View allAll Photos Tagged Include
The Postcard
A postally unused Kromo Series postcard published by B&D of London EC.
On the back of the card they describe themselves as Pictorial Postcard Pioneers, and state that the card was printed in Saxony.
Queen's College Oxford
The Queen's College (on the right of the photograph) was founded in 1341 by Robert de Eglesfield in honour of Queen Philippa of Hainaut (wife of King Edward III of England). The college is distinguished by its predominantly neoclassical architecture, which includes buildings designed by Sir Christopher Wren and Nicholas Hawksmoor.
In 2015, the college had an endowment of £265 million, making it the fifth wealthiest college (after St. John's, Christ Church, All Souls and Merton).
In April 2012, as part of the celebrations of the Diamond Jubilee of Elizabeth II, a series of commemorative stamps were released featuring A-Z pictures of famous British landmarks. The Queen's College's front quad was used on the Q stamp, alongside other landmarks such as the Angel of the North on A and the Old Bailey on O.
The most famous feast of the College is the Boar's Head Gaudy, which originally was the Christmas Dinner for members of the College who were unable to return home over the Christmas break between terms, but is now a feast for old members of the College on the Saturday before Christmas.
Alumni of Queen's include:
Tony Abbott, 28th Prime Minister of Australia
Rowan Atkinson, actor and comedian, known for Blackadder and Mr. Bean
Jeremy Bentham, English philosopher, and legal and social reformer
Tim Berners-Lee, inventor of the World Wide Web
Cory Booker, United States Senator from New Jersey
Eric Garcetti, Mayor of Los Angeles
Leonard Hoffmann, Baron Hoffmann, English jurist and judge
Edmund Halley, English astronomer
King Henry V of England
Edwin Powell Hubble, American astronomer
Sir John Peel, gynaecologist to H.M. Queen Elizabeth II
Leopold Stokowski, conductor.
Sir Tim Berners-Lee
Sir Timothy John Berners-Lee OM KBE FRS RDI FRSA DFBCS FREng was born on the 8th. June 1955. Also known as TimBL, he is an English computer scientist, best known as the inventor of the World Wide Web, the HTML markup language, the URL system, and HTTP.
He is a professorial research fellow at the University of Oxford, and a professor emeritus at the Massachusetts Institute of Technology (MIT).
Berners-Lee proposed an information management system on the 12th. March 1989, and implemented the first successful communication between a Hypertext Transfer Protocol (HTTP) client and server via the Internet in mid-November.
He devised and implemented the first Web browser and Web server, and helped foster the Web's subsequent explosive development. He is the founder and director of the World Wide Web Consortium (W3C), which oversees the continued development of the Web.
Tim co-founded (with Rosemary Leith) the World Wide Web Foundation. In April 2009, he was elected as Foreign Associate of the National Academy of Sciences.
Berners-Lee is a senior researcher and holder of the 3Com founder's chair at the MIT Computer Science and Artificial Intelligence Laboratory (CSAIL). He is a director of the Web Science Research Initiative (WSRI), and a member of the advisory board of the MIT Center for Collective Intelligence.
In 2011, he was named as a member of the board of trustees of the Ford Foundation. He is a founder and president of the Open Data Institute, and is currently an advisor at social network MeWe.
In 2004, Berners-Lee was knighted by Queen Elizabeth II for his pioneering work. He received the 2016 Turing Award:
"... for inventing the World Wide Web, the first
web browser, and the fundamental protocols
and algorithms allowing the Web to scale".
He was named in Time magazine's list of the 100 Most Important People of the 20th. century, and has received many other accolades for his invention.
-- Tim Berners-Lee - The Early Years
Tim Berners-Lee was born in London, the son of mathematicians and computer scientists Mary Lee Woods (1924–2017) and Conway Berners-Lee (1921–2019). His parents were both from Birmingham, and worked on the Ferranti Mark 1, the first commercially-built computer.
He has three younger siblings; his brother, Mike, is a professor of ecology and climate change management.
Berners-Lee attended Sheen Mount Primary School, then attended Emanuel School (a direct grant grammar school at the time) from 1969 to 1973. A keen trainspotter as a child, he learnt about electronics from tinkering with a model railway.
From 1973 to 1976, he studied at The Queen's College, Oxford, where he received a first-class BA in physics. While there, he made a computer out of an old television set he had purchased from a repair shop.
-- Tim Berners-Lee's Career and Research
After graduation, Berners-Lee worked as an engineer at the telecommunications company Plessey in Poole, Dorset.
In 1978, he joined D. G. Nash in Ferndown, Dorset, where he helped create typesetting software for printers.
Berners-Lee worked as an independent contractor at CERN from June to December 1980. While in Geneva, he proposed a project based on the concept of hypertext, to facilitate sharing and updating information among researchers.
To demonstrate it, he built a prototype system named ENQUIRE.
After leaving CERN in late 1980, Tim went to work at John Poole's Image Computer Systems Ltd. in Bournemouth, Dorset, where he ran the company's technical side for three years.
The project he worked on was a "real-time remote procedure call" which gave him experience in computer networking. In 1984, he returned to CERN as a fellow.
In 1989, CERN was the largest Internet node in Europe, and Berners-Lee saw an opportunity to join hypertext with the Internet:
"I just had to take the hypertext idea and
connect it to the TCP and DNS ideas and—
ta-da!—the World Wide Web."
Tim also recalled:
"Creating the web was really an act of desperation,
because the situation without it was very difficult
when I was working at CERN later.
Most of the technology involved in the web, like the
hypertext, like the Internet, multifont text objects,
had all been designed already.
I just had to put them together. It was a step of
generalising, going to a higher level of abstraction,
thinking about all the documentation systems out
there as being possibly part of a larger imaginary
documentation system."
Berners-Lee wrote his proposal in March 1989 and, in 1990, redistributed it. It was accepted by his manager, Mike Sendall, who called his proposals:
"Vague, but exciting."
Robert Cailliau had independently proposed a project to develop a hypertext system at CERN, and joined Berners-Lee as a partner in his efforts to get the web off the ground. They used similar ideas to those underlying the ENQUIRE system to create the World Wide Web, for which Berners-Lee designed and built the first web browser.
Tim's software also functioned as an editor (called WorldWideWeb, running on the NeXTSTEP operating system), and the first Web server, CERN HTTPd (short for Hypertext Transfer Protocol daemon).
Berners-Lee published the first web site, which described the project itself, on the 20th. December 1990; it was available to the Internet from the CERN network.
The site provided an explanation of what the World Wide Web was, and how people could use a browser and set up a web server, as well as how to get started with your own website.
On the 6th. August 1991, Berners-Lee first posted, on Usenet, a public invitation for collaboration with the WorldWideWeb project.
In a list of 80 cultural moments that shaped the world, chosen by a panel of 25 eminent scientists, academics, writers and world leaders, the invention of the World Wide Web was ranked number one, with the entry stating:
"The fastest growing communications medium
of all time, the Internet has changed the shape
of modern life forever. We can connect with
each other instantly, all over the world."
In 1994, Berners-Lee founded the W3C at the Massachusetts Institute of Technology. It comprised various companies that were willing to create standards and recommendations to improve the quality of the Web.
Berners-Lee made his idea available freely, with no patent and no royalties due. The World Wide Web Consortium decided that its standards should be based on royalty-free technology, so that they easily could be adopted by anyone.
In 2001, Berners-Lee became a patron of the East Dorset Heritage Trust, having previously lived in Colehill in Wimborne, East Dorset. In December 2004, he accepted a chair in computer science at the School of Electronics and Computer Science, University of Southampton, Hampshire, to work on the Semantic Web.
In a Times article in October 2009, Berners-Lee admitted that the initial pair of slashes ("//") in a web address were "unnecessary". He told the newspaper that he easily could have designed web addresses without the slashes. In his lighthearted apology he said:
"There you go, it seemed like
a good idea at the time."
-- Tim Berners-Lee's Policy Work
In June 2009, then-British prime minister Gordon Brown announced that Berners-Lee would work with the UK government in order to help make data more open and accessible on the Web, building on the work of the Power of Information Task Force.
Berners-Lee and Professor Nigel Shadbolt are the two key figures behind data.gov.uk, a UK government project to open up almost all data acquired for official purposes for free re-use.
Commenting on the opening up of Ordnance Survey data in April 2010, Berners-Lee said:
"The changes signal a wider cultural change
in government, based on an assumption that
information should be in the public domain
unless there is a good reason not to — not
the other way around."
He went on to say:
"Greater openness, accountability and
transparency in Government will give
people greater choice and make it
easier for individuals to get more
directly involved in issues that matter
to them."
In November 2009, Berners-Lee launched the World Wide Web Foundation (WWWF) in order to campaign:
"To advance the Web to empower humanity
by launching transformative programs that
build local capacity to leverage the Web as
a medium for positive change".
Berners-Lee is one of the pioneer voices in favour of net neutrality, and has expressed the view that:
"ISPs should supply connectivity with no strings
attached, and should neither control nor monitor
the browsing activities of customers without their
expressed consent."
Tim advocates the idea that net neutrality is a kind of human network right:
"Threats to the Internet, such as companies
or governments that interfere with or snoop
on Internet traffic, compromise basic human
network rights."
As of May 2012, Tim is president of the Open Data Institute, which he co-founded with Nigel Shadbolt in 2012.
The Alliance for Affordable Internet (A4AI) was launched in October 2013, and Berners-Lee is leading the coalition of public and private organisations that includes Google, Facebook, Intel and Microsoft.
The A4AI seeks to make Internet access more affordable, so that access is broadened in the developing world, where only 31% of people are online. Berners-Lee is working with those aiming to decrease Internet access prices so that they fall below the UN Broadband Commission's worldwide target of 5% of monthly income.
Berners-Lee holds the founders chair in Computer Science at the Massachusetts Institute of Technology, where he heads the Decentralized Information Group and is leading Solid, a joint project with the Qatar Computing Research Institute that aims to radically change the way Web applications work today, resulting in true data ownership as well as improved privacy.
In October 2016, he joined the Department of Computer Science at Oxford University as a professorial research fellow, and as a fellow of Christ Church, one of the Oxford colleges.
From the mid-2010's Berners-Lee initially remained neutral on the emerging Encrypted Media Extensions (EME) proposal with its controversial digital rights management (DRM) implications.
In March 2017 he felt he had to take a position which was to support the EME proposal. He reasoned EME's virtues whilst noting DRM was inevitable. As W3C director, he went on to approve the finalised specification in July 2017.
Tim's stance was opposed by some, including Electronic Frontier Foundation (EFF), the anti-DRM campaign, Defective by Design, and the Free Software Foundation. Varied concerns raised included being not supportive of the Internet's open philosophy against commercial interests, and risks of users being forced to use a particular web browser to view specific DRM content.
The EFF raised a formal appeal which did not succeed, and the EME specification became a formal W3C recommendation in September 2017.
On the 30th. September 2018, Berners-Lee announced his new open-source startup Inrupt to fuel a commercial ecosystem around the Solid project, which aims to give users more control over their personal data and lets them choose where the data goes, who's allowed to see certain elements and which apps are allowed to see that data.
In November 2019 at the Internet Governance Forum in Berlin Berners-Lee and the WWWF launched Contract for the Web, a campaign initiative to persuade governments, companies and citizens to commit to nine principles to stop "misuse", with the warning that:
"Ff we don't act now – and act together –
to prevent the web being misused by
those who want to exploit, divide and
undermine, we are at risk of squandering
its potential for good."
-- Tim Berners-Lee's Awards and Honours
Tim Berners-Lee's entry in Time magazine's list of the 100 Most Important People of the 20th century (March 1999) reads as follows:
"He wove the World Wide Web and created a mass
medium for the 21st century. The World Wide Web
is Berners-Lee's alone. He designed it. He loosed it
on the world. And he more than anyone else has
fought to keep it open, nonproprietary and free."
