old Town

Eastbourne

This building was originally two houses. Its 16th-century origins have been obscured by repeated alterations, including work in the 18th century which changed the whole of the northern section. The upper storey is jettied. Most windows are casements, although there are later sashes as well. The interior is timber-framed.

en.wikipedia.org/wiki/Listed_buildings_in_Eastbourne

Plaque at ‘Pilgrims’ in Borough Lane

The benefactor of the plaque to Charles Dickens was the Chairperson of the Eastbourne Dickensians, the late Vera Banwell-Clode: it records the author’s visits during the 1830s, when he stayed as a guest of the Victorian artist Augustus Egg, RA, who rented the house in Borough Lane.

en.wikipedia.org/wiki/Eastbourne_Blue_Plaques

More information can be found here:-

www.blueplaqueplaces.co.uk/charles-dickens-blue-plaque-in...

Prince of Wales Hotel, Waterton Park, Alberta, Canada

In 1913 Louis Warren Hill Sr., chairman of the Great Northern Railway, visited Waterton and announced his desire to include a Canadian lodge in his expanding hotel and chalet development in Glacier National Park. What motivated Hill to proceed was the 1923 end of Prohibition in Alberta. A resort hotel in Waterton could lure American tourists to Glacier and then north across the U.S.-Canada border to Alberta so they could legally drink alcohol. Hill selected the Cardston contractors Douglas Oland and James Scott. A storm in December 1926 nearly tore down the half-built structure. Oland and Scott were also hampered by Louis Hill’s ever-changing vision of the final project. The Prince of Wales Hotel was originally supposed to look much like Many Glacier Hotel. A third of the way through the build, Hill decided to radically change the roofline and add three storeys. The hotel was opened on July 25, 1927, too much acclaim. Orignial estimated cost to build the hotel was $250,000 but final tab was $1,000,000. Funding was through Louis Hill's inheritance - the Canadian entity for the Prince of Wales Hotel was known as Canadian Rockies Hotel Company LTD with Hill as President. With 87 rooms on 7 floors under a steeply gable roof the hotel looked like a Swiss kings palace. (History provided by Glacier Park Foundation.)

The Prince of Wales Hotel was luxury in the wilderness with steam-heated rooms, hot and cold running water, electricity, a full service dining room, an elevator, laundry, beauty parlor and barber shop, all overseen by professional and uniformed staff. Rooms rented for $8 to $12 a day, American plan. A couple of weeks later, a tavern opened to serve beer to thirsty Americans.

The lake-side community of Waterton Park got a shock when the Great Northern didn’t open the Prince of Wales Hotel in 1933, with the railway citing the downturn in economic conditions caused by the Great Depression. The railway said it would not reopen the hotel until a more direct route was built between Waterton and Glacier, versus all bus traffic having to go via Cardston. Construction of Chief Mountain International Highway was undertaken as a work relief project and completed in 1936, when the railway kept its promise and reopened the hotel. The new highway saved 30 miles from the Many Glacier Hotel to Waterton.

During 1935 when the hotel was closed, Waterton townsite faced the threat of a forest fire. Great Northern sent its chief engineer, Ray Sleeger, and other staff to Waterton to protect the shuttered hotel. The fire was snuffed out before it reached the town, and despite not having a hand in battling the blaze, the wily Sleeger sent a telegram to his bosses saying: “I saved the hotel.” Great Northern president W.P. Kenney famously replied: “Why?” By then Prohibition had ended in the United States so there was no need for the hotel, and given the financial times, the purpose for keeping the hotel was dubious. The hotel would again be closed, from 1942 to 1945, due to the Second World War.

The longest term for a manager of the Prince of Wales Hotel was set by Harley Boswell. Accompanied by his wife Anna, who worked as head housekeeper, the Boswells oversaw the Prince for 23 seasons (1930-1958). They’d cut their teeth at Chateau Lake Louise and at the Banff Springs Hotel. An American citizen, Harley Boswell eventually landed a job as assistant manager at the prestigious Palmer House in Chicago. He managed to get summers off each year to work in Waterton.

Operation of the Prince of Wales Hotel is taken over by a Minnesota corporation headed by Donald Knutson from 1957 to 1959. Major upgrades are made to the hotel, including installation of a fire suppression sprinkler system, new exterior fire escapes, installation of a new lobby light fixture, closing of the tavern and opening of a liquor lounge, and remodelling of the giftshop.

The Prince of Wales Hotel and other Great Northern-owned lodges in Glacier are sold in 1960 to Don Hummel, his brother Gail, and Don Ford, who pay $1.4 million. They assume operation under the name Glacier Park, Inc.

Robert Hayes begins as manager of the Prince of Wales. His last summer was 1972. In 1981 Don Hummel sells Glacier Park, Inc. to Greyhound Corp. of Phoenix, Arizona - later known as Viad Corporation and now marketed as PURSUIT Collection. Chris Caulfield has served as General Manager at Prince of Wales Hotel since 2015. The staff all don royal tartans, or kilts, in homage to the hotel’s British namesake, Prince Edward.

Prince of Wales Hotel

Waterton Park, Alberta, Canada

CATHEDRAL CHURCH OF CHRIST AND ST MARY, COLLEGE STREET, WORCESTER

Heritage Category: Listed Building

Grade: I

List Entry Number: 1389728

National Grid Reference: SO 85002 54520

Details

WORCESTER

SO8554NW COLLEGE STREET 620-1/17/1 Cathedral Church of St Mary 22/05/54 (Formerly Listed as: Cathedral Church of Christ and St Mary)

GV I

Cathedral Church, formerly Benedictine Priory. Crypt from 1084, some remains of same date in W transept and first 2 bays West end of nave. West transept and part of 2 bays at west end of nave c1175. Choir, east transept, Lady Chapel, presbytery, 1224-1250. Nave with aisles 1317-1377; central tower from 1374, and north porch from 1386, substantial restoration 1857-1863, by AE Perkins and GG Scott. Few medieval designers are identified, but include Alexander the Mason c1224-1240 (nave west bays), William Shockerwick, c1317-1324 (nave north arcade), and John Clyve, 1376/77 (nave south arcade and central tower).

MATERIALS: construction mainly in Highly and Alveley sandstones, with some Cotswold oolite, and Purbeck marble, many of the vault panels are in tufa, roof slate, including Penrhyn slate.

PLAN: east end includes substantial remains of the early crypt, formerly with radial chapels and outer ambulatory. Principal church has 9-bay nave and aisles with deep north porch and a single bay chapel also on north side. West transept and east transept, both without aisles, 4-bay choir with aisles, 3-bay Lady Chapel, and 2-bay Chapel of St John, central crossing tower. South of the nave are the cloister, with Chapter House and former frater (now King's School Hall qv)).

EXTERIOR: exterior of the cathedral was very largely refaced during C19 restoration work, and both central tower and eastern arm substantially restructured or refaced - the sandstones used being relatively soft, and subject to reject rapid weatherings. However, original medieval detail remains in most areas. The gables are coped, and parapets are mostly plain, with saddle-back weathered copings and a lower string course, the northwest transept is an exception. The following description will begin at the west end and work to the east.

NAVE - WEST END: central gable over 3 tall rectangular lights and a very large 8-light 'Decorated' window of the C19, flanked by square buttresses surmounted by octagonal turrets with open pinnacles. The big west door, also of C19 but with some remnants of Norman work, has a high gable breaking into the bottom part of the window. To each side the aisle terminations with square corner turrets to octagonal pinnacles, and each with a round-arched light with later tracery above a large 4-light window.

