Model is Kristina Shapranova

MUA/Hair Cathy Mason

Wardrobe Kristina Shapranova

 

Lighting Assistant Michal Dobrynzski

Lighting assist and participant Steve Lin

 

Strobist Info

Deep Octa Camera Left 90 degrees away

about 7 foot high and 1 foot away from model

f8

1/125

50mm

iso 100

Shot in the dark at old petrie town :)

RD13258. Paying a repeat visit to the 2ft gauge Ffestiniog Railway in North Wales over the May Day Bank weekend was Adrian Shooter's Darjeeling Himalayan Railway B Class 0-4-0ST/T No.19.

 

She is seen here arriving back at Porthmadog Harbour Station with a shuttle working from Minffordd.

 

Monday, 2nd May, 2016. Copyright © Ron Fisher.

1/9/2010

 

I really want a dollhouse. Like really bad. I tried convincing my daughter that she wanted one for Christmas, but she wasn't interested.

 

Then I realized that I was wanting to buy her a dollhouse so I could "play" with it. So you know what? I'm going to get my own dollhouse. Yes, I am!

 

I don't have my dollhouse yet, but I do have this adorable washer and dryer! Got it for $5.00 at Hobby Lobby. The washer's lid opens up!

~EROGENY~ is looking for DJ's and hosts as we build up our roster. If you are interested, please contact JoeC31 or Natalia Radinovic in-world or through our Discord server: discord.gg/95TS44gSDZ

Dry Tortugas National Park is a national park in the United States about 68 miles (109 km) west of Key West in the Gulf of Mexico. The park preserves Fort Jefferson and the seven Dry Tortugas islands, the westernmost and most isolated of the Florida Keys. The archipelago's coral reefs are the least disturbed of the Florida Keys reefs.

 

The park is noted for abundant sea life, tropical bird breeding grounds, colorful coral reefs, and legends of shipwrecks and sunken treasures. The park's centerpiece is Fort Jefferson, a massive but unfinished coastal fortress. Fort Jefferson is the largest brick masonry structure in the Western Hemisphere, and is composed of more than 16 million bricks. Among United States forts it is exceeded in size only by Fort Monroe, Virginia, and Fort Adams, Rhode Island. Dry Tortugas is unique in its combination of a largely undisturbed tropical ecosystem with significant historic artifacts. The park is accessible only by seaplane or boat and has averaged about 63,000 visitors annually in the period from 2008 to 2017. Activities include snorkeling, picnicking, birdwatching, camping, scuba diving, saltwater fishing and kayaking.

 

Dry Tortugas National Park is part of the Everglades & Dry Tortugas Biosphere Reserve, established by UNESCO in 1976 under its Man and the Biosphere Programme.

 

This is a blue tit, Cyanistes caeruleus, and almost certainly a female. Females nest build with almost no help from the males and she has been working on this for about a week. I should think she will finish off the nest over the next day or so by lining it with hair and feathers etc and then lay one egg a day to make a clutch of around eight to twelve eggs. 9 April 2020. Ealing, London, England, UK.

 

This video comes from a bird box with an integral camera.

 

Please contact me to arrange the use of any of my images. They are copyright, all rights reserved.

EOS is an independent bus company (part of Swallow Coaches) which began a few years ago. They did do relatively well in the area, and had excellent customer service. However, they decided to cease operations in July 2018, and to commemorate this, they decided to have a 'Farewell to EOS' tour using Ensignbus open-top Routemaster RM371 to run in normal service on routes S1 (Stratford-Harlow express), 87 (Harlow-Debden), 86 (Harlow-Waltham Cross) and 66 (Waltham Cross - Loughton). It was a popular day with excellent weather, and was a good send off. Proprietor Chris Hunn was in the driving seat.

 

It was meant to be the final day of EOS London, Tuesday 31st July 2018. Arriva were due to take over the following date, but legal issues with the Traffic Commisioner prevented Arriva from taking over until the paperwork had been formalised. So, EOS did continue operating a skeleton service (as most EOS drivers had already transferred to Arriva) until Thursday 2nd August, with Arriva finally taking over the following day.

This is a new compact fluorescent lightbulb from General Electric. It's the next generation of lightbulbs. This little guy puts out the equivalent of a 100 watt lightbulb for only 26 watts! Which means it can last 10 times longer (5+ years) than an ordinary incandescent bulb. That's an energy savings of $59 for every new lightbulb you install. And the best part is you can get 'em at the local drugstore or WalMart for less than five bucks... easily paying for itself in a few months! My related post...

 

As seen online: Yodel Anecdotal, Move, Destination Fantastic, and Ben Rowe.

 

As seen in print: featured in Worldwatch Institute's slideshow and summary document for their State of the World 2008 report. (thanks zoe!)

 

As seen in person: featured in the Sierra Club's Smart Energy Solutions booth at the Green Festival in Washington, DC (October 14-15, 2007). (thanks chris!)

 

Charlecote Park (grid reference SP263564) is a grand 16th-century country house, surrounded by its own deer park, on the banks of the River Avon in Charlecote near Wellesbourne, about 4 miles (6 km) east of Stratford-upon-Avon and 5.5 miles (9 km) south of Warwick in Warwickshire, England. It has been administered by the National Trust since 1946. It is a Grade I listed building and is open to the public.

 

History

The Lucy family owned the land since 1247. Charlecote Park was originally built in 1558 by Sir Thomas Lucy, and Queen Elizabeth I stayed in the room that is now the drawing room. Although the general outline of the Elizabethan house remains, nowadays it is in fact mostly Victorian. Successive generations of the Lucy family had modified Charlecote Park over the centuries, but in 1823, George Hammond Lucy (High Sheriff of Warwickshire in 1831) inherited the house and set about recreating the house in its original style.

 

Charlecote Park covers 185 acres (75 ha), backing on to the River Avon. Allegedly, William Shakespeare poached rabbits and deer in the park as a young man and was brought before magistrates as a result.[1]

 

From 1605 to 1640, the house was organised by Sir Thomas Lucy. He had twelve children with Lady Lucy, who ran the house after he died. She was known for her piety and distributing alms to the poor each Christmas. Her eldest three sons inherited the house in turn, then it fell to her grandson Sir Davenport Lucy.[2]

 

In the Tudor great hall, the 1680 painting Charlecote Park by Sir Godfrey Kneller is said to be one of the earliest depictions of a black presence in the West Midlands (excluding Roman legionnaires).[3] The painting, of Captain Thomas Lucy, shows a black boy in the background dressed in a blue livery coat and red stockings and wearing a gleaming, metal collar around his neck. The National Trust's Charlecote brochure describes the boy as a "black page boy". In 1735, a black child called Philip Lucy was baptised at Charlecote. Wikipedia

Ginseng (/ˈdʒɪnsɛŋ/) is any one of the 11 species of slow-growing perennial plants with fleshy roots, belonging to the genus Panax of the family Araliaceae.

 

Ginseng is found in North America and in eastern Asia (mostly northeast China, Korea, Bhutan, eastern Siberia), typically in cooler climates. Panax vietnamensis, discovered in Vietnam, is the southernmost ginseng known. This article focuses on the species of the series Panax, which are the species claimed to be adaptogens, principally Panax ginseng and P. quinquefolius. Ginseng is characterized by the presence of ginsenosides and gintonin.

 

Siberian ginseng (Eleutherococcus senticosus) is in the same family, but not genus, as true ginseng. Like ginseng, it is considered to be an adaptogenic herb. The active compounds in Siberian ginseng are eleutherosides, not ginsenosides. Instead of a fleshy root, Siberian ginseng has a woody root.

 

Over centuries, ginseng has been considered in China as an important component of Chinese traditional medicine, but there is no scientific confirmation of it having any clinical benefit to human health.

 

ETYMOLOGY

The English word ginseng derives from the Chinese term rénshēn (simplified: 人参; traditional: 人蔘). Rén means "Person" and shēn means "plant root"; this refers to the root's characteristic forked shape, which resembles the legs of a person. The English pronunciation derives from a southern Chinese reading, similar to Cantonese yun sum (Jyutping: jan4sam1) and the Hokkien pronunciation "jîn-sim".

 

The botanical/genus name Panax means "all-heal" in Greek, sharing the same origin as "panacea" was applied to this genus because Linnaeus was aware of its wide use in Chinese medicine as a muscle relaxant.

 

Besides P. ginseng, many other plants are also known as or mistaken for the ginseng root. The most commonly known examples are xiyangshen, also known as American ginseng 西洋参 (P. quinquefolius), Japanese ginseng 東洋参 (P. japonicus), crown prince ginseng 太子參 (Pseudostellaria heterophylla), and Siberian ginseng 刺五加 (Eleutherococcus senticosus). Although all have the name ginseng, each plant has distinctively different functions. However, true ginseng plants belong only to the Panax genus.

 

HISTORY

Control over ginseng fields in China and Korea became an issue in the 16th century. By the 1900s, due to the demand for ginseng having outstripped the available wild supply, Korea began the commercial cultivation of ginseng which continues to this day. In 2010, nearly all of the world's 80,000 tons of ginseng in international commerce was produced in four countries: China, South Korea, Canada, and the United States. Commercial ginseng is sold in over 35 countries with sales exceeded $2.1 billion, of which half came from South Korea. China has historically been the largest consumer for ginseng.

 

FOLK MEDICINE

The root is most often available in dried form, either whole or sliced. Ginseng leaf, although not as highly prized, is sometimes also used. Folk medicine attributes various benefits to oral use of American ginseng and Asian ginseng (P. ginseng) roots, including roles as an aphrodisiac or stimulant treatment, but there are no studies to date proving the effectiveness of ginseng for treating any disease.

 

Ginseng may be found in small doses in energy drinks or herbal teas, such as ginseng coffee. hair tonics and cosmetics preparations, but none has been proven effective.

 

RESEARCH

Ginsenosides, unique compounds of the Panax species, are under basic and clinical research to investigate their potential for use in medicine or when taken as a dietary supplement.

 

SAFETY

CONSIDERATIONS

Ginseng is known to contain phytoestrogens.

 

SIDE EFFECTS

A common side effect of P. ginseng may be insomnia, but this effect is disputed. Other side effects can include nausea, diarrhea, headaches, nose bleeds, high blood pressure, low blood pressure, and breast pains.

 

INTERACTIONS

Ginseng has been shown to have adverse drug reactions with phenelzine and warfarin; it has been shown to decrease blood alcohol levels. A potential interaction has also been reported with imatinib resulting in hepatotoxicity, and with lamotrigine causing DRESS syndrome.

 

Ginseng may also lead to induction of mania in depressed patients who mix it with antidepressants.

 

OVERDOSE

The common adaptogen ginsengs (P. ginseng and P. quinquefolia) are generally considered to be relatively safe even in large amounts. One of the most common and characteristic symptoms of acute overdose of Panax ginseng is bleeding. Symptoms of mild overdose may include dry mouth and lips, excitation, fidgeting, irritability, tremor, palpitations, blurred vision, headache, insomnia, increased body temperature, increased blood pressure, edema, decreased appetite, dizziness, itching, eczema, early morning diarrhea, bleeding, and fatigue.

 

Symptoms of gross overdose with Panax ginseng may include nausea, vomiting, irritability, restlessness, urinary and bowel incontinence, fever, increased blood pressure, increased respiration, decreased sensitivity and reaction to light, decreased heart rate, cyanotic (blue) facial complexion, red facial complexion, seizures, convulsions, and delirium.

 

Patients experiencing any of the above symptoms are advised to discontinue the herbs and seek any necessary symptomatic treatment, as well as medical advice in severe cases.

 

COMMON CLASSIFICATION

ASIAN GINSENG (ROOT)

Panax ginseng is available commercially as fresh, red, and white ginsengs; wild ginseng is used where available.

 

RED GINSENG

Red ginseng (traditional Chinese: 紅蔘; simplified Chinese: 红参; pinyin: hóng shēn; Hangul: 홍삼; hanja: 紅蔘; RR: hong-sam), P. ginseng, has been peeled, heated through steaming at standard boiling temperatures of 100 °C, and then dried or sun-dried. It is frequently marinated in an herbal brew which results in the root becoming extremely brittle.

 

FRESH GINSENG

Fresh ginseng is the raw product. Its use is limited by availability.

 

WHITE GINSENG

White ginseng, native to America, is fresh ginseng which has been dried without being heated. It is peeled and dried to reduce the water content to 12% or less. White ginseng air-dried in the sun may contain less of the therapeutic constituents. It is thought by some that enzymes contained in the root break down these constituents in the process of drying. Drying in the sun bleaches the root to a yellowish-white color.

 

WILD GINSENG

Wild ginseng grows naturally and is harvested from wherever it is found. It is relatively rare, and even increasingly endangered, due in large part to high demand for the product in recent years, which has led to the wild plants being sought out and harvested faster than new ones can grow (it requires years for a root to reach maturity). Wild ginseng can be either Asian or American, and can be processed to be red ginseng.

 

Woods-grown American ginseng programs in Vermont, Maine, Tennessee, Virginia, North Carolina, Colorado, West Virginia and Kentucky, and United Plant Savers have been encouraging the planting of ginseng both to restore natural habitats and to remove pressure from any remaining wild ginseng, and they offer both advice and sources of rootlets. Woods-grown plants have a value comparable to wild-grown ginseng of similar age.

 

Partially germinated ginseng seeds harvested the previous Fall can be planted from early Spring until late Fall, and will sprout the following Spring. If planted in a wild setting and left to their own devices, they will develop into mature plants which cannot be distinguished from native wild plants. Both Asian and American partially germinated ginseng seeds can be bought from May through December on various eBay sales. Some seed sales come with planting and growing instructions.

 

P- QUIQUEFOLIUS AMERICAN GINSENG (ROOT)

According to traditional Chinese medicine, American ginseng promotes yin energy, cleans excess yang and calms the body. The reason it has been claimed that American ginseng promotes yin (shadow, cold, negative, female) while Asian ginseng promotes yang (sunshine, hot, positive, male) is that, according to traditional Chinese medicine, things living in cold places or northern side of mountains or southern side of rivers are strong in yang and the converse, so the two are balanced. Chinese/Korean ginseng grows in Manchuria and Korea, the coldest area known to many Koreans in ancient times. Thus, ginseng from there is supposed to be very yang.

 

Originally, American ginseng was imported into China via subtropical Guangzhou, the seaport next to Hong Kong, so Chinese doctors believed American ginseng must be good for yang, because it came from a hot area. They did not know, however, that American ginseng can only grow in temperate regions. Nonetheless, the root is legitimately classified as more yin because it generates fluids.

 

Most North American ginseng is produced in the Canadian provinces of Ontario and British Columbia and the American state of Wisconsin. P. quinquefolius is now also grown in northern China.

 

The aromatic root resembles a small parsnip that forks as it matures. The plant grows 6″ to 18″ tall, usually bearing three leaves, each with three to five leaflets two to five inches long.

 

OTHER PLANTS SOMETIMES CALLED GINSENG

Several other plants are sometimes referred to as ginsengs, but they are either from a different family or genus.

 

Angelica sinensis (female ginseng, dong quai)

Codonopsis pilosula (poor man's ginseng)

Eleutherococcus senticosus (Siberian ginseng)

Gynostemma pentaphyllum (southern ginseng, jiaogulan)

Lepidium meyenii (Peruvian ginseng, maca)

Oplopanax horridus (Alaskan ginseng)

Panax notoginseng (known as san qi, tian qi or tien chi; ingredient in yunnan bai yao)

Pfaffia paniculata (Brazilian ginseng, suma)

Pseudostellaria heterophylla (prince ginseng)

Schisandra chinensis (five-flavoured berry)

Withania somnifera (Indian ginseng, ashwagandha)

 

WIKIPEDIA

Quarry Bank Mill (also known as Styal Mill) in Styal, Cheshire, England, is one of the best preserved textile mills of the Industrial Revolution and is now a museum of the cotton industry. It is recorded in the National Heritage List for England as a designated Grade II* listed building,[1] and inspired the 2013 television series The Mill.

 

Location

Quarry Bank Mill is on the outskirts of Styal in Cheshire, abutting and to the south of Manchester Airport. The mill is on the bank of the River Bollin which provided water to power the waterwheels. It was connected by road to the Bridgewater Canal for transporting raw cotton from the port of Liverpool.[3] The site consisted of three farms or folds.

