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Think of how rich I could have been if I invented McDonalds.
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Kaysersberg (Haut-Rhin) - Église de l'Invention-de-la-Sainte-Croix - Nef
commons.wikimedia.org/wiki/%C3%89glise_Ste_Croix_(Kaysersberg)?uselang=fr
jejjejejjee... me acabo de inventar una nueva especie de camelia!!!!
Está un poco chuchurría porque ya había caído del árbol y cayó, justo, en ese estanque... y llovía...
Me vais a permitir que haga un regalo con ella... para la persona que todos los que le seguimos llamamos ya "el rey de las camelias". Las fotografía como nadie, nos regala todos los días una o dos o tres y, además, le sonríen!!!!!! je.
Juan... juantiagues... espero que te guste aunque... regalarte a ti una camelia es como regalarle una monedita de oro al rey Midas... jejejjee... yyyyyy... lo siento perooooooo... tienes que compartir el regalo... aunque estoy segura que no te importará...
Alex V. Palacios (www.flickr.com/photos/alexvpalacios/6651818497/) es un pintor maravilloso... pinta las camelias con una belleza que, la mayoría de las veces, supera el original y... además... es un encanto y todo un caballero!!!!! Espero que te guste también Alex...
Espero que os guste a todos...
BESOSSSSSS...
Inventing a disaster management plan on the spot, David Bahlman, president of Landmarks Illinois, Barbara Campagna, the Trust's director of architecture, and others borrowed a flat-bottomed aluminum motorboat from a nearby homeowner and rode through the brown floodwaters to the skeletal white house, whose walls consist of huge sheets of floor-to-ceiling glass.
They made makeshift tables out of hastily purchased crates and boards, and stacked rugs and other furnishings on them. They bundled the bottoms of curtains in plastic garbage bags, getting the curtains off the floor. They lifted Mies-designed Barcelona chairs atop the house's wardrobe. Removable primavera wood panels from the house's fireplace wall went there too.
Then the big oncoming storm dissipated, the sun came out and the waters began to recede.
www.chicagotribune.com/entertainment/chi-0830archnotesaug...
Built during the early 1100s, the parochial church of the village of Merlévenez features a very interesting set of so-called “broken” or “pointy” arches in the nave, instead of the more traditional barrel arches. Contrary to what some internet sites claim, the “broken” arch was not invented by the Cistercians. It is a pure product of Cluniac architectural research, therefore invented by the mainstream Benedictines and not by their Cistercian offshoot. It is probably not the Cistercians that brought that shape to Brittany and built this church, as all those examples supplied by such web sites of Cistercians foundations using that same pointy arch date from 1130 at the earliest, when Merlévenez was probably almost completed already. Those web sites mistake the effect for the cause: it is indeed likely that the Cistercians found their own inspiration in Merlévenez, instead of having inspired it, or else (and perhaps more likely) they simply found that inspiration in Cluny.
In addition to this architectural feature, this church also offers some very interesting sculpted and historied capitals that have interestingly archaic characteristics, even though one must of course also account for the difficulty inherent in sculpting granite.
One of the historied capitals for which the Merlévenez church is famous in Brittany. According to art historians, this one depicts the martyr of Saint Lawrence on the grill... I must admit I will have to trust them on that!
rolleiflex 2.8c
planar 80 2.8
rollei panorama thingy
pan f 50
xtol 1:1 8m
ala moana beach park
honolulu hawaii
taken July 3rd, in the right hand shot you can see the tents; folks are staking out a place on the beach for the fireworks show tonight.
getting the three pics to line up is maddening! especially when there are lines of convergence.
there are a couple of more compositions I'm gonna try out before moving on.
to the next great thing...
By 1918, the vibrator was available in the Sears, Roebuck catalog to make any housewife happy–a bargain at $6. By 1920, more than 50 different kinds had been invented, according to Rachel Maines, author of The Technology of Orgasm.
“It was a big era for the vibrator,” says Maines. “And they weren’t sexualized. It wasn’t a problem to get them. But the cat was out of the bag as soon as they were used in porn movies.” One of the first adult films to feature a vibrator was the 1920s movie “Widow’s Delight,” in which a woman rejects her suitor to go home to her vibrator. “The veil was off,” Hysteria director Tanya Wexler says. “Oh my God–who knew these were for sex? Shocker!”
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.....item 1).... Ms. Magazine ... Ms. Blog ... msmagazine.com/blog
Home / Life / How the Vibrator Came Out of the Closet
How the Vibrator Came Out of the Closet
June 1, 2012 by Jennifer Vineyard
msmagazine.com/blog/blog/2012/06/01/how-the-vibrator-came...
