The Northern Cardinal is a mid-sized songbird with a body length of 7.9 - 9.3 inches (20 - 23.5 cm) and a wingspan of 9.8 - 12 inches (25 - 31 cm). It has fairly long tail with a short, very thick bill and a prominent crest. Cardinals often sit with a hunched over posture and with the tail pointed straight down.

 

Males are brilliant red all over, with a reddish bill and black face immediately around the bill. Females are pale brown overall with warm reddish tinges in the wings, tail, and crest. They have the same black face and red-orange bill.

 

The common name, as well as the scientific name, of the Northern Cardinal refers to the cardinals of the Roman Catholic Church, who wear distinctive red robes and caps. The term "Northern" refers to its range, as it is the northernmost cardinal species. It ranges from southern Canada, through the eastern United States from Maine to Texas and south through Mexico. It is found in woodlands, gardens, shrublands, and swamps.

 

Northern Cardinals tend to sit low in shrubs and trees or forage on or near the ground, often in pairs. They are common at bird feeders but may be inconspicuous away from them, at least until you learn their loud, metallic chip note. The diet consists mainly (up to 90 percent) of weed seeds, grains, and fruits. It eats beetles, cicadas, grasshoppers, snails, wild fruit and berries, corn and oats, sunflower seeds, the blossoms and bark of elm trees, and drinks maple sap from holes made by sapsuckers, an example of commensalism. During the summer months, it shows preference for seeds that are easily husked, but is less selective during winter, when food is scarce. Northern Cardinals feed their young almost exclusively on insects.

 

Pairs mate for life, and stay together year-round. Mated pairs sometimes sing together before nesting. During courtship they may also participate in a bonding behavior where the male collects food and brings it to the female, feeding her beak-to-beak. If the mating is successful, this mate-feeding may continue throughout the period of incubation. A clutch of three to four eggs is laid, and up to two - four clutches are produced each year. The Cardinal was once prized as a pet, but its sale as cage birds is now banned in the United States by the Migratory Bird Treaty Act of 1918.

 

ISO1600, aperture f/8, exposure .003 seconds (1/400) focal length 630mm

  

VOS Passion

 

LENGTH 83.4m

BREADTH 18m

ORDER YEAR October 2013

COMPLETION August 2016

OWNER Vroon Offshore Services

BUILDER COSCO Guangdong Shipyard

DESIGNER Ulstein Group

DEADWEIGHT 3,650gwt

MAXIMUM SPEED 15kt

  

The ship is equipped with class-2 dynamic positioning system. Image courtesy of Vroon Offshore Services.VOS Passion platform supply vessel is one of six vessels based on PX121 design.

 

The naming ceremony for VOS Passion took place in July 2016. Image courtesy of Vroon Offshore Services.VOS Passion features X-BOW design concept that enables smoother navigation in harsh waters. Image courtesy of Vroon Offshore Services.

 

The ship is equipped with class-2 dynamic positioning system. Image courtesy of Vroon Offshore Services.VOS Passion platform supply vessel is one of six vessels based on PX121 design. Image courtesy of Vroon Offshore Services.

 

VOS Passion is a platform supply vessel operated by Vroon Offshore Services, an international shipping company. The vessel was built by COSCO Guangdong Shipyard in China and delivered to Vroon in August 2016.

 

The ship is the fourth of six vessels ordered by Vroon, of which VOS Pace (2015), VOS Paradise (2015) and VOS Partner (2016) have been delivered, while VOS Patience and VOS Patriot are under construction and scheduled for delivery in 2016.

 

Vroon’s PSV fleet is used for a range of operations, including cargo transportation, bulk transfers, fire-fighting, oil-spill recovery and safety standby. The vessels’ unique design enables them to support longer and deeper offshore drilling activities.

 

VOS Passion design

VOS Passion has an overall length of 83.4m, a moulded breadth of 18m and a clear deck area spanning 850m². The vessel’s maximum draft is 6.7m, maximum deadweight capacity is 4,200t and gross tonnage is 3,650gwt.

 

The ship design is based on the PX121 design developed by Norway-based Ulstein Group. All of the remaining five vessels ordered by Vroon are also based on the same design.

 

The PX121 design features Ulstein’s patented X-BOW concept, which enables smoother vessel navigation in harsh conditions.

 

Vessels with conventional bow designs rise on waves and drop violently onto the water, making navigation in adverse environments difficult. The X-BOW design, on the other hand, enables smoother navigation by minimising wave slamming and bow impact.

 

The X-BOW concept features a slender hull and a tapered fore, which provides more displacement volume. The vessel pierces smaller waves, and is therefore less affected by the vertical motions of the water.

 

It also uses less fuel to navigate through the waves, saving energy. In addition, the design reduces noise and vibration, improving crew comfort and safety levels.

 

Navigation and communication of the platform supply vessel

The ship’s navigation equipment includes an X-band radar, an S-band radar, two McMurdo S4 radio transponder units, a JRC eco sounder, a Navi-Sailor multi-function display, and a Yokogawa gyro compass.

 

The vessel is fitted with communication applications, including a JRC medium / high-frequency radio, a JRC portable VHF radio, McMurdo E5 Satellite EPIRB, two Inmarsat-C systems and two McMurdo S4 SART systems.

 

Deck machinery and fire-fighting equipment

Deck machinery aboard the VOS Passion includes two 10t tuggers, two 10t capstans and one 3t crane with a safe working load of 18m.

 

The ship is equipped with ABS FiFi class-I fire-fighting systems with a monitor capacity of 1,200m³/h and a throw of more than 120m.

 

VOS Passion propulsion system

The ship is fitted with four diesel generator engines, including two 1,639kW engines and two 990kW engines, as well as a 130ekW emergency generator.

 

The vessel is propelled by two diesel-electric Azimuth thrusters with a capacity of 3,800kW. It also features two 1,600kW Schottel stern thrusters and two bow thrusters.

 

"Deck machinery aboard the VOS Passion includes two 10t tuggers, two 10t capstans and one 3t crane with a safe working load of 18m."

The maximum speed of the vessel is 15kt.

 

Tank capacities and cargo handling systems

The ship is capable of storing 1,035m³ of fresh water, 1,674m³ of drill water, 1,464m³ of fuel, 1,293m³ of liquid mud, 150m³ of methanol, 260m³ of dry bulk and 127m³ of base oil. The ship is also fitted with heeling tanks with a capacity of 391.4m³.