NAVE - NORTH SIDE: first 2-bays of the clerestory have round-arched lights with tracery, in masonry of various dates, remainder are small 3-light with stopped drips in flat 4-centred arches. The aisle, right of the porch, has a 3-light pointed then a 3-light with stepped transoms, and with straight-sided arch. These bays with heavy flying buttresses, supporting a wall of early masonry in small blocks. 2 further bays having simpler 3-light to cusped heads in pointed arches. Bay 5 has the bold square 2-bay porch with almost plain flanks, and rich north front, rebuilt by Scott, and having statues by Redfern. Interior is vaulted, and inner door, flanked by Norman responds, has a narrow Dec cusped head above the C19 doors set in plain masonry to a very flat basket arch. Left of the porch are 2 bays with 3-light Dec windows under small rectangular lights, with deep buttress between, then the single bay projecting chapel with corner buttresses and large 3-light to the North wall. Beyond this is a further aisle bay.

NAVE - SOUTH SIDE: the first 2-bays are similar to those to the North, incorporating older masonry, then 7 clerestory bays with 3-light windows to straight-sided arches and stopped drips, and two flying buttresses. The aisle has two 2-light traceried rectangular windows to each bay, but one 3-light in the arches, set deep with broad casement mould, and with stopped drips. Plain square buttresses divide the bays. At the lower level is the north walk of the cloister (qv).

WEST TRANSEPT - NORTH ARM: the high gabled north wall has 3 small rectangular lights above a prominent horizontal string, then a large C19 Decorated 4-light window to sill string, carried round to the returns. To each side is a square turret with nook shafting, crowned by tall octagonal turrets with pinnacles. The W and E sides have two 4-light in Mannerist panelling including ogee heads and with a crenellated parapet. The east side also has a deep 4-light with transom and 4-centred head.

SOUTH ARM: this differs greatly in detail from the north arm, having an 'Early English' plate tracery window in the south wall, below the high gable with rectangular lights, and to heavy octagonal corner turrets without pinnacles. The west side has a small 4-light in panelling as to the north, then a very long 4-light with 2 transoms, all this set to masonry of widely varied dates. The east side has a high rectangular window in a larger 4-centred opening, and weathered offset at sill level, below are roofs of ancillary buildings. The bold crossing tower rises to 59.7m (169ft), and has 4 identical faces. It is in 2 stages, with a lofty 8-bay Perp blind arcade below two large 2-buttresses with pinnacles rise to tall octagonal main pinnacles, linked by 7-bay traceried parapets to a horizontal coping. Although substantially rebuilt in the C19, the medieval detail has been convincingly retained. The eastern arm externally is mainly C19 work, it has plain coped parapets carried on a continuous corbel-table of tri-lobed arches, and windows are generally formed in pale limestone contrasting with the sandstone walling. The east end has 5 above 5 lancets, the upper row stepped, and a large open trefoil in the gable, all flanked by square buttresses crowned by open octagonal turrets with plain pinnacles, these are repeated on the gable ends of the east transept. The east end has a single bay return with a single lancet at 2 levels, then the ends of the Lady Chapel aisles. The main body has stepped in a containing arch at aisle level, with triple lancets to the 2-bay chapel on the south side. On the north side of the choir is a very large ground level flying buttress below the original flying buttress. The transepts have triple lancets at 2 levels, the upper one stepped, and on the returns a similar configuration in the first bay with a single small lancet above the aisles. Square buttresses with weathered heads have small nook shafts.

INTERIOR: the description begins with the earliest unit - the crypt, then proceeds from east to west. The crypt - the central vessel is in 4 aisles with apsidal end, small monolithic columns with square bases and cushion capitals carry plastered groined vaults with broad transverse arches, with a central and 2 outer rows. This is contained within thick walls with attached half-columns in bedded stone, and arched doorways to outer aisles, also with a central row of columns and responds. Remains of a south side chapel are at the west end, with early stairs to the west transept, and a C20 stair flight gives access at the east end, adjacent to Prince Arthur's Chapel, here also are some excavated remains of a former pentagonal chapel, including some early wall painting. The church is stone vaulted throughout, principally ribbed quadripartite, and neither plastered nor painted except to the East arm. Floors are generally C19 black and white marble. Nave, choir and Lady Chapel are in three storeys, with aisles. The east arm makes extensive use of Purbeck marble, main arcades carry richly moulded arches, those to the choir with some embellishment, and wider than in the Lady Chapel. The triforium above a Purbeck string, is in paired double lights with varied carved spandrel figures, in front of a simpler continuous blind arcade which is carried through in an independent rhythm. The clerestory, also above a Purbeck string, has a triple stepped opening with Purbeck shafts, and wall passage. The vault, with a longitudinal ridge rib, retains the C19 Hardman painted decoration, and is carried on Purbeck shafts taken down to the level of the arcade capitals. The shallow single bay sanctuary to the Lady Chapel has tall lancets at two levels, on three sides. The aisles have simple quadripartite vaulting, and wall arcading in the eastern half and east transept. In the east transept the 3 storey treatment is carried into the first bay, with 2 level lancets in the outer bay and the end walls, all with an inner Purbeck screen and wall passage. The east crossing piers have banded Purbeck shafts to the full height. The main crossing has tall unbroken multi-shaft piers carrying pointed arches in four orders, and crowned by an unusual lierne vault, plastered and painted. West transept reflects continuous growth and alteration from the time of Wulfstan to the C19, with a mix of masonry, and occasional remnants of detail built into the walls. Both arms have ribbed vaults with diagonal and ridge ribs, with some liernes in the south arm, the joints in the severy panels are very prominent. In each arm the east wall retains a bold Norman arch with the 2-bay St John's Chapel, which was part of the great 1224 extension. The upper parts of these walls include rectilinear inner screening to windows. The west walls have much plain masonry, with sharply cut rectilinear blind panelling above the aisle arches. In the NW corner of the north arm is a prominent circular stair turret from early work, but the large window is C19. This arm contains many wall monuments. The south arm has a triple lancet to its south wall. The nave, with a single tierceron rib in addition to the diagonals and ridges also have prominent joints to the panels. Arcade piers are multi-shafted, some of these taken full height on the Sough side, and detail varies slightly between the two arcades, the south being completed some decades later than the north. Triforia have paired double lights, with very varied carved spandrel figures, there is no wall passage in the normal way, but bays are entered from doorways in the roof spaces. The clerestory has a wall passage, and stepped triple inner arcade. In the first bay adjoining the crossing there are prominent flying buttresses carried through clerestory and triforium levels, these inserted to stabilise the central tower. The 2 west bays have a lower arcade, and transitional detail, with paired triple round-arched openings embellished with chevron and rosettes, under pointed arches, and mixed pointed and round arches to the clerestory inner screen, at the pier junction between old and new bays is some two-coloured stonework of Wulfstan's original build. The large west window is richly glazed in small scale biblical stories. The nave north aisle has simple vaulting, but the south is an unusual combination of quadripartite design plus sets of longitudinal and transverse lierne ribs except for the two west bays. The walls are almost filled with monuments, including in the south side some deep recesses. On the north side the single bay Jesus Chapel is enclosed by a decorative stone screen of the late C19. The entrance from the north porch is provided with a large internal draught lobby. Above the south aisle for its full length is the Cathedral Library, with heavy roof timbers adjusted when new shelving was inserted in the C18. Parts of 2 flying buttresses show within the space, and at the west end the floor is lower, over the Norman bays.