Freud condemned the clitoral orgasm as “immature”–but at least he recognized that it was in fact an orgasm. Before that, medical science didn’t even think orgasms were sexual in nature, calling them “paroxysms,” and doctors actually prescribed them for their female patients. The practice of bringing them about by massage–first by hand, then by machine–was in vogue in the Victorian era and put into mass effect with the advent of the vibrator, which allowed doctors to “service” patients diagnosed with “hysteria” even faster.
The new Maggie Gyllenhaal-Hugh Dancy period sex comedy Hysteria looks at the invention of the first vibrator in the 1880s, which led rapidly to the devices being mass-marketed for home use. But even though more women than ever could achieve climax with the help of a vibrator, for decades feminists still had to fight to assert that it was normal and healthy to do so. Once the practice was recognized as being sexual, it was frowned upon because of the prejudice that women were supposed to climax from vaginal penetration alone. It’s a notion that persists in our popular culture–just think of every movie scene in which a man slams a woman against a wall and they achieve orgasm simultaneously.
That this is not a common scenario is indicated by Shere Hite’s ground-breaking Hite Report (1976), which found that many women pleased themselves without a penis. If women did choose a partner-in-crime to achieve orgasm, the vibrator was still a favorite option. But what those vibrators look like–and how they’re viewed–has evolved quite a bit over the past 100-plus years.
Vibrators weren’t available for home use until about 1899–if you wanted to use one before that, you had to see your doctor, and it usually cost about $2 at the time. And they weren’t advertised until 1904, when they started popping up in women’s periodicals, with such taglines as “Vibrate your body and make it well,” “Take the edge off things,” “Nature’s own cure-all” and “Magic power… will make you feel like a new person.” These ads made no mention of sex, orgasms, or even hysteria–the so-called “disease” for which vibrators were the purported cure. By 1918, the vibrator was available in the Sears, Roebuck catalog to make any housewife happy–a bargain at $6. By 1920, more than 50 different kinds had been invented, according to Rachel Maines, author of The Technology of Orgasm.
“It was a big era for the vibrator,” says Maines. “And they weren’t sexualized. It wasn’t a problem to get them. But the cat was out of the bag as soon as they were used in porn movies.” One of the first adult films to feature a vibrator was the 1920s movie “Widow’s Delight,” in which a woman rejects her suitor to go home to her vibrator. “The veil was off,” Hysteria director Tanya Wexler says. “Oh my God–who knew these were for sex? Shocker!” Once the vibrator was used in porn, it was harder to find a doctor to use one in treatment–although some continued to diagnose hysteria well up until the 1950s. Says Maines, “You can still find doctors who will do this treatment in Argentina, which makes me think it’s a great reason to go to Buenos Aires!”
During the sexual revolution of the ’60s and ’70s, feminists brought back the vibrator as a means for women to find release without relying on a partner, and by 1977, the first women-centric sex store, Good Vibrations, was open for business. But in non-pornos, the vibrator was kept more symbolic, fantastic–the orgasmic Excessive Machine in 1968′s Barbarella (“It couldn’t keep up with you! What kind of girl are you? Have you no shame?”) or the Orgasmatron in 1973′s Sleeper (“You want to get in the machine now?”). Debra Winger made do with a gyrating mechanical bull in 1980′s Urban Cowboy (“Look at that! Her nipples are hard!”).
But by the late 1980s, the vibrators were coming out of the closet, thanks to open discussion about women’s orgasms in in films such as When Harry Met Sally… and Sex, Lies, and Videotape, which touched on topics like faking it and the difficulty of achieving orgasm. In 1988, a silly comedy called Casual Sex? had the audacity to name-check a vibrator when Lea Thompson said, “I’m sick of my Mighty Intruder vibrator with the flexible shaft and textured head.” But in mainstreams films, it was still a topic of shame, as in 1989′s Parenthood when Steve Martin found Dianne Wiest’s vibrator when he was looking for a flashlight during a blackout. When one of the kids asks, “Mommy, what was that?” she’s told, “That was an electric ear cleaner.”
By the early-to-mid 1990s, it was far more common to acknowledge that a vibrator was in your possession–from the friend who confides to Sharon Stone in Sliver that she’s going to get a “plastic yeast infection” to Brian Krakow on My So-Called Life complaining that the one his parents have sounds “like a lawnmower” to Marina playfully making the most of a vibrating toy diver during her bath in Pedro Almodovar’s Tie Me Up! Tie Me Down! The 1994 film The Road to Wellville featured Victorian ideas about how to achieve optimum health, including electrical stimulus to your genitals–even Matthew Broderick got a little action. More direct was the teenage girl who handcuffed her boyfriend and took out her vibrator to pleasure herself in front of him on HBO’s Dream On–”Cool,” he says–or Jennifer Aniston taking hers into the bathroom when her husband won’t have sex with her in She’s the One.