 

History

Samuel Greg leased land at Quarrell Hole on Pownall Fee from Lord Stamford, who imposed a condition that 'none of the surrounding trees should be pruned, felled or lopped´; maintaining the woodland character of the area. The factory was built in 1784 by Greg[4] to spin cotton. When Greg retired in 1832 it was the largest such business in the United Kingdom. The water-powered Georgian mill still produces cotton calico. The Gregs were careful and pragmatic, paternalistic millowners, and the mill was expanded and changed throughout its history. When Greg's son, Robert Hyde Greg, took over the business, he introduced weaving. Samuel Greg died in 1834.

 

The Mill was attacked during the Plug Plot riots on 10 August 1842.[5]

 

The mill's iron water wheel, the fourth to be installed, was designed by Thomas Hewes and built between 1816 and 1820. Overhead shafts above the machines were attached to the water wheel by a belt. When the wheel turned, the motion moved the belt and powered the machinery. A beam engine and a horizontal steam engine were subsequently installed to supplement the power. The Hewes wheel broke in 1904 but the River Bollin continued to power the mill through two water turbines. The mill owners bought a Boulton and Watt steam engine in 1810 and a few years later purchased another because the river's water level was low in summer and could interrupt production of cloth during some years. Steam engines could produce power all year round. Today the mill houses the most powerful working waterwheel in Europe, an iron wheel moved from Glasshouses Mill at Pateley Bridge designed by Sir William Fairbairn who had been Hewes' apprentice.

 

The estate surrounding the mill was developed and Greg converted farm buildings in Styal to house workers. As the mill increased in size, housing was constructed for the workers.[6] A chapel and a school were built by the Gregs who moved into Quarry Bank House next to the mill.

 

The estate and mill were donated to the National Trust in 1939 by Alexander Carlton Greg and are open to the public. The mill continued in production until 1959. In 2006 the National Trust acquired Quarry Bank House and its gardens and, in 2010, the gardener's house and the upper gardens.[7] In 2013 the mill received 130,000 visitors.[8] In 2013, the trust launched an appeal to raise £1.4 million to restore a worker's cottage, a shop and the Greg's glasshouses and digitise records relating to Gregs and the mill workers.[8]

 

Architecture

Quarry Bank is an example of an early, rural, cotton-spinning mill that was initially dependent on water power. The first mill was built by Samuel Greg and John Massey in 1784. Its design was functional and unadorned, growing out of the pragmatism of the men who felt no need to make a bold architectural statement.[9] It was a four-storey mill measuring 8.5 metres (28 ft) by 27.5 metres (90 ft), with an attached staircase, counting house and warehouse. It was designed to use water frames which had just come out of patent, and the increased supply of cotton caused by the cessation of the American War of Independence. The water wheel was at the north end of the mill.

 

The mill was extended in 1796 when it was doubled in length and a fifth floor added. A second wheel was built at the southern end. The mill was extended between 1817 and 1820 and a mansard-roofed wing extended part of the 1796 building forward beneath which the wheel was installed. The new building kept the 1784 detailing with respect to line and windows.[10] The 1784 mill ran 2425 spindles, after 1805 with the new wheel it ran 3452 spindles.[11]

 

Weaving sheds added in 1836 and 1838 were of two storeys and housed 305 looms.[12] Before the 1830s, spinning mills produced cotton, that was put-out to hand-loom weavers who worked in their own homes or small loom shops, like the one Greg owned at Eyam.[13] Hand-loom weaving continued in parallel to power loom weaving throughout the 19th century. Around 1830 the power loom became sufficiently viable for independent weaving sheds to be set up, and for larger owners to add weaving sheds to their spinning mills. A weaving shed needed the correct light and humidity and a floor that was stable enough to withstand the vibration caused by the picking of many looms. Quarry Bank Mill is of national significance in that it used two-storey side-lit buildings rather the a single storey sheds with a saw-tooth roof.[14] The first two-storey shed at Quarry Bank was 33 metres (108 ft) by 6.5 metres (21 ft). The 1838 building was 30 metres (98 ft) by 10 metres (33 ft) to which a storey was added in 1842 for warping and beaming. In the Gregs pragmatic way, looms were purchased gradually.[15]

 

Water power

The first wheel was a wooden overshot wheel taking water by means of a long leat from upstream on the River Bollin. The second wheel built by Peter Ewart in 1801 was wooden. To increase power he dammed the Bollin and took water into the mill directly, the tailrace leaving the river below the dam. The third wheel of 1807 was a replacement for one of the wooden wheels.[16] It is believed it was a suspension wheel, 8 metres (26 ft) in diameter made from iron to the design of Thomas Hewes.[11]

 

The fourth wheel, the Great Wheel was also designed by Hewes. The challenge was to increase the head of water acting on the wheel while using the same volume of water. It was achieved by sinking the wheel pit to below the level of the river and taking the tail race through a tunnel a kilometre downstream to rejoin the Bollin at Giant's Castle. This gave a head of 32 feet (9.8 m) acting on the 32 feet (9.8 m) diameter suspension wheel- which is 21 feet (6.4 m) wide. The Great Wheel operated from 1818 to 1871 when the mill pool had silted up, and then to 1904.[17]

 

In 1905 two water turbines built by Gilbert Gilkes and Company were installed to replace the Great Wheel. They used the same head and tail race and operated until 1959.[18] When the mill was restored in 1983, a 25 feet (7.6 m) diameter waterwheel of similar design to that of Hewes by his pupil Sir William Fairbairn, was moved from Glasshouses Mill in Pateley Bridge and installed to provide power to work the machinery.

 

Steam power

Water flow from the Bollin was unreliable so an auxiliary steam engine was procured in 1810.[16] It was a 10 hp beam engine from Boulton and Watt. In 1836 with the arrival of power looms a second 20 hp Boulton and Watt beam engine was acquired. The first horizontal condensing engine was acquired in 1871. A new engine house was built. In 1906 the 1871 engine was replaced by a second-hand 60 hp engine.[19] The engines no longer exist and the museum has purchased a similar steam engine to display.

 

Apprentice system

 

The Apprentice House

Quarry Bank Mill employed child apprentices, a system that continued until 1847. The last child to be indentured started work in 1841. The first children apprentices lived in lodgings in the neighbourhood then in 1790 Greg built the Apprentice House near the factory.[20] Greg believed he could get the best out of his workers by treating them fairly. He hired a superintendent to attend to their care and morals and members of the Greg family and external tutors gave them lessons.[20] Greg employed Peter Holland, father of the Royal Physician Sir Henry Holland, 1st Baronet and uncle of Elizabeth Gaskell, as mill doctor. Holland was responsible for the health of the children and other workers, and was the first doctor to be employed in such a capacity. The apprentices were children from workhouses. Initially, they were brought from Hackney and Chelsea but by 1834 they came mostly from neighbouring parishes or Liverpool poorhouses.[20] They worked long days with schoolwork and gardening after their shift at the mill. The work was sometimes dangerous, with fingers sometimes being severed by the machines.[21] Children were willing to work in the mill because life at a workhouse was even worse.[22]

 

Mill community

The sparse accommodation that existed when the Gregs built the mill was soon exhausted and Greg built plain cottages which were rented to his workers. Each house had a parlour, kitchen and two bedrooms, an outside privy and a small garden. Rent was deducted from the workers' wages.[20] Greg, like Robert Owen, who built New Lanark attempted to bring the structured order of a country village to his new industrial centres. He built Oak School to educate the children and the Norcliffe Chapel where the villagers worshipped and held a Sunday school.

wikipedia

 

Bud is a small community on the west coast of Norway.

Click here to see where this photo was taken. By courtesy of BeeLoop SL (the Mapware & Mobility Solutions Company).

Locomotive 3768 is one of the 4-8-4 or Northern type wheel arrangement, constructed by Baldwin Locomotive Works of Philadelphia, PA, and delivered to the Santa Fe in May 1938 at a cost of $178,767.17.

 

No. 3768, as were other locomotives of the 3765 class, was initially assigned to passenger train service between La Junta, Colorado and Los Angeles, California, pulling trains such as "The Chief," "The California Limited," "Fast Mail Express," and the "Navajo."

 

These locomotives could develop 5450 cylinder horsepower at 60 mph and 4450 drawbar horsepower at 50 mph. They could be safely operated at 90 mph. In contrast, the modern diesel-electric locomotive of today averages nearly 3000 horsepower.

 

With the onset of the dieselization of Santa Fe's transcontinental passenger trains, the 3765 class engines were transferred to freight service. Locomotive 3768 was taken out of service at Argentine (Kansas City, KS) in August 1953 and stored serviceable.

 

In May 1958 no. 3768 was presented to the City of Wichita and initially displayed at Friends' University. It was moved from this site to Union Station in April 1977, remaining on display until being moved to Santa Fe's North Yards (Wichita) to be turned from facing north to facing south. And while it was at North Yards members of the Great Plains Transportation Museum removed the jacketing as a preliminary step to a cosmetic restoration of this locomotive. The date of arrival of this locomotive at the museum site was January 1985.

 

This is an additional shot to a previous post. Please check the set for the original.

Step House.

Mesa Verde National Park is a National Park and World Heritage Site located in Montezuma County, Colorado. It protects some of the best preserved Ancestral Puebloan archeological sites in the United States.

 

The park was created by President Theodore Roosevelt in 1906. It occupies 52,485 acres (21,240 ha) near the Four Corners region of the American Southwest, and with more than 4,300 sites, including 600 cliff dwellings, it is the largest archeological preserve in the US. Mesa Verde (Spanish for "green table") is best known for structures such as Cliff Palace, thought to be the largest cliff dwelling in North America.

 

Starting c. 7500 BCE, Mesa Verde was seasonally inhabited by a group of nomadic Paleo-Indians known as the Foothills Mountain Complex. The variety of projectile points found in the region indicates they were influenced by surrounding areas, including the Great Basin, the San Juan Basin, and the Rio Grande Valley. Later, Archaic people established semi-permanent rockshelters in and around the mesa. By 1000 BCE, the Basketmaker culture emerged from the local Archaic population, and by 750 CE the Ancestral Puebloans had developed from the Basketmaker culture.

 

The Mesa Verdeans survived using a combination of hunting, gathering, and subsistence farming of crops such as corn, beans, and squash. They built the mesa's first pueblos sometime after 650, and by the end of the 12th century they began to construct the massive cliff dwellings for which the park is best known. By 1285, following a period of social and environmental instability driven by a series of severe and prolonged droughts, they abandoned the area and moved south to locations in Arizona and New Mexico, including Rio Chama, Pajarito Plateau, and Santa Fe.

 

This multi-storied ruin, the best-known cliff dwelling in Mesa Verde, is located in the largest alcove in the center of the Great Mesa. It was south- and southwest-facing, providing greater warmth from the sun in the winter. Dating back more than 700 years, the dwelling is constructed of sandstone, wooden beams, and mortar. Many of the rooms were brightly painted. Cliff Palace was home to approximately 125 people, but was likely an important part of a larger community of sixty nearby pueblos, which housed a combined six hundred or more people. With 23 kivas and 150 rooms, Cliff Palace is the largest cliff dwelling in Mesa Verde National Park.

Cliff dwelling. The Anasazi ("Ancient Ones"), thought to be ancestors of the modern Pueblo Indians, inhabited the Four Corners country of southern Utah, southwestern Colorado, northwestern New Mexico, and northern Arizona from about A.D. 200 to A.D. 1300, leaving a heavy accumulation of house remains and debris.

View from the West side of the island towards the local inhabited island. The yacht is the "Britt".

Made this card for the Less is more challenge. The recipe for this week is "a bit of bling"

The Parish Church is a well-known landmark which can be clearly seen as you approach the town. The Grade II* listed building is well-loved by the people of Ringwood, whether they are church-goers or not.

 

There has been a church on the site at least as far back as the eleventh century. Little is known of the wooden building recorded in the Domesday Book, but it is know that the first stone church was built on the site around 1200.

 

The medieval church stood on the site until the early 1800s, by which time it had fallen into such bad repair that it had to be pulled down and rebuilt.

 

The present building was constructed between 1853 and 1855 and includes many memorials and features from the thirteenth-century church.

 

The Tower which is 96ft tall, contains a lovely 17cwt ring of 8, Tenor 17-2-18 in E. They were overhauled in 2001 by John Taylor & Co.

This sculpture by Jim Dine, was at the entrance of the Montreal Museum of Fine Arts during the 'Love Is Love' exhibition.

For Jules Photo Challenge May 2018. 5/20 the letter M. M is for May.

This is the w/b AEPML-10, which was due to arrive at Mira Loma, CA much sooner, and with four Ferromex units, but I guess one of the three GE techo-toasters had a traction motor fire and it was set-out in AZ. Good for me, as I wouldn't have got this shot if it had been on time, and "three amigos" is fine with me.

Palkhi is a 1000 — year old tradition which was started by some saints of Maharashtra (India). and is still continued by their followers called as Varkaris (people who follow a Vari, a fundamental ritual). People collectively go singing and dancing, chanting Dnyanba-Tukaram in what are called as Dindis (organised group of Varkaris) to the holy town of Pandharpur (a small town in the district of Solapur) in Hindu months of Ashadh (June-July) and Karthik (November-December).

 

The Palkhi starts in the month of Jyeshth (June) and the whole process lasts a total of 22 days. Every year on the eleventh day of the first half of the month of Ashadh, the Palkhi reaches Pandharpur. Every saint, right from Sant Dnyaneshwar to Sant Tukaram was following the Vari tradition.

 

In the year 1685, Narayan baba, the youngest son of Tukaram was a man of innovative spirit and decided to bring about a change in the dindi-wari tradition by introducing the Palkhi, which is a sign of social respect. He put the silver padukas (footsteps) of Tukaram in the Palkhi and proceeded with his dindi to Alandi where he put the padukas of Dnyaneshwar in the same Palkhi. This tradition of twin Palkhis went on every year, but in 1830 there were some disputes in the family of Tukaram, concerned with rights and privileges. Following this, some thoughtful persons decided to break-up the tradition of twin Palkhis and organise here after, two separate Palkhis Tukaram Palkhi from Dehu (Pune Maharashta) and the Dnyaneshwar Palkhi from Alandi (Pune Maharashta).

 

From that time till date, both the Palkhis meet in Pune for a brief halt and then diverge at Hadapsar to meet again at Wakhri, a village nearby to Pandharpur.

 

In course of time, this tradition is becoming popular day by day. A total of approximately 2 lakh devotees proceed along with the Sant Tukaram Palkhi from Dehu village, while a total of 4 lakh devotees march along with the Sant Dnyaneshwar Palkhi from alandi village. At present a total of 43 Palkhis including the above two visit Pandharpur village every year.

 

Thousands of people called ‘Varkari’ reach Pandharpur from Alandi or Dehu after walking for about 250kms in Aashad (a hindu month which coincides with June/ July) Ekadashi (11th day of the moon). They walk with palkhis (chariots) carrying paduka (sandals) of the saints singing sacred songs. Varkaris are a Hindu religion sect who workship Vithoba (or Vitthal), an incarnation of Krishna.

 

Devotee chants the name of “Mauli Vittal” all the way & completes the yatra by feet on Ashadi Ekadashi at Pandharpur. Around 8 lakhs of warkaris flocked the city and their chants of “Ram Krishna Hari, jai jai Ram Krishna Hari” and Dnyanba-Tukaram (the famous Maharashtrian saints, Dnyaneshwar and Tukaram) reverberated on the streets.

Today is the birthday of one of the most wonderful people on earth, my mommie!

 

I still remember how a bit more than three years ago she saved me from the dark place and gave me a home. I don’t know where I would be now without her. She’s the best mommie in the world, even if she forgot to feed me once or twice ;-)

 

So today my uncle and I had a little birthday party in her honour and we thought very much about her when we ate all the yummy cake he he.

 

So happy birthday dear mommie, I wish you all the best in the world and then some more :-)

 

Biiiiig Huuuug.

 

Your little Shauni

 

This neighbourhood is full of nods to Charles Dickens. But the painting on the cabinet - by Morganico - celebrates the nearby children's playground, not the author or his fictional character.

 

The alleyway - Little Dorrit Court - links Borough High Street to a primary school, a small park and playground.

 

In Dickens' novel, the character Little Dorrit is not a child but Amy the twentytwo year old daughter of William Dorrit, who has been locked-up for debt for twentythree years in the Marshalsea prison. Dickens' father, John Dickens, - not a fictional character - was imprisoned there for debt when Charles Dickens was twelve.

_________________________________

 

§ Google Maps (accessed 23 February 2018) showed the site of the Marshalsea Prison, describing it as a "tourist attraction".

It appears that the only remaining part of the prison building is a brick wall in Angel Alley. Even so, one person had given this "attraction" a five-star review. Posting that.