Berners-Lee has received many awards and honours. He was knighted by Queen Elizabeth II in the 2004 New Year Honours:
"For services to the global development
of the Internet."
On the 13th. June 2007, he was appointed to the Order of Merit (OM), an order restricted to 24 living members, plus any honorary members. Bestowing membership of the Order of Merit is within the personal purview of the Sovereign, and does not require recommendation by ministers or the Prime Minister.
Tim was elected a Fellow of the Royal Society (FRS) in 2001. He was also elected as a member of the American Philosophical Society in 2004 and the National Academy of Engineering in 2007.
He has been conferred honorary degrees from a number of universities around the world, including Manchester (his parents worked on the Manchester Mark 1 in the 1940's), Harvard and Yale.
In 2012, Berners-Lee was among the British cultural icons selected by artist Sir Peter Blake to appear in a new version of his most famous artwork – the Beatles' Sgt. Pepper's Lonely Hearts Club Band album cover – to celebrate the British cultural figures of his life that he most admires to mark his 80th. birthday.
In 2013, he was awarded the inaugural Queen Elizabeth Prize for Engineering. On the 4th. April 2017, Tim received the 2016 Association for Computing Machinery's Turing Award for his invention of the World Wide Web, the first web browser, and their fundamental protocols and algorithms.
-- Tim Berners-Lee's Personal Life
Berners-Lee has said
"I like to keep work and
personal life separate."
Berners-Lee married Nancy Carlson, an American computer programmer, in 1990. She was also working in Switzerland at the World Health Organization. They had two children and divorced in 2011.
In 2014, he married Rosemary Leith at the Chapel Royal, St. James's Palace in London. Leith is a Canadian Internet and banking entrepreneur, and a founding director of Berners-Lee's World Wide Web Foundation. The couple also collaborate on venture capital to support artificial intelligence companies.
Berners-Lee was raised as an Anglican, but he turned away from religion in his youth. After he became a parent, he became a Unitarian Universalist (UU). When asked whether he believes in God, he stated:
"Not in the sense of most people, I'm
atheist and Unitarian Universalist."
The web's source code was auctioned by Sotheby's in London in 2021, as a non-fungible token (NFT) by TimBL. Selling for US$5,434,500, it was reported the proceeds would be used to fund initiatives by TimBL and Leith.
Profile:Ben Bostrom
When you grow up in a motorcycle racing family, your typical Sunday picnic probably includes some bar-banging action with your little brother in front of Mom and Dad—and another 89,998 fans at Laguna Seca Raceway. For Red Rider Ben Bostrom, 1998 AMA Superbike Champion and World Superbike veteran, nothing pleases him more than dicing with his brother Eric, also an AMA Superbike contender, in front of a home crowd.
Bostrom returned to AMA Superbike racing last year aboard Honda’s RC51 after campaigning on the World Superbike circuit for three years. “Coming back home to ride for Honda and living with my brother Eric made me stronger,” says Bostrom. “In Europe, you’re constantly going from one place to another. Here, you race, jump on a plane and you’re home.” And home is a good place to be for the middle of three brothers who spent their youth riding, racing and camping with their family. “The spirit of competition is bred into all of us. It kept us tight and it kept us together,” Bostrom recalls.
Bostrom and Honda have a unique relationship built on confidence and something more. “I started with a Honda Z50 when I was a kid, and I’ve ridden Hondas most of my life. Honda is like family. I have a lot of trust in Honda because they put a lot into racing. I know every time I go out, I have the best bike on the track.”
At the inaugural Superbike race of 2003—the Daytona 200—Bostrom’s homecoming was remarkable, considering his absence from the track since 1999. He grabbed the pole position in qualifying and nearly won the marathon race, only to be nipped by teammate Miguel Duhamel .069 seconds short of the finish line. He rode consistently well for the remainder of the season, claiming five more podium appearances on his way to finishing fourth overall in the series.
At the end of the year, Bostrom surprised his many fans with an appearance in the AMA’s newest racing forum, Supermoto—a blend of on- and off-road racing on tracks comprised of both pavement and dirt. On a cool November evening in Las Vegas, he outrode many of the biggest names in the sport from around the world to capture the first AMA Supermoto Championship. “This championship was very important to me and to Honda,” he exclaimed on the podium. “Honda worked hard and gave me a great bike. Supermoto is a coming thing. We're going out tonight to celebrate!”
Bostrom would like nothing better than to celebrate his second AMA Superbike title on a Honda in 2004. His confidence is fueled by his enthusiasm for Honda’s new Superbike weapon, the CBR1000RR. “It’s an incredible bike. It’s so smooth, with an unbelievable engine, power everywhere. They have to drag me off,” he jokes.
Even though it’s been five years since he won the AMA Superbike championship aboard a Honda RC45, it didn’t take the gifted 29-year-old long to dial in his new machine. During the annual pre-season Dunlop tire test at Daytona International Speedway in December, Bostrom and his #155 CBR1000RR turned the fastest lap of the week—a 1:47.65, just a tick behind the lap record held by Nicky Hayden.
In the off-season, Bostrom lives for a competitive challenge and maintains his exceptional conditioning by rock climbing, surfing and riding motocross. At times he abstains from riding. “No bikes,” he says emphatically. “If you never get off the bike, you never appreciate what you have.”
As he enters his 11th year of professional motorcycle racing, Bostrom is philosophical about his career. “Whatever you do, life is about finding yourself, setting goals.” You don’t have to be a mind-reader to know where the determined Bostrom has set his sights. Armed with his new CBR1000RR tuned by legendary Crew Chief Merlyn Plumlee, Bostrom’s target is a second AMA Superbike Championship. He’s home. He’s happy. He’s hungry.
Ben Bostrom
2003
4th AMA Superbike
2002
5th FIM World Superbike
2001
3rd FIM World Superbike
2000
7th FIM World Superbike
1999
2nd AMA Superbike
1998
1st AMA Superbike
1997
2nd AMA 750 Supersport
12th AMA 600 Supersport
16th AMA Superbike
1996
2nd AMA Super Twins
4th AMA Supersport
AMA Rookie of the Year
1995
7th AMA Super Twins (Rookie road racing year)
9th AMA National 883 Dirt Track
1994
14th AMA National 600 Dirt Track
1992
6th AMA National 600 Dirt Track
AMA Dirt Track Rookie of the Year
Rider Profile
Born: May 7, 1974, Redding, California
Residence: Las Vegas, Nevada
National #: 155 AMA Superbike
Began riding: 1978, age 4
First race: 1982, age 8
Training: Rock climbing, running, motocross, trail riding, surfing, weight lifting
Hobbies: Rock climbing, snowboarding, dirt bikes, rock climbing, guitar
Height/weight: 5' 10"/157 lbs.
Marital status: Single
Current race bike: Honda CBR1000RR
Crew Chief: Merlyn Plumlee
Mechanics: David Jones, Mark Braunwalder, Rick Boyles
I just received recently an AF-Nikkor 1:2 f=35mm lens to complete a small kit around my Nikon F4 year 1989 (see below for details). The kit is now includes 3 very classical AF-Nikkor lenses of the same period of the Nikon F4 camera body, including the standard 1.4/50mm, the 1.8/85mm and now the 2/35mm. The choice of fixed-focal lenses instead of zooms was already in 1989 a bit old-fashioned. However many photographers preferred still the homogenous rendering of a photo series done with a single focal lens. Generally speaking, a 35mm focal is a charming moderate wide-angle, very easy to use and particularly adapted for architectural and street-photography.
The AF-Nikkor 1:2 f=35mm is not a rare lens. However, when looking on eBay there was not tens of them available. I bought a good one form a Belgian seller at a normal price (180€). The lens is in very good mechanical and optical condition and came with the rear and front caps. I sourced the dedicated Nikon HN-3 shade hood separately for 10€ but here I preferred (only for the look!) to use a rectangular Minolta D54KC designed for the MC-Rokkor 1:2.8 f=35mm.
For testing the lens, I loaded my Nikon F4 with a Rollei RPX 400 which is the former formula of the Agfa APX 400. The film cartridge is DX-coded and I did not modify the nominal DX-coded 400 ISO sensitivity.
The AF Nikkor lens 1:2 f=35mm was equipped for the whole session with a generic 52mm screw-on yellow filter. The light metering was done through tteh lens (TTL) either in the matrix or the spot metering of the Nikon F4 used in the "A" aperture-priority auto mode or the manual mode. The weather was very clear and a bit cold (-1°C outside).
La Part-Dieu***, January 12, 2024
69003 Lyon
France
----
***(Wiki) La Part-Dieu (French: [la paʁdjø]) is a quarter in the 3rd arrondissement of Lyon, France. It is the second-largest tertiary district in France, after La Défense in Paris. The area also contains Lyon's primary railway station, Lyon-Part-Dieu.
This urban centre also provides major entertainment and cultural facilities, including one of the largest urban shopping malls in Europe, 800 shops, Paul Bocuse indoor food market, café terraces, the Auditorium concert hall, Bourse du Travail theatre, Municipal Library, Departmental Archives and Fort Montluc. It contains several High-rise buildings, including the Tour Incity (202 m (663 ft)), the Tour To-Lyon (171 m (561 ft)) and the Tour Part-Dieu (164 m (538 ft)).
The central business district is currently undergoing major renovation and construction works, according to a revitalization project totalling €2.5 billion between public and private investments.
--------
I did not use my Nikon SB-26 flashlight for any views in this session. After completion the film was rewound and processed using 350 mL of Adox Adonal (Agfa Rodinal) developer prepared at the dilution 1+25 for 12min at 20°C.
Digitizing was made using a Sony A7 camera (ILCE-7, 24MP) held on a Minolta Auto Bellows with the Minolta slide duplication accessory and Minolta Macro Bellow lens 1:3.5 f=50mm. The light source was a LED panel CineStill Cine-lite.
The RAW files obtained were inverted within the latest version available of Adobe Lightroom Classic (version 14.1.1) and edited to the final jpeg pictures without intermediate file. They are presented either as printer files with a frame or the full size JPEG's together with some documentary smartphone color pictures.
--------------
About the camera :
Maybe it would have been better not to ask for this question: « what’s new do you have at the moment?» to my local photo store, because Christine grab underneath the counter, stating « I have that … » . What a beast ! A Nikon F4 in the exact state of the Nikon brochure year 1990, presented with the standard AF Nikkor 1:1.4 f=50mm. I was already hooked by the machine. After two days, I decided to buy it even with some little common issues found on early Nikon F4 (see below), fortunately not affecting the whole, numberous functions of this incredibly complex professional SLR of the year 1990’s.
Nikon F4 came to the market on September 1988 starting with the serial number 2.000.000. Fully manufactured in Japan (modules came from 3 different Nikon factories) the F4's were assembled in Mito, Ibaraki (North to Tokyo) Nikon plant (no more in the mother factory of Tokyo Oi like the Nikon’s F). When I lived in Tokyo in 1990-1991, Nikon F4 was the top-of-the-line of Nikon SLR camera’s. I saw it in particular in Shinjuku Bic Camera store when I bought there, in December 1990 my Nikonos V.
Nikon F4 incorporates many astonishing engineering features as the double vertical-travel curtain shutter capable of the 1/8000s. Compared to the Nikon F3, the F4 was an AF SLR operated by a CCD sensor (200 photo sites). The film is automatically loaded, advanced with to top speed of 5,7 frame/s !! With the MB-21 power grip (F4s version). The F4 is a very heavy camera (1.7kg with the AF Nikkor 1.4/50mm), incredibly tough and well constructed. This exemplary is devoid of any scratches or marks, and in a condition proving that it was not used for hard professional appliances, for those it was however intended. The camera has still it original Nikon neck strap, the original user manual in French. The lens is protected by a Cokin (Franc) Skylight 1A 52mm filter and the original Nikon front cap. The two small LCD displays (one on the F4 body, one in the DP-20 finder) are both affected by the classical syndrome of « bleeding ». Fortunately, all information could still be read. One says that 70% of the early Nikon F4 suffer from this problem but also found on other models.