 

Accommodation and life-saving facilities onboard VOS Passion

VOS Passion can accommodate 26 crew members in 14 single and six double cabins featuring hotel-type comfort beds. It is fitted with two anti-rolling tanks to increase crew comfort.

 

The ship is equipped with two 20-man life rafts and one six-man raft on each side. A man overboard boat (MOB) capable of accommodating six persons is also available.

 

Contractors

Ulstein was contracted by COSCO Guangdong Shipyard to supply power and control systems and to provide on-site services for the Vroon vessels.

Sony NEX-6

Pentax-M 50mm f/1.4 SMC

(Full-frame equiv. focal length=75mm)

@~f/4 1/4000sec ISO100

 

This image comes from a series taken at Wakehurst Place, West Sussex - it's a National Trust property with botanical gardens, manor house, huge grounds including forests and lakes, and is also home to the millennium seed bank project.

 

This is the front of the Manor house- a late 16th-century country house surrounded by 20th century sculpted landscape gardens with various themes.

The European robin (Erithacus rubecula), known simply as the robin or robin redbreast in Great Britain and Ireland, is a small insectivorous passerine bird that belongs to the chat subfamily of the Old World flycatcher family. It is found across Europe, east to Western Siberia and south to North Africa; it is sedentary in most of its range except the far north.

 

It is about 12.5–14.0 cm (4.9–5.5 in) in length; the male and female are similar in colouration, with an orange breast and face lined with grey, brown upper-parts and a whitish belly.

 

Names

The distinctive orange breast of both sexes contributed to the European robin's original name of "redbreast", orange as a colour name being unknown in English until the 16th century, by which time the fruit had been introduced. The Dutch roodborstje, French rouge-gorge, Swedish rödhake, German Rotkehlchen, Italian pettirosso, Spanish petirrojo and Portuguese pisco-de-peito-ruivo all refer to the distinctively coloured front.

 

In the 15th century, when it became popular to give human names to familiar species, the bird came to be known as robin redbreast, which was eventually shortened to robin. As a given name, Robin is originally a smaller form of the name Robert. The term robin is also applied to some birds in other families with red or orange breasts. These include the American robin (Turdus migratorius, a thrush) and the Australasian robins of the family Petroicidae, the relationships of which are unclear.

 

Other older English names for the bird include ruddock and robinet. In American literature of the late 19th century, this robin was frequently called the English robin.

 

Taxonomy and systematics

The European robin was described by Carl Linnaeus in 1758 in the 10th edition of his Systema Naturae under the binomial name Motacilla rubecula. Its specific epithet rubecula is a diminutive derived from the Latin ruber, meaning 'red'. The genus Erithacus was introduced by French naturalist Georges Cuvier in 1800, giving the bird its current binomial name E. rubecula. The genus name Erithacus is from Ancient Greek and refers to an unknown bird, now usually identified as robin.

 

The genus Erithacus previously included the Japanese robin and the Ryukyu robin. These east Asian species were shown in molecular phylogenetic studies to be more similar to a group of other Asian species than to the European robin. In a reorganisation of the genera, the Japanese and the Ryukyu robins were moved to the resurrected genus Larvivora leaving the European robin as the sole member of Erithacus. The phylogenetic analysis placed Erithacus in the subfamily Erithacinae, which otherwise contained only African species, but its exact position with respect to the other genera was not resolved.

 

The genus Erithacus was formerly classified as a member of the thrush family (Turdidae) but is now considered to belong to the Old World flycatcher family (Muscicapidae), specifically to the chats (subfamily Saxicolinae) which also include the common nightingale.

 

Subspecies

In their large continental Eurasian range, robins vary somewhat, but do not form discrete populations that might be considered subspecies. Robin subspecies are mainly distinguished by forming resident populations on islands and in mountainous areas. The robin found in the British Isles and much of western Europe, Erithacus rubecula melophilus, occurs as a vagrant in adjacent regions. E. r. witherbyi from northwest Africa, Corsica, and Sardinia closely resembles melophilus but has shorter wings. The northeasternmost birds, large and fairly washed-out in colour, are E. r. tataricus. In the southeast of its range, E. r. valens of the Crimean Peninsula, E. r. caucasicus of the Caucasus and northern Transcaucasia, and E. r. hyrcanus southeastwards into Iran are generally accepted as significantly distinct.

 

On Madeira and the Azores, the local population has been described as E. r. microrhynchos, and although not distinct in morphology, its isolation seems to suggest the subspecies is valid (but see below).

 

Canary Islands robin

The most distinct birds are those of Gran Canaria (E. r. marionae) and Tenerife (E. r. superbus), which may be considered two distinct species or at least two different subspecies. They are readily distinguished by a white eye-ring, an intensely coloured breast, a grey line that separates the orange-red from the brown colouration, and the belly is entirely white.

 

Cytochrome b sequence data and vocalisations indicate that the Gran Canaria/Tenerife robins are indeed very distinct and probably derived from colonisation by mainland birds some 2 million years ago.

 

Christian Dietzen, Hans-Hinrich Witt and Michael Wink published in 2003 in Avian Science a study called "The phylogeographic differentiation of the European robin Erithacus rubecula on the Canary Islands revealed by mitochondrial DNA sequence data and morphometrics: evidence for a new robin taxon on Gran Canaria?". In it they concluded that Gran Canaria's robin diverged genetically from their European relatives as far back as 2.3 million years, while the Tenerife ones took another half a million years to make this leap, 1.8 million years ago. The most likely reason would be a different colonisation of the Canaries by this bird, which arrived at the oldest island first (Gran Canaria) and subsequently passed to the neighbouring island (Tenerife).

 

A thorough comparison between marionae and superbus is pending to confirm that the first one is effectively a different subspecies. Initial results suggest that birds from Gran Canaria have wings about 10% shorter than those on Tenerife. The west Canary Islands' populations are younger (Middle Pleistocene) and only beginning to diverge genetically. Robins from the western Canary Islands: El Hierro, La Palma and La Gomera (E. r. microrhynchus) are similar to the European type subspecies (E. r. rubecula).

 

Finally, the robins which can be found in Fuerteventura are the European ones, which is not surprising as the species does not breed either in this island or in the nearby Lanzarote; they are wintering birds or just passing through during their long migration between Africa and Europe.