"Although there is only a wall remaining of the old prison I was determined to follow Little Dorrit's daily walk from the prison to Covent Garden then in the evening before the curfew bell sounded would head home (she was born in the Marshalsea) cross old London Bridge. I found it a most inspiring experience and so many other interesting places nearby."

§ Link to Google Street view of the entry to Little Doritt Court from Borough High Street.

§ Wikipedia has an extensive entry about the Marshalsea Prison. It includes the following paragraph. (Linked to numbered external references.)

"Run privately for profit, as were all English prisons until the 19th century, the Marshalsea looked like an Oxbridge college and functioned as an extortion racket.[3] Debtors in the 18th century who could afford the prison fees had access to a bar, shop and restaurant, and retained the crucial privilege of being allowed out during the day, which gave them a chance to earn money for their creditors. Everyone else was crammed into one of nine small rooms with dozens of others, possibly for years for the most modest of debts, which increased as unpaid prison fees accumulated.[4] The poorest faced starvation and, if they crossed the jailers, torture with skullcaps and thumbscrews. A parliamentary committee reported in 1729 that 300 inmates had starved to death within a three-month period, and that eight to ten were dying every 24 hours in the warmer weather."

Bot built around the windshield tablescrap.

More

Elafonisi is located 76km west of Chania and 5km south of Chrysoskalitisa Monastery, in the southwesternmost tip of Crete. Elafonisi is an oblong peninsula, which often breaks in two parts by water giving the impression of being a separate island. Elafonisi is a Natura 2000 protected area. The island is full of sand dunes with sea daffodils and jupiners. The endangered loggerhead sea turtle and several more rare animals and plants find shelter on the island; it is strictly forbidden to remove any plants, animals, shells and sand from the area.

Biennalist

Biennalist is an Art Format commenting on active biennials and managed cultural events through artworks.Biennalist takes the thematics of the biennales and similar events like festivals and conferences seriously, questioning the established structures of the staged art events in order to contribute to the debate, which they wish to generate.

  

About artist Thierry Geoffroy/Colonel:

en.wikipedia.org/wiki/Thierry_Geoffroy

 

en.wikipedia.org/wiki/Emergency_Room_(art)

  

www.emergencyrooms.org/formats.html

  

www.colonel.dk/

  

Biennalist :

Biennalist is an Art Format commenting on active biennials and managed cultural events through artworks.Biennalist takes the thematics of the biennales and similar events like festivals and conferences seriously, questioning the established structures of the staged art events in order to contribute to the debate, which they wish to generate.

-------------------------------------------

links about Biennalist :

 

Thierry Geoffroy/Colonel:

en.wikipedia.org/wiki/Thierry_Geoffroy

 

en.wikipedia.org/wiki/Emergency_Room_(art)

 

www.emergencyrooms.org/formats.html

 

www.colonel.dk/

 

—--Biennale from wikipedia —--

 

The Venice International Film Festival is part of the Venice Biennale. The famous Golden Lion is awarded to the best film screening at the competition.

Biennale (Italian: [bi.enˈnaːle]), Italian for "biennial" or "every other year", is any event that happens every two years. It is most commonly used within the art world to describe large-scale international contemporary art exhibitions. As such the term was popularised by Venice Biennale, which was first held in 1895. Since the 1990s, the terms "biennale" and "biennial" have been interchangeably used in a more generic way - to signify a large-scale international survey show of contemporary art that recurs at regular intervals but not necessarily biannual (such as triennials, Documenta, Skulptur Projekte Münster).[1] The phrase has also been used for other artistic events, such as the "Biennale de Paris", "Kochi-Muziris Biennale", Berlinale (for the Berlin International Film Festival) and Viennale (for Vienna's international film festival).

Characteristics[edit]

According to author Federica Martini, what is at stake in contemporary biennales is the diplomatic/international relations potential as well as urban regeneration plans. Besides being mainly focused on the present (the “here and now” where the cultural event takes place and their effect of "spectacularisation of the everyday"), because of their site-specificity cultural events may refer back to,[who?] produce or frame the history of the site and communities' collective memory.[2]

 

The Great Exhibition in The Crystal Palace in Hyde Park, London, in 1851, the first attempt to condense the representation of the world within a unitary exhibition space.

A strong and influent symbol of biennales and of large-scale international exhibitions in general is the Crystal Palace, the gigantic and futuristic London architecture that hosted the Great Exhibition in 1851. According to philosopher Peter Sloterdijk,[3][page needed] the Crystal Palace is the first attempt to condense the representation of the world in a unitary exhibition space, where the main exhibit is society itself in an a-historical, spectacular condition. The Crystal Palace main motives were the affirmation of British economic and national leadership and the creation of moments of spectacle. In this respect, 19th century World fairs provided a visual crystallization of colonial culture and were, at the same time, forerunners of contemporary theme parks.

The Venice Biennale as an archetype[edit]

 

The structure of the Venice Biennale in 2005 with an international exhibition and the national pavilions.

The Venice Biennale, a periodical large-scale cultural event founded in 1895, served as an archetype of the biennales. Meant to become a World Fair focused on contemporary art, the Venice Biennale used as a pretext the wedding anniversary of the Italian king and followed up to several national exhibitions organised after Italy unification in 1861. The Biennale immediately put forth issues of city marketing, cultural tourism and urban regeneration, as it was meant to reposition Venice on the international cultural map after the crisis due to the end of the Grand Tour model and the weakening of the Venetian school of painting. Furthermore, the Gardens where the Biennale takes place were an abandoned city area that needed to be re-functionalised. In cultural terms, the Biennale was meant to provide on a biennial basis a platform for discussing contemporary art practices that were not represented in fine arts museums at the time. The early Biennale model already included some key points that are still constitutive of large-scale international art exhibitions today: a mix of city marketing, internationalism, gentrification issues and destination culture, and the spectacular, large scale of the event.

Biennials after the 1990s[edit]

The situation of biennials has changed in the contemporary context: while at its origin in 1895 Venice was a unique cultural event, but since the 1990s hundreds of biennials have been organized across the globe. Given the ephemeral and irregular nature of some biennials, there is little consensus on the exact number of biennials in existence at any given time.[citation needed] Furthermore, while Venice was a unique agent in the presentation of contemporary art, since the 1960s several museums devoted to contemporary art are exhibiting the contemporary scene on a regular basis. Another point of difference concerns 19th century internationalism in the arts, that was brought into question by post-colonial debates and criticism of the contemporary art “ethnic marketing”, and also challenged the Venetian and World Fair’s national representation system. As a consequence of this, Eurocentric tendency to implode the whole word in an exhibition space, which characterises both the Crystal Palace and the Venice Biennale, is affected by the expansion of the artistic geographical map to scenes traditionally considered as marginal. The birth of the Havana Biennial in 1984 is widely considered an important counterpoint to the Venetian model for its prioritization of artists working in the Global South and curatorial rejection of the national pavilion model.

International biennales[edit]

In the term's most commonly used context of major recurrent art exhibitions:

Adelaide Biennial of Australian Art, South Australia

Asian Art Biennale, in Taichung, Taiwan (National Taiwan Museum of Fine Arts)

Athens Biennale, in Athens, Greece

Bienal de Arte Paiz, in Guatemala City, Guatemala[4]

Arts in Marrakech (AiM) International Biennale (Arts in Marrakech Festival)

Bamako Encounters, a biennale of photography in Mali

Bat-Yam International Biennale of Landscape Urbanism

Beijing Biennale

Berlin Biennale (contemporary art biennale, to be distinguished from Berlinale, which is a film festival)

Bergen Assembly (triennial for contemporary art in Bergen, Norway)www.bergenassembly.no

Bi-City Biennale of Urbanism\Architecture, in Shenzhen and Hong Kong, China

Bienal de Arte de Ponce in Ponce, Puerto Rico

Biënnale van België, Biennial of Belgium, Belgium

BiennaleOnline Online biennial exhibition of contemporary art from the most promising emerging artists.

Biennial of Hawaii Artists

Biennale de la Biche, the smallest biennale in the world held at deserted island near Guadeloupe, French overseas region[5][6]

Biwako Biennale [ja], in Shiga, Japan

La Biennale de Montreal

Biennale of Luanda : Pan-African Forum for the Culture of Peace,[7] Angola

Boom Festival, international music and culture festival in Idanha-a-Nova, Portugal

Bucharest Biennale in Bucharest, Romania

Bushwick Biennial, in Bushwick, Brooklyn, New York

Canakkale Biennial, in Canakkale, Turkey

Cerveira International Art Biennial, Vila Nova de Cerveira, Portugal [8]

Changwon Sculpture Biennale in Changwon, South Korea

Dakar Biennale, also called Dak'Art, biennale in Dakar, Senegal

Documenta, contemporary art exhibition held every five years in Kassel, Germany

Estuaire (biennale), biennale in Nantes and Saint-Nazaire, France

EVA International, biennial in Limerick, Republic of Ireland

Göteborg International Biennial for Contemporary Art, in Gothenburg, Sweden[9]

Greater Taipei Contemporary Art Biennial, in Taipei, Taiwan

Gwangju Biennale, Asia's first and most prestigious contemporary art biennale

Havana biennial, in Havana, Cuba

Helsinki Biennial, in Helsinki, Finland

Herzliya Biennial For Contemporary Art, in Herzliya, Israel

Incheon Women Artists' Biennale, in Incheon, South Korea

Iowa Biennial, in Iowa, USA

Istanbul Biennial, in Istanbul, Turkey

International Roaming Biennial of Tehran, in Tehran and Istanbul

Jakarta Biennale, in Jakarta, Indonesia

Jerusalem Biennale, in Jerusalem, Israel

Jogja Biennale, in Yogyakarta, Indonesia

Karachi Biennale, in Karachi, Pakistan

Keelung Harbor Biennale, in Keelung, Taiwan

Kochi-Muziris Biennale, largest art exhibition in India, in Kochi, Kerala, India

Kortrijk Design Biennale Interieur, in Kortrijk, Belgium

Kobe Biennale, in Japan

Kuandu Biennale, in Taipei, Taiwan

Lagos Biennial, in Lagos, Nigeria[10]

Light Art Biennale Austria, in Austria

Liverpool Biennial, in Liverpool, UK

Lofoten International Art Festival [no] (LIAF), on the Lofoten archipelago, Norway[11]

Manifesta, European Biennale of contemporary art in different European cities

Mediations Biennale, in Poznań, Poland

Melbourne International Biennial 1999

Mediterranean Biennale in Sakhnin 2013

MOMENTA Biennale de l'image [fr] (formerly known as Le Mois de la Photo à Montréal), in Montreal, Canada

MOMENTUM [no], in Moss, Norway[12]

Moscow Biennale, in Moscow, Russia

Munich Biennale, new opera and music-theatre in even-numbered years

Mykonos Biennale

Nakanojo Biennale[13]

NGV Triennial, contemporary art exhibition held every three years at the National Gallery of Victoria, Melbourne, Australia

October Salon – Belgrade Biennale [sr], organised by the Cultural Center of Belgrade [sr], in Belgrade, Serbia[14]

OSTEN Biennial of Drawing Skopje, North Macedonia[15]

Biennale de Paris

Riga International Biennial of Contemporary Art (RIBOCA), in Riga, Latvia[16]

São Paulo Art Biennial, in São Paulo, Brazil

SCAPE Public Art Christchurch Biennial in Christchurch, New Zealand[17]

Prospect New Orleans

Seoul Biennale of Architecture and Urbanism

Sequences, in Reykjavík, Iceland[18]

Shanghai Biennale

Sharjah Biennale, in Sharjah, UAE

Singapore Biennale, held in various locations across the city-state island of Singapore

Screen City Biennial, in Stavanger, Norway

Biennale of Sydney

Taipei Biennale, in Taipei, Taiwan

Taiwan Arts Biennale, in Taichung, Taiwan (National Taiwan Museum of Fine Arts)

Taiwan Film Biennale, in Hammer Museum, Los Angeles, U.S.A.

Thessaloniki Biennale of Contemporary Art [el], in Thessaloniki, Greece[19]

Dream city, produced by ART Rue Association in Tunisia

Vancouver Biennale

Visayas Islands Visual Arts Exhibition and Conference (VIVA ExCon) in the Philippines [20]

Venice Biennale, in Venice, Italy, which includes:

Venice Biennale of Contemporary Art

Venice Biennale of Architecture

Venice Film Festival

Vladivostok biennale of Visual Arts, in Vladivostok, Russia

Whitney Biennial, hosted by the Whitney Museum of American Art, in New York City, NY, USA

Web Biennial, produced with teams from Athens, Berlin and Istanbul.

West Africa Architecture Biennale,[21] Virtual in Lagos, Nigeria.

WRO Biennale, in Wrocław, Poland[22]

Music Biennale Zagreb

[SHIFT:ibpcpa] The International Biennale of Performance, Collaborative and Participatory Arts, Nomadic, International, Scotland, UK.

 

—---Venice Biennale from wikipedia —

 

The Venice Biennale (/ˌbiːɛˈnɑːleɪ, -li/; Italian: La Biennale di Venezia) is an international cultural exhibition hosted annually in Venice, Italy by the Biennale Foundation.[2][3][4] The biennale has been organised every year since 1895, which makes it the oldest of its kind. The main exhibition held in Castello, in the halls of the Arsenale and Biennale Gardens, alternates between art and architecture (hence the name biennale; biennial).[5][6][7] The other events hosted by the Foundation—spanning theatre, music, and dance—are held annually in various parts of Venice, whereas the Venice Film Festival takes place at the Lido.[8]

Organization[edit]

Art Biennale

Art Biennale

International Art Exhibition

1895

Even-numbered years (since 2022)

Venice Biennale of Architecture

International Architecture Exhibition

1980

Odd-numbered years (since 2021)

Biennale Musica

International Festival of Contemporary Music

1930

Annually (Sep/Oct)

Biennale Teatro

International Theatre Festival

1934

Annually (Jul/Aug)

Venice Film Festival

Venice International Film Festival

1932

Annually (Aug/Sep)

Venice Dance Biennale

International Festival of Contemporary Dance

1999

Annually (June; biennially 2010–16)

  

International Kids' Carnival

2009

Annually (during Carnevale)

  

History

1895–1947

On April 19, 1893, the Venetian City Council passed a resolution to set up an biennial exhibition of Italian Art ("Esposizione biennale artistica nazionale") to celebrate the silver anniversary of King Umberto I and Margherita of Savoy.[11]

A year later, the council decreed "to adopt a 'by invitation' system; to reserve a section of the Exhibition for foreign artists too; to admit works by uninvited Italian artists, as selected by a jury."[12]

The first Biennale, "I Esposizione Internazionale d'Arte della Città di Venezia (1st International Art Exhibition of the City of Venice)" (although originally scheduled for April 22, 1894) was opened on April 30, 1895, by the Italian King and Queen, Umberto I and Margherita di Savoia. The first exhibition was seen by 224,000 visitors.

The event became increasingly international in the first decades of the 20th century: from 1907 on, several countries installed national pavilions at the exhibition, with the first being from Belgium. In 1910 the first internationally well-known artists were displayed: a room dedicated to Gustav Klimt, a one-man show for Renoir, a retrospective of Courbet. A work by Picasso "Family of Saltimbanques" was removed from the Spanish salon in the central Palazzo because it was feared that its novelty might shock the public. By 1914 seven pavilions had been established: Belgium (1907), Hungary (1909), Germany (1909), Great Britain (1909), France (1912), and Russia (1914).

During World War I, the 1916 and 1918 events were cancelled.[13] In 1920 the post of mayor of Venice and president of the Biennale was split. The new secretary general, Vittorio Pica brought about the first presence of avant-garde art, notably Impressionists and Post-Impressionists.

1922 saw an exhibition of sculpture by African artists. Between the two World Wars, many important modern artists had their work exhibited there. In 1928 the Istituto Storico d'Arte Contemporanea (Historical Institute of Contemporary Art) opened, which was the first nucleus of archival collections of the Biennale. In 1930 its name was changed into Historical Archive of Contemporary Art.

In 1930, the Biennale was transformed into an Ente Autonomo (Autonomous Board) by Royal Decree with law no. 33 of 13-1-1930. Subsequently, the control of the Biennale passed from the Venice city council to the national Fascist government under Benito Mussolini. This brought on a restructuring, an associated financial boost, as well as a new president, Count Giuseppe Volpi di Misurata. Three entirely new events were established, including the Biennale Musica in 1930, also referred to as International Festival of Contemporary Music; the Venice Film Festival in 1932, which they claim as the first film festival in history,[14] also referred to as Venice International Film Festival; and the Biennale Theatro in 1934, also referred to as International Theatre Festival.