According its serial number and the production rate of about 5000 units/month, this Nikon F4s was probably manufactured in Mito, Ibaraki, Japan in May 1989.
The camera was exported abroad thereafter attested by the presence of the golden oval little sticker("Passed" on the DP-20 viewfinder. In order to certify the quality production, two Japanese organizations, the Japan Camera Industry Institute (JCII) and the Japan Machinery Design Center (JMDC), joined forces to verify and mark the conformity of products for the foreign market. This is how, between the 1950s and 1980s, this famous little gold sticker was affixed, with the legendary "Passed", meaning that the device had been checked. Finally, when we say that the device had been checked, the production line had been checked because each device could not be checked individually.
____________
About the flash :
I received from a German seller for 50€ this Nikon Speedlight electronic flash SB-26 that was, at the time of Nikon F4, the most powerful dedicated Nikon flash (Guide Number 36 at full power and 100 ISO).
The SB-26 communicates with the Nikon F4 body (and many other Nikon camera's) and can be operated in many different modes including TTL real-time metering with automatic equilibration of the ambient light using the 5-zone matrix metering done by the DP-20 photometric viewer as well in the center-weighted mode. Other possibilities include the normal TTL mode, an Auto mode using the own sensor of the flash and a manual mode with 7 power levels.
The flash head can cover the optical field from super-wide angle lenses 18-20mm, wide-angle lenses 28mm and 35mm, normal lenses 50mm, and long-focal lenses at 70mm and 85mm. The head can be rotated according two axis for indirect lightening. In addition, the SB-26 has a special focusing aid for the Nikon F4 autofocus system, projecting in the the darkness a red focusing image. SB-23 flash can be also used as master or slave flash in a coordinated flash system.
The flash requires 4 AA alkaline cells for approximately 100 lights at full power and much more with energy recycling at lower power levels.
Includes one handmade denim jacket, ONE pair of denim-striped socks Licca OR Takara size. Edges are intentionally frayed, and Fray-block was applied to edges to minimize future fraying.
A narrow passage inside Castle de Haar , Kasteel de Haar near the suburb of Vleuten that includes village of Haarzuilen rebuild by architect Pierre Cuyper Project was finished in around 1912 took 20 years to be finished , Martin’s photograph , Utrecht , the Netherlands , June 5. 2019
A outside service walk way inside the castle
Fireplace with beautiful screen and mantel
Beautiful formal gardens with piramide shaped trees
Beautiful staircase
Beautiful staircase in castle , Kasteel de Haar
Staircase
Narrow passage inside the castle
Formal gardens
Stairway critters sculptures in Castle
Stairway sculptures
Spiral stairway
Central Station in Amsterdam , build by architect Pierre Cuyper
de Rijks Museum in Amsterdam build by architect Pierre Cuyper
de Rijks Museum in Amsterdam
Central Station in Amsterdam
Amsterdam
Lavet bad tub
Lavet bad tub and washing machine
main door
Beautiful staircase
Kasteel de Haar near the suburb of Vleuten that includes village of Haarzuilen
architect Pierre Cuyper
Martin’s photograph
Utrecht
the Netherlands
Nederland
June 2019
Favourites
IPhone 6
Village of Haarzuilen
Kasteel de Haar
Castle the Haar
Kasteel de Haar was rebuild by architect Pierre Cuyper Project was finished in around 1912 took 20 years to be finished
city of Utrecht in the province Utrecht
Beautiful staircase in Kasteel de Haar
Door knocker
Beautiful window and seating
Shoreham was buzzing today, with a Christmas market, music and dance.The Old Shoreham Buccaneers were doing their stuff by the St. Mary de Haura Church
We have expanded the color range of PRECIOSA Rocailles for you to include new natural colors!
We offer you the PRECIOSA Traditional Czech Beads™ rocaille range in newly developed and unique shades of light lilac and pink. This involves an exceptional change in our standard extensive color range after many years.
Don't miss the opportunity to get your hands on the seed beads in these delicate tones. They are excellent in children's costume jewelry collections, hair decorations or various tassels. The time of brides is also fast approaching. Decorate and adorn your unforgettable day with seed beads in the new glass colors!
The shades of delicate pink and lilac in opaque colors and transparent lilac can also be beautified with the sfinx and rainbow surface finishes. See for yourself.
You will love the unique extended color range of these glass seed beads!
TECHNICAL DATA:
PRECIOSA Rocailles
Article number: 311 19 001
Size: 1/0, 6/0, 8/0, 10/0, 11/0 (opaque pink 73420 and opaque lilac 23420)
Size: 1/0, 6/0, 8/0 (transparent lilac 20420)
Article number: 331 19 001
Size: 6/0 (the sfinx and rainbow finishes)
The Sfinx Finish
78420 (on opaque pink)
28420 (on opaque lilac)
28420 (on opaque lilac)
The Rainbow Finish
74420 (on opaque pink)
24420 (on opaque lilac)
21420 (on transparent lilac)
Visit our website for more information about the PRECIOSA New Seed Beads Colors
UUP MLA, Jo-Anne Dobson with Paula Rodgers, Policy Coordinator, and Stacey Nugent, Give and Take Scheme Project Worker for the Southern HSCT area at the Ulster Unionist Party Conference at the Armagh City Hotel on October 22 2012.
Here Jo-Anne Dobson MLA mets with some of the Include Youth team.
Sono animali onnivori, la cui dieta è costituita prevalentemente di vegetali: frutta, foglie, erba, semi e radici. La dieta include anche insetti e piccoli vertebrati. In qualche caso si cibano anche di mammiferi, fino alle dimensioni di cuccioli di gazzella.
Le dimensioni dei branchi dipendono sia dalla specie sia dalle risorse disponibili. Esistono due possibili tipologie: branchi misti, formati da più maschi adulti, un maggior numero di femmine e cuccioli, e gruppi poligamici, nei quali è presente un solo maschio adulto. Le femmine trascorrono tutta la vita nel branco in cui nascono, mentre i maschi se ne allontanano al sopraggiungere della maturità sessuale. Entrambi i sessi rispettano una rigida gerarchia, che regola sia l'accesso al cibo e alle altre risorse sia l'attività di grooming (lo spulciarsi), che ha una notevole importanza e consiste nel prendersi cura di chi è superiore nella scala gerarchica.
Scontri tra branchi per l'accesso alle risorse non sono rari e si risolvono con combattimenti tra maschi.
I babbuini comunicano tra loro con complessi sistemi sia vocali che gestuali.
Le femmine entrano in calore circa una volta al mese e sono disposte ad accoppiarsi per una sola settimana. Questo periodo è ben riconoscibile a causa dell'ingrossamento delle callosità ischiatiche, che si rigonfiano diventando di un colore rosso violaceo. L'accoppiamento avviene in genere per iniziativa della femmina, che mostra al maschio le parti posteriori; nei primi giorni dell'estro avviene in genere con maschi gerarchicamente inferiori; verso la fine, all'apice delle possibilità di concepire, in genere con il maschio alfa.
Normalmente, le femmine partoriscono un unico figlio, dopo una gestazione di circa sette mesi. Il piccolo è in grado di attaccarsi immediatamente al pelo del ventre della madre; in questo modo, può essere trasportato facilmente durante gli spostamenti del branco. Per i primi quattro mesi di vita del cucciolo, coincidenti con il periodo dell'allattamento, i rapporti con la madre restano molto stretti; successivamente, il giovane inizia ad allontanarsi, ed impara gradualmente a giocare con i suoi coetanei.
Non sono solamente le madri a prendersi cura dei figli, bensì tutti gli appartenenti al branco; in particolare, i grossi maschi adulti badano alla difesa degli individui più deboli.
They are omnivorous, whose diet consists mainly of plants: fruits, leaves, grass, seeds and roots. The diet also includes insects and small vertebrates. In some cases we also eat mammals, up to the size of baby gazelle.
The size of the flocks of the species is dependent on the resources available. There are two possible types: mixed flocks, consisting of more males, more females and pups, and polygamous groups in which there is only one adult male. The females spend their entire lives in the flock they are born, while the boys turn away from the onset of sexual maturity. Both sexes meet a strict hierarchy, which regulates both access to food and other resources is the task of grooming (the grooming), which is of significant importance and is to take care of those who are higher in the hierarchy.
Clashes between schools for access to resources are not rare and can be solved by fighting between males.
Baboons communicate with their complex systems with both voice and gesture.
Females come into heat about once a month and are ready to mate for one week. This period is well known because of the wholesale ischial callosities, which swell becoming a purplish red color. Mating occurs usually at the initiative of the female, which shows the male backs; in early estrus is generally males with lower rank, towards the end, the apex of the possibility of conceiving, usually with the male alpha.
Normally, females give birth to one child, after a gestation of about seven months. The baby is able to immediately attach to the fur of their mother's womb in this way can be easily transported when moving the herd. For the first four months of the puppy, coinciding with the period of breastfeeding, the relationship with his mother are very close, and thereafter the young man starts to walk away, and gradually learns to play with his peers.
Not only are the mothers to care for children, but all members of the herd, in particular, large males tend to defend the weakest.
From a pleasant wander around Woods Mill the afternoon. One of the Squirrels hovering up food dropped from the bird feeders.
~ This outfit set includes outer dress, inner dress, inner skirt, hat, bag, and one pair of socks.
~ They're suitable for Volks MSD, SDM, Luts KDF, RosenLied Wednesday, Holiday, and other similar MSD sizes.
~ I tried them in this photo above for one-time only. After that, I've keeping them in the box. So, all of items in this set are in very excellent condition (no damage).
Please contact me via FlickrMail or email [miakyouathotmaildotcom] if you're interested. Thanks!
This is a photograph from the Forest Marathon festival 2013 which was held in the beautiful Coillte forest of Portumna in Co. Galway, Ireland on Saturday 15th June 2013. The event includes a 10k, a full marathon, a half marathon and two ultra-running events - a 50k and 100k race. The races started at 08:00 with the 100KM, the 50KM at 10:00, and subsequent races at two hour intervals onwards. All events started and finished within the forest with the exception of the half marathon and marathon which started outside of the forest. All events see participants complete 5KM loops of the forest which start and end at the car-park/amenity end of the forest. There is an official Refreshment/Handling Zones at this point on the loop.
The event was organised by international coach Sebastien Locteau from SportsIreland.ie and his fantastic team of volunteers from Galway and beyond. Congratulations to Seb on organising a very professionally run event and an event which is growing bigger and more prestigious with each passing year. There was an incredible atmosphere amongst the runners, the spectators, and the organisers. Hats off to everyone involved.
The marathon, 50KM, and 100KM events are sanctioned by Athletics Ireland and AIMS (the Association of International Marathons and Distance Races). The event has also achieved IAU (International Association of Ultrarunners) Bronze Label status for 2013.
Electronic timing was provided by RedTagTiming: www.redtagtiming.com/
Energy Bars, Gels, Drinks etc were provided by Fuel4Sport: www.fuel4sport.ie/
This is a set of photographs taken at various points on the 5KM loop in the Forest and contains photographs of competitors from all of the events except the 10KM race.
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".
Overall Race Summary
Participants: Approximately 600 people took part across all of the events which were staged: 10km, half marathon, marathon, 50km, and 100KM.
Weather: The weather was unfortunately not what a summer's day in June should be like - there was rain, some breeze, but mild temperatures.
Course: This is a fast flat course depending on your event. The course is left handed around the Forest and roughly looks like a figure of 8 in terms of routing.
Location Map: Start/finish area on Google StreetView [goo.gl/maps/WWTgD] are inside the parklands and trails
Refreshments: There are no specific refreshments but the race organizers provide very adequate supplies for all participants.