FITTINGS, MONUMENTS, AND STAINED GLASS: Most internal fittings are of the later C19, many by G G Scott, including the bishop's throne, choir reredos, choir stalls (but incorporating late C14 misericords and choir screens, including main open ironwork screen under the crossing arch, organ cases, and the nave pulpit. The chancel pulpit is an octagonal design of 1642, much restored by Scott. There is a 3-bay repositioned C15 stone screen on the North side of the retrochoir, and two openwork iron screens by Skidmore. The nave lectern with gilt angel is a Hardman design, and the font, at the west end of the nave south aisle, is by G F Bodley. Although fragments of C14 glass remain in some windows of the nave south aisle, most is of the C19, principally by Hardman, including the great window and the main lancets, the large window in the north wall of the west transept is by Lavers and Barraud, as is that in the east bay of the nave North aisle,of 1862, and according to Pevsner 'The best Victorian glass in the cathedral...'. Of special historic interest is a fine memorial 3-light window to Sir Edward Elgar, in the second bay of the nave north aisle (above a C16 monument of the kneeling figure of Lady Abigail, mother to Bishop Goldisburgh). The cathedral is very rich in commemorative monuments, both free-standing and wall-mounted, including work by Nollekens, Robert Adam, Chantrey, and Westmacott Junior. They are too numerous to be detailed here, but Pevsner (op cit) includes many of them in his description. Outstanding is the chantry chapel to Prince Henry, of 1504. This is a very elegant fine stone 'casket' on the south side of the main sanctuary, in lacy open stonework with delicate cresting and pinnacles, it has a complex flat lierne vault with pendants, and very rich stone reredos with many figures and complex canopies: these were defaced and plastered over, but when rescued, much of the detail is seen to remain. On its south side, towards the east transept, the chapel is on two levels, with an intermediate band of shields and other devices in blank panelling, above 2 recesses containing earlier recumbent figures of the Giffard family. Other major monuments include the splendid recumbent effigy to King John, centred below the sanctuary steps, Bishops Walter de Cantelupe and William de Blois in the Lady Chapel sanctuary, the chest tomb to Sir Griffith Ryce, 1523, with very fine in-situ brass top, in the SE transept, Sir John Beauchamp, executed by the 'merciless parliament' in 1388 - a splendid painted chest tomb on a medieval base, and Robert Wylde, 1607/08 (sic), a large multi-coloured chest tomb, these last two in the N and S arcade of the nave, respectively, fourth bay from the crossing. In the eighth bay, near the W end, the large free-standing early Renaissance monuments to Bishop Thornborough, 1641 (N side) and Dean Eades, 1596 (S side) are especially notable. In the N chancel aisle, opposite the Prince Arthur chantry are 2 early monuments, both of early design, with recumbent figures in recesses, of interest since they, with adjacent walling, were left 'unrestored' by Scott, to demonstrate the general state of the building before that action. Among wall monuments some of the more striking are: Bishop Isaac Maddox, 1697-1759, in white and grey marble, with a great urn and weeping supporters over an extended inscription, and Bishop Hough, a Roubiliac design of 1746, in the NW transept and choir aisle, Dean Stillingfleet, 1599, in white marble on a gadrooned base, in the N wall of this transept, Nicholas Billington, 1576, with an esoteric selection of elements, to the right of Jesus Chapel, John Moore, 1615, with his wife Ann and six kneeling figures, with late gothic vaulting over an early Renaissance design (nave, N aisle, to left of porch). The nave S aisle has a whole series of interesting monuments, including Bishop Blandford, 1675, a bold Baroque design, a recessed tomb chest of 1428 to Judge Littleton, and in the next bay to Bishop Henry Parry, 1616 - this under a medieval canopy, with cusping and mouchettes. Of special local interest is the modest white marble tablet on the W wall of the NW transept to Mrs Henry Wood, 1814/1887, author of the Victorian 'best seller' East Lynn.

HISTORY: Worcester in the Middle Ages was an unusually large diocese, including, for instance, both Gloucester and Bristol, it was also unusual in that its Saxon Bishop, Wulfstan, remained in power after the Norman takeover, and it was during his episcopate that the earliest extant parts of the current cathedral - the crypt, nave and W transept - were established. Subsequent Gothic phases were conditioned by the pre-existing work, but the E arm was greatly extended - including a second transept, peculiar to English cathedrals - in the C13, so that the central tower lies almost exactly half-way in the 130m (425ft) length of the structure. Rich in architectural detailing and containing a large number of monuments, both free-standing and as wall tablets, the building has frequently undergone restoration or reconstruction because the soft sandstone used weathers so quickly. Substantial new work, including replacement of window designs, was undertake in the C17 and C18, much damage having been caused also by Parliamentarians, but a major restoration, including replacement of window designs of appropriate type, was effected in the C19. The location is enhanced by its setting by the Severn, but in the C20 the town has been cut off visually and practically by the principal traffic route passing diagonally across the N and E sides of the building. The Pevsner description was written before the later excavation revealed the details of radial chapels to the crypt. (P Barker: A Short Architectural History of Worcester Cathedral: 1994-; MEDIEVAL ART AND ARCHITECTURE AT WORCESTER CATHEDRAL: 1978-; J Harvey: English Mediaeval Architects: 1954-; N Pevsner: The Buildings of England, Worcestershire: 1968-).

Sources

Books and journals

Medieval Art and Architecture at Worcester Cathedral, (1954)

Harvey, J , English Medieval Architects, (1984)

Pevsner, N, The Buildings of England: Worcestershire, (1968)

Barker, P, 'Worcester Cathedral Publications' in A Short Architectural History of Worcester Cathedral, (1994)

historicengland.org.uk/listing/the-list/list-entry/138972...

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Worcester Cathedral

Worcester Cathedral is an Anglican cathedral in Worcester, England, situated on a bank overlooking the River Severn. It is the seat of the Bishop of Worcester. Its official name is the Cathedral Church of Christ and the Blessed Mary the Virgin, of Worcester. The present cathedral church was built between 1084 and 1504, and represents every style of English architecture from Norman to Perpendicular Gothic. It is famous for its Norman crypt and unique chapter house, its unusual Transitional Gothic bays, its fine woodwork, and its "exquisite" central tower,[1] which is of particularly fine proportions.[1][2] The cathedral contains the tombs of King John and Prince Arthur.