 

Other robins

The larger American robin (Turdus migratorius) is a much larger bird named for its similar coloration to the European robin, but the two birds are not closely related, with the American robin instead belonging to the same genus as the common blackbird (T. merula), a species which occupies much of the same range as the European robin. The similarity between the European and American robins lies largely in the orange chest patch found in both species. This American species was incorrectly shown "feathering its nest" in London in the film Mary Poppins, but it only occurs in the UK as a very rare vagrant.

 

Some South and Central American Turdus thrushes are also called robins, such as the rufous-collared thrush. The Australian "robin redbreast", more correctly the scarlet robin (Petroica multicolor), is more closely related to crows and jays than it is to the European robin. It belongs to the family Petroicidae, whose members are commonly called "Australasian robins". The red-billed leiothrix (Leiothrix lutea) is sometimes named the "Pekin robin" by aviculturalists. Another group of Old World flycatchers, this time from Africa and Asia, is the genus Copsychus; its members are known as magpie-robins, one of which, the Oriental magpie robin (C. saularis), is the national bird of Bangladesh.

 

Description

The adult European robin is 12.5–14.0 cm (4.9–5.5 in) long and weighs 16–22 g (0.56–0.78 oz), with a wingspan of 20–22 cm (8–8.5 in). The male and female bear similar plumage: an orange breast and face (more strongly coloured in the otherwise similar British subspecies E. r. melophilus), lined by a bluish grey on the sides of the neck and chest. The upperparts are brownish, or olive-tinged in British birds, and the belly whitish, while the legs and feet are brown. The bill and eyes are black. Juveniles are a spotted brown and white in colouration, with patches of orange gradually appearing.

 

Distribution and habitat

The robin occurs in Eurasia east to Western Siberia, south to Algeria and on the Atlantic islands as far west as the Central Group of the Azores and Madeira. It is a vagrant in Iceland. In the southeast, it reaches Iran the Caucasus range.[1] Irish and British robins are largely resident but a small minority, usually female, migrate to southern Europe during winter, a few as far as Spain. Scandinavian and Russian robins migrate to Britain and western Europe to escape the harsher winters. These migrants can be recognised by the greyer tone of the upper parts of their bodies and duller orange breast. The continental European robins that migrate during winter prefer spruce woods in northern Europe, contrasting with its preference for parks and gardens in Great Britain.

 

In southern Iberia, habitat segregation of resident and migrant robins occurs, with resident robins remaining in the same woodlands where they bred.

 

Attempts to introduce the European robin into Australia and New Zealand in the latter part of the 19th century were unsuccessful. Birds were released around Melbourne, Auckland, Christchurch, Wellington and Dunedin by various local acclimatisation societies, with none becoming established. There was a similar outcome in North America, as birds failed to become established after being released in Long Island, New York in 1852, Oregon in 1889–1892, and the Saanich Peninsula in British Columbia in 1908–1910.

 

Behaviour and ecology

The robin is diurnal, although it has been reported to be active hunting insects on moonlit nights or near artificial light at night. Well known to British and Irish gardeners, it is relatively unafraid of people and drawn to human activities involving the digging of soil, in order to look out for earthworms and other food freshly turned up. The robin is considered to be a gardener's friend, and from the traditional association of the red breast with the blood of Christ, the robin would never be harmed. In continental Europe, on the other hand, robins were hunted and killed as were most other small birds, and are therefore more wary. Robins also approach large wild animals, such as wild boar, which disturb the ground, to look for any food that might be brought to the surface.

 

In autumn and winter, robins will supplement their usual diet of terrestrial invertebrates, such as spiders, worms and insects, with berries and fruit. They will also eat seed mixtures and suet placed on bird-tables.

 

Male robins are noted for their highly aggressive territorial behaviour. They will fiercely attack other males and competitors that stray into their territories and have been observed attacking other small birds without apparent provocation. There are instances of robins attacking their own reflection. Territorial disputes sometimes lead to fatalities, accounting for up to 10% of adult robin deaths in some areas.

 

Because of high mortality in the first year of life, a robin has an average life expectancy of 1.1 years; however, once past its first year, life expectancy increases. One robin has been recorded as reaching 19 years of age. A spell of very low temperatures in winter can, however, result in higher mortality rates. The species is parasitised by the moorhen flea (Dasypsyllus gallinulae) and the acanthocephalan Apororhynchus silesiacus.

 

Breeding

Robins may choose a wide variety of sites for building a nest. In fact, anything which can offer some shelter, like a depression or hole, may be considered. As well as the usual crevices, or sheltered banks, other objects include pieces of machinery, barbecues, bicycle handlebars, bristles on upturned brooms, discarded kettles, watering cans, flower pots and hats. Robins will also nest in manmade nest boxes, favouring a design with an open front placed in a sheltered position up to 2 metres (6 ft 7 in) from the ground. Nests are generally composed of moss, leaves and grass, with fine grass, hair and feathers for lining.

 

Two or three clutches of five or six eggs are laid throughout the breeding season, which commences in March in Britain and Ireland. The eggs are a cream, buff or white speckled or blotched with reddish-brown colour, often more heavily so at the larger end. When juvenile birds fly from the nests, their colouration is entirely mottled brown. After two to three months out of the nest, the juvenile bird grows some orange feathers under its chin, and over a similar period this patch gradually extends to complete the adult appearance of an entirely red-orange breast.

 

Vocalisation

The robin produces a fluting, warbling song during the breeding season. Both the male and female sing during the winter, when they hold separate territories, the song then sounding more plaintive than the summer version. The female robin moves a short distance from the summer nesting territory to a nearby area that is more suitable for winter feeding. The male robin keeps the same territory throughout the year. During the breeding season, male robins usually initiate their morning song an hour before civil sunrise, and usually terminate their daily singing around thirty minutes after sunset. Nocturnal singing can also occur, especially in urban areas that are artificially lit during the night. Some urban robins opt to sing at night to avoid daytime anthropogenic noise.

 

Magnetoreception

The avian magnetic compass of the robin has been extensively researched and uses vision-based magnetoreception, in which the robin's ability to sense the magnetic field of the Earth for navigation is affected by the light entering the bird's eye. The physical mechanism of the robin's magnetic sense involves quantum entanglement of electron spins in cryptochrome in the bird's eyes.