Some Useful Links
Official Race Event Website: www.forestmarathon.com/
The Boards.ie Athletics Forum Thread for the 2013 Event: www.boards.ie/vbulletin/showthread.php?t=2056874371
A GPS Garmin Trace of the Course Profile (from the 50KM event) connect.garmin.com/activity/189495781
Our Flickr Photographs from the 2012 Events: www.flickr.com/photos/peterm7/sets/72157630146344494/
Our Flickr Photographs from the 2011 Events: www.flickr.com/photos/peterm7/sets/72157626865466587/
Title Sponsors Sports Ireland Website: sites.google.com/a/sportsireland.ie/welcome-sports-irelan...
A VIDEO of the Course: www.youtube.com/watch?feature=player_embedded&v=2FLxE...
Google StreetView of the Entrance to Portuma Forest: goo.gl/maps/MX62O
Wikipedia: Read about Portumna and Portumna Forest Park: en.wikipedia.org/wiki/Portumna#Portumna_Forest_Park
Coilte Ourdoors Website: www.coillteoutdoors.ie/?id=53&rec_site=115
Portumna Forest on EveryTrails: www.everytrail.com/guide/portumna-forest-park-woodland-tr...
More about the IAU Bronze Label: www.iau-ultramarathon.org/index.asp?menucode=h07&tmp=...
How can I get a full resolution 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 offline, free, at no cost, at full image resolution WITHOUT watermark. We take these photographs as a hobby and as a contribution to the running community in Ireland. 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 your social media, 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)?
Many people offer payment for our photographs. As stated above 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 consider paying 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
Swans, genus Cygnus, are birds of the family Anatidae, which also includes geese and ducks. Swans are grouped with the closely related geese in the subfamily Anserinae where they form the tribe Cygnini. Sometimes, they are considered a distinct subfamily, Cygninae. There are six to seven species of swan in the genus Cygnus; in addition there is another species known as a swan, the Coscoroba Swan, although this species is no longer considered related to the true swans. Swans usually mate for life, though 'divorce' does sometimes occur, particularly following nesting failure. The number of eggs in each clutch ranges from three to eight.
The word "swan" is derived from Old English swan, akin to the German Schwan and Dutch zwaan, in turn derived from Indo-European root *swen (to sound, to sing), whence Latin derives sonus (sound).[1] Young swans are known as cygnets, from the Latin word for swan, cygnus. An adult male is a cob, from Middle English cobbe (leader of a group); an adult female is a pen.
The swans are the largest members of the duck family Anatidae, and are amongst the largest flying birds. The largest species, including the mute swan, trumpeter swan, and whooper swan, can reach length of over 60 inches and weigh up to 50 pounds. Their wingspans can be almost 10 ft (3 m). Compared to the closely related geese they are much larger in size and have proportionally larger feet and necks.[2] They also have a patch of unfeathered skin between the eyes and bill in adults. The sexes are alike in plumage, but males are generally bigger and heavier than females.
The Northern Hemisphere species of swan have pure white plumage but the Southern Hemisphere species are mixed black and white. The Australian Black Swan (Cygnus atratus) is completely black except for the white flight feathers on its wings; the chicks of black swans are light grey in colour, and the South American Black-necked Swan has a black neck.
The legs of swans are normally a dark blackish grey colour, except for the two South American species, which have pink legs. Bill colour varies: the four subarctic species have black bills with varying amounts of yellow, and all the others are patterned red and black. The Mute Swan and Black-necked Swan have a lump at the base of the bill on the upper mandible.
Whooper Swans migrate from Iceland, Scandinavia and northern Russia to Europe, Central Asia, China and JapanThe swans are generally found in temperate environments, rarely occurring in the tropics. Four (or five) species occur in the Northern Hemisphere, one species is found in Australia and New Zealand and a final species is distributed in southern South America. They are absent from tropical Asia, Central America, northern South America and the entirety of Africa. One species, the Mute Swan, has been introduced to North America, Australia and New Zealand.
Several species are migratory, either wholly or partly so. The Mute Swan is a partial migrant, being resident over areas of Western Europe but wholly migratory in Eastern Europe and Asia. The Whooper Swan and Tundra Swan are wholly migratory, and the Trumpeter Swans are almost entirely migratory.[2] There is some evidence that the Black-necked Swan is migratory over part of its range, but detailed studies have not established whether these movements are long or short range migration.
Swans feed in the water and on land. They are almost entirely herbivorous, although small numbers of aquatic animals may be eaten. In the water food is obtained by up-ending or dabbling, and their diet is composed of the roots, tubers, stems and leaves of aquatic and submerged plants.
Mute Swan's nest with two unhatched eggsSwans form monogamous pair bonds that last for many years. In many cases these pair bonds can last for life, but 'divorces' between pairs do occur.[4] Modern genetic techniques are starting to reveal that these divorces are more common than previously thought.[5] These bonds are maintained year round, even in gregarious and migratory species like the Tundra Swan, which congregate in large flocks in the wintering grounds.[6] The nest is on the ground near water and about a metre across. Unlike many other ducks and geese the male helps with the nest construction. Average egg size (for the mute swan) is 113 x 74 mm, weighing 340 g, in a clutch size of 4 to 7, and an incubation period of 34–45 days.[7] With the exception of the whistling-ducks they are the only anatids where the males aid in incubating the eggs.
Mute swans have been observed to display homosexual or transgender behavior.
All evidence suggests that the genus Cygnus evolved in Europe or western Eurasia during the Miocene, spreading all over the Northern Hemisphere until the Pliocene. When the southern species branched off is not known. The Mute Swan apparently is closest to the Southern Hemisphere Cygnus (del Hoyo et al., eds, Handbook of the Birds of the World); its habits of carrying the neck curved (not straight) and the wings fluffed (not flush) as well as its bill color and knob indicate that its closest living relative is actually the Black Swan. Given the biogeography and appearance of the subgenus Olor it seems likely that these are of a more recent origin, as evidence shows by their modern ranges (which were mostly uninhabitable during the last ice age) and great similarity between the taxa.
Cigno è il nome comune di alcuni grandi, bianchi uccelli acquatici dal lungo collo flessuoso, facenti parte del genere Cygnus della famiglia degli Anatidi.
Presente con varie specie e sottospecie in tutto il mondo. Le rive dello specchio d'acqua devono essere in lieve pendio per consentire ai cigni d'entrare ed uscire agevolmente dall'acqua. Inoltre il terreno dev'essere dotato d'un prato verde dove i cigni possano "pascolare" allegramente.
Grigi alla nascita, diventano bianchi solo da adulti. Il cigno reale (Cygnus olor) si può osservare in Italia, con la sua notevole apertura alare di 200-240 cm. Il cigno selvatico (Cygnus cygnus) è presente nel Nord-Europa e sverna anche sulle coste orientali dell'Adriatico. Le dimensioni sono praticamente uguali a quelle del cigno reale. La Finlandia lo ha scelto come effigie sulle nuove monete da un Euro. Il cigno minore (Cygnus colombianus, con la sottospecie bewickii) è presente solo in Nord-Europa. Come suggerisce il nome, è più piccolo delle due specie precedenti (ca. 20% più piccolo).
Non sporca, non arreca alcun fastidio, non emette suoni se non un lieve sibilo che s'ode appena (tanto che in passato si riteneva che fosse muto). Se nel laghetto vi sono pesci, non li molesta. Difficile è invece, la sua convivenza con i consimili (come le anatre) perché ha un carattere litigioso e dispotico.
I cigni formano coppie che restano unite tutta la vita: nidificano tra i canneti, dove la femmina cova per circa un mese da 4 a 8 uova azzurrognole, mentre il maschio fa la guardia al nido. Alla nascita e fino al raggiungimento dell'età adulta i giovani cigni mantengono un piumaggio assai poco attraente (in genere d'un colore grigiastro simile a quello d'un uccello bianco passato attraverso un camino sporco di fuliggine) ma assai più mimetico - ed utile quindi alla sopravvivenza - di quello, bello ma vistoso, degli adulti.
I cigni sono uccelli essenzialmente erbivori, infatti, si nutrono in prevalenza di piante acquatiche e palustri che strappano dal fondo con il becco. Mentre la maggior parte degli uccelli acquatici deve tuffarsi sott'acqua alla ricerca del cibo, il cigno può tranquillamente esplorare la vegetazione sottostante fino ad un metro di profondità, grazie al suo lunghissimo collo. A volte "pascolano" sulla terraferma e lungo le rive cibandosi di erbe, radici e semi. In realtà la loro dieta non è strettamente vegetariana: infatti, insieme alle erbe ingurgitano anche un buon numero di piccoli animaletti acquatici ad esse associati (crostacei, larve d'insetti e lumachine). Sono poi dei grandi opportunisti, ghiotti di pane (soprattutto se inzuppato nel latte, pastoni per le anatre o destinati ad altri animali, farina d'orzo, riso cotto, biscotti, mais, patate cotte, frutti, crusca, verdure (soprattutto crude), ortaggi vari e perfino carne in minuscoli bocconi mescolati al pastone. In cattività spesso il cibo viene servito in un capiente contenitore di legno e plastica che può essere posato in terra oppure messo a galleggiare sull'acqua.
Font : Wikipedia
Recipe includes Tasmanian Pepper (also known as Mountain Pepper) gives a new twist on a German Spice Cookie. Recipe at www.what-about-the-food.com
Private Robert Quantrill
Amended - see comments below. For now I'm not quite sure who is commemorated here.
Modular by design, our turbo-back systems are available in street or race configurations. Street series systems include a Magnaflow 200 cell catalytic converter. Race series systems include a test pipe. On race day the cat can be easily swapped for a test pipe. Six unique tip fitments allow our turbo-backs to fit any mk4 1.8T. Our 1.8T turbo-backs are technically a combination of our 3" downpipes and our 2.5" & 3" cat-backs. Repeating the features of our downpipes and cat-backs would only make a long story longer. One feature our downpipes and cat-backs can't boast on their own is power gain. In our extensive testing we were able to dyno test a 'typical' mk4 and measure the changes. We used a relatively stock 2002 GTI 337 edition. The car was chipped, had a cold air intake and an aftermarket diverter valve. No other engine modifications were made to the car. Equipped with stock exhaust, we drove the car thoroughly and dyno tested it. The stock exhaust was swapped out for our 3" turbo-back system and the car was driven to adapt then dyno tested again. With weather conditions literally exact we measured peak gains of 22.5 hp and 48 lb/ft to the wheels! Power gains were felt all over. Boost was built faster and held out longer with the stock turbocharger. No power losses were felt at any point in the powerband. Turbo-back pricing starts at $770 and varies by series, pipe size and tip fitment. All configurations can be purchased.
Gibson prewar tenor banjo style 00 neck + tab Grover tuners
Gibson prewar tenor banjo neck in very nice condition. Style 00. Heel cut for one piece flange. Includes a working set of Grover 2 tab banjo tuners and original truss rod cover. Neck is very nice Frets still have life although it does show signs of use.
Length from nut to end of neck: 15 3/16", 3/16" of wood beyond the last fret.
Width at nut: 1 3/16"
Gibson Style 00 custom conversion 5 string banjo neck. 26 1/4 scale length
CUSTOM CONVERSION 5 String banjo neck in a GIBSON STYLE 00. UNKNOWN MAKER.
Appears new but it was pulled from an existing banjo. My guess is recently made. Has a simple satin finish and correct coloration for a 00 banjo. Frets appear NEW AND UNUSED. Gibson logo is stenciled on headstock as per original prewar style 00 banjos. The neck has a thicker feel to it, like late 60s banjos and would probably suit a person with larger hands.
While nice and completely functional, with working truss rod, it is a much simpler style with a simpler finish and not nearly as much polish around the edges. That being said, it fits perfectly with the simpler entry level style of the original Prewar Style 00 banjos and makes a QUICK, EASY and completely functional conversion to your tenor. Neck was pulled from an existing banjo that played very easily, no fret problems and even with the simple brass hoop in the banjo, instead of a heavier tonering, the banjo had a lot of pop. The orange area in the middle of the neck shows the wood to be highly flamed and of excellent quality. Headstock holes drilled for modern planetary style tuners (5 Star tuners were installed). Please inquire about a $25 discount.