As the 1990s came to a close, fictional girls and women were more willing to experiment–Natasha Lyonne took a vibrator for a test drive in The Slums of Beverly Hills, after Marisa Tomei recommends one and calls it her “boyfriend.” But it was Sex and the City that made the vibrator a national conversation, thanks to the pivotal episode The Turtle and the Hare that popularized “the Rabbit,” plus a later episode where Samantha gives some frank advice about which devices to use (and which ones to avoid). “You don’t want that one, too many bells and whistles,” she tells one customer at Brookstone, which insists the store was only selling “neck massagers,” not vibrators. “That one actually works against you,” Samantha says. “If we wanted to work that hard, we’d get us a man, am I right?” And about another model, “No, absolutely not. That will burn your clit off.”
“It was a big deal,” said Good Vibrations sexologist Carol Queen. “People could talk about sex toys and have a really honest conversation. It made it possible to say, ‘Yes, I have one.’ And I don’t think the Rabbit Pearl would have been as popular if not for [SATC].”
Sales skyrocketed, and the vibrator was officially mainstream. Gil Grissom could find one in a dishwasher on CSI and Buster could use a cleaning robot in bed for comedy’s sake on Arrested Development. Indie films continued to be more explicit in the 2000s–Shinya Tsukamoto’s A Snake in June, when Rinko uses one for a voyeuristic stalker; Michael Winterbottom’s 9 Songs, when Lisa uses one after getting a table-dance–but creative substitutes allowed bigger-release films to be more stimulating. Elizabeth Banks in The 40-Year Virgin uses a showerhead to “warm up” for Steve Carell (and then Seth Rogen). Parker Posey uses her vibrating cell phone in both Fay Grim and The Oh in Ohio–which leads her into a sex shop as part of her exploration of sexual empowerment. Alice and Dana on season two of The L Word went sex toy shopping as well–and like the girls on Sex and the City, learn way more about their options than they had ever considered. Of course, by the next episode, they also learn that it’s hard to travel with such toys–and it can be embarrassing to have airport security hold up your vibrators, dildos, and nipple clamps for all the world to see. “You can’t take these on the plane, ladies,” they’re told. “You should know better than that.” (It’s a little more acceptable now).
Still, it’s always embarrassing as well as frustrating to be walked in on (as Laney’s whole family does in Not Another Teen Movie, coming to wish her a happy birthday just as her “My Lil’ Vibrator” is getting going), called at the crucial moment (as Courtney Cox’s mom does on Dirt to remind her that she’s late for a reservation: “You better be coming!”), or to drop the remote control while your hands are tied behind your back when you’re watching porn at the same time you’re using your vibrator (as Amber Benson does in Strictly Sexual). Okay, probably that last one doesn’t happen quite as much. “Okay, you caught me,” Amber’s character says. “I mean, men are not the only ones who like to wack off like zoo monkeys.”
The 2000s also saw this idea embraced on TV. Charlotte is giving vibrators away by season three of Private Practice–the Aphrodite, to be precise, from Dr. Laura Berman’s line of sex toys. Peggy on Mad Men gets a little vibe action in a 2007 episode when Don Draper assigns her the “Electrosizer” to try out for an ad campaign. An early predecessor to vibrating panties, it’s a girdle that’s supposed to promote weight loss, but she discovers that its arousing capacity is “probably unrelated,” so she pitches the ad line: “You’ll love the way it makes you feel.” The men are confused, so Don explains, “It provides the pleasure of a man, without the man.” Even Kristen Wiig got some vibe time this month before leaving Saturday Night Live, during a Mother’s Day skit in which she is interrupted while reading 50 Shades of Grey. Of course, the hubby and kids walk in to surprise her with breakfast in bed. “Get out!” she tells them. “Look, a microphone!” one of the kids exclaim during a family photo.
Recent film has seen lots of vibrator discussion as well. Elizabeth Banks–back for another round of masturbation talk with Seth Rogen in Zack and Miri Make a Porno–explains: “I never met a man who makes me come like a vibrator does.” Berman’s vibrating panties made a big splash with Katherine Heigl in The Ugly Truth when a kid gets a hold of the remote control and gives her an orgasm during the middle of a business dinner. “Oh! Oh, wow. Yeah! Yeah. Mmm. This ceviche, it’s so good. Quite possibly the best I’ve ever tasted. I’m going to go ask the chef about the recipe.” (“What’s in ceviche?” one of the dinner guests asks, in a callback to Rob Reiner’s mom asking to order the same pastrami sandwich as Meg Ryan in When Harry Met Sally…) Julianne Moore and Annette Bening use a vibrator in The Kids Are All Right. However, most films tend toward more talk than action, because too real or long of a female orgasm puts the movie at risk of getting a NC-17 rating (as This Film Is Not Yet Rated explains). So women on film are usually relegated to sex that’s all about penetration and not about the other practices that actually work for women.