More information can be found on the link below:-

en.wikipedia.org/wiki/Worcester_Cathedral

Shinto art. The art used in the worship of Shinto deities *kami 神. The term does not include architecture, but does include painting, sculpture and craft objects. There is a wide range of Shinto art: ritual utensils, saigu 祭具 or saiki 祭器, shrine treasures *shinpou 神宝, other shrine possessions including mirrors, *mishoutai 御正体 or *kakebotoke 懸仏, ornaments and banners, festival carts and palanquins *mikoshi 御輿. The term covers much painting, including pilgrimage paintings *sankei mandara 参詣曼荼羅, scroll paintings of the origin of a shrine engi emaki 縁起絵巻, festival hanging scrolls and screens *sairei-zu 祭礼図, devotional hanging scrolls, and maps e-zu 絵図. There is also a great deal of sculpture, including images of Shinto deities *shinzou 神像 and of their Buddhist identities *honjibutsu 本地仏; and miscellaneous items such as relic containers *sharitou 舎利塔 and votive plaques *ema 絵馬. Most of these categories of items are not limited to Shinto pieces and stylistically are studied along with comparable secular or Buddhist art. For example, an engiemaki is stylistically related to other picture scrolls, *emaki 絵巻 of the same period more closely than to other Shinto art, even if its content elucidates the history of a shrine. Also, a sculpture of the Buddhist equivalent of a kami cannot be distinguished from a Buddhist image unless it has an inscription or it is known that the image was used in the worship of a kami. In contrast, a sculpture of the Shinto form of a kami may not use the artistic conventions associated with Buddhist sculpture. It is believed that in early times the Japanese worshipped natural objects such as rocks, trees and waterfalls, without using buildings or images, and that the making and use of images in worship derived from Buddhism. Extant sculptures of kami, both in their form as kami and as buddhas, date from the late 8c and 9c. The first instance of making an image is believed to be that recorded in TADO JINGUUJI GARAN ENGI SHIZAICHOU 多度神宮寺伽藍縁起資財帳 (Record of Properties of the Associated Temple of Tado Shrine), compiled in 801, which relates the story of the priest Mangan's 満願 conversion of the kami of Tado to Buddhism in 763 and his subsequent portrayal of the kami in a sculpture. Thus, this artistic development appears to have occured well after the introduction of Buddhism in the mid 6c. Extant paintings are much more recent than sculptures, dating from the Kamakura period. although there are records of paintings of kami from earlier times which have not survived. The earliest records of devotional paintings of the landscape of shrines *miya mandara 宮曼荼羅 appear in the third quarter of the 12c and fine paintings associated with shrine cults, particularly *Kasuga mandara 春日曼荼羅, *Sannou mandara 山王曼荼羅 and *Kumano mandara 熊野曼荼羅 survive from the Kamakura period and later. Paintings of these and other shrine cults were used in the shrines' associated temples as symbols of the protection of the kami as well as by devotees and confraternities of devotees kou 講. The history of the shrines was recorded in scrolls, just like the history of Buddhist temples. The illustrated scrolls of the "Kasuga Gongen Miracles" Kasuga Gongen ｇenki-e 春日権現験記絵 (Imperial Collection of 1309), is a particularly long and lavish example of this type of painting. From the 12c it becomes clear that shrines were seen as paradises, both in their own right and as Buddhist paradises or gates to Buddhist paradises. Red, white and green corridors and gates, like the Chinese palaces seen in Buddhist paintings, were added to a number of shrines, such as lwashimizu Hachimanguu 石清水八幡宮 and Kasuga Taisha 春日大社. This idea lies behind the production of shrine paradise paintings such as the Kasuga joudo mandara 春日浄土曼荼羅. Paintings of the welcome of the deceased (see *raigou-zu 来迎図) particularly by *Amida 阿弥陀 or *Jizou 地蔵 also may be set in the landscape of particular shrines. Of particular importance in the history of Shinto art is the separation of Shinto and Buddhism, shinbutsu bunri 神仏分離 that occurred in 1868. All Shinto shrines were required to present their history to the government and remove Buddhist images and paraphernalia. Establishments which were thoroughly mixed had to choose whether they were Shinto or Buddhist. Sites dedicated to the ascetic practices of shugendou 修験道 sites were badly damaged. Even shrines that today are quite purely Shinto once were accompanied by Buddhist temples, and purely Buddhist temples by Shinto shrines. Destruction of Buddhism in general accompanied the separation, and buildings, art and documents were destroyed. Shrine and temple buildings were also moved. In the destruction and confusion much Shinto art was destroyed or moved. Shinbutsu bunri and the rise of nationalism in the first half of the 20c have made the understanding of this art particularly difficult.

Sennheiser HD 25-1-II by Originals, ‘The Original Combination of Sound & Style’. The true instrument of professional DJs, adidas has given Sennheiser’s supreme DJ headphones a makeover. These headphones handle extreme sound pressure, with crystal clear highs down through rumbling lows. Along with the lightweight and comfortable design, these headphones ensure an original sound experience.

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The Lidl Run Kildare Events 2013 were held at the Curragh Racecourse, Newbridge, Co. Kildare, Ireland on Sunday 12th May 2013. There were three events: a 10KM, a half marathon, and a full marathon. This is a selection of photographs which includes all events. The photographs are taken from the start and finish of the marathon, the finish of the 10KM, and the finish of the half marathon. Due to the large numbers participating we did not manage to photograph everyone - which was not helped by the weather. Congratulations to Jo Cawley and her RunKildare crew for another great event. The weather didn't dampen the spirits of the many happy participants.

Electronic timing was provided by Red Tag Timing [www.redtagtiming.com/]

Overall Race Summary

Participants: There were approximately 3,000 participants over the 3 race events - there were runners, joggers, and walkers participating.

Weather: A cold breezy morning with heavy rain at the start. The weather dried up for the 10KM and the Half Marathon races

Course: This is an undulating course with some good flat stretches on the Curragh.

Viewing this on a smartphone device?

If you are viewing this Flickr set on a smartphone and you want to see the larger version(s) of this photograph then: scroll down to the bottom of this description under the photograph and click the "View info about this photo..." link. You will be brought to a new page and you should click the link "View All Sizes".

Some Useful Links

GPS Garmin Trace of the Kildare Marathon Route: connect.garmin.com/activity/175709313

Homepage of the Lidl Run Kildare Event: www.kildaremarathon.ie/index.html

Facebook Group page of the Lidl Run Kildare Event: www.facebook.com/RunKildare

Boards.ie Athletics Discussion Board pages about the race series: www.boards.ie/vbulletin/showthread.php?t=2056815306

Our photographs from Run Kildare 2012: www.flickr.com/photos/peterm7/sets/72157629707887620/

Our photographs from Run Kildare 2011: www.flickr.com/photos/peterm7/sets/72157626725200956/

A small selection of photographs from Run Kildare 2010: www.flickr.com/photos/peterm7/sets/72157623899845567/ (first event)

Can I use the photograph with the watermark?

Yes! Absolutely - you can post this photograph to your social networks, blogs, micro-blogging, etc.

How can I get a full resolution, no watermark, copy of these photographs?

All of the photographs here on this Flickr set have a visible watermark embedded in them. All of the photographs posted here on this Flickr set are available, free, at no cost, at full resolution WITHOUT watermark. We take these photographs as a hobby and as a contribution to the running community in Ireland. We do not know of any other photographers who operate such a policy. Our only "cost" is our request that if you are using these images: (1) on social media sites such as Facebook, Tumblr, Pinterest, Twitter,LinkedIn, Google+, etc or (2) other websites, web multimedia, commercial/promotional material that you provide a link back to our Flickr page to attribute us. This also extends the use of these images for Facebook profile pictures. In these cases please make a separate wall or blog post with a link to our Flickr page. If you do not know how this should be done for Facebook or other social media please email us and we will be happy to help suggest how to link to us.

Please email petermooney78 AT gmail DOT com with the links to the photographs you would like to obtain a full resolution copy of. We also ask race organisers, media, etc to ask for permission before use of our images for flyers, posters, etc. We reserve the right to refuse a request.

In summary please remember - all we ask is for you to link back to our Flickr set or Flickr pages. Taking the photographs and preparing them for online posting does take a significant effort. We are not posting photographs to Flickr for commercial reasons. If you really like what we do please spread the link around, send us an email, leave a comment beside the photographs, send us a Flickr email, etc.

If you would like to contribute something for your photograph(s)?

Some people offer payment for our photographs. We do not charge for these photographs. We take these photographs as our contribution to the running community in Ireland. If you feel that the photograph(s) you request are good enough that you would pay for their purchase from other photographic providers we would suggest that you can provide a donation to any of the great charities in Ireland who do work for Cancer Care or Cancer Research in Ireland.

I ran in the race - but my photograph doesn't appear here in your Flickr set! What gives?

As mentioned above we take these photographs as a hobby and as a voluntary contribution to the running community in Ireland. Very often we have actually ran in the same race and then switched to photographer mode after we finished the race. Consequently, we feel that we have no obligations to capture a photograph of every participant in the race. However, we do try our very best to capture as many participants as possible. But this is sometimes not possible for a variety of reasons:

     ►You were hidden behind another participant as you passed our camera

     ►Weather or lighting conditions meant that we had some photographs with blurry content which we did not upload to our Flickr set

     ►There were too many people - some races attract thousands of participants and as amateur photographs we cannot hope to capture photographs of everyone

     ►We simply missed you - sorry about that - we did our best!