 

Conservation status

The European robin has an extensive range and a population numbering in the hundreds of millions. The species does not approach the vulnerable thresholds under the population trend criterion (>30 per cent decline over ten years or three generations); the population appears to be increasing. The International Union for Conservation of Nature evaluates it as least concern.

 

Cultural depictions

The robin features prominently in British folklore and that of northwestern France, but much less so in other parts of Europe. It was held to be a storm-cloud bird and sacred to Thor, the god of thunder, in Norse mythology. Robins feature in the traditional children's tale Babes in the Wood; the birds cover the dead bodies of the children.

 

The robin has become strongly associated with Christmas, taking a starring role on many Christmas cards since the mid-19th century. The robin has appeared on many Christmas postage stamps. An old British folk tale seeks to explain the robin's distinctive breast. Legend has it that when Jesus was dying on the cross, the robin, then simply brown in colour, flew to his side and sang into his ear in order to comfort him in his pain. The blood from his wounds stained the robin's breast, and thereafter all robins carry the mark of Christ's blood upon them.

 

An alternative legend has it that its breast was scorched fetching water for souls in Purgatory.[49] The association with Christmas more probably arises from the fact that postmen in Victorian Britain wore red jackets and were nicknamed "Robins"; the robin featured on the Christmas card is an emblem of the postman delivering the card.

 

In the 1960s, in a vote publicised by The Times, the robin was adopted as the unofficial national bird of the United Kingdom. In 2015, the robin was again voted Britain's national bird in a poll organised by birdwatcher David Lindo, taking 34% of the final vote.

 

Several English and Welsh sports organisations are nicknamed "the Robins". The nickname is typically used for teams whose home colours predominantly use red. These include the professional football clubs Bristol City, Crewe Alexandra, Swindon Town, Cheltenham Town (with Bristol City, as of 2019, Swindon Town, and Cheltenham Town also incorporating a robin image in their current badge designs), and, traditionally, Wrexham A.F.C., as well as the English rugby league team the Hull Kingston Rovers (whose home colours are white with a red band). A small bird is an unusual choice, although it is thought to symbolise agility in darting around the field.

Tracking the entire span of the Iona Jetty that stretches into the Strait of Georgia, as the sun sets on another early fall day.

 

Olympus OM-D E-M1 with M. Zuiko 12-40 f/2.8

Sizes are as close as possible, as they are set now:

Overall length (height) 39 inches ( can be lengthened 3 inches or shortened one inch by moving hip joint adjustment screws)

Bottom of footplate to knee joint 19 inches

Bottom of footplate to top of leg brace inseam 26.5 inches, outseam 27.5 inches

Average thigh circumference 21 inches (has at least 3 inches adjustment in or out)

Width at waist 12 inches, circumference average is around 32 inches (will adjust in or out at least 5 inches)

Calf circumference approximately 15 inches (also adjustable)

Velcro closed toe straps, ankle straps, below knee straps, thigh straps and waist strap with wider pads attached

 

RATCHET type knee and hip joints allow the wearer to extend slowly and lock at intervals when standing, the ratchets will NOT allow the joints to open back up until the lever is released, this is helpful when leg muscles are not strong and makes it easier to stand

 

This is a VERY VERY secure brace because of all the contact afforded by the molded thermoplastic, ankles are immobilized at 90 degrees.

 

These braces MUST be worn with an appropriate shoe of orthopedic sandal or boot, the thermoplastic is VERY slippery on carpet.

 

To purchase these or other braces for the legs or other parts of the body contact me at my1970junk@msn.com. Many different styles and options available

A man was walking down the street carrying a length of metal, which caught the light and the attention of passersby. Expired Tri-X stand developed in HC-110.

Length 399.64m, beam 59m, TEU 19.000

At arm's length

 

I love being a part of the Now You group of women -- and this year for each and every week. 2013 is going to be awesome!

Crew: 1

Length: 26 ft 4 in (8.03 m)

Wingspan: 35 ft 0 in (10.67 m)

Height: 12 ft 0 in (3.66 m)

Wing area: 209 sq ft (19.4 m2)

Empty weight: 4,732 lb (2,146 kg)

Max takeoff weight: 7,159 lb (3,247 kg)

Powerplant: 1 × Wright R-1820-40 Cyclone 9 9-cyl air-cooled radial piston engine, 1,200 hp (890 kW)

Performance

Maximum speed: 321 mph (517 km/h; 279 kn)

Cruise speed: 161 mph (140 kn; 259 km/h)

Range: 965 mi (839 nmi; 1,553 km)

Service ceiling: 33,200 ft (10,119 m)

Rate of climb: 2,440 ft/min (12.4 m/s) [N 9]

Armament

2 × 0.50 in (12.7 mm) nose-mounted M2 Browning machine guns

2 × 0.50 in (12.7 mm) wing-mounted M2 Browning machine guns

two 100-pound (45.36 kg) underwing bombs

This is a fabulous ankle length sunray pleated skirt. It used to be a few inches longer, but I shortened it a little as I knew I would get a better swing out of it, and I also wanted to show my boots off a bit more as well :-)

 

If I saw someone out and about in this outfit, I'd be following them around all day ;[-)

From www.navsource.org/archives/12/171326.htm

 

Transport:

 

Laid down in September 1911 by Blohm und Voss, Hamburg, Germany

Launched 3 April 1913

Completed 29 April 1914

Acquired by the Navy in June 1917

Commissioned USS Vaterland (ID 1326), 25 July 1917

Renamed Leviathan 6 September 1917

Movie star Humphrey Bogart served in Leviathan as a Coxswain 27 November 1918 - February 1919

Decommissioned 29 October 1919 and transferred to the United States Shipping Board and homeported in New York, NY

Sold for scrap 10 December 1937 to a British firm

Broken up at Rosyth, Scotland, 6 June 1938.

 

Specifications:

 

Displacement 58,000 t.

1926 - 59,956 t.

Length 950'

1926 - 900.9'

Beam 100' 4"

Draft 37' 9"

1926 - 23.7'

Speed 24 kts. (Maximum 26.3 kts.)

Complement 1,165

1926 - 1,200

Armament: Eight 6"/50 mounts, two 1-pounders and two machine guns

Propulsion: Forty six watertube boilers, four Parsons steam turbines, four shafts.