Length from nut to end of neck: 19 1/4", 1/4" of wood beyond the last fret.
Width at nut: 1 1/8"
Vintage prewar Gibson calf skin banjo head 11" low crown for Flathead. BEAUTY
11" banjo head pulled from mid 30s Gibson Style 00. This head is in very good condition, no holes or rips , LOW Crown. Perfect for a flathead banjo.
Gibson Prewar Style 00 banjo rim with wood bead at top. no need for brass hoop
One of the cleanest Gibson prewar style 00 rims I've seen. Has the wood bead at the top of the rim...no need for brass hoop. Appears unadulterated and finish is very beautiful. This is designed to accept the classic One Piece Flange and no... this is not the ultra rare thick rim version. It is the common thin rim version and COULD be cut down to properly accept an ARCHTOP tonering or a select few flathead tonerings including the Sullivan conversion tonering or the Blaylock or Hatfield tonerings specifically made to fit these rims. Please inquire about a $25 discount on this classic Gibson rim.
Genuine Gibson prewar brass banjo tone hoop. 11" diameter for flathead.
Genuine Gibson prewar brass tone hoop. Sits on top of rim to give banjo a flathead appearance. This is 11" in diameter and was pulled from a TB-00 banjo.
The T brackets did not fit properly, so I included a set of prewar rim hardware including 3 brackets, 6 screws and 3 thumbscrews.
00 OPF prewar gibson mark
00 coordinator rod with nuts, washers and tailpiece bracket prewar, 00 armrest prewar
grover presto prewar punched tailpiece, with hardware
prewar 24 hooks and nuts
prewar rim hardware including 3 brackets, 6 screws and 3 thumbscrews
Postwar tension hoop, this was on a 00. I have a prewar that is in for repair.
4 Postwar 5 star tuners
1 Postwar GOTOH tuner with an extra matching button.
1 set black diamond banjo strings
2 bridges, 5/8, .656
From last night's concert given by the Brighton and Hove Russian Choir, held as part of the Steyning Festival. The Steyning Camera Club have been asked to shoot the events, so expect more in the coming months. Whilst Traditional Russian Folk, is not exactly my kind of music, it was harmoniously easy on the ear and choir's leader was full of infectious energy
This verdant scene includes native plants such as 'ae'ae (indigenous Bacopa monnieri) , mauʻu ʻakiʻaki grass (indigenous Fimbristylis cymosa subsp. umbello-capitata) , and pohuehue vines (Indigenous Ipomea pes-caprae subsp. brasiliensis) and the introduced Ironwood trees (Casuarina equisetifolia) from Australia).
This vast museum includes a large collection of railway exhibits, appropriately housed inside a former railway Works. The 33 tracks are accessed by the two massive turntables outdoors that are shown on my photo. The carriage visible is a bit too long for the tracks inside! Exhibits include electric, diesel and steam engines, and passenger rolling stock. Some of the steam engines are in "as withdrawn" condition, demonstrating the reality of the steam era: My photo of one of those work-stained engines can be seen here:
www.flickr.com/photos/93936890@N02/33757181515/in/album-7...
Rail enthusiasts should set aside a day to look around this, or much more to do justice to aircraft, ships, cars and the other sections of this huge, wonderful museum.
We were to include items you would find in an old attic. Here are the items I put into the matchbox.
photos by justin katigbak
deadbird film screening through PICA
MAY 27-30 | Streaming on Demand
TICKETING INFO | $0-$20 sliding-scale donation
ACCESS | The film will include closed captions.
can anybody help me hold this body
MAY 28-30 | 12:00-4:00 PM
TICKETING INFO | $0-$20 sliding-scale donation
VISIT | PICA, 15 NE Hancock St., Portland, Or 97212, enter through San Rafael St.
ACCESS | See below for access, transportation, and Covid-19 Safety notes
ONLINE ARCHIVE | www.deadbird.land/archive
you are invited to a series of events: 1. a conversation, 2. a film, 3. a traveling collective public grief altar, and 4. an online archive of our offerings--to the deceased, to the living, to ourselves, to each other. we begin with a conversation between devynn emory and artist Okwui Okpokwasili, presented by Danspace Project on wednesday, march 31 at 4:00pm PDT / 7:00pm EDT, followed by a world premiere of deadbird the film. you’ll also be able to stream the film via PICA from may 27th through 30th.
from may 28th through 30th, you will be able to visit the public grief altar, can anybody help me hold this body, in-person at PICA’s outdoor back lot. while there, please take a photo of your offering and archive it at www.deadbird.land/archive. the audience is encouraged to engage with all aspects of this work.
with the thoughtful support of Danspace Project and the Eureka Commissions Program by Onassis USA, deadbird is a film-reimagining of a live-work by devynn emory that was initially going to premiere at Danspace Project in NYC in spring 2020. this film is a grief space for devynn’s body as a hospice / COVID-19 nurse and spirit medium, and is also a balm to reimagine care. deadbird has always served as a container to process the intensity of nursing and honor the lives of those who have passed in their care. this became even more important during COVID-19.
in collaboration with Danspace Project, Onassis USA, Bartram’s Garden, and PICA, this project expanded to a national tour with deadbird and can anybody help me hold this body being presented in New York, Philadelphia, Portland, and LA. in each location, public grief altars will be tended by a local BIPOC artist who will be honoring the land they reside on and creating space for you. in Portland, this artist is Maya Vivas. if you are not in one of the touring cities or prefer to practice differently, instructions on how to create a grief space of your own are offered online at www.deadbird.land/at-home.
deadbird has and will continue to take many forms, and serves as a container to process and bridge devynn’s work in the world as an edgewalker, spiritual guide, bodyworker, choreographer, performer, and hospice nurse.
VISIT
you are invited to honor this body lost. this body leads us to many bodies past, present, and future. can anybody help me hold this body? our grief can be holy if we let it. this altar will be tended by Maya Vivas.
friday, may 28: at 12pm the altar will be activated by Maya. you are invited to witness this ritual.
may 28 - 30: the altar will remain open from 12pm-4pm. Maya will be present to tend to the altar and all who engage it on these days.
sunday, may 30: at 4pm the altar will close. you are invited to witness this ritual.
may we insist on visualizing the accumulation of our grief and the accumulation of our ancestors as we understand that without this pause, we too will be lost. may we take a moment with our loved ones and for our own resilient living beings.
PARTICIPATE
1. please find the location of a public grief altar
2. locate a meaningful item of your selection in honor of a loved one lost, or medicine for the collective moment. you are invited to photograph the offering and upload it to the online archive before arriving at the altar
3. travel to this location
4. an altar tender will be present at the appointed times, although you are welcome to visit at any time during PICA hours
5. when you arrive at the altar, you are invited to place your item where you are called to do so.
you are invited to document your altar offerings and upload them to the archive.
LOCATION
PICA 15 NE Hancock St.: The altar will be located in PICA’s outdoor space on San Rafael Street.
Google coordinates: 2-98 NE San Rafael St, Portland, OR 97212 45.537076, -122.666192
ACCESS
The site is accessible from San Rafael street through a gate. There is a sidewalk with curb cuts leading onto a paved asphalt surface with a slight slope. Access to ADA accessible and gender-neutral bathrooms are available indoors. For questions, please contact PICA's Performance Program Coordinator Mami Takahashi at mami@pica.org.
TRANSPORTATION/NEIGHBORHOOD
PICA is located in the Boise-Eliot neighborhood of northeast Portland. We are close to bus lines 4, 6, 17, and 44. Stops for the A Loop and B Loop Streetcar are approximately 0.3 miles from our building. The nearest max station is Rose Quarter Transit Center which is approximately 0.5 miles away. On-street parking is available. Please be aware that we reside in a residential area and therefore ask that all PICA guests, staff, and audience members treat our neighborhood and neighbors, housed and unhoused, with the utmost respect.
COVID-19 SAFETY
All staff and guests over the age of 2 are required to wear a mask that meets current CDC guidelines at all times. The capacity for this outdoor space is not to exceed 25 people at a distance of at least 6 feet apart. Anyone who is experiencing or exhibiting any symptoms of Covid-19 or who has been in contact with others who are, are asked to stay home to avoid the risk of exposing others.
Includes:
( 1 ) Lithium Ion Battery
( 1 ) Oil Tank Liquid Cartridge
( 1 ) Mouthpiece
( 1 ) USB Charger
( 1 ) Atmos Rx Lanyard
( 1 ) User Manual
The old city of Fes includes more than a hundred funduqs (traditional inns) for visiting merchants and travelers alike. Among the prominent funduqs are Funduq al-Najjariyyin, which was built in the 18th century by the Alaouite Sultan Amin Adiyil, in order to provide the stay and the storage facility for merchants. Older funduqs include Funduq Achich from the 16th century. There are other numerous funduqs and riads utilized as hotels for the tourism industry. Some of the historical private residences have been turned into tourist attractions, among them is Alami House of the 17th-18th century which features prevalent Moroccan architectural style. As a former administrative seat, the city contains several palaces as well. Dar Batha is a former palace completed in 1897 by the Alawouite Sultan Moulai Abdelaziz, and turned into a museum in 1915 with around 6,000 collections. On Fes Jdid quarter, there is the 80 hectar wide Royal Palace, or Dar al-Makhzen, with imposing gate but not open to the public.
Postcard had to include a mermaid and a fish. This mermaid and merman was found in the Biodiversity Heritage Library collection, colored with pencils. Fish and shells from rescued books. Polish paper for background. Rubber stamped ground.
Swapbot: 1 + 1 May (Amazing Mail ART group)
Includes tonjiru (pork miso soup), pickles, unlimited rice and shredded cabbage.
Last meal in Hong Kong before our flight back home. T and I decided to pick a place to sit comfortably and the tonkatsu restaurant in IFC fit the part perfectly. Of course it helps that it serves food that we cannot easily get a nicely done version in Toronto.
I thoroughly enjoyed the tender juicy deepfried pork chop. The housemade sauce was good too.
Newson’s kitchen includes appliances, tableware, pots and pans, and even champagne coffrets made for Dom Pérignon, all centered around a mustard-yellow stovetop and oven, topped by a stainless steel hood that the designer created for Smeg. The bright orange and green Dish Doctor Dish Rack (1997) features Newson’s signature curves and vibrant colors. Newson’s Canteen Table (1997) will be outfitted with in-flight dinnerware designed for Qantas Airways, drinking glasses (1998) made by Iittala glassworks, and stainless steel Strelka Cutlery (2003) made by Alessi.
This is a photograph from the finish of the 6th annual Kinnegad 5KM Road Race and Fun Run 2015 which was held in the town of Kinnegad, Co. Westmeath, Ireland on Wednesday 8th July 2015 at 20:00. This race has firmly estbalished itself on the local race calender and yet again the race got wonderful support from local clubs and runners. The race is flat and fast and takes runners on traffic free route which includes 3KM on the local road 'Boreen Bradach'. The finish is on the famous main street of Kinnegad in front of Harry's Hotel. Over 200 people took part and the results by Premier Timing Systems are available here [www.premiertimingsystems.ie/]. Our full set of photographs from tonight's race is available here www.flickr.com/photos/peterm7/sets/72157653300652864
The race is organised by Coralstown Kinnegad GAA Club with proceeds from the race going towards the development of the club.
USING OUR PHOTOGRAPHS - A QUICK GUIDE AND ANSWERS TO YOUR QUESTIONS
Can I use these photographs directly from Flickr on my social media account(s)?
Yes - of course you can! Flickr provides several ways to share this and other photographs in this Flickr set. You can share directly to: email, Facebook, Pinterest, Twitter, Tumblr, LiveJournal, and Wordpress and Blogger blog sites. Your mobile, tablet, or desktop device will also offer you several different options for sharing this photo page on your social media outlets.