You can email us petermooney78 AT gmail DOT com to enquire if we have a photograph of you which didn't make the final Flickr selection for the race. But we cannot promise that there will be photograph there. As alternatives we advise you to contact the race organisers to enquire if there were (1) other photographs taking photographs at the race event or if (2) there were professional commercial sports photographers taking photographs which might have some photographs of you available for purchase. You might find some links for further information above.

Don't like your photograph here?

That's OK! We understand!

If, for any reason, you are not happy or comfortable with your picture appearing here in this photoset on Flickr then please email us at petermooney78 AT gmail DOT com and we will remove it as soon as possible. We give careful consideration to each photograph before uploading.

I want to tell people about these great photographs!

Great! Thank you! The best link to spread the word around is probably www.flickr.com/peterm7/sets

August 15, 2019- New York City, NY- Governor Andrew Cuomo advances First-In-The-Nation Domestic Terrorism Law to include mass violence motivated hate.

*includes a $5 airport service fee per checked bag??

Bosnia and Herzegovina, sometimes known as Bosnia-Herzegovina and informally as Bosnia, is a country in Southeast Europe. Situated on the Balkan Peninsula, it borders Serbia to the east, Montenegro to the southeast, and Croatia to the north and southwest. In the south it has a 20-kilometre-long (12-mile) coast on the Adriatic Sea. Bosnia has a moderate continental climate with hot summers and cold, snowy winters. In the central and eastern regions, the geography is mountainous, in the northwest it is moderately hilly, and in the northeast it is predominantly flat. Herzegovina, the smaller, southern region, has a Mediterranean climate and is mostly mountainous. Sarajevo is the capital and the largest city.

The area has been inhabited since at least the Upper Paleolithic, but evidence suggests that during the Neolithic age, permanent human settlements were established, including those that belonged to the Butmir, Kakanj, and Vučedol cultures. After the arrival of the first Indo-Europeans, the area was populated by several Illyrian and Celtic civilizations. The ancestors of the South Slavic peoples that populate the area today arrived during the 6th through the 9th century. In the 12th century, the Banate of Bosnia was established; by the 14th century, this had evolved into the Kingdom of Bosnia. In the mid-15th century, it was annexed into the Ottoman Empire, under whose rule it remained until the late 19th century; the Ottomans brought Islam to the region. From the late 19th century until World War I, the country was annexed into the Austro-Hungarian monarchy. In the interwar period, Bosnia and Herzegovina was part of the Kingdom of Yugoslavia. After World War II, it was granted full republic status in the newly formed Socialist Federal Republic of Yugoslavia. In 1992, following the breakup of Yugoslavia, the republic proclaimed independence. This was followed by the Bosnian War, which lasted until late 1995 and ended with the signing of the Dayton Agreement.

The country is home to three main ethnic groups: Bosniaks are the largest group, Serbs the second-largest, and Croats the third-largest. Minorities include Jews, Roma, Albanians, Montenegrins, Ukrainians and Turks. Bosnia and Herzegovina has a bicameral legislature and a presidency made up of one member from each of the three major ethnic groups. However, the central government's power is highly limited, as the country is largely decentralized. It comprises two autonomous entities—the Federation of Bosnia and Herzegovina and Republika Srpska—and a third unit, the Brčko District, governed by its own local government.

Bosnia and Herzegovina is a developing country. Its economy is dominated by industry and agriculture, followed by tourism and the service sector. Tourism has increased significantly in recent years. The country has a social security and universal healthcare system, and primary and secondary education is free. Bosnia and Herzegovina is an EU candidate country and has also been a candidate for NATO membership since April 2010.

Includes: Black/Gold bustier top w/ removable straps, removable garters, attached underwire bra w/ removable pads in lining, and adjustable back lacing. Costume also includes black velour boy shorts, black velour short cape w/ gold lining, matching hat, mask, boot covers, thigh-high stockings and whip (NOTE: Also included w/ costumes is a Playboy Garment bag)

A Kingfisher appears to be a regular sight at low tide on the River Adur at the moment.

Includes cherry tree, raspberries, strawberries, red currants , prune tree, and many green veggies, includes wild service berries

New releases on the US Disney Store website as of Wednesday July 25, 2012. They include new Disney Parks Ear Hat Ornaments for various Disney characters, including Princesses and Villains.

Description and images from the Disney Store website.

Limited Edition Cruella De Vil Ear Hat Ornament

Item No. 7509002529610P

Our Price: $19.95

Add a spot of villainy to your holiday decorations with this Cruella De Vil Ear Hat Ornament. Created by artist Costa Alavezos, this limited edition ornament, inspired by the devilish 101 Dalmatians character, includes her printed signature.

Product Details

Created especially for Walt Disney World Resort and Disneyland Resort

Please Note: Each Guest will be limited to ordering a maximum of two of this item per order.

Exclusive to DisneyStore.com

•Sculpted hair and coat

•Coat is flocked.

•Includes character signature and printed artist signature

•Includes ribbon for hanging

•Created by Disney artist Costa Alavezos

•Limited Edition of 6500

•Part of the Disney Villains Ear Hat Ornament Collection, each sold separately

•Resin

•2'' H x 2 1/2'' W x 3 1/2'' L

•Imported

Low cloud today, so no chance to see the Matterhorn, but still some interesting views between the clouds

Hong Kong Government Department

The Hong Kong Police Force | HKP

Police Vehicles, Police Officers, Marine Police, Traffic Police, Police Stations. All Districts, Hong Kong

Special Units & Divisions include Counter Terrorism, Police Tactical Unit (PTU), National Security Bureau, Diplomatic Protection & Security, Commercial Crime, CID, Dog Unit, Wanted & Missing Persons, Cyber Security & Technology Crime Bureau, Organised Crime and Triad Bureau, Narcotics Bureau, Criminal Intelligence, The Bomb Squad (EOD), Public Relations, Criminal Records, Police Training College and the Auxiliary Police etc.

All relevant and extensive information about the Hong Kong Police Force is available on their website

www.police.gov.hk/ppp_en/

It is very comprehensive, the Hong Kong Police Force has a highly organised structure.

All Hong Kong Police Vehicles use the AM licence plate ie 2 digits and up to 4 numbers | Police vehicles have different colours, normal Police vehicles are white with red and blue stripes, the Police Traffic Division vehicles are white with yellow and blue checkerboard design.

Amazingly the Police Force have their own superstitions as well, the majority of the licence plates on Police Vehicles have lucky number combinations involving the numbers 6,8, and 9 ! Basically 6 means easy life, 8 means wealth and 9 means long life - this is very much Hong Kong Culture. The Police also use unmarked vehicles extensively which are NOT identified by the AM mark.

The Police Museum at 27 Coombe Road at the Peak is also worth a visit, see details on the website listed above.

☛.... and if you want to read about my views on Hong Kong, then go to my blog, link below

✚ www.j3consultantshongkong.com/j3c-blog

☛ Photography is simply a hobby for me, I do NOT sell my images and all of my images can be FREELY downloaded from this site in the original upload image size or 5 other sizes, please note that you DO NOT have to ask for permission to download and use any of my images!