 

From Wikipedia, the free encyclopedia

 

History

German Empire

NameSS Vaterland

OwnerHAPAG Line

Port of registryGermany 1911–1917

BuilderBlohm & Voss at Hamburg, Germany

Launched3 April 1913

Maiden voyage14 May 1914

In service14 May 1914 – July 1914

Out of serviceJuly 1914 to 6 April 1917

FateSeized by the United States to be used in the US Navy.

United States

NameUSS Leviathan

OwnerUnited States

Acquired6 April 1917

CommissionedJuly 1917

Decommissioned29 October 1919

FateSold into civilian service

NotesUsed as a troop ship during World War I

United States

NameSS Leviathan

OwnerUnited States Lines

Port of registryNew York

Acquired29 October 1919

In serviceJune 1923 to 1933, some service in 1934

Out of service1933 to 1937

FateSold for scrapping and broken up 6 June 1938 at Rosyth

General characteristics

Class and typeImperator-class ocean liner

Tonnage54,282 gross tons

Length950 ft (289.6 m)

Beam100 ft 4 in (30.6 m)

Draft37 ft 9 in (11,51 m)

Speed26 knots (30 mph)[citation needed]

Capacity

 

1965 as originally configured

14,000 as a troop transport

 

Armament

 

World War I Navy Service:

8 × 6 in

2 × 1-pounder gun

2 × machine gun

 

SS Leviathan, originally built as Vaterland (meaning "Fatherland" in German), was an ocean liner which regularly crossed the North Atlantic from 1914 to 1934. The second of three sister ships built for Germany's Hamburg America Line for its transatlantic passenger service, she sailed as Vaterland for less than a year before her early career was halted by the start of World War I. In 1917, she was seized by the US government and renamed Leviathan. She would become known by this name for the majority of her career, both as a troopship during World War I and later as the flagship of the United States Lines.

 

Construction and early career

Launch of Vaterland, 3 April 1913

 

SS Vaterland, a 54,282 gross ton passenger liner, was built by Blohm & Voss at Hamburg, Germany, as the second of a trio of very large ships of the Imperator class for the Hamburg America Line's trans-Atlantic route. She was launched on 3 April 1913 and was the largest passenger ship in the world upon her completion, superseding SS Imperator, but later being superseded in turn by the last ship of this class, SS Bismarck, later the RMS Majestic.

 

Vaterland had made only a few trips when, in late July 1914, she arrived at New York City just as World War I broke out. With a safe return to Germany rendered questionable by British dominance of the seas, she was laid up at her Hoboken, New Jersey terminal and remained immobile for nearly three years.

World War I

 

Vaterland was seized by the United States Shipping Board when the United States entered World War I on 6 April 1917. She was turned over to the custody of the United States Navy (USN) in June 1917 and her German crew was sent to a new internment camp in Hot Springs, North Carolina, where many of them later died of a typhoid fever outbreak in summer 1918 as they were about to be transferred to Fort Oglethorpe, Georgia.[1]

 

She was commissioned by the USN in July 1917 as the USS Vaterland, Captain Joseph Wallace Oman in command. On 6 September 1917 she was redesignated SP-1326 and renamed Leviathan by President Woodrow Wilson.[2]

 

The trial cruise to Cuba on 17 November 1917 prompted Captain Oman to order 241 Marines on board to relieve a detachment of Marines and to station themselves conspicuously about the upper decks, giving the appearance from shore that the great ship was headed overseas to increase the American Expeditionary Forces.[3] Upon her return later that month, she reported for duty with the Cruiser and Transport Force. In December she took troops to Liverpool, England, but repairs delayed her return to the US until mid-February 1918. A second trip to Liverpool in March was followed by more repairs.[2]

 

At that time she was repainted with the British-type dazzle camouflage scheme that she carried for the rest of the war. With the completion of that work, Leviathan began regular passages between the US and Brest, France, delivering up to 14,000 persons on each trip. Once experience in embarking troops was gained, 11,000 troops could board the ship in two hours.[4]

 

On 29 September 1918 she left New York for Brest; she was one of the main carriers of troops to France, carrying 2,000 crew and 9,000 troops. The voyage would prove to have the worst in-transit casualties of the deadly second wave of the Spanish flu. By the time she arrived at Brest on 8 October, 2,000 were sick, and 80 had died.[5]

 

Before the armistice was signed on 11 November 1918, the ship transported more than 119,000 fighting men. Amongst the ship's US Navy crew during this period was future film star Humphrey Bogart. After that date Leviathan, repainted grey overall by December 1918, reversed the flow of men as she transported the veterans back to the United States with nine westward crossings, the last ending on 8 September 1919. On 29 October 1919, USS Leviathan was decommissioned and turned over to the US Shipping Board and again laid up at Hoboken until plans for her future employment could be determined.[2]

American service

 

The US Shipping Board was by the end of the war encumbered with surplus tonnage and government sponsored shipping companies. On 17 December 1919 the International Mercantile Marine (IMM) signed an agreement to maintain its intended acquisition until a final decision could be made. The Gibbs Brothers Inc., later named Gibbs & Cox in 1929, was hired to survey the vessel and her economic potential from every aspect when newspaper mogul William Randolph Hearst objected to the purchase by claiming British influence over IMM, riding on nationalistic sentiment to stop the deal.[6]

 

The Gibbs brothers were allowed to continue by the Shipping Board even as the deal fell through,[6] their first big task being the creation of a new set of blueprints. None had been received from Germany under the Versailles Treaty and the price was deemed outrageous. Instead an army of workers measured every part of the ship until a new set of prints had been made.[7]

 

Having languished in political limbo at her Hoboken pier until April 1922, a decision was finally made and $8,000,000 in funds were allocated to sail Leviathan to Newport News Shipbuilding & Dry Dock Company in Newport News, Virginia, for her 14-month reconditioning and refurbishment.[6] War duty and age meant that all wiring, plumbing, and interior layouts were stripped and redesigned while her hull was strengthened and her boilers converted from coal to oil while being refurbished; virtually a new ship emerged.[7]

The Ritz-Carlton of Leviathan

 

The decorations and fittings, designed by New York architects Walker & Gillette, retained much of her prewar splendor of Edwardian, Georgian, Louis XVI styles now merged with modern 1920s touches.[8] The biggest deviation was an art deco night club supplanting the original Verandah Cafe. In June 1923 she was given back to the Shipping Board. Leviathan's measured tonnage had increased to 59,956.65 GRT and her speed trials showed an average of 27.48 knots. Thanks in part to Gibbs' clever accounting and the Gulf stream, she was advertised as the world's largest and fastest ship.[6][7][8] This claim was immediately challenged by the Cunard Line, with a reminder that its RMS Mauretania still held the official speed record for trans-Atlantic crossing, as well as the White Star Line, which claimed the RMS Majestic as the world's longest ship, with a higher gross tonnage if properly calculated.