BUT..... Wait there a minute....
We take these photographs as a hobby and as a contribution to the running community in Ireland. We do not charge for our photographs. Our only "cost" is that we request that if you are using these images: (1) on social media sites such as Facebook, Tumblr, Pinterest, Twitter,LinkedIn, Google+, VK.com, Vine, Meetup, Tagged, Ask.fm,etc or (2) other websites, blogs, web multimedia, commercial/promotional material that you must provide a link back to our Flickr page to attribute us or acknowledge us as the original photographers.
This also extends to 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.
I want to download these pictures to my computer or device?
You can download this photographic image here directly to your computer or device. This version is the low resolution web-quality image. How to download will vary slight from device to device and from browser to browser. Have a look for a down-arrow symbol or the link to 'View/Download' all sizes. When you click on either of these you will be presented with the option to download the image. Remember just doing a right-click and "save target as" will not work on Flickr.
I want get full resolution, print-quality, copies of these photographs?
If you just need these photographs for online usage then they can be used directly once you respect their Creative Commons license and provide a link back to our Flickr set if you use them. For offline usage and printing all of the photographs posted here on this Flickr set are available free, at no cost, at full image resolution.
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 when requesting photographs from us - If you are using the photographs online all we ask is for you to provide a link back to our Flickr set or Flickr pages. You will find the link above clearly outlined in the description text which accompanies this photograph. Taking these photographs and preparing them for online posting takes a significant effort and time. We are not posting photographs to Flickr for commercial reasons. If you really like what we do please spread the link around your social media, send us an email, leave a comment beside the photographs, send us a Flickr email, etc. If you are using the photographs in newspapers or magazines we ask that you mention where the original photograph came from.
I would like to contribute something for your photograph(s)?
Many people offer payment for our photographs. As stated above 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 consider paying for their purchase from other photographic providers or in other circumstances 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.
Let's get a bit technical: We use Creative Commons Licensing for these photographs
We use the Creative Commons Attribution-ShareAlike License for all our photographs here in this photograph set. What does this mean in reality?
The explaination is very simple.
Attribution- anyone using our photographs gives us an appropriate credit for it. This ensures that people aren't taking our photographs and passing them off as their own. This usually just mean putting a link to our photographs somewhere on your website, blog, or Facebook where other people can see it.
ShareAlike – anyone can use these photographs, and make changes if they like, or incorporate them into a bigger project, but they must make those changes available back to the community under the same terms.
Above all what Creative Commons aims to do is to encourage creative sharing. See some examples of Creative Commons photographs on Flickr: www.flickr.com/creativecommons/
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 http://www.flickr.com/peterm7/sets
This is a photograph from the sixth annual Donadea 50KM Ultramarathon which was held in Donadea Forest, Donadea, Naas, Co. Kildare, Ireland on Saturday 14th February 2015 at 10:00. The race was also an International Association of Ultrarunners Silver Label Event and the Athletics Association of Ireland (AAI) National 50KM Championships. There were 178 finishers.
Want to use this photograph or share it? Please read/scroll down a little further to find out how - it's very easy!
We have a full set of photographs from the event today on our Flickr photostream in the following album: www.flickr.com/photos/peterm7/sets/72157650821612375/
Donadea Forest Park is situated in rural north Kildare and is approximately 640 acres in size. The amenities at the forest include good walking trails, a diversity of natural habitats, a walled stream, a large natural lake, and the ruins of Donadea castle. The Park is a designated National Heritage Area. The basic designation for wildlife is the Natural Heritage Area (NHA). This is an area considered important for the habitats present or which holds species of plants and animals whose habitat needs protection. It is a special occasion to allow the 50KM to be held in this environment.
Timing, results, and event management was provided by RedTagTiming - results available at www.redtagtiming.com/
USING OUR PHOTOGRAPHS - A QUICK GUIDE
Can I use these photographs directly from Flickr on my social media account(s)?
Yes - of course you can! Flickr provides several ways to share this and other photographs in this Flickr set. You can share to: email, Facebook, Pinterest, Twitter, Tumblr, LiveJournal, and Wordpress and Blogger blog sites. Your mobile, tablet, or desktop device will also offer you several different options for sharing this photo page on your social media outlets.
We take these photographs as a hobby and as a contribution to the running community in Ireland. 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, blogs, web multimedia, commercial/promotional material that you must 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.
I want to download these pictures to my computer or device?
You can download the photographic image here direct to your computer or device. This version is the low resolution web-quality image. How to download will vary slight from device to device and from browser to browser. However - look for a symbol with three dots 'ooo' or the link to 'View/Download' all sizes. When you click on either of these you will be presented with the option to download the image. Remember just doing a right-click and "save target as" will not work on Flickr.
I want get full resolution, print-quality, copies of these photographs?
If you just need these photographs for online usage then they can be used directly once you respect their Creative Commons license and provide a link back to our Flickr set if you use them. For offline usage and printing all of the photographs posted here on this Flickr set are available free, at no cost, at full image resolution.
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 when requesting photographs from us - If you are using the photographs online all we ask is for you to provide a link back to our Flickr set or Flickr pages. You will find the link above clearly outlined in the description text which accompanies this photograph. Taking these photographs and preparing them for online posting does take a significant effort and time. We are not posting photographs to Flickr for commercial reasons. If you really like what we do please spread the link around your social media, send us an email, leave a comment beside the photographs, send us a Flickr email, etc. If you are using the photographs in newspapers or magazines we ask that you mention where the original photograph came from.
I would like to contribute something for your photograph(s)?
Many people offer payment for our photographs. As stated above 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 consider paying for their purchase from other photographic providers or in other circumstances 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.
We use Creative Commons Licensing for these photographs
We use the Creative Commons Attribution-ShareAlike License for all our photographs here in this photograph set. What does this mean in reality?
The explaination is very simple.
Attribution- anyone using our photographs gives us an appropriate credit for it. This ensures that people aren't taking our photographs and passing them off as their own. This usually just mean putting a link to our photographs somewhere on your website, blog, or Facebook where other people can see it.
ShareAlike – anyone can use these photographs, and make changes if they like, or incorporate them into a bigger project, but they must make those changes available back to the community under the same terms.
Creative Commons aims to encourage creative sharing. See some examples of Creative Commons photographs on Flickr: www.flickr.com/creativecommons/
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 http://www.flickr.com/peterm7/sets
Mid Century Modern Style Dining Set of Table & 4 Chairs, Contemporary copy of Herman Miller furniture designed by Eero Saarinen, Includes white chairs w/ red cushions & white marbelized round table by Euro-Style, Inc., Great condition - (table) 39"d x 29"h (chairs) each 33"h
Grasshoppers are insects of the suborder Caelifera within the order Orthoptera, which includes crickets and their allies in the other suborder Ensifera. They are probably the oldest living group of chewing herbivorous insects, dating back to the early Triassic around 250 million years ago. Grasshoppers are typically ground-dwelling insects with powerful hind legs which enable them to escape from threats by leaping vigorously. They are hemimetabolous insects (they do not undergo complete metamorphosis) which hatch from an egg into a nymph or "hopper" which undergoes five moults, becoming more similar to the adult insect at each developmental stage. At high population densities and under certain environmental conditions, some grasshopper species can change colour and behaviour and form swarms. Under these circumstances they are known as locusts.
Insects in the group are plant-eaters, with a few species at times becoming serious pests of cereals, vegetables and pasture, especially when they swarm in their millions as locusts and destroy crops over wide areas. They protect themselves from predators by camouflage; when detected, many species attempt to startle the predator with a brilliantly-coloured wing-flash while jumping and (if adult) launching themselves into the air, usually flying for only a short distance. Other species such as the rainbow grasshopper have warning coloration which deters predators. Grasshoppers are affected by parasites and various diseases, and many predatory creatures feed on both nymphs and adults. The eggs are the subject of attack by parasitoids and predators.
Grasshoppers have had a long relationship with humans. Swarms of locusts can have devastating effects and cause famine, and even in smaller numbers, the insects can be serious pests. They are used as food in countries such as Mexico and Indonesia. They feature in art, symbolism and literature.
CHARACTERISTICS
Grasshoppers have the typical insect body plan of head, thorax and abdomen. The head is held vertically at an angle to the body, with the mouth at the bottom. The head bears a large pair of compound eyes which give all-round vision, three simple eyes which can detect light and dark, and a pair of thread-like antennae that are sensitive to touch and smell. The downward-directed mouthparts are modified for chewing and there are two sensory palps in front of the jaws.
The thorax and abdomen are segmented and have a rigid cuticle made up of overlapping plates composed of chitin. The three fused thoracic segments bear three pairs of legs and two pairs of wings. The forewings, known as tegmina, are narrow and leathery while the hindwings are large and membranous, the veins providing strength. The legs are terminated by claws for gripping. The hind leg is particularly powerful; the femur is robust and has several ridges where different surfaces join and the inner ridges bear stridulatory pegs in some species. The posterior edge of the tibia bears a double row of spines and there are a pair of articulated spurs near its lower end. The interior of the thorax houses the muscles that control the wings and legs.
The abdomen has eleven segments, the first of which is fused to the thorax and contains the tympanal organ and hearing system. Segments two to eight are ring-shaped and joined by flexible membranes. Segments nine to eleven are reduced in size; segment nine bears a pair of cerci and segments ten and eleven house the reproductive organs. Female grasshoppers are normally larger than males, with short ovipositors. The name of the suborder "Caelifera" comes from the Latin and means chisel-bearing, referring to the shape of the ovipositor.
Those species that make easily heard noises usually do so by rubbing a row of pegs on the hind legs against the edges of the forewings (stridulation). These sounds are produced mainly by males to attract females, though in some species the females also stridulate.
Grasshoppers may be confused with Ensifera (crickets, etc.), but they differ in many aspects; these include the number of segments in their antennae and the structure of the ovipositor, as well as the location of the tympanal organ and the methods by which sound is produced. Ensiferans have antennae that can be much longer than the body and have at least 20–24 segments, while caeliferans have fewer segments in their shorter, stouter antennae.
PHYLOGENY
Grasshoppers belong to the suborder Caelifera. Although, "grasshopper" is sometimes used as a common name for the suborder in general, some sources restrict it to the more "advanced" groups. They may be placed in the infraorder Acrididea and have been referred-to as "short-horned grasshoppers" in older texts to distinguish them from the also-obsolete term "long-horned grasshoppers" (now bush-crickets or katydids) with their much longer antennae. The phylogeny of the Caelifera, based on mitochondrial ribosomal RNA of thirty-two taxa in six out of seven superfamilies, is shown as a cladogram. The Ensifera, Caelifera and all the superfamilies of grasshoppers except Pamphagoidea appear to be monophyletic.
In evolutionary terms, the split between the Caelifera and the Ensifera is no more recent than the Permo-Triassic boundary; the earliest insects that are certainly Caeliferans are in the extinct families Locustopseidae and Locustavidae from the early Triassic, roughly 250 million years ago. The group diversified during the Triassic and have remained important plant-eaters from that time to now. The first modern families such as the Eumastacidae, Tetrigidae and Tridactylidae appeared in the Cretaceous, though some insects that might belong to the last two of these groups are found in the early Jurassic. Morphological classification is difficult because many taxa have converged towards a common habitat type; recent taxonomists have concentrated on the internal genitalia, especially those of the male. This information is not available from fossil specimens, and the palaentological taxonomy is founded principally on the venation of the hindwings.
The Caelifera includes some 2,400 valid genera and about 11,000 known species. Many undescribed species probably exist, especially in tropical wet forests. The Caelifera have a predominantly tropical distribution with fewer species known from temperate zones, but most of the superfamilies have representatives worldwide. They are almost exclusively herbivorous and are probably the oldest living group of chewing herbivorous insects.