Benefits of AirField in a green roofing system include:

AirDrain creates and helps maintain a constant Gmax for artificial turf (See below)

Thickness and resin consistency of AirDrain provides uniform shock absorbency

Shock absorption reduces the strain on joints and ligaments

AirDrain is only limited by the drainage capacity of the profile above it

Installation time measured in days instead of weeks

AirDrain can be reused when the artificial turf must be replaced

Water harvesting reclamation and reuse

Helps qualify for LEED and other green building credits

A smaller carbon and development footprint with reduced site disturbance

100% vertical drainage under the entire field surface

Minimizes water related injuries / Less infill migration due to superior drainage

AirDrain is a 100% recycled product

Less infill migration due to superior drainage

GMAX Information Existing Conditions for Testing

Turf - 2 1/2” Slit Film, in filled with 50% Green Rubber Infill and 50% Silica Sand.

The drainage/shock pad and turf underlying substrate consists of a concrete deck/rooftop, coated with a waterproof membrane and 10 ounce 100% recycled polyester geo-textile filter fabric.

The Standard Test Method for Shock-Absorbing Properties of Playing Surface Systems and Materials (ASTM F1936-98 American Football Field) testing locations and procedure were preformed. The tests were performed using a Triax 2000 A-1 Missile, tripod mounted Gmax registration unit(www.triax2000.com). This report presents background information on the test procedures, existing conditions, test results and observations in football, baseball, softball, soccer, lacrosse, and field hockey artificial sports fields.

The environmental impact of a green roof is undenyable, and adds significantly to the LEED Point system designed by the USGC in all five major areas: sustainable site development, water savings, energy efficiency, materials selection, and indoor environmental quality. Green roofing replaces the green space displaced by a building, prevents excess stormwater drainage, reduces the temperature of a building and the urban heat island effect, protects and extends the useful life of a roof, and reduce energy demands. What's more, a green roof incorporating AirDrain means your design includes renewable, recycled, and locally obtained materials. We know you have a choice in designing a green roof, and we hope you consider the many benefits of AirDrain.

A typical AirDrain green roof installation design

Kochi is a city in the Indian state of Kerala. Kochi is located in the district of Ernakulam. Old Kochi loosely refers to a group of islands including Willingdon Island, Fort Kochi and Mattancherry. Today Kochi includes Ernakulam, old parts of Kochi, Kumbalangi, and outlying islands.

For many centuries up to and during the British Raj, the city of Kochi was the seat of the eponymous princely state. Kochi traces its history back many centuries, when it was the centre of Indian spice trade for hundreds of years, and was known to the Yavanas (Greeks and Romans), Jews, Arabs and Chinese since ancient times. Kochi earned a significant position on the world trading map after the port at Kodungallur (Cranganore) was destroyed by massive flooding of the river Periyar in 1341.

The earliest documented references to Kochi occur in the books written by Chinese voyager Ma Huan, during his visit to Kochi in the 15th century as part of the treasure fleet of Admiral Zheng He. There are also references to Kochi in accounts written by Italian traveller Niccolò Da Conti, who visited Cochin in 1440 . Today, Kochi is the commercial hub of Kerala, and one of the fastest growing second-tier metros in India.

PREHISTORY

Not much is known about the prehistory of Kochi. There has been no clear evidence of Stone Age inhabitation. Quite ironically, Kochi forms the central part of the Megalithic belt of Kerala. The only trace of prehistoric life in the region is the menhir found in Tripunithura.

PRINCELY RULE

The history of Kochi prior to the Portuguese is not well documented. Though places north and south of Kochi are mentioned in quite detail in many accounts by ancient travellers, even a mention of Kochi is absent prior to the arrival of the Portuguese. Kochi's prominence as a trading port grew after the collapse of the port at Kodungallur in 1341 AD.

The Cochin State came into existence in 1102 AD after the breaking up of the Kulasekhara empire.

FOREIGN RULE

Kochi was under the rule of many foreign empires, during which the Raja of Kochi still remained the titular head.

PORTUGUESE PERIOD (1503-1663)

Kochi was the scene of the first European settlement in India. In the year 1500, Portuguese Admiral Pedro Álvares Cabral, landed at Cochin after being repelled from Calicut. The King of rival Kochi welcomed his guests and a treaty of friendship was signed. Promising his support in the conquest of Calicut, the admiral coaxed the king into allowing them to build a factory at Cochin. Assured by the support, the king called war with the Zamorins of Calicut. However, the admiral retreated in panic on seeing the powers of the Zamorin. The Zamorins, on the other hand, eager to win the favor of the Portuguese, left without a war. Another captain, João da Nova was sent in place of Cabral. However, he too faltered at the sight of the Zamorin. The consecutive retreats made the King of Portugal indignant. The king sent Vasco Da Gama, who bombed Calicut and destroyed the Arab trading posts. This invited the anger of the Zamorin, who declared a war against the Kochi Raja.

The war between Calicut and Cochin began on 1 March 1503. However, the oncoming monsoons and the arrival of a small Portuguese fleet under Francisco and Afonso de Albuquerque alarmed the Zamorin, and he called back his army. The Zamorin resorted to a retreat also because the revered festival of Onam was near, and the Zamorin intended to keep the auspicious day holy. This led to a triumph for the king of Kochi, who was later re-established in the possession of his kingdom. However, much of the kingdom was burnt and destroyed by the Zamorins.

After securing the king in his throne, the Portuguese got permission to build a fort – Fort Kochi (Fort Emmanuel) (after the reigning king of Portugal) - surrounding the Portuguese factory, in order to protect it from any further attacks. The entire work was commissioned by the Cochin Raja, who supplied workers and material. The Raja continued to rule with the help of the Portuguese. Meanwhile, the Portuguese secretly tried to enter into an alliance with the Zamorins. A few later attempts by the Zamorin at conquering the Kochi port was thwarted by the Cochin Raja with the help of the Portuguese. Slowly, the Portuguese armory at Kochi was increased, with the presumed notion of helping the raja protect Kochi. However, the measured led to decrease in the power of the Cochin Raja, and an increase in the Portuguese influence. From 1503 to 1663, Kochi was ruled by Portugal through the namesake Cochin Raja. Kochi remained the capital of Portuguese India till 1510. In 1530, Saint Francis Xavier arrived and founded a Christian mission. This Portuguese period was difficult for the Jews installed in the region, since the Inquisition was active in Portuguese India. Kochi hosted the grave of Vasco da Gama, the Portuguese viceroy, who was buried at St. Francis Church until his remains were returned to Portugal in 1539. Soon after the time of Albuquerque, the Portuguese rule in Kerala declined. The failure is attributed to several factors like intermarriages, forcible conversions, religious persecution etc.

DUTCH PERIOD (1663-1773)

The Portuguese rule was followed by that of the Dutch, who had by then conquered Quilon, after various encounters with the Portuguese and their allies. Discontented members of the Cochin Royal family called on the assistance of the Dutch for help in overthrowing the Cochin Raja. The Dutch successfully landed at Njarakal and headed on to capture the fort at Pallippuram, which they handed over to the Zamorin.

MYSORE INVASION

The 1773 conquest of the Mysore King Hyder Ali in the Malabar region descended to Kochi. The Kochi Raja had to pay a subsidy of one hundred thousand of Ikkeri Pagodas (equalling 400,000 modern rupees). Later on, in 1776, Haider captured Trichur, which was under the Kingdom of Kochi. Thus, the Raja was forced to become a tributary of Mysore and to pay a nuzzar of 100,000 of pagodas and 4 elephants and annual tribute of 30,000 pagodas. The hereditary Prime Ministership of Cochin came to an end during this period.