 

By this time United States Lines, which had interested IMM, had been sold and contractually obligated to run Leviathan for a minimum of five return voyages on the Atlantic run per year. The Gibbs Brothers Inc would run her for her first voyages and train the crew until ownership officially changed hands.[6] She immediately proved popular with the American public in the '20s, starting her career fully booked for her maiden voyage departing on 4 July 1923.[9] Her passenger average reached a strong 1,300 by 1926, making her the #1 traveled ship on the Atlantic, but given her capacity of 3,000 it was too little to be profitable.[7]

 

Her economic problems lay primarily in high labor costs and fuel costs which were compounded by Prohibition. From 1920 all US registered ships counted as an extension of US territory, making them "dry ships" according to the National Prohibition Act. With the Atlantic shipping capacity oversaturated, especially after the Immigration Act of 1924, alcohol-seeking passengers readily chose other liners.[7] But Leviathan was an American symbol of power and prestige, which despite her economic failings, made her a popular ship with loyal travelers. She attracted attention as the largest and fastest ship in the American merchant marine and featured in countless advertisements. The only serious incident occurred one day out of Cherbourg on a winter crossing in 1924 where she met a fierce storm with 90 ft waves and winds up to 100 mph, at times forcing her into 20 degree rolls. Eleven portholes were smashed and 32 passengers injured by the time the storm abated.[10]

 

The ship's orchestra, the SS Leviathan Orchestra under the direction of Nelson Maples, was also well regarded enough that in 1923 and 1924 Victor Records engaged it to record eleven selections at their New York studios, of which eight were commercially released. The band would later become the inspiration for the New Leviathan Oriental Fox-Trot Orchestra decades later.

 

Captain Herbert Hartley commanded Leviathan from July 1923 until he retired in February 1928. (Hartley published his autobiography titled Home Is the Sailor in 1955.) By 1927 the "good years" were over, during which time United States Lines had been sold and re-nationalized. In 1929 Leviathan was finally allowed to serve "medicinal alcohol" outside US territorial waters to make her more competitive with foreign lines and was quickly sent on Booze Cruises to make money.[11][12] The Great Depression was the final nail in the coffin and United States Lines actively lobbied for the Shipping Board to either take the Leviathan back or provide a subsidy for her operation. She was laid up at her pier in Hoboken, New Jersey, in June 1933, having lost $75,000 per round trip since 1929.[13]

 

United States Lines had been acquired at auction by IMM in 1931; IMM was just as eager to be rid of the white elephant. The government steadfastly stipulated that Leviathan should sail, and so she did after a refurbishment costing $150,000, for another five round trips. The first round trip sailed on 9 June 1934, high season on the Atlantic, and tallied a loss of $143,000. By Leviathan's fifth voyage she sailed at barely half capacity. IMM paid the US government $500,000 for permission to retire her while keeping her in running order until 1936.[14]

 

In 1937 she was sold to the British Metal Industries Ltd. On 26 January 1938 Leviathan set out on her 301st and last transatlantic voyage under the command of Captain John Binks, retired master of the RMS Olympic, with a crew of 125 officers and men who had been hired to deliver the ship to the breakers. Leviathan arrived at Rosyth, Scotland, on 14 February. In the 13 years that she served United States Lines she carried more than a quarter-million passengers, never making a profit. Due to the size of the vessel and the outbreak of the Second World War, final demolition took place only in 1946.[15]

a study of DP1, DP2, DP3 Merrill focal length comparison.

参考になればとDP1 Merrill、DP2 Merrill、DP3 Merrillの画角違いの別バージョンを作ってみました。

 

別バージョンはこっちです↓

www.flickr.com/photos/shinzofukui/8462002800/in/photostream/

Vintage Japanese woodblock print by the famous Katsushika Hokusai.

 

Free download under CC Attribution (CC BY 4.0). Please credit the artist and rawpixel.com.

 

Higher resolutions with no attribution required can be downloaded: www.rawpixel.com/board/426193/katsushika-hokusai

Location: Kedah, Peninsular Malaysia

Toxicity: Highly venomous

Length: 3 m++

Snake Relocation Project: This sub-adult king cobra was removed from someone's home and we took it for a quick photoshoot.

 

Previously O.hannah, now O.bungarus.

 

In 2024, a new paper by Das., Shankar., Swamy., Williams., Lalremsanga., Prashanth., Sahoo., Vijayakumar, Höglund., Shanker., Dutta., Ganesh, & Wüster (2024) suggested that King Cobra consists of 4 species.

 

(1) Northern King Cobra (O. hannah),

eastern Pakistan, northern and eastern India, the Andaman Islands, Indo-Burma and Indo-China, south to central Thailand.

 

(2) Sunda king cobra (O. bungarus);

Malay Peninsular, Greater Sunda Islands and parts of the southern Philippines.

 

(3) Western Ghats king cobra (O. kaalinga)- Western Ghats of south-western India and

 

(4) Luzon king cobra (O. salvatana).

island of Luzon in northern Philippines.

 

These distinct genetic lineages are geographically isolated and adapted to specific ecological regions

 

Intro: The king cobra (Ophiophagus hannah), also known as the hamadryad, is a venomous snake species in the family Elapidae, endemic to forests from India through Southeast Asia. It is threatened by habitat destruction and has been listed as Vulnerable on the IUCN Red List since 2010 (Wikipedia)

 

Distribution: Bangladesh, Bhutan, Burma, Cambodia, China, India, Indonesia, Laos, Malaysia, Nepal, the Philippines, Singapore, Thailand, Vietnam and southern China

 

I believe this is one of series of photos from the Guadalcanal Campaign, all from the same person.