In 1933 the Biennale organized an exhibition of Italian art abroad. From 1938, Grand Prizes were awarded in the art exhibition section.

During World War II, the activities of the Biennale were interrupted: 1942 saw the last edition of the events. The Film Festival restarted in 1946, the Music and Theatre festivals were resumed in 1947, and the Art Exhibition in 1948.[15]

1948–1973[edit]

The Art Biennale was resumed in 1948 with a major exhibition of a recapitulatory nature. The Secretary General, art historian Rodolfo Pallucchini, started with the Impressionists and many protagonists of contemporary art including Chagall, Klee, Braque, Delvaux, Ensor, and Magritte, as well as a retrospective of Picasso's work. Peggy Guggenheim was invited to exhibit her collection, later to be permanently housed at Ca' Venier dei Leoni.

1949 saw the beginning of renewed attention to avant-garde movements in European—and later worldwide—movements in contemporary art. Abstract expressionism was introduced in the 1950s, and the Biennale is credited with importing Pop Art into the canon of art history by awarding the top prize to Robert Rauschenberg in 1964.[16] From 1948 to 1972, Italian architect Carlo Scarpa did a series of remarkable interventions in the Biennale's exhibition spaces.

In 1954 the island San Giorgio Maggiore provided the venue for the first Japanese Noh theatre shows in Europe. 1956 saw the selection of films following an artistic selection and no longer based upon the designation of the participating country. The 1957 Golden Lion went to Satyajit Ray's Aparajito which introduced Indian cinema to the West.

1962 included Arte Informale at the Art Exhibition with Jean Fautrier, Hans Hartung, Emilio Vedova, and Pietro Consagra. The 1964 Art Exhibition introduced continental Europe to Pop Art (The Independent Group had been founded in Britain in 1952). The American Robert Rauschenberg was the first American artist to win the Gran Premio, and the youngest to date.

The student protests of 1968 also marked a crisis for the Biennale. Student protests hindered the opening of the Biennale. A resulting period of institutional changes opened and ending with a new Statute in 1973. In 1969, following the protests, the Grand Prizes were abandoned. These resumed in 1980 for the Mostra del Cinema and in 1986 for the Art Exhibition.[17]

In 1972, for the first time, a theme was adopted by the Biennale, called "Opera o comportamento" ("Work or Behaviour").

Starting from 1973 the Music Festival was no longer held annually. During the year in which the Mostra del Cinema was not held, there was a series of "Giornate del cinema italiano" (Days of Italian Cinema) promoted by sectorial bodies in campo Santa Margherita, in Venice.[18]

1974–1998[edit]

1974 saw the start of the four-year presidency of Carlo Ripa di Meana. The International Art Exhibition was not held (until it was resumed in 1976). Theatre and cinema events were held in October 1974 and 1975 under the title Libertà per il Cile (Freedom for Chile)—a major cultural protest against the dictatorship of Augusto Pinochet.

On 15 November 1977, the so-called Dissident Biennale (in reference to the dissident movement in the USSR) opened. Because of the ensuing controversies within the Italian left wing parties, president Ripa di Meana resigned at the end of the year.[19]

In 1979 the new presidency of Giuseppe Galasso (1979-1982) began. The principle was laid down whereby each of the artistic sectors was to have a permanent director to organise its activity.

In 1980, the Architecture section of the Biennale was set up. The director, Paolo Portoghesi, opened the Corderie dell'Arsenale to the public for the first time. At the Mostra del Cinema, the awards were brought back into being (between 1969 and 1979, the editions were non-competitive). In 1980, Achille Bonito Oliva and Harald Szeemann introduced "Aperto", a section of the exhibition designed to explore emerging art. Italian art historian Giovanni Carandente directed the 1988 and 1990 editions. A three-year gap was left afterwards to make sure that the 1995 edition would coincide with the 100th anniversary of the Biennale.[13]

The 1993 edition was directed by Achille Bonito Oliva. In 1995, Jean Clair was appointed to be the Biennale's first non-Italian director of visual arts[20] while Germano Celant served as director in 1997.

For the Centenary in 1995, the Biennale promoted events in every sector of its activity: the 34th Festival del Teatro, the 46th art exhibition, the 46th Festival di Musica, the 52nd Mostra del Cinema.[21]

1999–present[edit]

In 1999 and 2001, Harald Szeemann directed two editions in a row (48th & 49th) bringing in a larger representation of artists from Asia and Eastern Europe and more young artists than usual and expanded the show into several newly restored spaces of the Arsenale.

In 1999 a new sector was created for live shows: DMT (Dance Music Theatre).

The 50th edition, 2003, directed by Francesco Bonami, had a record number of seven co-curators involved, including Hans Ulrich Obrist, Catherine David, Igor Zabel, Hou Hanru and Massimiliano Gioni.

The 51st edition of the Biennale opened in June 2005, curated, for the first time by two women, Maria de Corral and Rosa Martinez. De Corral organized "The Experience of Art" which included 41 artists, from past masters to younger figures. Rosa Martinez took over the Arsenale with "Always a Little Further." Drawing on "the myth of the romantic traveler" her exhibition involved 49 artists, ranging from the elegant to the profane.

In 2007, Robert Storr became the first director from the United States to curate the Biennale (the 52nd), with a show entitled Think with the Senses – Feel with the Mind. Art in the Present Tense.

Swedish curator Daniel Birnbaum was artistic director of the 2009 edition entitled "Fare Mondi // Making Worlds".

The 2011 edition was curated by Swiss curator Bice Curiger entitled "ILLUMInazioni – ILLUMInations".

The Biennale in 2013 was curated by the Italian Massimiliano Gioni. His title and theme, Il Palazzo Enciclopedico / The Encyclopedic Palace, was adopted from an architectural model by the self-taught Italian-American artist Marino Auriti. Auriti's work, The Encyclopedic Palace of the World was lent by the American Folk Art Museum and exhibited in the first room of the Arsenale for the duration of the biennale. For Gioni, Auriti's work, "meant to house all worldly knowledge, bringing together the greatest discoveries of the human race, from the wheel to the satellite," provided an analogous figure for the "biennale model itself...based on the impossible desire to concentrate the infinite worlds of contemporary art in a single place: a task that now seems as dizzyingly absurd as Auriti's dream."[22]

Curator Okwui Enwezor was responsible for the 2015 edition.[23] He was the first African-born curator of the biennial. As a catalyst for imagining different ways of imagining multiple desires and futures Enwezor commissioned special projects and programs throughout the Biennale in the Giardini. This included a Creative Time Summit, e-flux journal's SUPERCOMMUNITY, Gulf Labor Coalition, The Invisible Borders Trans-African Project and Abounaddara.[24][25]

The 2017 Biennale, titled Viva Arte Viva, was directed by French curator Christine Macel who called it an "exhibition inspired by humanism".[26] German artist Franz Erhard Walter won the Golden Lion for best artist, while Carolee Schneemann was awarded a posthumous Golden Lion for Lifetime Achievement.[27]

The 2019 Biennale, titled May You Live In Interesting Times, was directed by American-born curator Ralph Rugoff.[28]

The 2022 edition was curated by Italian curator Cecilia Alemani entitled "The Milk of Dreams" after a book by British-born Mexican surrealist painter Leonora Carrington.[29]

The Biennale has an attendance today of over 500,000 visitors.[30][31][32]

Role in the art market[edit]

When the Venice Biennale was founded in 1895, one of its main goals was to establish a new market for contemporary art. Between 1942 and 1968 a sales office assisted artists in finding clients and selling their work,[33] a service for which it charged 10% commission. Sales remained an intrinsic part of the biennale until 1968, when a sales ban was enacted. An important practical reason why the focus on non-commodities has failed to decouple Venice from the market is that the biennale itself lacks the funds to produce, ship and install these large-scale works. Therefore, the financial involvement of dealers is widely regarded as indispensable;[16] as they regularly front the funding for production of ambitious projects.[34] Furthermore, every other year the Venice Biennale coincides with nearby Art Basel, the world's prime commercial fair for modern and contemporary art. Numerous galleries with artists on show in Venice usually bring work by the same artists to Basel.[35]

Central Pavilion and Arsenale[edit]

The formal Biennale is based at a park, the Giardini. The Giardini includes a large exhibition hall that houses a themed exhibition curated by the Biennale's director.

Initiated in 1980, the Aperto began as a fringe event for younger artists and artists of a national origin not represented by the permanent national pavilions. This is usually staged in the Arsenale and has become part of the formal biennale programme. In 1995 there was no Aperto so a number of participating countries hired venues to show exhibitions of emerging artists. From 1999, both the international exhibition and the Aperto were held as one exhibition, held both at the Central Pavilion and the Arsenale. Also in 1999, a $1 million renovation transformed the Arsenale area into a cluster of renovated shipyards, sheds and warehouses, more than doubling the Arsenale's exhibition space of previous years.[36]

A special edition of the 54th Biennale was held at Padiglione Italia of Torino Esposizioni – Sala Nervi (December 2011 – February 2012) for the 150th Anniversary of Italian Unification. The event was directed by Vittorio Sgarbi

 

We seem to have stumbled across a custom bicycle event in Panama.

CONFUSING is the topic for Tuesday April 26th 2011

 

This confuses myself and others. The title is the key.

 

Yay! [http://www.flickr.com/photos/pocu] Pocu wins! It's a close up of the alignment marks on my putter. I had to dust it off for this shot. Putting is so confusing at times.

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★ Rathaus (12.3.1938)

Beim Einmarsch deutscher Truppen besucht Adolf Hitler seine „Jugendstadt“. Während ihm zehntausende Menschen am Hauptplatz zujubeln, werden NS-GegnerInnen bereits inhaftiert, geschlagen und ermordet.

 

★ Rathaus (1.1.1944)

Franz Langoth wird Oberbürgermeister von Linz. Lange hält sich nach 1945 der Mythos von Langoths Einsatz für eine kampflose Übergabe von Linz, der zu einem Gutteil auf einer Berichtsfälschung beruht.

 

★ Rathaus (1939)

Mitarbeiter des Wahl- und Einwohneramts erstellen eine „Liste der Rassenjuden“. Sie liefert die Grundlage für die rassistische Verfolgung der jüdischen Bevölkerung von Linz.

 

★ Hauptplatz (19.2.1939)

Beim Faschingsumzug zeigt sich der tief sitzende Antisemitismus: Die bösartigen Karikaturen von Juden durch verkleidete Linzer finden besonderen Beifall.

 

★ Nibelungenbrücke (Juni 1938 - Sommer 1940)

Als Baustoff für die Nibelungenbrücke kommt unter anderem Granit zum Einsatz, der im nahe gelegenen KZ Mauthausen unter brutalsten Bedingungen abgebaut wird.

 

★ Hauptstraße 16 (19.3.1938)

Alexander, Eduard und Friederike Spitz, die InhaberInnen der Weinhandlung Ferihumer, begehen Selbstmord. Auch andere Menschen jüdischer Herkunft sehen in diesen Tagen nur im Freitod einen Ausweg.

 

★ Rudolfstraße 6-8 (1938 - 1942)

Der Besitz der Familie M. wird „arisiert“ und von Franz Peterseil, Gauinspektor der NSDAP, übernommen. Er war zuvor Chauffeur bei M. Leopold M. wird als 99-jähriger nach Theresienstadt deportiert.

 

★ Rudolfstraße 18 (1941 - 1945)

Franz Tschaff organisiert als Leiter der Abteilung „Arbeitereinsatz“ auch Arbeitsaufträge für ZwangsarbeiterInnen. Für den Bau der Luftschutzkeller setzt das Stadtbauamt KZ-Häftlinge ein.

 

★ Altstadt 3 (1941)

Die elfjährige Pauline H. meldet ihre Nachbarn wegen Abhören eines Feindsenders. Ein Opfer der Denunziation, Josefa F., wird zu einem Jahr Zuchthaus verurteilt.

 

★ Altstadt 12 (21.5.1938)

Hans A. besucht die 2. Klasse Volksschule in Kleinmünchen. Im Mai muss er in die neu gegründete „Judenschule“ in der Altstadt wechseln, die nach dem Novemberpogrom aufgelöst wird.

 

★ Landhaus (Februar 1945)

Landrat Adolf Dietscher formiert eine „Volkssturm“-Truppe zur Verfolgung der rund 500 aus dem KZ Mauthausen entflohenen sowjetischen Kriegsgefangenen – die so genannte „Mühlviertler Hasenjagd“.

 

★ Landhaus (1944)

Elmira Koref ersucht Gauleiter Eigruber vergebens um die Freilassung ihres inhaftierten Mannes. Ernst Koref wird am 7. Mai 1945 von der amerikanischen Besatzungsmacht als Bürgermeister eingesetzt.

 

★ Ecke Hauptplatz/Schmidtorgasse (15.3.1938)

Das Warenhaus Kraus & Schober wird von der NS-Propaganda als Symbol „jüdischen Wuchers“ attackiert und zugunsten der NSDAP „arisiert“. Der frühere Besitzer begeht im KZ Dachau Selbstmord.

 

★ Landstraße 18-20 (1942 - 1943)

Der Gelegenheitsdieb Alois G. stiehlt hier, vor dem Gasthaus „Zur Goldenen Kanone“, ein Fahrrad. Er wird erwischt. Als „Schädling der Volksgemeinschaft“ wird er zum Tode verurteilt und hingerichtet.

 

★ Graben 30 (15.3.1938)

Der Zahntechniker Heinrich S. verwehrt sich in einer Annonce gegen den Verdacht, er sei Jude. Wie er, weisen unmittelbar nach dem „Anschluss“ viele Geschäftsleute ihren Betrieb als „arisch“ aus.

 

★ Marienstraße 8 (April 1945)

Anton A. ist Abteilungsleiter bei der Stadtverwaltung und kritisiert die Exekution zweier „Ostarbeiterinnen“ wegen Milchdiebstahls als unmenschlich. Er wird zum Tode verurteilt und erschossen.

 

★ Landstraße 31 (1940/41)

Ordensschwester Kamilla wirft einem französischen Kriegsgefangenen ein Paar wollene Strümpfe aus dem Fenster des Klosters zu. Sie wird zu 4 Wochen Gefängnis verurteilt.

 

★ Ursulinenhof (April 1945)

Die Wehrmachtssanitätshelferin Stefanie L. wartet wegen unerlaubter Entfernung vom Dienst im Wehrmachtsgefängnis Ursulinenhof auf ihren Prozess. Sie wird zu 6 Monaten Gefängnis verurteilt.

 

★ Landstraße 49 (1939 - 1944)

Oskar H., Präsident der Industrie- und Handelskammer, ist für die „Arisierung“ jüdischer Betriebe verantwortlich. Er bereichert sich auch persönlich als „Ariseur“.

 

★ Mozartstraße 6-10 (1941)

Im Polizeigefängnis wartet die Magd Katharina G. auf ihren Prozess wegen einer sexuellen Beziehung zu einem französischen Kriegsgefangenen. Sie wird zu einem Jahr Haft verurteilt.

 

★ Bischofstraße 3 (1914 - 1933)

Hier verbringt Adolf Eichmann seine Jugend. In der NS-Zeit organisiert er die Deportation der jüdischen Bevölkerung. Er ist mitverantwortlich für die Ermordung von rund 6 Millionen Menschen.

 

★ Bischofstraße 7 (18.3.1938)

Der Rechtsanwalt Karl Schwager, Vorsitzender der Kultusgemeinde, wird kurz nach dem „Anschluss“ verhaftet. Er kommt mit der Auflage frei, das Land zu verlassen. 1939 wandert er nach Palästina aus.

 

★ Herrenstraße 19 (1943)

Franz Jägerstätter sucht Rat bei Bischof Fließer - er kann den Kriegsdienst für Hitler nicht mit seinem Glauben vereinbaren. Jägerstätter wird als Wehrdienstverweigerer am 9.8.1943 hingerichtet.

 

★ Spittelwiese 5 (12.3.1938)

Am Tag des „Anschlusses“ besetzen Nationalsozialisten die Druckerei Gutenberg und benennen sie in „NS-Druckerei und Verlag Linz“ um. Am 13. März erscheint die erste Ausgabe des NS-Kampfblattes „Arbeitersturm“.

 

★Landestheater (September 1944)

33 Bedienstete des Landestheaters - Schauspieler, Musiker, Bühnenarbeiter – werden vom Arbeitsamt zur Bewachung von KZ-Häftlingen in den Linzer Nebenlagern des KZ Mauthausen „notdienstverpflichtet“.