BRITISH PERIOD (1814–1947)

In 1814 according to the Anglo-Dutch Treaty, the islands of Kochi, including Fort Kochi and its territory were ceded to the United Kingdom in exchange for the island of Banca. Even prior to the signing of the treaty, there are evidence of English residents in Kochi. Towards the early 20th century, trade at the port had increased substantially, and the need to develop the port was greatly felt. Harbour Engineer Robert Bristow, was thus brought to Cochin in 1920 under the direction of Lord Willingdon, then the Governor of Madras. In a span of 21 years, he had transformed Cochin as the safest harbour in the peninsula, where ships berthed alongside the newly reclaimed inner harbour equipped with a long array of steam cranes. Meanwhile, in 1866, Fort Cochin was made a municipality, and its first Municipal Council election to a board of 18 members was conducted in 1883. The Maharajah of Cochin, in 1896 initiated local administration, by forming town councils in Mattancherry and Ernakulam. In 1925, Kochi legislative assembly was constituted due to public pressure on the state. The assembly consisted of 45 members, 10 of who were officially nominated. Thottakkattu Madhaviamma became the first woman to be a member of any legislature in India.

POST INDEPENDENCE ERA

In 1947, India gained independence from the British colonial rule. Cochin was the first princely state to join the Indian Union willingly. Post independence, E. Ikkanda Warrier became the first Prime Minister of Kochi. K. P. Madhavan Nair, P.T Jacob, C. Achutha Menon, Panampilly Govinda Menon were few of the other stalwarts who were in the forefront of the democratic movements. Then in 1949, Travancore-Cochin state came into being by the merger of Cochin and Travancore, with Parur T. K. Narayana Pillai as the first chief minister. Travancore-Cochin, was in turn merged with the Malabar district of the Madras State. Finally, the Government of India's 1 November 1956 States Reorganisation Act inaugurated a new state – Kerala – incorporating Travancore-Cochin, Malabar District, and the taluk of Kasargod, South Kanara. On 9 July 1960, the Mattancherry council passed a resolution that was forwarded to the government, requesting the formation of a Municipal Corporation by combining the existing municipalities of Fort Kochi, Mattancherry and Ernakulam. The proposal was condemned by the Fort Kochi municipality. However, the Ernakulam municipality welcomed the proposal, suggesting the inclusion of more suburban areas in the amalgamated Corporation. Major Balagangadhara Menon, the then Director of Local Bodies was appointed by the government to study the feasibility of the suggested merger. And based on the report submitted by him, the Kerala Legislative Assembly approved the formation of the Corporation. Thus, on 1 November 1967, exactly 11 years since the conception of the state of Kerala, the corporation of Cochin came into existence, by the merger of the municipalities of Ernakulam, Mattancherry and Fort Kochi, along with that of the Willingdon Island and four panchayats viz. Palluruthy, Vennala, Vyttila and Edappally and the small islands of Gundu and Ramanthuruth.

WIKIPEDIA

everyone in the clan brought something to share for our Thanksgiving meal @my sister's home.

I'll label shortly!

Redecorated a lot of this room in 2007. Artisans include--

Kay and Joe Franek -- pottery

Christopher Maestas and Jude McQuay (Dusty Acres) -- pottery

Frank G. Van Atta –wood turnings

Ann Marie Antone (Tohono O’odham) -- Horsehair basket

Rainbow Hand (Brian and Kathy Tepper) - pottery. leather pictograph

Jeff Eriacho – Zuni fetish

Elizabeth Whitman and other Whitman family members – Navajo silver

Dee Tootsie (Hopi) – pottery

Manalisa Camarena (Navajo) – rug

Dorothy Silas (Navajo) – sand painting

Robert R. Eddy – Plains indian dolls

Ron Hinshaw (Laguna Pueblo) – Kachina dolls

“Bear” Retzen (Acoma Pueblo) – pottery

Lorraine Mark. (Navajo) – rug

Emilida Nampeyo Honie (Hopi) pottery

D.M. – pottery

Gloria Bogulas Minis – Tohono O’odham horsehair baskets

Delaine Tootsie (Hopi) – pottery

EL (Jemez) – pottery

TB – kachina

AT. and VT (Navajo) -- pottery

FGVminiatures – wood turnings

Karin Malloy--Cut out Southwestern pot, sansevieria

Albert Alvidrez (Ysleta Del Sur Pueblo-Tigua Reservation) -- pottery

White Mountain Apache burden basket (earrings)

Nez Perce beaded basket

Roundwood studio – wood turnings

Kimo DeCora (Isleta Pueblo) – pottery

Gloria Bogulas – horsehair basket

Geri Naranjo (Santa Clara) – pottery

Gale Manning -- miniature doll

RUFFA'S CURRENT WORK INCLUDES:

********************************************

TV Actress / Host / Talent Judge

Film Actress

Product Endorser

Commercial and print ad Model

Keynote Speaker

Businesswoman

Sharmaine Ruffa Rama Gutiérrez joined Show Business in 1986 at the age of 13. In 2010, she signed a 3-year contract with TV5 as Talk Show Host and for Acting Role projects. She is also active in Films and has completed one movie project in 2010. A former Beauty Queen in the Philippines, Miss World 1993 second Princess and Elite Model Look participant, she is the daughter of celebrity couple Eddie Gutierrez and Annabelle Rama. She is the Co-Founder and Vice President of Royale Artists Management since 1995. Ruffa has been in the Entertainment Industry for over 20 years and has a proven track record to be highly professional and excellent collaborator.

RUFFA'S CURRENT PROJECTS 2012:

Contract Artist - TV5 Network

2010 – Present

Endorser - Century Properties, Inc.

2009 - Present (3 years)

Endorser - Belo Medical Group

2008 - Present (4 years)

Endorser - AVON 2007–Present (5 years)

AVON Philippines Ambassador - 2008-Present (4 years)

Vice President - Royale Artists Management (co-founder)

1995 - Present (17 years)

RUFFA'S PAST PROJECTS:

2007 – 2010 ABS-CBN Network contract artist (Manila) 3 years

1999 – 2002 Century Productions contract host (USA) 3 years

1986 – 2003 GMA, RPN and IBC Networks contract artist (Manila) 16 years

Ruffa began her Practical Education at the Real World University with real projects.

RUFFA'S FILM PROJECTS:

2010 Working Girls

2009 Shake, Rattle & Roll XI

2008 Desperadas 2

2008 My Monster Mom

2008 Desperadas

1986 - 2003 Completed over 50 Films to date.

Twitter.com/iLoveRuffaG

Philippine Fashion Supermodel Lifestyle on TV every week since 2007.

Daulatabad Fort

Daulatabad also known as Devagiri, is a town which includes the Devagiri-Daulatabad fort It is a 14th-century fort city in Maharashtra state of India, about 16 kilometres (9.9 mi) northwest of Aurangabad. The place was originally named Devagiri when it was an important uplands city along caravan routes (ca. sixth century AD), but the intervening centuries have reduced it to a village. However it is also considered to be one of the seven wonders of Maharashtra and a developing tourist spot.

The historical triangular fort of Daulatabad was built by first Yadava king Bhillama V in 1187.

Starting 1327, it famously remained the capital of Tughlaq dynasty, under Muhammad bin Tughluq (r. 1325-1351), who also changed its name, and forcibly moved the entire population of Delhi for two years before it was abandoned for lack of water and Tughluq was constantly known to shift the capital from Delhi to Daulatabad and Daulatabad to Delhi.

There is a belief that Devagiri was built in 1203 AD by a Dhangar or herdsman who acquired vast wealth by his good fortune. He had a brother who was a shepherd named 'Raja Ram' and in correlation with it he assumed the rank of a Raja (King).