Now, however, vibrators are taking center stage. Sarah Ruhl’s play, In the Next Room, or the Vibrator Play, put them on Broadway, and now Hysteria places the vibrator on the big screen, tracing its invention to a freethinking woman (played by Gyllenhaal) who links female orgasms with women’s rights. “My goal isn’t to shock people, but to make you laugh,” director Tanya Wexler said. “It’s a thinking woman’s romantic comedy, and it’s just what the doctor ordered. There’s no need to hide it anymore. There’s no shame.“
(From TOP LEFT to BOTTOM LEFT): Photo of antique poster advertising the doctor’s cure for women’s hysteria; photo of an early century vibrator advertisement; Photo of window display in Good Vibration’s Antique Vibrator Museum; Photo of sexologist Carol Queen from Flickr user Charles Haynes under Creative Commons 3.0; Photo of OhMiBod club vibrating panties which can be purchased at
Filed under Life, Sex + Relationships · Tagged with Barbarella, Good Vibrations, Hite Report, Hysteria, Masturbation, Orgasm, Rachel Maines, Sleeper, Tanya Wexler, The Technology of Orgasm, Urban Cowboy, Vibrators, Widow's Delight
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Trying out new places. I'm in Italy for some time now. This is a nice scenery different from my usual ones.
R.I.P. Steve, The Man who invented the future
133rd Day
Very bad news tonight.. Rest In Peace dear Steve, you were and will be an inspiration for generations and a very good person. Thanks for all you made.
Cya mate.
The Man who invented the FUTURE
Canon EOS 500D & Canon EF 100mm f/2.8 L Macro IS USM
Post Production with Lightroom 3.3 & Photoshop CS5
©2011, Stefano Minella Photo
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The Shark-Proof Submarine was invented by Professor Calculus in order to search for the treasure of infamous pirate captain Red Rackham.
If you like this ideia please support another one similar : TINTIN - SPACE ROCKET
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Brisbane, Australia
“Show me a man or a woman alone and I'll show you a saint. Give me two and they'll fall in love. Give me three and they'll invent the charming thing we call 'society'. Give me four and they'll build a pyramid. Give me five and they'll make one an outcast. Give me six and they'll reinvent prejudice. Give me seven and in seven years they'll reinvent warfare. Man may have been made in the image of God, but human society was made in the image of His opposite number, and is always trying to get back home.”
― Stephen King, The Stand
“I invented nothing new. I simply assembled the discoveries of other men behind whom were centuries of work. Had I worked fifty or ten or even five years before, I would have failed. So it is with every new thing. Progress happens when all the factors that make for it are ready, and then it is inevitable. To teach that a comparatively few men are responsible for the greatest forward steps of mankind is the worst sort of nonsense.” ~ Henry Ford
The modern prosthetic breast was invented in 1961, by the American plastic surgeons Thomas Cronin and Frank Gerow, and manufactured by the Dow Corning Corporation; in due course, the first augmentation mammoplasty was performed in 1962. There are five generations of medical device technology for the breast implant models filled with silicone gel; each generation of breast prosthesis is defined by common model-manufacturing techniques.
I wish I had invented blue jeans. They have expression, modesty, sex appeal, simplicity - all I hope for in my clothes.
—Yves Saint Laurent
Model: Whitney Masters
I invented a berry frame around our new Christmas sign by shooting through what's left of the crab apple tree.
German postcard by Kunst und Bild, Berlin, no. A 570. Photo: Ghergo, Rome / Generalcine Film. Mariella Lotti in La donna che inventò l'amore/The Woman Who Invented Love (Ferruccio Cerio, 1952).
Blonde Italian film actress Mariella Lotti (1921–2006) played leading ladies in a number of Fascist-era and post-war films. The refined beauty quickly became one of the most popular Italian divas of the 1940s.