 

★ Landestheater Linz (1943 - 1945)

Franz Léhars „Land des Lächelns“ feiert Publikumserfolge. Der jüdische Librettist des Stücks, Fritz Beda-Löhner, bleibt ungenannt. Er ist am 4. Dezember 1942 im KZ Auschwitz ermordet worden.

 

★ Klammstraße 7 (25.9.1944)

Camilla E. hilft Kriegsgefangenen mit Essen und Kleidung. Sie verbreitet Weissagungen über das nahe Ende des „Dritten Reiches“. Eine anonyme Anzeige führt zu ihrer Verhaftung und Hinrichtung.

 

★ Märzenkeller (Februar 1944 - April 1945)

Etwa 250 Häftlinge aus dem Nebenlager Linz II des KZ Mauthausen werden zum Bau von Luftschutzkellern und für die Entschärfung von Blindgängern nach Luftangriffen eingesetzt.

 

★ „Aphrodite-Tempel“ Bauernbergpark (1942)

Die „Aphrodite“ wird von Kunststudierenden im Mai 2008 verhüllt, um daran zu erinnern, dass sie ein Geschenk Hitlers an Linz war. Die Stadt Linz entfernt daraufhin die Statue.

 

★ Stockbauerstraße 11 (August 1938)

Hermann S. ist Rechtsanwalt und war bis 1934 Gemeinderatsmitglied der Sozialdemokratischen Partei. Seine Villa wird zugunsten des Gaus eingezogen und an Johanna Eigruber, Frau des Gauleiters, verkauft.

 

★ Robert-Stolz-Straße 12 (1939 - 1944)

Die Jüdin Ida B. flieht aus der Ukraine. Sie arbeitet unter einem Decknamen als Haushälterin bei einem SS-Sturmbannführer. 1944 wird sie verhaftet und ins KZ Auschwitz deportiert.

 

★ Hauptbahnhof (16.6.1938)

Als Regimegegner werden oberösterreichische Politiker und Intellektuelle unter brutalsten Misshandlungen der SS-Wachmannschaften in das KZ Dachau deportiert.

 

★ Hauptbahnhof (1941)

Die beiden Löwen werden vom NS-Regime beim Halleiner Steinmetz Jakob Adelhart in Auftrag gegeben. 1999 erklärt der Linzer Gemeinderat sie nach Diskussionen für ideologisch unbedenklich.

 

★ Unionkreuzung (1942)

Eduard C. baut gemeinsam mit anderen Lehrlingen eine kommunistische Widerstandsgruppe innerhalb der Reichsbahn auf, die antifaschistische Flugblätter verbreitet und Sabotageakte verübt.

 

★ Wiener Straße 150 (Oktober - November 1945)

Hier trifft sich jeden Samstag das „Haarabschneiderkommando“ - hunderte ehemalige HJ-Mitglieder -, um Frauen zu bedrohen, die angeblich engeren Kontakt zu amerikanischen Soldaten pflegen.

 

★ Wiener Straße 545-549 (1938)

In der neu errichteten Kaserne werden SS-Totenkopfverbände zur Bewachung des KZ Mauthausen untergebracht. Ab 1940 dienen sie als Umsiedlerlager, nach 1945 als Lager „Davidstern“ für jüdische DPs.

 

★ Dauphinestraße (1942 - 1945)

In der Kleinmünchner Spinnerei befindet sich eines von sechs Linzer „Ostarbeiter“-Lagern für Frauen: 1944 sind 51% der „Ostarbeiter“ weiblich.

 

★ Siemensstraße (27.4.1945)

Gisela T. wird 1944 als kommunistische Widerstandskämpferin verhaftet. Wenige Tage vor Kriegsende wird sie hier, im Arbeitserziehungslager Schörgenhub, erschossen.

 

★ Ramsauerstraße/Uhlandstraße (Oktober 1945 - 1950)

Im Lager Bindermichl werden nach der Befreiung jüdische „Displaced Persons“ untergebracht - aus KZs befreite Jüdinnen und Juden. Sie warten auf Visa für Einwanderungsländer, vor allem in die USA und nach Palästina.

 

★ Siedlung Spallerhof/Muldenstraße (1938 - 1945)

Für ArbeiterInnen der Rüstungsbetriebe werden neue Wohnungen gebaut. Um eine zugesprochen zu bekommen, müssen die AnwärterInnen eine „rassenhygienische Untersuchung“ über sich ergehen lassen.

 

★ Niedernharter Straße 10 (1938 - 1945)

In der Landesheil- und Pflegeanstalt Niedernhart werden rund 800 geistig und körperlich behinderte Menschen als „lebensunwert“ kategorisiert und brutal ermordet.

 

★ Katzenau, alter Lagerplatz der Familie Kerndlbacher (1938)

Hier wird Rosa W. verhaftet, weil sie eine Sintiza ist. Im Lager Maxglan wählt Leni Riefenstahl sie als Statistin aus, nach einem Fluchtversuch kommt sie ins KZ Ravensbrück. 1945 kann sie entkommen.

 

★ Krankenhausstraße 9 (Mai 1943 - Mai 1945)

Im AKH und in der Landesfrauenklinik Linz werden in diesem Zeitraum mindestens 972 Zwangsabtreibungen durchgeführt. Opfer sind vor allem „Ostarbeiterinnen“.

 

★ Kaplanhofstraße 40 (1944 - 1945)

Vom Frauengefängnis Kaplanhof gehen regelmäßig Transporte von politischen Gegnerinnen in verschiedene Konzentrationslager ab, etwa in das KZ Ravensbrück.

 

★ Untere Donaulände 74 (1944)

Josef T. formiert in der Tabakfabrik eine kommunistische Widerstandsgruppe. Er wird im KZ Mauthausen auf Befehl des Gauleiters kurz vor der Befreiung gemeinsam mit anderen erschossen.

 

★ Donaulände (April 1945)

Bei den „Todesmärschen“ kommen tausende KZ-Häftlinge auf Frachtkähnen nach Linz, um weiter ins KZ Ebensee getrieben zu werden. Viele kommen dabei ums Leben.

 

★ Donaulände/Zollamtstraße 6 (13.3.1938)

Nach dem „Anschluss“ kommt es zu gewalttätigen Angriffen auf die jüdische Bevölkerung. Im Café „Olympia“ wird Ernst S. unter dem Beifall einer riesigen Menschenmenge misshandelt und verhaftet.

 

★ Lederergasse 20 (1943)

Die Lehrerin Hermine L. schreibt mehrere regimekritische Briefe an ihren Bruder Walter, der als Wehrmachtssoldat in Wien stationiert ist. Beide werden zum Tode verurteilt und hingerichtet.

 

★ Museumstraße 14 (1941 - 1945)

Geraubte Kunst bildet eine Basis für das von Hitler geplante neue Kunstmuseum. Heinrich J. Sch., Leiter der Kunstgeschichtlichen Abteilung am Landesmuseum, ist aktiv am Sammlungsaufbau beteiligt.

 

★ Museumstraße 12 (April 1944)

Anna H. beschimpft Hitler und gibt ihm die Schuld am Ausbruch des Krieges. Sie wird in Linz zu 3 Jahren Haft verurteilt, das Berliner Reichsgericht dehnt die Haft auf 5 Jahre aus.

 

★ Museumstraße 12 (4.12.1940)

Die 68-jährige Zeugin Jehovas Rosa P. wird aufgrund ihres Glaubensbekenntnisses und wegen „Wehrkraftzersetzung“ zu 6 Monaten Gefängnis verurteilt.

 

★ Museumstraße 12 (September 1938)

Franziska K. wird von ihrer Nachbarin denunziert. Der Besitz von Aktfotos ist ausschlaggebend für die Verurteilung als Homosexuelle: Sie verbüßt 4 Monate schweren Kerkers.

 

★ Fadingerstraße 4 (1913 - 1921)

Ernst Kaltenbrunner besucht hier die Oberschule. 1943 wird er Leiter des Reichssicherheitshauptamts. Er ist maßgeblich verantwortlich für die Ermordung von 6 Millionen Juden und Jüdinnen.

 

★ Bethlehemstraße 26 (9./10.11.1938)

In der Nacht dringt eine Einheit der SA in die Linzer Synagoge ein und setzt sie in Brand. Die Feuerwehr verhindert lediglich das Übergreifen der Flammen auf benachbarte Gebäude.

 

★ Hessenplatz (1944 - 1945)

Nach Luftangriffen brechen Aufräumkommandos, gebildet aus ZwangsarbeiterInnen, ZivilarbeiterInnen und KZ-Häftlingen, von hier zu Bergungsarbeiten auf.

 

★ Langgasse 13 (1938 - 1945)

Im Hauptquartier der Gestapo werden tausende GegnerInnen des NS-Regimes brutal gefoltert. Hier beginnt die Karriere Franz Stangls, der später in den KZs Sobibor und Treblinka Massenmorde organisiert.

 

★ Wurmstraße 7 (1939 - 1945)

Das Linzer Gesundheitsamt entscheidet im Sinne der NS „Erb- und Rassenpflege“ über etwa 1000 Zwangssterilisationen sowie Eheverbote und die Bekämpfung „Asozialer“.

 

★ Wurmstraße 11 (1940)

Das NS-Jugend- und Fürsorgeamt rühmt sich der hohen Zahl an Einweisungen von „Asozialen“ in Arbeits- und Zwangsarbeitslager. Der Leiter, Rudolf H., bleibt nach 1945 ein hoher Magistratsbeamter.

 

★ Gesellenhausstraße 21 (1936 - 1938)

Stefan Sch., fanatischer Nazi der ersten Stunde, verantwortet vor dem „Anschluss“ Produktion und Verbreitung des illegalen antisemitischen NS-Hetzblattes „Der Österreichische Beobachter“.

 

★ Volksgartenstraße 14 (Juni 1938)

Der Direktor der Blindenanstalt Johann Gruber wird wegen antinationalsozialistischer Äußerungen verhaftet, zu 3 Jahren schwerem Kerker verurteilt und 1944 im KZ Gusen ermordet.

 

★ Volksgartenstraße 18 (1938 - 1945)

83.000 Mitglieder zählen die NS-Frauenorganisationen in Oberdonau. Maria Sch., Leiterin der NS-Frauenschaft, seit 1932 illegales NSDAP-Mitglied, wird 1948 zu drei Jahren Haft verurteilt.

 

★ Volksgarten (7.9.1941)

Wegen sexueller Annäherung an einen Soldaten im Volksgarten wird Franz M. zu einem Jahr Kerker verurteilt, danach ins KZ Dachau überstellt und 1944 im Vernichtungslager Majdanek ermordet.

 

★ Schillerplatz 1 (März 1938)

Das Kolosseum-Kino wird von seinen jüdischen BesitzerInnen verpachtet, um die „Arisierung“ zu verhindern. Eine ehemalige Angestellte lässt den Tarnversuch auffliegen.

 

★ Schillerstraße 26 (9.3.1942)

„Wegen dem Scheiß-Führer haben wir kein Brot“, ruft Eleonore B. im Gasthaus „Zum Waldhorn“ wütend aus. Männer vom Stammtisch zeigen sie an. Sie wird zu 14 Monaten Haft verurteilt.

 

★ Goethestraße 63 (Sommer 1945 - 1954)

Simon Wiesenthal, Überlebender des KZ Mauthausen, spürt im Auftrag der amerikanischen Besatzer für die „Jüdische Historische Kommission“ NS-Kriegsverbrecher auf. Sein Zugang lautet: „Recht, nicht Rache“.

Sandal Castle is a ruined medieval castle in Sandal Magna, a suburb of the city of Wakefield in West Yorkshire, England, overlooking the River Calder. It was the site of royal intrigue and the setting for a scene in one of William Shakespeare's plays.

 

History

 

The Warennes

 

William de Warenne, 2nd Earl of Surrey (1081–1138) was granted the Sandal estates in 1107. The 2nd earl built the first Sandal Castle of timber. He supported Robert Curthose against Henry I and was banished from the kingdom for two years. Later he was given the Wakefield manor. William de Warenne, 3rd Earl of Surrey (1119–1148) spent little time at Sandal, having taken crusading vows and joined the Second Crusade. He had one daughter, Isabel de Warenne (1137–1199), who married William of Blois, son of King Stephen, who became the 4th earl. He died in 1159, leaving no children. Isabel, his widow, next married Hamelin (1129–1202), the 5th earl. He was the son of Geoffrey of Anjou and assumed the Warrene name on his marriage in 1164. Hamelin is thought to have built the early Norman stone fortifications at Conisbrough Castle and also begun to replace the wooden fortifications at Sandal with stone.

 

William de Warenne, 5th Earl of Surrey (1166–1240) married Maud Marshal in 1225. He was loyal to his cousin, King John and is one of the four nobles whose name appears in the Magna Carta for John. On King John's death in 1216 he supported Henry III. Maud de Warenne, William's widow, held the Wakefield Manor from 1240 until their son John de Warenne, 6th Earl of Surrey (1231–1304) came of age in 1252. John married Alice de Lusignan in 1247. In 1296 the 6th Earl was appointed warden for Scotland by Edward I and in 1299, the Earl and his royal master were triumphant over the Scots at the Battle of Falkirk.

 

William de Warrene (1256–1286) was killed at a tournament in Croydon pre-deceasing his father. His son John de Warenne, 7th Earl of Surrey (1286–1347) was born in the year of his death. John married Joan of Bar but lived adulterously with Maud de Nereford from a village near Castle Acre in Norfolk. In 1347, the 7th Earl died. His sons John and Thomas became Knights Hospitaller in the Holy Land, predeceasing their mother. The lands passed to Edward III. The Warennes had castles at Lewes in Sussex and Reigate in Surrey, Castle Acre Castle in Norfolk and Conisbrough in Yorkshire.

 

The Dukes of York

 

In 1347, Edward III granted Sandal to his fifth son Edmund of Langley who was six years old at the time. His elder brother John of Gaunt held Pontefract and Knaresborough Castles, Edmund was granted Wark Castle near Coldstream in the Scottish Borders, and in 1377 Fotheringhay Castle in Northamptonshire which was to become his home, and for the next 75 years the family seems to have spent little time at Sandal, leaving it to the management of constables or stewards.

 

In 1385 Edmund was made Duke of York as a reward for his support for his nephew, Richard II of England. He was succeeded by his son, also Edward who campaigned in Ireland and died at the Battle of Agincourt in 1415. Edward was succeeded by his nephew, Richard Plantagenet, 3rd Duke of York.

 

The Battle of Wakefield

 

Early in 1460, during the Wars of the Roses, Richard Plantagenet made a bid for the throne. He was initially not well-received, but an Act of Accord made in October 1460 recognised him as heir to the throne and named him Protector of the Realm. In December Richard went to Sandal Castle, either to consolidate his position or to counter Lancastrian dissent. He had an army of 3,000–8,000 men but on 30 December in the Battle of Wakefield, he was outnumbered and outmaneuvered by Queen Margaret's army, coming from nearby Pontefract. Richard suffered a crushing defeat and both he and his younger son Edmund, Earl of Rutland were killed (although only two months later Richard's eldest son Edward became king).

 

Richard III

 

The castle's last brush with royalty came in 1483 when Richard's eighth son (and twelfth child) Richard III chose it as a northern base and ordered significant investments. This hope was short lived however as Richard was killed in the Battle of Bosworth in 1485. After this the castle was maintained a little, but gradually declined, with the building of Wakefield Prison in the 1590s leaving it even less useful.

 

The English Civil War

 

During the English Civil War Sandal Castle was Royalist, although its neglected state left it out of the major conflicts. In 1645 however it was besieged at least three times by Parliamentarian troops. Butler recounts: Having been assured that they would receive a safe passage to Welbeck House in north Nottinghamshire they surrendered the castle at 10 o'clock on 1 October 1645. The garrison was then 10 officers and 90 men with two of the men called "seniors" implying that they were professional soldiers rather than just non-commissioned officers. They also surrendered 100 muskets, 50 pikes, 20 halberds, 150 swords and two barrels of gunpowder: no pieces of artillery are mentioned.

 

As a result of this capitulation, only Bolton Castle in Wensleydale and Skipton Castle remained in Royalist hands in Yorkshire, but Sandal "was the most resolute of all the three northern garrisons" and its fall caused great rejoicing among the parliamentarian forces. By the siege's end, it was a ruin. The following year, Parliament ordered that it be made untenable.

 

The castle

 

The motte at Sandal Castle

 

The castles built by William the Conqueror's followers were self-sufficient strongholds, some of which were tax-gathering points, some controlled the larger towns, river crossings or passes through hills. Two castles were built near Wakefield, one at Lowe Hill on the north bank of the Calder and Sandal on the south bank. The first castles were probably started and completed in the early 12th century by William de Warenne, 2nd Earl of Surrey after he had been granted the manor of Wakefield by Henry I.