 

From Wikipedia, the free encyclopedia

 

USS Lexington before World War II

Class overview

Name: Lexington class

Builders:

 

Fore River Shipyard

New York Shipbuilding Corporation

 

Operators: U.S. flag, 48 stars.svg United States Navy

Preceded by: USS Langley (CV-1)

Succeeded by: USS Ranger (CV-4)

Cost: about $45,000,000

Built: 1920–27

In service: 1927–46

In commission: 1927–45

Planned: 2

Completed: 2

Lost: 1

Retired: 1

General characteristics (as built)

Type: Aircraft carrier

Displacement:

 

36,000 long tons (37,000 t) (standard)

43,055 long tons (43,746 t) (deep load)

 

Length: 888 ft (270.7 m)

Beam: 106 ft (32.3 m)

Draft: 30 ft 5 in (9.3 m) (deep load)

Installed power:

 

180,000 shp (130,000 kW)

16 water-tube boilers

 

Propulsion:

 

4 shafts

4 sets turbo-electric transmission

 

Speed: 33.25 knots (61.58 km/h; 38.26 mph)

Range: 10,000 nmi (19,000 km; 12,000 mi) at 10 knots (19 km/h; 12 mph)

Complement: 2,791 (including aviation personnel) in 1942

Armament:

 

4 × twin 8-inch (203 mm) guns

12 × single 5-inch (127 mm) anti-aircraft guns

 

Armor:

 

Belt: 5–7 in (127–178 mm)

Deck: .75–2 in (19–51 mm)

Gun turrets: .75 in (19 mm)

Bulkheads: 5–7 in (127–178 mm)

 

Aircraft carried: 78

Aviation facilities: 1 Aircraft catapult

 

The Lexington-class aircraft carriers were a pair of aircraft carriers built for the United States Navy (USN) during the 1920s. The ships were built on hulls originally laid down as battlecruisers after World War I, but under the Washington Naval Treaty of 1922, all U.S. battleship and battlecruiser construction was cancelled. The Treaty, however, allowed two of the unfinished ships to be converted to carriers. They were the first operational aircraft carriers in the USN[N 1] and were used to develop carrier aviation tactics and procedures before World War II in a series of annual exercises.

 

They proved extremely successful as carriers and experience with the Lexington class convinced the Navy of the value of large carriers. They were the largest aircraft carriers in the USN until the Midway-class aircraft carriers were completed beginning in 1945. The ships served in World War II, seeing action in many battles. Although Lexington was sunk in the first carrier battle in history (the Battle of the Coral Sea) in 1942, Saratoga served throughout the war, despite being torpedoed twice, notably participating in the Battle of the Eastern Solomons in mid-1942 where her aircraft sank the Japanese light carrier Ryūjō. She supported Allied operations in the Indian Ocean and South West Pacific Areas until she became a training ship at the end of 1943. Saratoga returned to combat to protect American forces during the Battle of Iwo Jima in early 1945, but was badly damaged by kamikazes. The continued growth in the size and weight of carrier aircraft made her obsolete by the end of the war. In mid-1946, the ship was sunk during nuclear weapon tests in Operation Crossroads.

 

The Lexington-class was originally designed as battlecruisers, with heavy guns, high speed, and moderate armor protection. The Navy laid down six ships of the class in 1919–20. When the battlecruisers were cancelled under the Washington Naval Treaty of 1922, two of the unfinished ships were designated for completion as carriers. Lexington and Saratoga were selected since they were the most advanced of the six ships in construction.[2]

 

Conversion became a series of compromises and mixed blessings which would not have arisen had they been "specifically designed carriers" from the outset. On the plus side, the ships would have better anti-torpedo protection, larger magazines for aircraft bombs and, with the after elevator 28 feet (8.5 m) higher than otherwise, more room for aircraft landings. On the minus side, a converted battlecruiser would be 0.5 knots (0.93 km/h; 0.58 mph) slower than a specifically designed carrier, have 16 percent less hangar space, less emergency fuel and, with "narrower lines" aft, not as wide a runway for which to aim. Costs were similar. A brand-new aircraft carrier was estimated at $27.1 million. Conversion of a Lexington class was $22.4 million, not counting the $6.7 million already sunk into them. Added together, the figure rose to $28.1 million.[3][N 2]

 

The bottom line, with the signing of the treaty, was that any capital ships under construction by the five signatories (the United States, Great Britain, France, Italy and Japan) had to be canceled and scrapped. For battlecruisers, this encompassed the United States' Lexington class, Japan's Amagi class, and Great Britain's G3 battlecruisers.[4] For the U.S. Navy, the choice seemed clear. If it scrapped all six Lexingtons in accordance with the treaty, it would throw away $13.4 million that could otherwise go toward aircraft carriers. The Navy opted for the latter course.[3][5]

 

The next challenge the Navy's Bureau of Construction and Repair faced was the tonnage cap set by the treaty. Carriers were to be no more than 27,000 tons. An exception, spearheaded by Assistant Secretary of the Navy Theodore Roosevelt Jr. and added to the treaty, allowed capital ships under conversion to go up to 33,000 tons, an increase of 6000 tons.[3][6] This would almost not be enough for a conversion without removing half the power plant, something the Navy General Board did not consider an option. Creative interpreting of a clause in the treaty allowed a potential way out of this situation.[3] The clause (Chapter II, Part III, Section I, (d)) read:

 

No retained capital ships or aircraft carriers shall be reconstructed except for the purpose of providing means of defense against air and submarine attack, and subject to the following rules: The Contracting Powers may, for that purpose, equip existing tonnage with bulge or blister or anti-air attack deck protection, providing the increase of displacement thus effected does not exceed 3,000 tons (3,048 metric tons) displacement for each ship.[7]

 

Without this clause, conversion might not have been feasible. Estimates made in 1928 estimates for the two ships put Lexington at an actual tonnage of 35,689 tons and Saratoga at 35,544. On official lists, the number given was 33,000 tons, with the footnote, "[this number] does not include weight allowance under Ch. 11, pt. 3, Sec. 1, art. (d) of Washington Treaty for providing means against air and submarine attack". This tonnage was used by these ships for their entire careers.[3]

Design and description

General description

 

The ships had an overall length of 888 feet (270.7 m), a beam of 106 feet (32.3 m), and a draft of 30 feet 5 inches (9.3 m) at deep load. Saratoga had a standard displacement of 36,000 long tons (36,578 t), and 43,055 long tons (43,746 t) at deep load.[8]

 