The most diverse superfamily is the Acridoidea, with around 8,000 species. The two main families in this are the Acrididae (grasshoppers and locusts) with a worldwide distribution, and the Romaleidae (lubber grasshoppers), found chiefly in the New World. The Ommexechidae and Tristiridae are South American, and the Lentulidae, Lithidiidae and Pamphagidae are mainly African. The Pauliniids are nocturnal and can swim or skate on water, and the Lentulids are wingless. Pneumoridae are native to Africa, particularly southern Africa, and are distinguished by the inflated abdomens of the males.
BIOLOGY
DIET AND DIGESTION
Most grasshoppers are polyphagous, eating vegetation from multiple plant sources, but some are omnivorous and also eat animal tissue and animal faeces. In general their preference is for grasses, including many cereals grown as crops. The digestive system is typical of insects, with Malpighian tubules discharging into the midgut. Carbohydrates are digested mainly in the crop, while proteins are digested in the ceca of the midgut. Saliva is abundant but largely free of enzymes, helping to move food and Malpighian secretions along the gut. Some grasshoppers possess cellulase, which by softening plant cell walls makes plant cell contents accessible to other digestive enzymes.
SENSORY ORGANS
Grasshoppers have a typical insect nervous system, and have an extensive set of external sense organs. On the side of the head are a pair of large compound eyes which give a broad field of vision and can detect movement, shape, colour and distance. There are also three simple eyes (ocelli) on the forehead which can detect light intensity, a pair of antennae containing olfactory (smell) and touch receptors, and mouthparts containing gustatory (taste) receptors. At the front end of the abdomen there is a pair of tympanal organs for sound reception. There are numerous fine hairs (setae) covering the whole body that act as mechanoreceptors (touch and wind sensors), and these are most dense on the antennae, the palps (part of the mouth), and on the cerci at the tip of the abdomen. There are special receptors (campaniform sensillae) embedded in the cuticle of the legs that sense pressure and cuticle distortion. There are internal "chordotonal" sense organs specialized to detect position and movement about the joints of the exoskeleton. The receptors convey information to the central nervous system through sensory neurons, and most of these have their cell bodies located in the periphery near the receptor site itself.
CIRCULATION AMD RESPIRATION
Like other insects, grasshoppers have an open circulatory system and their body cavities are filled with haemolymph. A heart-like structure in the upper part of the abdomen pumps the fluid to the head from where it percolates past the tissues and organs on its way back to the abdomen. This system circulates nutrients throughout the body and carries metabolic wastes to be excreted into the gut. Other functions of the haemolymph include wound healing, heat transfer and the provision of hydrostatic pressure, but the circulatory system is not involved in gaseous exchange. Respiration is performed using tracheae, air-filled tubes, which open at the surfaces of the thorax and abdomen through pairs of valved spiracles. Larger insects may need to actively ventilate their bodies by opening some spiracles while others remain closed, using abdominal muscles to expand and contract the body and pump air through the system.
JUMPING
A large grasshopper, such as a locust, can jump about a metre (twenty body lengths) without using its wings; the acceleration peaks at about 20 g. Grasshoppers jump by extending their large back legs and pushing against the substrate (the ground, a twig, a blade of grass or whatever else they are standing on); the reaction force propels them into the air. They jump for several reasons; to escape from a predator, to launch themselves into flight, or simply to move from place to place. For the escape jump in particular there is strong selective pressure to maximize take-off velocity, since this determines the range. This means that the legs must thrust against the ground with both high force and a high velocity of movement. However, a fundamental property of muscle is that it cannot contract with both high force and high velocity at the same time. Grasshoppers overcome this apparent contradiction by using a catapult mechanism to amplify the mechanical power produced by their muscles.
The jump is a three-stage process. First, the grasshopper fully flexes the lower part of the leg (tibia) against the upper part (femur) by activating the flexor tibiae muscle (the back legs of the grasshopper in the top photograph are in this preparatory position). Second, there is a period of co-contraction in which force builds up in the large, pennate extensor tibiae muscle, but the tibia is kept flexed by the simultaneous contraction of the flexor tibiae muscle. The extensor muscle is much stronger than the flexor muscle, but the latter is aided by specializations in the joint that give it a large effective mechanical advantage over the former when the tibia is fully flexed. Co-contraction can last for up to half a second, and during this period the extensor muscle shortens and stores elastic strain energy by distorting stiff cuticular structures in the leg. The extensor muscle contraction is quite slow (almost isometric), which allows it to develop high force (up to 14 N in the desert locust), but because it is slow only low power is needed. The third stage of the jump is the trigger relaxation of the flexor muscle, which releases the tibia from the flexed position. The subsequent rapid tibial extension is driven mainly by the relaxation of the elastic structures, rather than by further shortening of the extensor muscle. In this way the stiff cuticle acts like the elastic of a catapult, or the bow of a bow-and-arrow. Energy is put into the store at low power by slow but strong muscle contraction, and retrieved from the store at high power by rapid relaxation of the mechanical elastic structures.
STRIDULATION
Male grasshoppers spend much of the day stridulating, singing more actively under optimal conditions and being more subdued when conditions are adverse; females also stridulate, but their efforts are insignificant when compared to the males. Late-stage male nymphs can sometimes be seen making stridulatory movements, although they lack the equipment to make sounds, demonstrating the importance of this behavioural trait. The songs are a means of communication; the male stridulation seems to express reproductive maturity, the desire for social cohesion and individual well-being. Social cohesion becomes necessary among grasshoppers because of their ability to jump or fly large distances, and the song can serve to limit dispersal and guide others to favourable habitat. The generalised song can vary in phraseology and intensity, and is modified in the presence of a rival male, and changes again to a courtship song when a female is nearby. In male grasshoppers of the family Pneumoridae, the enlarged abdomen amplifies stridulation.
LIFE CYCLE
In most grasshopper species, conflicts between males over females rarely escalate beyond ritualistic displays. Some exceptions include the chameleon grasshopper (Kosciuscola tristis), where males may fight on top of ovipositing females; engaging in leg grappling, biting, kicking and mounting.
The newly emerged female grasshopper has a preoviposition period of a week or two while she increases in weight and her eggs mature. After mating, the female of most species digs a hole with her ovipositor and lays a batch of eggs in a pod in the ground near food plants, generally in the summer. After laying the eggs, she covers the hole with soil and litter. Some, like the semi-aquatic Cornops aquaticum, deposit the pod directly into plant tissue. The eggs in the pod are glued together with a froth in some species. After a few weeks of development, the eggs of most species in temperate climates go into diapause, and pass the winter in this state. Diapause is broken by a sufficiently low ground temperature, with development resuming as soon as the ground warms above a certain threshold temperature. The embryos in a pod generally all hatch out within a few minutes of each other. They soon shed their membranes and their exoskeletons harden. These first instar nymphs can then jump away from predators.
Grasshoppers undergo incomplete metamorphosis: they repeatedly moult (undergo ecdysis), each instar becoming larger and more like an adult, with the wing-buds increasing in size at each stage. The number of instars varies between species but is often six. After the final moult, the wings are inflated and become fully functional. The migratory grasshopper, Melanoplus sanguinipes, spends about 25 to 30 days as a nymph, depending on sex and temperature, and lives for about 51 days as an adult.
SWARMING
Locusts are the swarming phase of certain species of short-horned grasshoppers in the family Acrididae. Swarming behaviour is a response to overcrowding. Increased tactile stimulation of the hind legs causes an increase in levels of serotonin. This causes the grasshopper to change colour, feed more and breed faster. The transformation of a solitary individual into a swarming one is induced by several contacts per minute over a short period.
Following this transformation, under suitable conditions dense nomadic bands of flightless nymphs known as "hoppers" can occur, producing pheromones which attract the insects to each other. With several generations in a year, the locust population can build up from localised groups into vast accumulations of flying insects known as plagues, devouring all the vegetation they encounter. The largest recorded locust swarm was one formed by the now-extinct Rocky Mountain locust in 1875; the swarm was 2,900 km long and 180 km wide, and one estimate puts the number of locusts involved at 3.5 trillion. An adult desert locust can eat about 2 g of plant material each day, so the billions of insects in a large swarm can be very destructive, stripping all the foliage from plants in an affected area and consuming stems, flowers, fruits, seeds and bark.
PREDATORS, PARASITES D PAHOGENS
Grasshoppers have a wide range of predators at different stages of their lives; eggs are eaten by bee-flies, ground beetles and blister beetles; hoppers and adults are taken by other insects such as ants, robber flies and sphecid wasps, by spiders, and by many birds and small mammals.
The eggs and nymphs are under attack by parasitoids including blow flies, flesh flies, and tachinid flies. External parasites of adults and nymphs include mites. Female grasshoppers parasitised by mites produce fewer eggs and thus have fewer offspring than unaffected individuals.
The grasshopper nematode (Mermis nigrescens) is a long slender worm that infects grasshoppers, living in the insect's hemocoel. Adult worms lay eggs on plants and the host becomes infected when the foliage is eaten. Spinochordodes tellinii and Paragordius tricuspidatus are parasitic worms that infect grasshoppers and alter the behaviour of their hosts. When the worms are sufficiently developed, the grasshopper is persuaded to leap into a nearby body of water where it drowns, thus enabling the parasite to continue with the next stage of its life cycle, which takes place in water.
Grasshoppers are affected by diseases caused by bacteria, viruses, fungi and protozoa. The bacteria Serratia marcescens and Pseudomonas aeruginosa have both been implicated in causing disease in grasshoppers, as has the entomopathogenic fungus Beauveria bassiana. This widespread fungus has been used to control various pest insects around the world, but although it infects grasshoppers, the infection is not usually lethal because basking in the sun has the result of raising the insect's temperature above a threshold tolerated by the fungus. The fungal pathogen Entomophaga grylli is able to influence the behaviour of its grasshopper host, causing it to climb to the top of a plant and cling to the stem as it dies. This ensures wide dispersal of the fungal spores liberated from the corpse.
The fungal pathogen Metarhizium acridum is found in Africa, Australia and Brazil where it has caused epizootics in grasshoppers. It is being investigated for possible use as a microbial insecticide for locust control. The microsporidian fungus Nosema locustae, once considered to be a protozoan, can be lethal to grasshoppers. It has to be consumed by mouth and is the basis for a bait-based commercial microbial pesticide. Various other microsporidians and protozoans are found in the gut.
ANTI-PREDATOR DEFENCES
Grasshoppers exemplify a range of anti-predator adaptations, enabling them to avoid detection, to escape if detected, and in some cases to avoid being eaten if captured. Grasshoppers are often camouflaged to avoid detection by predators that hunt by sight; some species can change their coloration to suit their surroundings.
Several species such as the hooded leaf grasshopper Phyllochoreia ramakrishnai (Eumastacoidea) are detailed mimics of leaves. Stick grasshoppers (Proscopiidae) mimic wooden sticks in form and colouration. Grasshoppers often have deimatic patterns on their wings, giving a sudden flash of bright colours that may startle predators long enough to give time to escape in a combination of jump and flight.
Some species are genuinely aposematic, having both bright warning coloration and sufficient toxicity to dissuade predators. Dictyophorus productus (Pyrgomorphidae) is a "heavy, bloated, sluggish insect" that makes no attempt to hide; it has a bright red abdomen. A Cercopithecus monkey that ate other grasshoppers refused to eat the species. Another species, the rainbow or painted grasshopper of Arizona, Dactylotum bicolor (Acridoidea), has been shown by experiment with a natural predator, the little striped whiptail lizard, to be aposematic
RELATIONSHIP WITH HUMANS
IN ART AND MEDIA
Grasshoppers are occasionally depicted in artworks, such as the Dutch Golden Age painter Balthasar van der Ast's still life oil painting, Flowers in a Vase with Shells and Insects, c. 1630, now in the National Gallery, London, though the insect may be a bush-cricket.
Another orthopteran is found in Rachel Ruysch's still life Flowers in a Vase, c. 1685. The seemingly static scene is animated by a "grasshopper on the table that looks about ready to spring", according to the gallery curator Betsy Wieseman, with other invertebrates including a spider, an ant, and two caterpillars.