 

Sandal and Lowe Hill were motte-and-bailey earthwork castles with wooden towers on the mound and baileys with timber palisades and deep ditches. Sandal is built on a natural sandstone ridge, the Oaks Rock. The motte was raised to 10 metres (33 ft) with the 7 metres (23 ft) deep moat surrounding it. Only Sandal survived and during the 13th century the keep, curtain wall and other buildings were rebuilt in stone, probably started by either the sixth or seventh Earls Warenne.[Timber motte and bailey castles were often converted into stone if they were in use for long periods; Sandal is a particularly good example of this.

 

The stone keep was circular with four towers each four storeys high; two of them close together formed a gatehouse, and the east tower contained a well, 37 metres (121 ft) deep. The double-walled keep would have had guardrooms, storerooms and servants' quarters on the ground floor, the main hall above and private apartments on the second floor. The tower rooms had garderobes, (lavatories) that discharged on the outer walls of the keep. The curtain wall was 6 metres (20 ft) high with a wall walk along its length, it enclosed the bailey and crossed the moat twice to reach the keep.

 

The barbican at Sandal was inside the bailey; it was a three-storey tower with a moat opposite two drum towers at the entrance to the keep, all of which were constructed in the early 1270s. The barbican with its own gate and portcullis added an extra line of defence between the main entrance gate and the keep. Attackers entering the barbican had to make a right-angled turn to enter the keep, which was protected by a drawbridge between the drum towers. A stairway from the barbican led to a sally port.

 

The bailey lay to the south-east of the keep with the main gatehouse on the north-east side. It was crescent shaped, about 71 metres (233 ft) long and 52 metres (171 ft) wide. Inside the bailey there was a 12 metres (39 ft) deep well and two privy shafts, one of which is 8 metres (26 ft) deep.

 

The ruins

 

The ruins were a source of stone for local building and became a place for locals to relax. They were depicted in the foreground of a drawing of Wakefield from the south by Samuel Buck in 1719 or 1722, and in 1753 an engraving was published of an Elizabethan survey drawing.

 

The ruins were first excavated by the Yorkshire Archaeological Society in 1893. A more detailed project began in the summer of 1964 and was a partnership between Wakefield Corporation, Wakefield Historical Society and the University of Leeds. This project started as an experiment in adult education, but with the help of over a hundred local volunteers it grew into a complete and rigorous excavation that continued for nine years. Whilst excavating the bailey, archaeologists found remains of flint tools suggesting a Mesolithic encampment was there in about 5,000 BC.

 

In 2003, a wooden walkway was provided to allow access to the summit of the motte without causing erosion: it was subsequently closed as unsafe. A visitor centre was constructed about 110 yards (100 m) from the castle. There have been historical re-enactments and "living history" days, including commemoration of the Battle of Wakefield and the deaths of Richard Duke of York and his son Edmund. In February 2015 Wakefield Council announced that due to budget constraints they were considering plans to either close the visitor centre or reduce its opening hours. The centre has since closed.

 

The castle is a Scheduled Monument, which means it is a "nationally important" historic building and archaeological site which has been given protection against unauthorised change. It is also a Grade II* listed building.

This is a rather unusual camera - a 1958 Zenit C with a Helios-44 58mm f2 Soviet copy of the Zeiss Biotar. It is an SLR built on the frame of a Leica III series body. The mirror is set after each exposure by the film advance mechanism winding a black polyester string pulling down the mirror and latching it. When you depress the shutter button, the mirror flies up just before the shutter opens. The lens is a pre-set (no auto diaphragm - you select the f-stop with a detent ring, and just before the exposure, stop it down to that detent without taking your eye from the finder. The screen is a beautiful ground glass, easily focused. I'm sure the Leitz people would have laughed at the technology...which is ridiculous because in this era, Leica's idea of an SLR was a Visoflex housing! This simple Soviet technology enabled the construction of a true SLR not much bigger than a rangefinder camera of that era.

Leica M6 TTL

Leica Summicron 35mm f/2 IV "King of Bokeh"

Ilford XP2

Scan from negative film

The Carnival of Venice (Italian: Carnevale di Venezia) is an annual festival, held in Venice, Italy. The Carnival ends with the Christian celebration of Lent, forty days before Easter on Shrove Tuesday (Pancake Tuesday or Mardi Gras), the day before Ash Wednesday. The festival is famed for its elaborate masks.

History

It is said that the Carnival of Venice was started from a victory of the "Serenissima Repubblica" against the Patriarch of Aquileia, Ulrico di Treven in the year 1162. In the honor of this victory, the people started to dance and make reunions in San Marco Square. Apparently, this festival started on that period and became official in the Renaissance.In the seventeenth century, the baroque carnival was a way to save the prestigious image of Venice in the world. It was very famous during the eighteenth century. It encouraged licence and pleasure, but it was also used to protect Venetians against the anguish for present time and future. However, under the rule of the King of Austria, the festival was outlawed entirely in 1797 and the use of masks became strictly forbidden. It reappeared gradually in the nineteenth century, but only for short periods and above all for private feasts, where it became an occasion for artistic creations.

After a long absence, the Carnival returned to operate in 1979. The Italian government decided to bring back the history and culture of Venice, and sought to use the traditional Carnival as the centerpiece of its efforts. The redevelopment of the masks began as the pursuit of some Venetian college students for the tourist trade. Today, approximately 3 million visitors come to Venice every year for the Carnival. One of the most important events is the contest for la maschera più bella ("the most beautiful mask") placed at the last weekend of the Carnival and judged by a panel of international costume and fashion designers.

 

Carnival masks

 

A selection of Venetian carnival masks

Masks have always been an important feature of the Venetian carnival. Traditionally people were allowed to wear them between the festival of Santo Stefano (St. Stephen's Day, December 26) and the start of the carnival season at midnight of Shrove Tuesday. As masks were also allowed on Ascension and from October 5 to Christmas, people could spend a large portion of the year in disguise. Maskmakers (mascherari) enjoyed a special position in society, with their own laws and their own guild.

Venetian masks can be made of leather, porcelain or using the original glass technique. The original masks were rather simple in design, decoration, and often had a symbolic and practical function. Nowadays, most of them are made with the application of gesso and gold leaf and are all hand-painted using natural feathers and gems to decorate.

History

There is little evidence explaining the motive for the earliest mask wearing in Venice. One scholar argues that covering the face in public was a uniquely Venetian response to one of the most rigid class hierarchies in European history.

The first documented sources mentioning the use of masks in Venice can be found as far back as the 13th century. The Great Council made it a crime to throw scented eggs. The document decrees that masked persons were forbidden to gamble.

Another law in 1339 forbade Venetians from wearing vulgar disguises and visiting convents while masked. The law also prohibited painting one's face, or wearing false beards or wigs.

Bauta

 

Masks at the Carnival of Venice, with the "Bauta" mask shown on the left.

The bauta (sometimes referred as baùtta) is a mask, today often heavily gilded though originally simple stark white, which is designed to comfortably cover the entire face; this traditional grotesque piece of art was characterized by the inclusion of an over-prominent nose, a thick supraorbital ridge, a projecting "chin line", and no mouth. The mask's beak-like chin is designed to enable the wearer to talk, eat, and drink without having to remove it, thereby preserving the wearer's anonymity. The bauta was often accompanied by a red or black cape and a tricorn.

In the 18th century, together with a black cape called a "tabarro", the bauta had become a standardized society mask and disguise regulated by the Venetian government It was obligatory to wear it at certain political decision-making events when all citizens were required to act anonymously as peers. Only citizens (i.e., men) had the right to use the bauta. Its role was similar to the anonymizing processes invented to guarantee general, direct, free, equal and secret ballots in modern democracies. Also, the bearing of weapons along with the mask was specifically prohibited by law and enforceable by the Venetian police.

Given this history and its grotesque design elements, the bauta was usually worn by men, but many paintings done in the 18th century also depict women wearing this mask and tricorn hat. The Ridotto and The Apple Seller by Pietro Longhi are two examples of this from the 1750s.

Columbina

The Columbina (also known as Columbine and as a Columbino) is a half-mask, only covering the wearer's eyes, nose, and upper cheeks. It is often highly decorated with gold, silver, crystals and feathers. It is held up to the face by a baton or is tied with ribbon as with most other Venetian masks. The Columbina mask is named after a stock character in the Commedia dell'arte: Columbina was a maidservent and soubrette who was an adored part of the Italian theatre for generations. It is said it was designed for an actress because she did not wish to have her beautiful face covered completely. In fact, the Columbina is entirely a modern creation. There are no historic paintings depicting its use on the stage or in social life.

While both men and women now wear this mask, it began as a woman's analog to the bauta.

 

Medico della peste (The Plague Doctor)

A Medico della Peste mask.

The Medico della peste, with its long beak, is one of the most bizarre and recognisable of the Venetian masks, though it did not start out as carnival mask at all but as a method of preventing the spread of disease. The striking design originates from 17th-century French physician Charles de Lorme who adopted the mask together with other sanitary precautions while treating plague victims. The mask is often white, consisting of a hollow beak and round eyeholes covered with crystal discs, creating a bespectacled effect. Its use as a carnival mask is entirely a modern convention, and today these masks are often much more decorative.

The plague doctors who followed De Lorme's example wore the usual black hat and long black cloak as well as the mask, white gloves and a stick (so as to be able to move patients without having to come into physical contact with them). They hoped these precautions would prevent them contracting the disease. Those who wear the plague doctor mask often also wear the associated clothing of the plague doctor. The popularity of the Medico della peste among carnival celebrants can be seen as a memento mori.

 

Moretta / Servetta muta

The moretta (meaning dark one lady) or servetta muta (meaning mute servant woman) was a small strapless black velvet oval mask with wide eyeholes and no lips or mouth worn by patrician women. It derived from the visard mask invented in France in the sixteenth century, but differed in not having a hole to speak through. The mask was only just large enough to conceal a woman's identity and was held in place by the wearer biting on a button or bit (the women wearing this mask were unable to speak, hence muta) and was sometimes finished off with a veil. The Rhinocerous by Pietro Longhi depicts this mask in use in 1751. It fell into disuse about 1760.

 

Volto (Larva)

The volto (Italian for face) or larva (meaning ghost in Latin) is the iconic modern Venetian mask: it is often stark white though also frequently gilded and decorated, and is commonly worn with a tricorn and cloak. It is secured in the back with a ribbon. Unlike the moretta muta, the volto covers the entire face including the whole of the chin and extending back to just before the ears and upwards to the top of the forehead; also unlike the moretta muta, it depicts simple facial features like the nose and lips. Unlike the bauta, the volto cannot be worn while eating and drinking because the coverage of the chin and cheeks is too complete (although the jaw on some original commedia masks was hinged, this is not a commedia mask and so is never hingedâthe mouth is always completely closed).

 

Pantalone

Another classic character from the Italian stage, Pantalone, meaning he who wears the pants or father figure in Italian, is usually represented as a sad old man with an oversized nose like the beak of a crow with high brows and slanted eyes (meant to signify intelligence on the stage). Like other commedia masks, Pantalone is also a half mask.

 

Arlecchino

Arlecchino's half-mask is painted black with an ape-like nose and a "bump" to signify a devil's horn

Arlecchino, meaning harlequin in Italian, is a zanni character of the commedia. He is meant to be a kind of "noble savage", devoid of reason and full of emotion, a peasant, a servant, even a slave. His originally wooden and later leather half-mask painted black depicts him as having a short, blunt, ape-like nose, a set of wide, round, arching eyebrows, a rounded beard, and always a "bump" upon his forehead meant to signify a devil's horn. He is a theatrical counterpoint to and often servant of Pantalone, and the two characters often appeared together on the stage.

 

Zanni

A leather version of a Zanni mask, profile view

The Zanni character is another classic of the stage. His mask is a half mask in leather, showing him with low forehead, bulging eyebrows and a long nose with a reverse curve towards the end. It is said that the longer his nose, the more stupid he is. The low forehead is also seen as a sign of stupidity.

 

Mask-makers

The mascherari (or mask-makers) had their own statute dated 10 April 1436. They belonged to the fringe of painters and were helped in their task by sign-painters who drew faces onto plaster in a range of different shapes and paying extreme.

In popular culture

Venetian masks feature prominently in the film Eyes Wide Shut. Stores that supplied the masks include both Ca' Macana and Il Canovaccio in Venice.

Carnevale is depicted in the 2009 video game Assassin's Creed II. The main character, Ezio Auditore, is assisted by the artist Leonardo da Vinci in hunting down and assassinating the corrupt Doge of Venice during Carnevale; a golden mask, which Ezio must obtain to enter a private party held by the Doge, plays a significant role in this part of the game. Carnevale is also depicted in the 2005 video game Sly 3: Honor Among Thieves. The first episode of the game is set during Carnivale in 2001, and large enemies wear masks.

Everyone is sleeping. But me.

In the fresh air the empty pool looks so tempting.

And a bit scary too.

Everything can happen in the night.

Even the strangest.

A midnight bath ?

 

Tout monde dort. Sauf moi.

Cette piscine dans la douce fraîcheur de la nuit est une réelle tentation.

Une vague source de danger et de mystère aussi.

Tant de choses arrivent sous le manteau sombre de la nuit...

Envie d'un bain de minuit ?

 

Cala Barca, Mallorca

Great Sampford, Essex

 

The beautiful church of St Michael the Archangel at Great Sampford is not the first church to stand on the rising ground at the centre of the village overlooking the cornfields along the valley of the river Pant. It is possibly sited on an ancient place of cult or religious significance. The proximity of the Stow farm may be of some importance, for the word ‘Stow’ in Old English can mean a ‘holy place’ or ‘place of assembly’. A pre-Conquest church, presumably of timber and thatch construction, followed perhaps, by a simple stone-built church, was replaced by the 13c on the same site by a major church building of which one of the transepts remains as the vestry of the present church which was built between 1320 and 1350. The original dedication of the church, if different, is not known as the first documentary reference to St Michael occurs as late as 1540 in a Sampford will. Dedications were sometimes changed and the use of the proper style, St. Michael the Archangel, is in fact quite rare. However, dedications to St. Michael or St. Michael and All Angels are numerous and were popular as the Archangel is an important figure in Christian tradition and art, symbolising the victory of God over evil, as an intercessor for the sick and as a leader of the Church militant. Churches dedicated to him, as at Great Sampford, are often found on hill—top sites or on high ground .a possible allusion to St. Michael’s pre-eminence in the Angelic Host of Christian belief. His Feast Day is 29th September.

 

Knowledge of the origins of the Christian Church in Essex relies largely on the fragile but growing evidence of archaeology and landscape interpretation. An ill-defined and mobile pattern of contemporaneous pagan and early Christian practices in the Roman era comes into historical focus with the missionary endeavours of the Roman and Celtic Churches when such names as Augustine, Mellitus and Cedd are prominent in Essex history. Within that tradition there are various, as yet unproven, theories about the establishment of a church at Great Sampford.

 

On entering the church the first impression that the visitor receives is of its elegant dignity; the next, the incongruence of its scale in such a tiny rural community. An interesting aspect of this enigma is the search for a convincing explanation of its status, from the mid-13c until 1907, as a deanery church serving twenty-one surrounding parishes in the Freshwell Hundred and in part of Uttlesford. It may have been a consequence of an early ‘minster’ (i.e.: missionary) role or as the result of a parochial compromise in an area with more important communities such as (Saffron) Walden. We do not know. However, it is a fact that the missionary work of the early minsters often extended to and beyond the boundaries of the administrative hundreds and became the sites of the hundredal centres themselves. There may well be historic linkages, not yet understood, between the Freshwell and Uttlesford Hundreds and the Sampford Deanery that relate to the early status of the church at Great Sampford.

 

The earliest historical fact about St. Michael’s is the grant by William Rufus, son and successor of William the Conqueror, of the church at Sampford along with the subordinate chapel at Hempstead with their lands and tithes to Battle Abbey in 1094. According to Philip Morant, the most famous of Essex historians, this was a formal confirmation of the Conqueror's original royal grant. This act of confirmation was a necessary and regular practice in regard to the efficacy of grants and early charters which were frequently forged. The church at Hempstead was within the jurisdiction of the vicar of Great Sampford until as late as 1979. Great Sampford remained in the hands of Battle Abbey until the Dissolution of the Monasteries in 1539 when it was transferred to the Dean and Chapter of Canterbury. In 1836 it passed to the newly-established Church Commissioners. In 1982 Great Sampford was combined with the parish of Little Sampford.