Mariella Lotti was born Maria Camilla Pianotti in 1919 in Busto Arsizio, Lombardy, Italy (on 17 November 1919 according to her baptism certificate or on 18 November 1919 according to her birth certificate) Her sister Carola Lotti later also would be an actress. In 1939, Mariella made her film debut with a small part in the comedy I figli del marchese Lucera/The sons of the Marquis Lucera (Amleto Palermi, 1939) with Armando Falconi. The following year, she played an important part in the adventure film La figlia del corsaro verde/The Daughter of the Green Pirate (Enrico Guazzoni, 1940), starring Doris Duranti, Fosco Giachetti, and Camillo Pilotto. She also played a supporting part in Il signore della tavern/The tavern ladies (Amleto Palermi, 1940). That year she also appeared in the dramas Kean (Guido Brignone, 1940) with Rossano Brazzi, and Il ponte dei sospiri/The Bridge of Sighs (Mario Bonnard, 1940) with Paola Barbara. Two years later Lotti appeared in the drama Fari nella nebbia/Headlights in the Fog (Gianni Franciolini, 1942) starring Fosco Giachetti, Luisa Ferida and Antonio Centa. The film follows the lives of a group of truck drivers. It is considered to be part of the development of Neorealism, which emerged around this time. Lotti then played the title role in the historical adventure film La Gorgona/The Gorgon (Guido Brignone, 1942) about the young daughter of a heroically killed nobleman in 11th Century Pisa who - as the figurehead virgin - will maintain a lantern to celebrate the men's victorious return after driving out the Saracens who are infesting the Mediterranean. Other films of the fascist era include Quelli della montagna/Those of the Mountain (Aldo Vergano, 1943) with Amedeo Nazzari, the Opera film Silenzio, si gira!/Silence, film recording! (Carlo Campogalliani, 1943) starring Beniamino Gigli, and the war drama Squadriglia bianca (Ion Sava, 1944) with Claudio Gora. Lotti was one of the many actors employed on the anthology film I dieci comandamenti/The Ten Commandments (Giorgio Walter Chili, 1946), made following the overthrow of Benito Mussolini. The film was shot in Rome in 1944-1945 during the Republic of Salò (when the country occupied by the Germans). At that time, all cinematic activity was transferred to Venice but many actors and technicians refused to go. This film was specifically produced to provide work for all those who decided to stay in Rome. All personnel for the film was able to obtain a work permit from the Vatican as the film, which was based on the classic Bible story, was produced by PROFIR, a Catholic production house closely linked with the catholic church. The film is now considered lost.
In 1946, Mariella Lotti played a nun in the Neorealist war film Un giorno nella vita/A Day in Life (Alessandro Blasetti, 1946), about a group of partisans seeking refuge in a cloistered convent. The film was entered into the 1946 Cannes Film Festival. She also played the female lead opposite Otello Toso and Amedeo Nazzari in the drama Malacarne/For the Love of Mariastella (1946), written and directed by Pino Mercanti. Based on a story of the Sicilian writer Giuseppe Zucca, it was mainly shot in the tonnara (tuna fisher village) of Castellammare del Golfo, with some scenes shot in the tonnaras of Scopello and of San Vito Lo Capo. It is considered as a progenitor of Pink Neorealism, the lighter genre which followed Neorealism when Italy’s conditions approved. Lotti then co-starred with Fosco Giachetti and Andrea Checchi in the drama I fratelli Karamazoff/The Brothers Karamazov (Giacomo Gentilomo, 1947), based on the novel with the same title by Fyodor Dostoyevsky. It won two Nastro d'Argento Awards, for best screenplay and for the best score. She also starred in the historical drama Guarany (Riccardo Freda, 1948) with Antonio Vilar and Gianna Maria Canale, the Italian/American Swashbuckler I pirati di Capri/The Pirates of Capri (Edgar G. Ulmer, 1949) starring Louis Hayward, and opposite Jean Gabin in the drama È più facile che un cammello.../His Last Twelve Hours (Luigi Zampa, 1951). In the following years, her parts became smaller. She played a supporting part in the drama Processo alla città/The City Stands Trial (Luigi Zampa, 1952) with Amedeo Nazzari. The film is based on a revisiting of the Cuocolo murders and the struggle for control of Naples by the Camorra in the early 1900s. It is considered to be director Luigi Zampa's most accomplished film and was entered into the 3rd Berlin International Film Festival. Her final film was the Spanish-Italian drama Carmen proibita/Siempre Carmen (Giuseppe Maria Scotese, 1953) featuring Ana Esmeralda. She also acted in the theatre and worked on two stage productions with Luchino Visconti. Mariella Lotti was married to the industrialist Alfredo Zanardo. Earlier she had a well-publicised affair with Michel, Prince of Romania. Mariella Lotti passed away in 2004 in Neuilly-Sur-Seine, France. In 2019, her hometown has celebrated the 100th anniversary of her birth and two of her grandchildren attended the event.
Sources: Marlene Pilaete, Piero Trellini (The Blog – Italian), Wikipedia (Italian and English) and IMDb.
And, please check out our blog European Film Star Postcards.
Ask around what are the two most iconic symbols of Gothic architecture and art, and the answer will likely be: stained glass windows and rib vaulting.
In both cases, that answer will be wrong: those wonders, on which Gothic cathedrals built their worldwide reputation, are... Romanesque! And they were not just invented and barely tested at the time of Romanesque, they were actually implemented again and again, and perfected along the way over at least one century before Gothic happened. Much more than the definitive breaking point it is often purported to be, the advent of the Gothic was much more a smooth and slow transition, largely calling upon concepts, methods and techniques created and improved during Romanesque times.