Grasshoppers are also featured in cinema. The 1957 film Beginning of the End portrayed giant grasshoppers attacking Chicago.[59] In the 1998 Pixar film A Bug's Life, the heroes are the members of an ant colony, and the lead villain and his henchmen are grasshoppers.
SYMBOLISM
Grasshoppers are sometimes used as symbols, as in Sir Thomas Gresham's gilded grasshopper in Lombard Street, London, dating from 1563;[a] the building was for a while the headquarters of the Guardian Royal Exchange, but the company declined to use the symbol for fear of confusion with the locust.
When grasshoppers appear in dreams, these have been interpreted as symbols of "Freedom, independence, spiritual enlightenment, inability to settle down or commit to decision". Locusts are taken literally to mean devastation of crops in the case of farmers; figuratively as "wicked men and women" for non-farmers; and "Extravagance, misfortune, & ephemeral happiness" by "gypsies".
AS FOOD
In some countries, grasshoppers are used as food. In southern Mexico, grasshoppers, known as chapulines, are eaten in a variety of dishes, such as in tortillas with chilli sauce. Grasshoppers are served on skewers in some Chinese food markets, like the Donghuamen Night Market. Fried grasshoppers (walang goreng) are eaten in the Gunung Kidul Regency, Yogyakarta, Java in Indonesia. In Native America, the Ohlone people burned grassland to herd grasshoppers into pits where they could be collected as food.
It is recorded in the Bible that John the Baptist ate locusts and wild honey (Greek: ἀκρίδες καὶ μέλι ἄγριον, akrídes kaì méli ágrion) while living in the wilderness; attempts have been made to explain the locusts as suitably ascetic vegetarian food such as carob beans, but the plain meaning of ἀκρίδες is the insects.
AS PESTS
Grasshoppers eat large quantities of foliage both as adults and during their development, and can be serious pests of arid land and prairies. Pasture, grain, forage, vegetable and other crops can be affected. Grasshoppers often bask in the sun, and thrive in warm sunny conditions, so drought stimulates an increase in grasshopper populations. A single season of drought is not normally sufficient to stimulate a massive population increase, but several successive dry seasons can do so, especially if the intervening winters are mild so that large numbers of nymphs survive. Although sunny weather stimulates growth, there needs to be an adequate food supply for the increasing grasshopper population. This means that although precipitation is needed to stimulate plant growth, prolonged periods of cloudy weather will slow nymphal development.
Grasshoppers can best be prevented from becoming pests by manipulating their environment. Shade provided by trees will discourage them and they may be prevented from moving onto developing crops by removing coarse vegetation from fallow land and field margins and discouraging luxurious growth beside ditches and on roadside verges. With increasing numbers of grasshoppers, predator numbers may increase, but this seldom happens sufficiently rapidly to have much effect on populations. Biological control is being investigated, and spores of the protozoan parasite Nosema locustae can be used mixed with bait to control grasshoppers, being more effective with immature insects. On a small scale, neem products can be effective as a feeding deterrent and as a disruptor of nymphal development. Insecticides can be used, but adult grasshoppers are difficult to kill, and as they move into fields from surrounding rank growth, crops may soon become reinfested.
Some grasshopper species, like the Chinese rice grasshopper, are a pest in rice paddies. Ploughing exposes the eggs on the surface of the field, to be destroyed by sunshine or eaten by natural enemies. Some eggs may be buried too deeply in the soil for hatching to take place.
Locust plagues can have devastating effects on human populations, causing famines and population upheavals. They are mentioned in both the Koran and the Bible and have also been held responsible for cholera epidemics, resulting from the corpses of locusts drowned in the Mediterranean Sea and decomposing on beaches. The FAO and other organisations monitor locust activity around the world. Timely application of pesticides can prevent nomadic bands of hoppers from forming before dense swarms of adults can build up. Besides conventional control using contact insecticides, biological pest control using the entomopathogenic fungus Metarhizium acridum, which specifically infects grasshoppers, has been used with some success.
IN LITERATURE
The Egyptian word for locust or grasshopper was written snḥm in the consonantal hieroglyphic writing system. The pharaoh Ramesses II compared the armies of the Hittites to locusts: "They covered the mountains and valleys and were like locusts in their multitude."
One of Aesop's Fables, later retold by La Fontaine, is the tale of The Ant and the Grasshopper. The ant works hard all summer, while the grasshopper plays. In winter, the ant is ready but the grasshopper starves. Somerset Maugham's short story "The Ant and the Grasshopper" explores the fable's symbolism via complex framing. Other human weaknesses besides improvidence have become identified with the grasshopper's behaviour. So an unfaithful woman (hopping from man to man) is "a grasshopper" in "Poprygunya", an 1892 short story by Anton Chekhov, and in Jerry Paris's 1969 film The Grasshopper.
In mechanical engineering
The name "Grasshopper" was given to the Aeronca L-3 and Piper L-4 light aircraft, both used for reconnaissance and other support duties in World War II. The name is said to have originated when Major General Innis P. Swift saw a Piper making a rough landing and remarked that it looked like a "damned grasshopper" for its bouncing progress.
Grasshopper beam engines were beam engines pivoted at one end, the long horizontal arm resembling the hind leg of a grasshopper. The type was patented by William Freemantle in 1803.
WIKIPEDIA
Title: Panel from Diego Rivera's mural depicting the key events that led up to the American Revolution. Important figures include Benjamin Franklin, Thomas Paine, and Samuel Adams. Painted in 1933.
Date: 1940 Estimated
Photographer: Unknown. Artist: Diego Rivera
Photo ID: 5780PB30F3H
Collection: International Ladies Garment Workers Union Photographs (1885-1985)
Repository: The Kheel Center for Labor-Management Documentation and Archives in the ILR School at Cornell University is the Catherwood Library unit that collects, preserves, and makes accessible special collections documenting the history of the workplace and labor relations. www.ilr.cornell.edu/library/kheel
Notes: No additional information available.
Copyright: The copyright status of this image is unknown. It may also be subject to third party rights of privacy or publicity. Images are being made available for purposes of private study, scholarship, and research. The Kheel Center would like to learn more about this image and hear from any copyright owners who are not properly identified so that we may make the necessary corrections.
Tags: Kheel Center for Labor-Management Documentation and Archives,Cornell University Library,Art, War
Hydromis chrysogaster. Common names include water rat, Australian otter and beaver rat. A rodent they might be but it seems cruel to call these beautiful creatures a rat. They are rabbit-sized, partly web-footed and with a long thick tail that ends with a distinctive white tip. Extraordinarily agile swimmers and superb divers they are also very, very shy.
Despite actively watching for them over the last few years I have only twice caught a glimpse of one disappearing into the distance. I was therefore stunned when one surfaced a few feet from me in the St Peters Billabong and proceeded to work its way along the bank, swimming and diving. Every attempt at a photo failed - all I caught was the surface ripples as the Rakali dived. Eventually it returned to the sanctuary of the island. I was therefore even more stunned when a second Rakali arrived and proceeded to repeat the whole performance in reverse! This time I was ready and got some decent images and a little video.
Here's the Rakali headed for a duck that was sitting on a log. The duck jumped off seconds after this photo and the Rakali dived under log and duck and surfaced just in front of me. I was blown away...
Discover fun facts about elephants in Thailand, care and feeding them with love! Feeding, mud SPA and shower with the elephants, make paper from elephant poop, take funny photos with elephants, the price includes lunch, free photographs, free transfer...
Details and reservation online: thai-online.tours
Instant reservation: +66-838-383-539
WhatsApp: +66-838-383-539
Viber: +66-838-383-539
Telegram: @thaionlinetours
E-mail info@thai-online.org
Read in Russian language: thai-online.org/
Around the world excursions and guided tours: www.7stars-tours.com. Use the link to search best deals and online reservations with the lowest prices!
ALL THINGS TO DO IN PATTAYA
All the best, newest, popular and not expensive excursions in Pattaya - on our THAI-ONLINE website. Can read and download the price with all of our proposals.
Reserve excursions in Pattaya online +668-3838-3539
Pattaya exhibitions and galleries
Beaches and islands of Pattaya
Pattaya snorkeling tours, sea cruises
Pattaya water parks and attraction parks
Pattaya sea fishing, lake fishing
Religious tour, Sak Yant tattoos
Journays from Thailand to other countries
Overnight island tours from Pattaya
Kanchanaburi - River Kwai from Pattaya
Cambodia Angkor Wat from Pattaya
Tours to Northern Thailand from Pattaya, Phuket, Bangkok
Phuket, Samui, Songkla, Narathiwat from Pattaya
Exclusive overnight excursions
Package tours to Thailand and not only
TOURIST OFFERS IN OTHER COUNTRIES:
A few from September's West Grinstead Ploughing Match - which was also the setting for the Steyning Camera Club's annual Photohunt
Featured amenities include:
Master Bedroom_Queen Size Bed
40" Flat Panel TV_Modern Lounge Chair Dressing Room En-Suite Bath
Second Bedroom_Queen Size Bed, Full Bath adjacent to bedroom
Living Room_Beautifully Furnished Modern Living Room Leather Sofa and Lounge Chairs Original Art. Floor to Ceiling Windows Great Light
Dining Room_Modern wicker and glass furnishings Seating for Four
Kitchen_Full kitchen with granite counters. New refrigerator, oven, stove, coffee maker.
Sun Room_An enclosed balcony that may be opened to the breeze. Side table and chairs.
Laundry Room_Located in the apartment with Washing Machine and room for hanging
Swimming Pool & Sauna_A residents-only swimming pool Sauna
Indoor Parking_Secure gated parking _Direct elevator access
Content copyright 2010. Cali Vacation Rentals. All rights reserved.
1.
5111 NORTH PARADE BD1
No 40
SE 1633 35/905 (Yorkshire Bank)
SE 1633 ST 36/905
II GV
2.
Includes No 41 Manor Row. Prominent and acute corner site at apex of Manor Row
and North Parade. Built as the Yorkshire Penny Bank 1895, L Ledingham architect.
Sandstone ashlar, profusely decorated and richly modelled facades, an admixture
of Franco-Flemish and Italian Renaissance details; notable quality of carving and
stone masonry. Three storeys and attic, bowed corner of 3 bays and 4 bay side
elevations. Deep stepped and moulded plinth, entablatures to each floor; very ornate
frieze to main bracket cornice, with strapwork and festoon decoration. The tripartite
corner composition has an open arcade with oval vestibule behind. The piers are
oval in section with foliate caps and twisted fluting to necks. Colonettes applied
to front of each pier and continued as pilasters dividing the profusely carved
strapwork and rinceaux spandrels. Deeply moulded arches with spaced voussoirs and
console keystones. First floor articulated by pilaster stops, the windows of 2 lights
with corkscrew fluted shaft colonettes as mullions. The second floor is treated as
open arcade similar to ground floor and providing a balcony. Above the balustraded
parapet is an aediculed dormer with shell carving to tympanum, stepped broken
pediment. Small flanking archways with elaborate scrolled crestings and supports.
Behind the dormer rises a truncated octagonal slate spire supporting the clock
turret which is also octagonal and battered, the faces articulated by projecting
columns, festooned frieze and concave swept cornice, surmounted by shallow ogee
lead dome. Short staff wing from finial to support weathervane. Flanking the
corner and terminating the side elevations are canted bartizan turrets, corbelled
out from ground floor entablature on oriel bases. Narrow pedimented windows
on their first floor flanked by arches and on the top stage blind arcading; the
turrets are crowned by low stone domes with ball finials. Four bay side elevations
have 2 light windows, identical to those on first floor of corner but with plain
mullions to second floor. Arcaded ground floor windows for banking hall, similar
to porch in detail. Broken segmental pedimented dormers with flanking columns. The
banking hall has a richly decorated plaster ceiling with rinceaux and strapwork.
Marble faced dado and mahogany furnishings.
Listing NGR: SE1612833504