 

For perhaps a thousand years, even more, the Church at Sampford pursued its mission and, like others of medieval foundation, did not escape the consequences of religious, political and parochial events or circumstances. An astonishing flowering of spiritual faith and social commitment led to the building and re-building of these lovely churches. This phase was followed by the painful disruption of the Reformation, the Commonwealth and the Restoration, all of which led to anxious change and despoliation. In the course of these events much of the magnificence of the church at Great Sampford and its furnishings was lost or abandoned. All his was compounded by periods of neglect and the chronic problems of maintaining a great building in a small village bereft of wealthy resident patrons.

 

The loss, confiscation or sale of the rood, images, church plate and "such other goods as could be spared" was mirrored by decay of the fabric as is evident from the Parochial Inventories and Visitations of the l6c and l7c. The l7c saw the introduction of new arrangements for the railing of the Lord’s Table and seating for the congregation, a school was held in the south transept and the village musicians performed in a gallery under the tower. The inevitable ‘restorations’ by the Victorians led to the removal of furnishings, the installation of new pews, patterned floor tiling and the stripping of the stucco from the exterior walls of the church to expose the original flint and rubble surfaces. In more recent times the spiral staircase in the tower was removed and the roof structure of the south aisle replaced. We are, fortunately, left with a church of beauty and distinction.

 

It is hoped that the following brief notes on the architectural features and minor objects and details of interest in the church will help visitors to enjoy their visit.

  

The significance of St. Michael the Archangel in the village scene is apparent from the scale of the building, its strong profiles and conspicuous English Gothic idiom of the Decorated period. Internally, the major architectural theme is that of a restrained, uncomplicated elegance that is enhanced by the ample light admitted by plain glass windows. A dominant feature is the fine range of trefoiled, cinquefoiled and sexfoiled lights of the nave, chancel and aisle windows all dating from the period c. 1320-50. The cusped tracery of the windows is complemented by the symmetrical refinement of the arcading which is only lightly embellished by mouldings and carved capitals, typical of the period, and among the best in the county. Although not devoid of interesting detail, there is nothing to detract from the simple elegance and spatial qualities with which the fenestration and graceful arcading endow this fine building.

 

In 1769 Peter Muilman referred to the church at Great Sampford which "stands pleasantly on a small eminence by the roadside". Pleasantly indeed, the church is handsomely set in the Essex cornfields and seen to advantage from the high ground on the opposite side of the river. Close to, the sturdy profiles and somewhat severe external textures, relieved by some decorative areas of knapped flint flushwork, offer little hint of the quality of its Gothic interior. The main structure is built with random-faced flint and rubble set in lime mortar with limestone and clunch dressings. The roof is tiled and slated. The prominent west tower was built in the mid-l4c and, like the south aisle, has an embattled parapet. The south porch is of the same period. Unhappily, the window tracery of the 13c transept has been lost and is now disfigured by brickwork of two phases which seem to date from the late-18c to early-19c. Conspicuous in the churchyard are the fine lime trees planted in about 1835. The only monument of significance is the obelisk near the east wall of the churchyard which commemorates members of the Watson Family of Sampford. Colonel Jonas Watson was a distinguished soldier who was killed in action at the siege of Cartagena in 1741. But spare a moment to look at the adjacent grave stone of William Ruffle who died in 1881, a village worthy who served Great Sampford as shopkeeper, constable, clerk and in other public offices for over half a century.

 

External details of note are a rare series of consecration crosses of varying designs around the church, an early scratch dial, now displaced and seen on a doorstep in the north wall, a benchmark and the slot for the surveyor’s bench on the south-west buttress of the tower and miscellaneous graffiti mainly in the porch. Other details of interest include the rainwater heads, the vigorous carvings on the label of the south transept and niches in the south transept and the north and west walls. The clock on the church tower was installed in l9ll to mark the coronation of King George V.

 

On entering, visitors will appreciate the impressive dimensions and architectural refinement of this handsome village church. Standing in the centre of the nave the dominant curvilinear idiom of the Gothic styling will be apparent. The nave is flanked by north and south arcaded aisles with plain two-centred arches datable to the l4c. The piers of the north arcade are quatrefoil in plan with slender engaged shafting; those of the south arcade are octagonal in plan. All of the piers have moulded bases and capitals.

 

The 14c west tower is constructed in four stages. Internally it is open to the nave under a two-centred moulded arch. There is access to the belfry but, sadly, the brick-built circular Tudor staircase was removed about fifty years ago. The carved head of a woman recovered from this staircase, although it presumably originated from elsewhere in the church, can be seen in the vestry. But the finest aspects of this church are to be seen in the early chancel which is remarkable for its size and the splendour of its architectural expression. It dates from the first decades of the l4c. This fine chancel is framed by an exceptionally large east window of five cinquefoiled lights, the curvilinear bar tracery and verticality of which enhance the powerful impact of this aspect of the building. Most interesting, and presumably deriving from the deanery status of the church, there is a series on the north and south walls of twenty-one stalls recessed under a canopied arcade with mouldings and cusping. At the east end of the south arcade there are the piscina and sedilia. The chancel arch, of the same period and sprung from the capitals of clustered shafts, shows residual traces, near the base on either side of the step, of a former stone screen which is possibly significant in view of the rare stone screens in the nearby churches of Stebbing and Great Bardfield. Note also the small blocked low window by the north side of the arch. The panels behind the altar on which the Creed, Lords Prayer and Commandments are painted were made in 1837 for the church at Danbury and brought to Great Sampford in 1894.

 

The vestry, formerly a chapel, is of great interest as a surviving major element of the previous church of the late - 13c (however when I visited this was locked). In the east wall there are good coupled windows of two trefoiled lights with two quatrefoil and sexfoil circular openings, interesting examples of pierced plate-tracery. The large brick-filled window in the south wall is of the mid-13c with good mouldings and the surviving arch and shafting in the splays. Below this window, fragments of medieval glass were found buried in the ground outside. The contemporary archway in the west wall has some intriguing carved capitals richly adorned with robust oak-leaf foliage and vibrant figures including an owl, snail, pig and a human face in a good state of preservation. One is assumed to be a representation of a ‘Green Man’ a symbolic figure of English folklore. The north wall has four quatrefoil openings. There is, under the south window, a triple gabled recess with crockets and linear moulding, pinnacles and a neat acanthus motif which was probably once a fine tomb of an important local family, perhaps a member of the de Kemesek family. It is said to have served as a fireplace in the time when the vestry housed the village school! The battened and studded oak door leading into the chancel is 16c.

 

The open church roof structures are well worth close study. The best is in the vestry which is roofed with twelve pairs of collared scissor-braced trusses supporting the steep-pitched rafters on moulded wall plates. The chancel roof is also of trussed-rafter construction of seven cants, as is that of the nave roof which also has three tie-beams which may have been installed at a later date, perhaps when, as we know from church records, the roof was repaired in the 16c. The lean-to roof of the north aisle is attractively braced with graceful curved members sprung from a good moulded wall-plate. Unfortunately, the original roof of the south aisle has been replaced by a modern structure, but three of the amusing stone corbels which supported it remain. The trussed-rafter roof of the south porch with seven cants should be noted as it rests on extremely fine early moulded plates. Visitors should not miss the intriguing carved medieval wooden head which is fastened onto the wall above the chancel arch at the north-west corner facing the nave. This appears to have been repositioned, perhaps from a figure that was once part of church statuary. On the south side in the clerestory will be seen an attractive 15c Perpendicular style rectilinear and cinquefoiled window of three ogee lights which was devised to throw light onto the former rood.

 

Originally the church would have been resplendent with a comprehensive range of wall paintings for visual instruction depicting scenes of biblical or religious significance. A few fragments survive, having been discovered during restoration work in 1979, above the arches on the walls of the north arcade. Although faint and incomplete the two remaining paintings are of interest. One represents the seven deadly sins in the form of a diagrammatic tree which is comparatively rare. The other may be of St. Christopher, a saintly figure normally positioned, as possibly here, opposite the church entrance as a reassuring gesture to the worshippers. There are traces, too, possibly of another period, that suggest a dragon was depicted which would imply an association with St. Michael to whom the church is dedicated or, possibly, St. Margaret. Traces of colour in the wall plaster of the vestry may eventually yield further paintings.

 

Worthy of note are some special features beginning with the door at the church entrance. This is thought to be contemporary with the building of the church in the early l4c and, although damaged at the base, is still a fine example and retains the original wrought iron strap-work and studding. According to expert opinion it is the most elaborate of all saltire-braced doors in Essex. The boards of which it is constructed are pegged together. The font in the south aisle has a plain moulded octagonal bowl of the 15c. Its stem is earlier and has complex decoration which combines ogee-headed panels with intricate tracery on a chamfered 14c plinth. The Victorian pews were recently detached and the nave flooring paved. The beautiful series of kneelers worked with flower motifs were recently embroidered by local people. The lovely embroidered runner on the step of the sanctuary was made in 1990 and is an exact copy of the Victorian runner it replaced.

 

It is valid to observe that St. Michael’s benefits aesthetically from the absence of monumental clutter which, although sometimes historically useful, can be detrimental to the architectural purity of the building as a whole. The only remaining monuments of antiquity in the church are the tomb slabs (Calthorp and Burrows) of the 17c and 18c in the chance]. They commemorate a family whose name persists at a local farm and another of textile merchants who lived opposite the church. There is another (Gretton) in the south aisle. The pulpit, the provenance of which is unknown, is Victorian. There are also a few notable pieces of furniture. These include a 17c desk with a writing slope and cupboard which once served the school in the church. There is also a standing cupboard or hutch of the late 16c and a 16c church chest, iron-banded with strap hinges and an interior ‘till’ which may have been built-in as a response to a Parochial Visitation of 1686 which ordered it to be provided and lockable. The modern portable altar at the east end of the north aisle was given to the church by an anonymous donor in 1991. The small bronze of the Madonna and Child is of German provenance.

 

The five church bells which were once rung for church services as well as for special village occasions like harvest and gleaning can no longer be pealed. This is because of structural weaknesses in the belfry though they are still hung on the original stocks. Nowadays one is chimed for church services, as a Sanctus bell and used to ring the hours for the clock. The first, third and fourth bells were cast by William Land in 1624; the second (which bears the Royal Arms and a medallion with a bust of Charles II) by Henry Yaxley in 1684; the fifth by John Hodson in 1664. The church plate includes an interesting early Elizabethan silver cup of 1562 with a paten cover of c1567 and another paten dated 1630. None of these is inscribed although they carry makers' marks. An electro-plated flagon of 1854 was purchased by the vicar for five guineas in 1856. The organ, installed in 1976, is said to have come from a nonconformist chapel and to have been built in c1830 by G.M. Holdich. The eagle lectern in the south aisle was placed in the church in 1909 as a tribute to the incumbency of the Rev. Robert Eustace, vicar from 1850 to 1905.

 

Almost every ancient church has a range, most of which cannot be satisfactorily explained, of markings and graffiti, ostensibly symbolic figuring, idle scratchings and numerous initials and dates. Great Sampford has a generous quota of such. Of genuine interest is a 3-men’s (or 9-men's) Morris cut into the second stall on the north side of the chancel inside the altar rail. These are gaming boards of some antiquity, the play having affinities with ludo and allegedly used to relieve the boredom of long sermons or tedious ritual. On the opposite side one of the sedilia has a set of unexplained grooves, possibly another game.

 

This guide has so far been concerned mostly with events, architecture and objects of beauty or interest. More important are the people, clergy, church officers and villagers who have worked for and worshipped in the church. They all emerge from the obscurity of the past through the church records and the village archives as personalities or in human situations which help us to share their hopes, commitment or despair. The clergy, ever since Thomas de Sampford, dean in 1163, have served the church and ministered to the people throughout the ages and struggled with the traumas of turbulent and anxious times. The churchwardens, like Richard Petytt and John Mylner in the l6c and their successors, have striven to preserve the church from decay and neglect and carried out their onerous and multifarious duties with devotion if not always with alacrity. There have been too the countless parishioners whose recurring family names fill the registers recording the joy of marriage and birth and the sadness of illness and death. They are all part of the story and the reality of the church and its life in the village. They too were familiar with the building we admire. They sat in the pews and looked upon the beauty that is now our heritage. Their responsibility has passed to successive generations, and now to us. We hope that they would have approved of this little booklet and that it will play its part in safeguarding the continuity of that inheritance.

Munich, Germany

 

Today, there is an article in the biggest newspaper in Europe, the german "BILD". The headline reads "The Bitter Truth about Multiculture". It's about Berlin-Neukölln, which has the highest percentage of Immigrants in the City, mostly Turks and/or muslims. The mayor of Neukölln wrote a book about how he's afraid that Muslim-culture - which he mostly identifies with anger and rudeness against Germans or Non-muslims - is taking over his town.

 

The article was shared via facebook alone over 5.000 times within a few hours.

 

On the other hand, there has been a new wave of western hatred and deaths in arab countries over the last few days as response to a silly movie by some idiot.

 

So i wanted to share this picture today that i made from a friend of mine during Carnival last year. She was wearing a scarf that night because she was dressed as an indian belly dancer. At one point she asked me to take a picture of her, acting as a muslim woman with a burqa, just for fun.

 

The thing i like about this image is the look on her face.

 

I didn't tell her to give me the evil eye or anything. I guess she just felt like it is appropriate to the context to make a facial expression like this. Maybe she believes that the burqa equals oppression against women and that any woman wearing it simply has to be angry, i'm not sure.

 

Why is it that Western civilization seems to have so much fear of Muslims? Is it because we can read daily about angry arabs in the newspaper, burning european flags and threatening to kill simply anyone who offends their religion? If that's the case, i can understand where the fear comes from. I must admit that i am troubled. Do i offend any muslim who sees this picture on flickr because it makes wearing a burqa look bad? If so, please know that it wasn't my intention.

 

Who has to change? Is it okay to accept that there are things you are not allowed to make fun of or talk about simply because it maybe is against believes of others you don't even share? Or do radical religious groups need to deal with the fact that not everyone shares their views and therefore their rules and regulations? I'm not sure...

 

Above is a comparison of Egg # 1 (both photos are of Egg # 1) Top photo of the unhatched egg was taken on December 31, 2016. Bottom photo showing Egg # 1 (first laid) was taken on December 4, 2016. The photos show how over time egg # 1 was ‘cleaned up’ when it was moved about through the nest material. The markings (stain, dirt, etc) are no longer as dark as they were. But you can still see the marking shapes in the top egg. (# 1) Noted in the red and blue ovals are two very distinguishable markings. (Both photos taken from SWFEC.)

This Dino’s name is Earl Sneed Sinclair and he’s from the 1991 ~ 1994 TV series “Dinosaurs”. He is I think quite similar to Homer Simpson’s character and the role on the show. He calls himself as “The Mighty Megalosaurus” and he’s a typical blue collar dude. I got this one circa 1991 as a birthday gift from my friend and I found it in the attic just a while ago. It is 4.5 inches tall. Funny thing is that the figure originally came with a yellow hard hat and a lunch box with a small mammal inside to be eaten but those were lost and I can’t find them at the moment. I saw them in different places and time – somewhere in another toy boxes but when I saw them I couldn’t find the main figure so I let them go and forgot about them but now I have the figure. Agrrrrrrrh!!! I have to go through all the boxes and places again!! Dang!! Perhaps the quickest way to end this agony is to put this one away and forget about it again. (Then those accessories will turn up! ~ like magic for sure!)

Note: John faced some cancer in 2015. Sondra is his wife...

 

How tardy and bizarrely uncharacteristic of me to "come up short" Carol, on the genealogical history of the deceased equine entity called Tony.

 

Actually the initial send had more text....in my whimpering inadequacies.... I encountered a road block that was insurmountable for my chemo-laced brain.....I cried until Sondra came to my mewling puddle of shameful "masculine-tech" whining on the floor.....she tried to solve the dilemma .....and had "lift-off" for only a portion of the rocket.....basically it was a cluster fuck, a message that was intended for one planet.....but the message splintered,........you received some of the text, and some of it will arrive on Saturn's second inner ring, around 2525. The video that I tried to include with the text....imploded, folding in-ward unto itself.....consuming its life and frames until it resembled a tiny black jube-jube lying on the sidewalk.........not even the slugs were interested.

 

Tony was 22 when he died.....born in Saskatchewan......had papers.....not the kind of papers that illegal refugees have....but papers that proved he was pure Percheron. Tony was and is the only papered horse we have ever owned. Both his parents....sire and brood mare were registered Percheron. Percheron is a French heavy horse breed.....that basically opened the west, plowed the soil and pulled the goods.