As regards stained glass, the oldest still in place is the Ascension Window in the Le Mans Cathedral, which could be as old as Year 1100, possibly 1120–40. The windows in the Augsburg Cathedral in Germany also have a strong claim to the title of oldest Romanesque stained glass window. I hope to be able to photograph all of them some day.
Now, and coming back to our main subject, the rib vaulting (in French: voûte sur croisée d’ogives, or more simply voûte d’ogives), experts agree that, even before the cathedral of Durham in England, it was first experimented in the abbey church of Lessay in Normandy, which stands in the Cotentin peninsula, today the département of Manche. This new, revolutionary vaulting system could be as old as 1090, at least for the apse, choir and transept. Let us remember that this was also the time when other Benedictine monks, in Burgundy, were experimenting the “broken”, or “pointy” Romanesque arch in the Cluny II abbey church, on which construction began in 1088.
The beginning of the nave is also very old, as will be explained below. Its western part may have been built a few decades later, around 1130–40 —but even so, at that time we are still fully within the Romanesque Age, which did not come to an end until 1200 at the earliest —and of course such a clean cutoff date is only symbolic and does not correspond to any actual reality.
The abbey church of Lessay was miraculously saved in the 1950s by Yves-Marie Froidevaux, Chief Architect of Historic Landmarks, after it was severely damaged by the mines detonated by the Nazi army before it retreated after the D-Day landing of June 1944. The restoration Froidevaux carried out, re-using most of the old stones wherever it was possible, today remains an example of a successful and respectful restoration.
Dedicated to the Holy Trinity, this church may look les impressive from the outside than the one in Cerisy, of which I uploaded photos a few days ago. Its apparel is mostly of local shale stones. The cut stones are limestone from Yvetot-Bocage near Valognes, a stone of a lesser quality compared to the famous pierre de Caen, which is also used here, but quite sparsely. Prima facie, this vast church offers more similarities with the humble parochial ones to be found locally in the Cotentin, than with “the great monastic architecture”, as Lucien Musset calls it in the Normandie romane book published by Zodiaque.
As you step inside, however, the architectural and religious message resonates with all its majesty and might. Contrary to Cerisy, this nave retains all of its rows; its perfect proportions are ample, elegant and powerful. They fascinate the first-time visitor.
In the oldest rows of the nave, toward the transept, the ribs fall on “nothing”, for lack of a base or an engaged column to receive them. Such an approximation denotes an incomplete concept, enthusiastically adopted but not yet fully developed.
However remarkable and iconic it may be, owing to the very first use of rib vaulting in human history, the abbey church of Lessay fails to satisfy the lovers of Romanesque sculpture, which is almost absent. This does not come as a surprise in a Norman Romanesque church. Some capitals are sculpted, but they are often the most distant, way up high at triforium level, and the other are only prepared for sculpting, rarely decorated with hooks or gadroons.
The apse with its cul-de-four vaulting and its ten stained glass windows. Those are of course modern, the old ones having been destroyed during World War II.
The capitals here are sculpted, but in a very basic and, let’s be honest, rather unskilled manner, as you will see if you zoom into the photo. Well, this is Romanesque Normandy for you!
1893 Aveling & Porter Steam Roller No 3319. Class
R10.
10 tons single cylinder side valve.
Withdrawn in 1956 after 63 years service with Eddison Plant Ltd.
1856 Thomas Aveling produced the first steam plough.
1858 Aveling acquired premises in High Street, Rochester.
1860 At the Smithfield Show, Thomas Aveling of Rochester exhibits an 8 hp patent locomotive engine invented by himself and made by Clayton and Shuttleworth.]
1861 Employing 82 men and 14 boys.
1861 Started building steam engines to his own design.
1861 Patent for improvements to locomotive engines
1861 The main works were concentrated at Strood.
1862 Needing capital to expand, Richard Porter joined the company and the name changed to Aveling and Porter.
1862 May. At the Bath and West Society Show, Aveling and Porter showed a traction engine that they had driven 190 miles from Rochester to Bath in under 48 hours.
1862 June. At the International Show of the Agricultural Society they showed an agricultural locomotive engine for threshing, ploughing and general traction purposes.
1863 Patent for improvements in the construction of traction engines to Thomas Aveling of Rochester
1864 Produced their first engine to run on rails and continued in this market until 1926.
1865 They developed a steam engine and produced more of the machines than all the other British manufacturers combined.
1865 Their steam roller was tested in Hyde Park, London, Military Road, Chatham and at Star Hill in Rochester, Kent and was a success. Aveling and Porter steam rollers were exported to Europe and as far afield as India and the USA.
It was in 1865 that Aveling after experimenting with one of his large, road locomotive engines, decided to construct a machine expressly for rolling.