Lord Shiva is believed to have been stayed on the hills surrounding this region. Hence the fort was originally known as Devagiri, literally (Hills of Gods)

The area of the city includes the hill-fortress of Devagiri (sometimes Latinised to Deogiri). It stands on a conical hill, about 200 meters high. Much of the lower slopes of the hill has been cut away by Yadava dynasty rulers to leave 50 meter vertical sides to improve defenses. The fort is a place of extraordinary strength. The only means of access to the summit is by a narrow bridge, with passage for not more than two people abreast, and a long gallery, excavated in the rock, which has for the most part a very gradual upward slope.

About midway along this gallery, the access gallery has steep stairs, the top of which is covered by a grating destined in time of war to form the hearth of a huge fire kept burning by the garrison above. At the summit, and at intervals on the slope, are specimens of massive old cannon facing out over the surrounding countryside. Also at the mid way, there is a cave entrance meant to confuse the enemies.

The fort had the following specialities which are listed along with their advantages :

No separate exit from the fort, only one entrance/exit - This is designed to confuse the enemy soldiers to drive deep into the fort in search of an exit, at their own peril.

No parallal gates - This is designed to break the momentum of theconfusing the invading army. Also, the flag mast is on the left hill, which the enemy will try to capitualte, thus will always turn left. But the real gates of the fort are on the right & the false ones on the left, thus confusing the enemy.

Spikes on the gates - In the era before gunpowder, intoxicated elephants were used as a battering ram to break open the gates. The presence of spikes ensured that the elephants died of injury.

Complex arrangement of entryways, curved walls, false doors - Designed to confuse the enemy, false, but well-designed gates on the left side lured the enemy soldiers in & trapped them inside, eventually feeding them to crocodiles.

The hill is shaped like a smooth tortoise back - this prevented the use of mountain lizards as climbers, because they cannot stick on it.

The site had been occupied since at least 100 BCE, and now has remains of Buddhist temples similar to those at Ajanta and Ellora.

The city is said to have been founded c. 1187 by Bhillama V, a Yadava prince who renounced his allegiance to the Chalukyas and established the power of the Yadava dynasty in the west. During the rule of the Yadava king Ramachandra, Alauddin Khalji of Delhi Sultanate raided Devagiri in 1296, forcing the Yadavas to pay a hefty tribute. When the tribute payments stopped, Alauddin sent a second expedition to Devagiri in 1308, forcing Ramachandra to become his vassal.

In 1328, Muhammad bin Tughluq of Delhi Sultanate transferred the capital of his kingdom to Devagiri, and renamed it Daulatabad. Some scholars ague that it the idea behind transfer of the capital was rational, because it lied more or less in the centre of the kingdom, and geographically secured the capital from the north-west frontier attacks.

In the Daulatabad fort, he found the area arid & dry. Hence he built a huge reservoir for water storage & connected it with a far-away river. He used siphon system to fill up the reservoir. However, his capital-shift strategy failed miserably due to lack of application & other factors. Hence he shifted back to Delhi & earned him the moniker "Mad King".

The next important event in the Daulatabad fort time-line was the construction of the Chand Minar by the Bahmani ruler Hasan Gangu Bahmani, also known as Ala-ud-Din Bahman Shah (r. 3 August 1347 – 11 February 1358).

Hasan Gangu built the Chand Minar as a replica of the Qutb Minar of Delhi, of which he was a great fan of. He employed Iranian architects to built the Minar who used Lapis Lazuli & Red Ochre for coloring. Currently, the Minar is out of bounds for the tourists, because of a suicide case.

As we move further into the fort, we can see the Chini Mahal, a VIP prison built by Aurangzeb. In this prison, he kept Abul Hasan Tana Shah of the Qutb Shahi Dynasty of Hyderabad. The antecedents of Abul Hasan Tana Shah, the last Qutub Shahi king are shrouded in mystery. Although a kinsman of the Golconda royals, he spent his formative years as a disciple of renowned Sufi saint Shah Raju Qattal, leading a spartan existence away from the pomp and grandeur of royalty. Shah Raziuddin Hussaini, popularly known as Shah Raju, was held in high esteem by both the nobility and commoners of Hyderabad. Abdullah Qutub Shah, the seventh king of Golconda was among his most ardent devotees. He died in prison leaving no male heir to the throne.

In this Chini Mahal, Sambhaji, son of Shivaji was kept.

Most of the present-day fortification was constructed under the Bahmanis and the Nizam Shahs of Ahmadnagar. The Mughal Governor of the Deccan under Shah Jahan, captured the fortress in 1632 and imprisoned the Nizam Shahi prince Husain Shah.

Monuments

The outer wall, 2.75 miles (4.43 km) in circumference, once enclosed the ancient city of Devagiri and between this and the base of the upper fort are three lines of defences.

Along with the fortifications, Devagiri contains several notable monuments, of which the chief are the Chand Minar and the Chini Mahal. The Chand Minar is a tower 210 ft (64 m). high and 70 ft (21 m). in circumference at the base, and was originally covered with beautiful Persian glazed tiles. It was erected in 1445 by Ala-ud-din Bahmani to commemorate his capture of the fort. The Chini Mahal (literally: China Palace), is the ruin of a building once of great beauty. In it Abul Hasan Tana Shah, the last of the Qutb Shahi kings of Golconda, was imprisoned by Aurangzeb in 1687.

The garden

A close-up image of the Father Thames statue in Coade stone at the front of the houseThe beautiful Stuart gardens include the famous Cherry Garden. It features lavender parterres flanked by two berceaux (vaulted trellises) of pleached hornbeam and a statue of Bacchus at its centre.

There are also eight grass plats; a south terrace border with clipped yew cones, hibiscus and pomegranate trees; a maze-like wilderness and a 17th-century orangery.

The tea terrace is reputed to have the oldest Christ's thorn bush in the country. Walnut and chestnut trees in the outer courtyard act as roosts and nesting sites for a large flock of green parakeets. The formal listed avenues are formed by more than 250 trees.

The house has changed little in 300 years, and the same applies to its formal gardens, which feature the oldest Orangery in Britain, an icehouse and a dairy. The National Trust has a tea room for visitors.

The house is said to be haunted by the Duchess of Lauderdale and her dog, which a number of visitors claim to have seen running down the corridors (no dogs are allowed in the building). The house was subject to a year long investigation by the Ghost Club which recorded a number of phenomena that remain 'unexplained'.

Hammerton's Ferry links the gardens to Marble Hill House on the opposite bank of the river.

see also:

www.londongardenstrust.org/features/ham.htm

From a Sunday afternoon stroll around Shoreham

Postcard - Fay Thomas Collection

The Fay Thomas Collection includes family archives relating to the Thomas family. Moses Thomas (1825-1878) was a significant figure in the history of the area now known as the City of Whittlesea, Victoria, Australia. Thomas and Ann and their family lived at "Mayfield", Mernda, Victoria.

Miss Lily Thomas (1871-1946), Thomas and Ann’s fourth daughter lived there all her life. She collected postcards which her family and friends sent her on a very regular basis. It was an easy and enjoyable way to keep in touch. Production of postcards blossomed in the late 19th and early 20th centuries. Lily’s collection encompasses the so-called Golden Age (1890-1915) with many postmarked 1906-1907. Some were sent to other members of the family.

Her collection document the natural landscape as well as the built environment—buildings, gardens, parks, and tourist sites. Topographical Postcards showing street scenes and general views from Australian and international locations.

Decorative cards, many embellished with floral motives (as a nod to the receiver Lily?) and embossing. Greeting cards are common for Christmas, New Year, Easter and of course birthdays.

Regular senders can be identified from Kyneton, Victoria, the Great Ocean Road area and Scotland.

YPRL hold digital copies of the Papers of the Moses Thomas Family held at State Library Victoria

Copyright for these images is Public domain but a credit to the Fay Thomas Collection and YPRL would be appreciated.

Enquiries: Yarra Plenty Regional Library