In my world, being papered and registered means nothing....what does matter .......do I like what I see. And with Tony ....it was all good.

 

I'n John R's world of horses, registered and papered has meaning.

 

Sondra and I bought Tony along with another horse named Spider.....they were a team.....had worked as a team, pulling wagons and sleighs and also as a logging team for a teamster/logger/farmer/truck-driver from the 100 Mile House area of BC's Caribou region. Spider was a giant of a horse, also Percheron, not registered and not papered. Spider weighted about a ton, Tony was around 1800 lbs......

Spider was tall, quite a bit taller than Tony, so they looked a bit mis-matched....both horses were black as coal..........Tony had one white sock, rear right, if you are looking up the dirt chute........and both had their tails docked.... I'm not a fan of docked tails, but that's the way they came.

The year was 2004, when we heard about these boys being available.....we already had a team.....two wonderful Belgian/Percheron crosses, both unpapered and un-registered, that were named Pat and Mike, that we bought in 1999.

We were thinking of easing up on using Pat and Mike, as we were logging quite a bit. We wanted a younger team.....and Tony and Spider were around 10 ......a little side bar to horse trading.....a horse trader if he's trying to sell a horse , when confronted with the question .....

"so, how old is this horse"......will almost always tell you, he's 9. (old enough to know better but young enough to be strong and eager)(keep that in mind Carol, when it comes time to trade the old boy in)

To really know how old a horse is.....you look at his teeth, and if you know how to read the markings on their teeth, you can come to within a year or two. Many a 9 year old has turned out to be 17 or even older.

 

Sondra and I heard about the big blacks being for sale.....made some time to come up from the farm to have a look.

Always an adventure....searching out horses.

So up to the 100 Mile House area.....it was early summer....this area, high in elevation, excels in showing its beauty during the summer. It's sparsely populated.....a few small towns dot the region, to offer commerce and alcohol......the area is home to ranches, lots of large acreages, raising and growing beef..... As well as the ubiquitous logging industry.......give us some trees to exploit.

It's a gorgeous part of the province Carol, a high plateau, spotted with numerous lakes, expansive lodge pole pine forests, and these old, well worn ranch settlements.

It was one of these ranches that Tony and Spider were residing ......log house, log out-buildings, log fences, log barn.........right on the edge of a good sized lake.

Tom the owner was ready for us when we arrived....horses were at the hitching rail....harnessed and ready to perform.

But you never jump right into the task at hand .....you have to have the BC chats first.....sort of like kicking the tires when you are looking to buy a "new to you" truck......so the three of us are walking around the horses, hands running over their bodies, asking questions that don't always pertain to horses, "do you know such and such, he has a logging team near Princeton"......." where did these boys come from"...."when did you last use them"....."any problems"....."how are their feet"........"do these boys come with the harness"..... "how long have you lived up here"......."no kidding, I know Ted Guisbrech, we logged together over near Rock Creek".........and so on.

Then .....you ask if it would be ok to see them walk around.........he may say sure, take the lines, or he may say....sure, let me walk them first and then you can have a go.

All this seemingly unimportant prater......registers...it is all telling us about his relationship with his horses.....does he want to make sure the horses are calmed down when it comes time for us to drive them, .......does he think they might be a bit spooky if we take the lines.....is he setting the standard by showing us how he handles them.....all part of the game.

I want him to walk the horses around, to see what kind of relationship he has with them.....how he holds the lines ......where he stands.....how he gets them to move, does he "kiss them up", or "click" them up .....(two very distinct sounds in the horse world)....or does he remain silent, and communicate through the lines.....do they move on their own, when he grabs the lines......does he say their names to get them to move.......does he hold the lines....firm.......loosely.....does he slap the horses rears with the lines to get them to walk.....all of this shows me how this guy gets along with his horses.....gentle, coarsely, frantic, lazy, attentive, casual, ....and this gives me some incite into what we might be buying.

It's such a dance.....you want it to fall into place....you've invested 6 hours of travel one way......you like the initial viewing.....you need a team .....you want it to work. The foot work, the rhythm, the music, the touch, all these "things" need to be right for the dance to feel good...the flow....and eventually the coupling.

Where was I. .....oh yea.... Tom is walking the boys around, they have their harness on, the harness is well worn, with some minor binder-twine fix-it's......binder-twine....the non-natural material they use to tie bales of hay with.....it is ubiquitous with the horse world.....binder-twine is the rural duct-tape....you use it everywhere to tie down, to tie up, to keep apart, to shorten and to lengthen, you use it for clothes lines, and dog leashes, you use it to mark the planting lines for lettuce and carrots.....It almost always comes in the colour orange.....but now they have introduced the colour blue. It the very old days they used wire to wrap bales.

Tom walks the boys around the corral.....whoa-ing them up then asking them to step up(move ahead).....making them "gee" and "haw".....right and left......I watch how his hands work the lines.....lightly.....aggressively.....does he verbally communicate or is it all done with touch (pressure with the lines)......so the lines are long strips of leather or polypropylene that are attached to the bridle, a sort of head set that has the bit, the metal bar that is inserted to the horses mouth, attached to......so every time you pull on the lines it activates the bit......in a good or bad way.....gentle with the lines equates to gentle with the bit......aggressive with the lines, equates to harsh rough bit movement..........I'm certain Carol you've experienced this with the Hun. To get his attention (his noodle buried in a Conan movie) you sometimes have to jerk his bit.

 

So what you want to see as a perspective buyer, is the owner driving the horses around in a calm atmosphere.....no rodeos.....using "soft" hands........you want the horses displaying a zen.......a zone where they are willing to do what you ask of them.

Think Pointer Sisters......."I want a man with a slow hand....I Want a lover with an easy touch. I want a lover who will take some time. Not come and go in a heated rush"

 

Now that's what makes a perfect teamster.......Sondra points out that in the equine world, every teamster thinks he has soft hands. Phew, was that air leaving my body!

 

Then we attach the horses to the double-tree......sometimes made from hard wood and now usually made from metal.....this is the devise that is attached to two big leather straps that are attached to the horses harness.....these straps are called tugs....and then the double tree is attached to the device you want the horses to pull....ie. a wagon, a sleigh, a rake, a mower, or for our purposes a log. The double tree drags on the ground, so sometimes does not drag smoothly, as it gets caught up on debris , small babies, stumps, empty beer cases, that sort of thing......logging horses get acclimatized to this irregular pull and constant clanging, and are not spooked by the sound or pull.....uninitiated horses go ballistic....as they can never run away from the ragged feel, and the scary sound.

Tony and Spider were great.....and after numerous manoeuvres and requests.....lots of backing up, going forward.....asking them to take one step forward and whoa......asking them to stand while putting the lines on the ground......some horses will creep forward....

hooking them up to a big log and pulling it around.....doing the same tasks that we asked of them without the log..... we put them back to the hitching rail......removed their harness.

I ask Tom how "they load"......how easily do they go in a trailer.....a very important feature.....especially for people who move their horses around....like horse loggers.....always going to different sites.......some horses react to trailers like a 9 year old boy going to the dentist.....it can be hell.....and I've participated in many "rodeos" trying to get unwilling horses in a trailer. Both hard on the horse and the handler. Feet stepped on, smashed around by hyper animals, and that's before you get them in the trailer..... Securing them in the trailer is even more ramped up in terms of activity. So having calm, easy going horses to load...can be the deal sealer or breaker.Tom assures me that they "load easy"

 

We let the horses cool down......and then I picked up every foot......you want a cooperative horse when trimming hooves.....looked in their mouths to check teeth......hands feeling all over their bodies.....feeling and looking for bumps, irregularities, sores.....seeing how the harness fits them, any rubs, buckle wear, .......you try and do a full inspection..........just like the 50 point checkup that your Audi receives every 6 months.

 

For me it's all fun.....a chance to visit with another teamster.....to check out his stock....see new country.... hear some new lies and stories.

All the while the test drive and chit-chat is happening, Sondra and I are communicating about what we think about the team.....likes and dislikes....this is all done without talking....it's done with eyes, eye brows, facial wrinkles, nostril flares, smiles, hands, and head nods.....we don't want to diss the owner about the abilities of his team, or challenge anything he says about them.....we just register silently the good and bad......we didn't drive 6 hours to tell someone they have a badly mannered team of horses. It's a sort of rural respect and politeness that seems to prevail in rural Canada.

More generalized talk takes place....we find out more about his place.....some of the jobs he did with the team.....his daughter comes out of the house and jumps up on a saddle horse and rides around.....learn that he's bought a truck and car wash in 100 Mile House.....very entrepreneurial ...... He wanders off to feed some animals.... And Sondra and I kick a few horse buns around and decide yes, we want the team......

The negotiations are straight forward....we pay $4000....

In most horse transactions you buy the horse and the seller provides you with a halter and a lead rope......usually the most worn out and manure stained ones he can find in the tack shed.....often repaired with binder-twine, that use to be orange.

We manage, through friendly haggling, to get the harness, a double tree, and some pieces of harness "thrown in" with the 4 grand. We are happy with the deal, he's happy with the deal.

He agrees to feed the horses for a week, and Sondra and I will return the following weekend with our horse trailer, pick them up and bring them to Trinity Valley.

 

This adventure was wonderful.....a great way to start a new relationship with a new team......we were anxious to play with them, learn more about them.......and see what they could do.

The boys turned out to be all we wished for.....great addition to our already mature and well behaved team of Pat and Mike.....

Spider as he got older developed a rear hip malfunction.....that eventually made it very difficult for him to get up, after he would lie down for a rest and or a roll. At the end I was having to lift him up with the tractor....too complicated to describe, believe me it was as hard on me as it was on Spider.....Spider learned not to lie down too much .....and when he did, he'd try to position himself strategically on a slope so when it was time for lift-off, gravity would help. One time Spider lay down in his corral....winter time....in a hollow and couldn't rise up......thrashed around for awhile, making his bed a skating rink....total ice, caused by his body heat, ..... and even more difficult for him......finally as darkness was settling in I managed to get him up......this was becoming a problem.

In spring time I had a chat with the big boy......I was tiring of the effort it took to get him back up on all "four"...... Eventually the time came and he had his final lie-down.......

 

After Spider died, Tony was confused and then sad.....no more mate.....these horses when they are teamed up.....often act as one......they eat side by side, they rest side by side......when one heads off in a direction, the other one will follow......when one decides to let it all out and race around the field, full throttle, the other one copies. They are often joined at the hip. So Tony was bummed when Spider passed on, ........and he got little sympathy from the other team......at this point on the calendar, our original team of Pat and Mike, had both died, and we had bought another team, Jackie and Star, younger than both Spider and Tony, and this new team became our "go to team".

Jackie and Star, also Percheron's, also black, but with un-cropped tails, dragging on the ground, beautiful, true warriors......Don Monjoy was so proud of us for staying black, and staying Perch......this team was young, bold, frisky, and dominating. So Tony went to the bottom of the pecking order, and just wasn't too sure where he fit in. Sondra and I continued to show love and attention his way.....and Sondra would harness him and drive him around, but we always felt he was somewhat confused.......and missing his mate. But through that wondering, he was always a treat to be around.....he was extremely handsome.....very curious.....enormously smart.........and we always said he had a great ass.... And we will miss him.

 

Well now he can rejoin Spider......they can be a team again.

Ancient GERASA is located in Jerash, north of Amman. An extremely well preserved Roman city. And dramatic light after a thunderstorm.

This is the little coyote that ran past me. At a suitable distance, he stopped, turned, and looked back. If he stays away from ranches and farms, he'll be safe. The people who own the ranch below told me, "We only shoot coyotes that attack our livestock. If we shot every coyote we saw, we might take out one that doesn't go after livestock, and open a door for one that does." An enlightened attitude, recognizing that animals are individuals and do not all behave in identical ways.

 

Don't use this image on websites, blogs or other media without explicit permission.

© James R. Page - all rights reserved

  

This is a scaled down version of the Camakau at the Polynesian Cultural Center, Lai'e, Hawaii.

Some specifications about the real thing..

The length of this Fiji canoe is approximately 45 feet (15 m) , the mast is long by 27 feet ( 9 m) and the spars40 feet (more than 13 m).

The sail is wide by 27 feet (9 m).

The float or outrigger is 21 feet long (7 m) , 1 foot (30 cm) in diameter and located 9 feet (3 m) away from the hull.

The Fijian word for the matted sail is "lacavakaivakar"ewa"

If ever you plan to visit the Polynesian Cultural Center while vacationing in Hawaii, go and have a look at this old canoe at the Fiji house.

Everything is a balance over the madness.

 

LIBELLULE MIMETIZZATE

(Camouflage Dragon-Flies)

 

(view large, if you want)

This is an image of the Copernicus crater on the moon. The crater is 93 km wide and 3.8 km deep located in Oceanus Procellarum. Taken from New Fairview, Texas on 2-26-2026. Taken with a Celestron 14 inch telescope with a Televue 2X Barlow and a Player One Uranus-C camera. 250 frames live stacked using Sharpcap, then processed using Registax and Pixinsight.

This image is believed to be in the public domain and is from the National Archives. More information may be found below.

 

Search or Contact the National Archives.

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All images from the National Archives posted on this site should be "unrestricted&quot, according to NARA's information provided below. PLEASE DO NOT ATTRIBUTE IMAGE TO PINGNEWS. You may say "via" pingnews or found through pingnews. You may also thank the "pingnews photo service." Here, we are serving as A FREE PHOTO SERVICE and NOT THE ORIGINATOR/CREATOR of these images NOR the archival location. Any credit should attribute photographer (if known) and the National Archives.

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ARC Identifier: 555917

Title: FIRE SET BY THE BROOKLYN POLYTECHNIC INSTITUTE TO TEST WIRES AND INSULATION IN NEW YORK CITY. BROOKLYN REMAINS ONE OF AMERICA'S BEST SURVIVING EXAMPLES OF A 19TH CENTURY CITY. THE INNER CITY TODAY IS AN ABSOLUTE CONTRADICTION TO THE MAIN STREAM AMERICA OF GAS STATIONS, EXPRESSWAYS, SHOPPING CENTERS AND TRACT HOMES. IT IS POPULATED BY BLACKS, LATINS AND THE WHITE POOR, 06/1974

   

Large image (150161 Bytes)

   

Creator: Environmental Protection Agency. (12/02/1970 - ) ( Most Recent)

 

Type of Archival Materials:

Photographs and other Graphic Materials

Level of Description:

Item from Record Group 412: Records of the Environmental Protection Agency, 1944 - 2000

 

Location: Still Picture Records LICON, Special Media Archives Services Division (NWCS-S), National Archives at College Park, 8601 Adelphi Road, College Park, MD 20740-6001 PHONE: 301-837-3530, FAX: 301-837-3621, EMAIL: stillpix@nara.gov

Production Date: 06/1974

 

Part of: Series: DOCUMERICA: The Environmental Protection Agency's Program to Photographically Document Subjects of Environmental Concern, 1972 - 1977

 

Access Restrictions:

Unrestricted

 

Use Restrictions: Unrestricted

 

Variant Control Number(s):

Agency-Assigned Identifier: 225/25/013465

NAIL Control Number: NWDNS-412-DA-13465

Local Identifier: NWDNS-412-DA-13465

  

Copy 1

Copy Status: Preservation-Reproduction

Storage Facility: National Archives at College Park - Archives II (College Park, MD)

Media

Media Type: Slide

Copy 2

Copy Status: Reference

Storage Facility: National Archives at College Park - Archives II (College Park, MD)

Media

Media Type: Slide

  

Index Terms

  

Subjects Represented in the Archival Material

Environmental protection

Natural resources

Pollution

 

New York

    

Contributors to Authorship and/or Production of the Archival Materials

LYON, DANNY, Photographer

 

"Baby Squirrels"-Spring is Here Now!

The road of life twists and turns and no two directions are ever the same. Yet our lessons come from the journey, not the destination. ~ Don William Jr.

 

Appreciating the beauty of Prague is not complete without having to ride these local trams.

 

Nostalgic Trams of Prague, Czech Republic

 

Shared in PK's Sunday Proverbs & Quotations

This is definitely better large.

 

I'd love to say which band this was, but I can't remember the name--just that they played really decent music for an opening act. Nathan and I went to San Francisco a few months back to see our good friends finally get married, and we stopped off at Kimo's to see Nathan's old roommate. I'd just purchased my 10-22mm lens, and I had so much fun shooting in the upstairs stage section of the bar. So wide. So cool. I love how the lead singer looks like a doppelganger, and how all the band-related gear is piled everywhere (some of it belonging to bands who played later, like ShockBox).

 

15-second exposure at 10mm