1867 Produced the first steam roller weighing 30 tons for the Liverpool Corporation.
871 Employed 300 men and boys [10]
1871 Aveling & Porter were requested by the Government to construct a light traction engine designed for hauling siege guns. These machines were named "Sappers"
1876 The engine to which the Royal Agricultural Society's First Prize was awarded was one of Aveling and Porter's 10-horse power Locomotives, 1876 Exhibitor at the Royal Agricultural Show at Birmingham with agricultural self-propelling engines of 4, 6, 8 and 10 hp. Also a 12 hp ploughing engine and a 10-ton roller.
1877 Exhibitor at the 1877 Royal Agricultural Show.
1878 Patent for improvements in road locomotive engines. Thomas Aveling of Rochester.
1881 Employing 260 men and 61 boys.
1882 Thomas Aveling died and was succeeded by his son Thomas Lake Aveling.
1889 Paris Exhibition. Electric Lighting Traction Engine. Illustrated.
1895 Employed 1,000 workers. Thomas Lake Aveling was to serve as chairman and managing director until he retired in 1928.
1899 Exhibited at the 1899 Royal Agricultural Show with a steam road roller fitted with Morrison's Patent Scarifier.
1900 Compound road locomotive and wagons for South Africa.
1911 Smithfield Club Show. Exhibited a road locomotive, steam motor tractor and a ploughing engine.
1914 Listed specialities: steam road rollers, tractors, steam wagons, road locomotives, traction engines, steam ploughing tackles, motor rollers lorries, "Morrison" scarifier for the roads.
After the First World War, Aveling and Archibald Maconochie, a friend and neighbour in Kent, promoted the formation of Agricultural and General Engineers.
1919 Aveling and Porter joined the Agricultural and General Engineers combine. Production of Aveling and Porter steam wagons was transferred to Richard Garrett and Sons.
1920 Showed steam road rollers, tractors and ploughing engines at the Darlington Agricultural
1932 AGE went into receivership and Aveling and Porter acquired the assets of of Barford and Perkins
1934 They changed their name to Aveling-Barford
1937 Became a public company to raise £320,000 with Edward James Barford, William Geoffrey Barford and George Ruston Sharpley as directors.
After World War II the company continued to make motor and steam rollers as well as expanding into other construction equipment. Aveling Barford is now part of the Thomson group of companies, which also includes Moxy articulated dump trucks.
The company produced around 12,200 steam powered vehicles and there are around 600 preserved.
- No echo, in the remote forests of this world ....
The world never ... ever world ......
The painted world ....., ..... invented world...
That ...., in that other world .......
www.youtube.com/watch?v=w5tWYmIOWGk
- No hay eco,en los lejanos bosques del otro mundo....
Del mundo de nunca..., del mundo de siempre......
Del mundo pintado....., del mundo inventado......
De ese...., de ese otro mundo.....
Winter Haven, FL. April 2019.
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Dutch postcard by Uitg. Takken, Utrecht, no. 3056.
John Saxon (1935) passed away on Saturday 25 July 2020. He worked on over 200 film and TV projects during the span of seven decades. His portrayal of a brutal Mexican bandit opposite Marlon Brando in The Appaloosa (1966) earned him a Golden Globe. The Italian-American actor played in many Italian films, mainly in Spaghetti Westerns. The rugged star also kicked around with Bruce Lee in Enter the Dragon and appeared in three Nightmare on Elm Street films for director Wes Craven. John Saxon was 83.
John Saxon was born Carmine Orrico in Brooklyn, New York, in 1935. He was the eldest of three children of immigrants from Calabria, Italy. His father was a house painter. Walking out of a cinema after skipping class at New Utrecht High School, he was spotted by a male modeling agent and then appeared in magazines like 'True Romances'. Wikipedia: "According to Robert Hofler's 2005 biography, The Man Who Invented Rock Hudson: The Pretty Boys and Dirty Deals of Henry Willson, agent Willson saw Saxon's picture on the cover of a detective magazine and immediately contacted the boy's family in Brooklyn. He brought the 18-year-old Orrico to Hollywood and renamed him Saxon." He started his Hollywood career as a juvenile delinquent in Running Wild (Abner Biberman, 1955) starring Mamie van Doren. Thanks to 'hunk' assignments in films like Summer Love (Charles F. Haas, 1958), The Restless Years (Helmut Käutner 1958), and The Reluctant Debutante (Vincente Minnelli, 1958), Saxon was briefly the object of many a teenage crush. Although he worked in these years with many notable directors including Blake Edwards, John Huston, Frank Borzage, and Otto Preminger, he never developed into a major star.
John Saxon is now best known for his work in Westerns like Joe Kidd (John Sturges, 1972) starring Clint Eastwood, and Horror films, such as the Italian Giallo, La ragazza che sapeva troppo/The Girl Who Knew Too Much (Mario Bava, 1963) with Leticia Roman, and Queen of Blood (Curtis Harrington, 1966) with Basil Rathbone and Dennis Hopper. Saxon appeared in many Italian films, mainly in Spaghetti Westerns like I tre che sconvolsero il West (Vado, vedo e sparo)/One Dollar Too Many (Enzo G. Castellari, 1968) and such police thrillers as Napoli violenta/Violent Naples (Umberto Lenzi, 1976). He also co-starred with Bruce Lee and Jim Kelly in the classic Hong Kong martial arts action film Enter the Dragon (Robert Clouse, 1973). Saxon portrayed Roper, a degenerate gambler who participates in a martial arts tournament. Another classic genre film is Wes Craven's A Nightmare on Elm Street (1984) in which he played the heroine's (Nancy Thompson) father. Saxon played the cop Donald Thompson also in the third film in the Nightmare on Elm Street franchise, where he's eventually killed by Freddy Krueger's skeleton. He later returned to play a version of himself in New Nightmare (1994). Hal Erickson at AllMovie: "Fans could watch Saxon's expertise as an actor increase (and his hairline recede) during his three-year (1969-1972) stint as Dr. Ted Stuart on the NBC television series The Bold Ones. He later had a recurring role on Dynasty as Rashid Ahmed, a powerful Middle East tycoon who romanced Alexis Colby (Joan Collins). In 1988, John Saxon made his directorial debut with the low-budget feature Death House." His last film was The Extra (Mike Donahue, 2015), but at the time of his death, he was filming the Sci-Fi-film After the Thunderstorm (Gary Wasniewski, 2021). John Saxon died of pneumonia on 25 July 2020 in Murfreesboro, Tennessee, USA, at the age of 84. He was married three times, to screenwriter Mary Ann Murphy, airline attendant turned actress Elizabeth Saxon and, since 2008, cosmetician Gloria Martel. He had one son, Antonio Saxon, with his first wife Mary Ann Saxon.
Sources: Hal Erickson (AllMovie), Jon C. Hopwood (IMDb), Mike Barnes (The Hollywood Reporter), Wikipedia, and IMDb.
And, please check out our blog European Film Star Postcards.
Kodak 2238 shot at ISO 100 and developed in H&W Control 1:15. Underexposed and overdeveloped this is the first experiment. H&W Control was invented by Harold Holden and Arnold Weichert and “perfected” to work with Agfa Copex Pan Rapid microfilm which was rebranded by H&W as a house film to work with Control developer. The purpose of the creation was to use the high contrast film for aerial reconnaissance who H&W contracted with. Here I’m trying to see how high we could reasonable run 2238 as a standard film for snapshots etc.
H&W Control’s patent states it’s normal initial use should be 1:15 dilution at 68 degrees F for 12 minutes and then expand from there. This roll was shot at ISO 100 then split. I developed the first half of the roll at 68 degrees for 13 Minutes and the second half for 14 minutes. Standard agitation is constant for the first 2 minutes and then 6 seconds every minute thereafter. Stop/washed in tap water at 68 degrees and fixed in Ilford Hypam 1:4 for 3 minutes (H&W suggests 2 minutes).
These were shot on the same 2 days, overcast with little direct sunlight. The shots are obviously underexposed. But some of them are pretty adequate with some post process. There is a tendency for the picture to go dark and appear as evening or even well lit night. However it is easy to brighten the scene.
After some thought I think the goal will be to get clear ISO 80 pictures on 2238. I will next extend the developing time in order to clear up some of the blocked parts. I may try some sodium thiocyanate something around 1 g/Liter of stock so 0.06 gram in the working solution.
H&W Control
Water (60ºC) 75 ml
Sodium Sulfite, anhydrous 1.9 g preservative
Hydroquinone 0.3 g developer agent
Sodium Carbonate 8.7 g alkali, accelerator
Phenidone 2.07 g developer agent
Water to make125 ml
Sodium Sulfite 15.15 g preservative
Water to make 250 ml
Capacity at 1+15 dilution 4 L for 13 rolls
Invent, experiment --- Jazz / that doesn't swing but dances tight (Omer Avital, poem by John Keene)
see the original photograph on www.hobokollektiv.net
© Yonathan Avishai, Wolfsburg, 2015, Florian Fritsch
Invented by Marika and her sister, homme can gain a wider range of motion (eg. to be able to look down) by breaking the torso joint and replacing it by stringing. I used elastic cord and it does make all the difference in the world. Many of my homme's have already been strung this way and I plan to do them all when I have the time.
Well possibly. Snooker was invented at the RMA and this is the RMA snooker room so chances are that it was in this room. Sadly its seen better days. Lucky enough to explore this place. The dukes owner lives in the renovated part so was able to by pass security and the sales and marketing people and get into this place which hasn't been explored for quite a few years at least