One of their innovative features was a relatively new kind of bow called the bulbous bow or Taylor bow, named after its inventor, Rear Admiral David W. Taylor, who served as Chief Constructor for the U.S. Navy's Bureau of Construction and Repair in World War I. The result of a series of towing tests begun in 1910, this bow reduced water resistance by an average of six percent at high speeds, supported the forecastle and reduced bending stress on the hull. A disadvantage was the formation of a heavy layer of water which would creep up along the forward side of the hull at higher speeds, although this could be reduced to some degree by careful design of this area.[9]

Flight deck arrangements

 

These ships were given a 866.17-by-105.9-foot (264.0 by 32.3 m) teak flight deck. Their hangar had a clear height of 20 feet (6.1 m)[8] and encompassed 33,528 square feet (3,114.9 m2). It was the largest enclosed space afloat, civilian or military, when built.[10] The hangar was 424 feet (129.2 m) long and its width varied from 68 to 74 feet (20.7 to 22.6 m), constrained by the bulky funnel uptakes and boat compartments. The height of the hangar was not exceeded on an American aircraft carrier until the Forrestal-class ships appeared in the mid-1950s. Aircraft repair shops, 108-foot (32.9 m) long, were aft of the hangar and below them was a storage space for disassembled aircraft, 128 feet (39.0 m) long. The hangar was divided by a single fire curtain just forward of the aft aircraft elevator.[10]

 

The carriers were fitted with two hydraulically powered elevators on their centerline. The forward elevator was 30-by-60-foot (9.1 m × 18.3 m) and had a capacity of 16,000 pounds (7,257.5 kg). A 20-by-26-foot (6.1 by 7.9 m) section of the flight deck adjoining the rear edge of the elevator could split down the centerline to lift aircraft otherwise too long. Carrying 12,000 pounds (5,400 kg), it moved at a speed of 2 feet per second (0.61 m/s). The aft elevator measured 30-by-36-foot (9.1 by 11.0 m) and could only lift 6,000 pounds (2,721.6 kg). Munitions were delivered from the magazines by two hydraulically powered bomb lifts and one torpedo lift. A folding crane with a capacity of 10 long tons (10 t) was positioned on the flight deck forward of the gun turrets.[10] Aviation gasoline was stored in eight compartments of the torpedo protection system and their capacity has been quoted as either 132,264 US gallons (500,670 l; 110,133 imp gal) or 163,000 US gallons (620,000 l; 136,000 imp gal).[11] A flywheel-powered aircraft catapult, 155 feet (47.2 m) long, was fitted at the bow; it could launch a 10,000-pound (4,536 kg) aircraft at a speed of 48 knots (89 km/h; 55 mph). It was removed in 1934 as unnecessary.[10]

 

The Lexington-class ships were designed to carry 78 aircraft of various types, including 36 bombers,[12] but these numbers increased once the Navy adopted the practice of tying up spare aircraft in the unused spaces at the top of the hangar.[13] In 1936, her air group consisted of 18 Grumman F2F-1 and 18 Boeing F4B-4 fighters, plus an additional nine F2Fs in reserve. Offensive punch was provided by 20 Vought SBU Corsair dive bombers with 10 spare aircraft and 18 Great Lakes BG torpedo bombers with nine spares. Miscellaneous aircraft included two Grumman JF Duck amphibians, plus one in reserve, and three active and one spare Vought O2U Corsair observation aircraft. This amounted to 79 aircraft, plus 30 spares.[8]

 

In early December 1941, Lexington was ferrying 18 U.S. Marine Corps Vought SB2U Vindicator dive bombers to Midway Atoll and at that time she embarked 65 of her own aircraft, including 17 Brewster F2A Buffalo fighters. During the Wake Island relief expedition later that month, Saratoga's air group consisted of 13 Grumman F4F Wildcat fighters, 42 Douglas SBD Dauntless dive bombers, and 11 Douglas TBD Devastator torpedo bombers. The ship also carried 14 Marine Corps Buffalos for delivery at Wake.[14] Before the Battle of the Eastern Solomons in mid-1942, Saratoga's air group consisted of 90 aircraft, comprising 37 Wildcats, 37 Dauntlesses and 16 Grumman TBF Avenger torpedo bombers.[15] In early 1945, the ship carried 53 Grumman F6F Hellcat fighters and 17 Avengers.[16]

Propulsion

 

Turbo-electric propulsion had been chosen for the battlecruisers because American companies struggled to produce the very large geared turbines necessary for such big ships and was retained when they were converted into aircraft carriers.[11] One advantage of turbo-electric drive was that the substitution of flexible electric cables for bulky steam-lines allowed the motors to be mounted further to the stern of the ship; this reduced vibration and weight by shortening the propeller shafts. Another was the ability to go astern at full power without needing a separate reverse turbine to do so, simply by reversing the electrical polarity of the motors. Other benefits were the ability to operate all four propellers if one of the turbo generators failed, and the possibility of operating only some of the generators at low speed with suitably higher loading and greater efficiency.[17] "[Turbo-electric drive] was efficient, rugged and always reliable. But it was also heavy, intricate, and not easy to maintain and keep tuned up."[18] The machinery also required special ventilation measures to dissipate heat and to keep out any salt air.[19] Even with this and elaborate insulation measures, protection from moisture or from flooding due to battle damage or other causes remained problematic and it posed the danger of high voltage to the crew if damaged.[17]

 

Each propeller was 14 feet 9 inches (4.50 m) in diameter and each of the four propeller shafts was powered by two 22,500-shaft-horsepower (16,800 kW) electric motors acting in tandem. These motors were about five times the size of any earlier electric motor.[18] Four General Electric turbo generators powered each propeller shaft and each was rated at 35,200 kilowatts (47,200 hp), 5000 volts and 4620 amps of direct current (DC). Each of the four AC alternators produced 40,000 kVA. Sixteen water-tube boilers, each in their own individual compartment, provided steam for the generators at a working pressure of 295 psi (2,034 kPa; 21 kgf/cm2) and a temperature of 460 °F (238 °C). The turbo-electric machinery of the Lexington-class ships was designed to produce a total of 180,000 shaft horsepower (130,000 kW) and propel the ships at 33.25 knots (61.58 km/h; 38.26 mph), but each ship reached over 202,000 shp (151,000 kW) and 34.5 knots (63.9 km/h; 39.7 mph) in sea trials in 1928. Six 750-kilowatt (1,010 hp) DC turbo generators were installed in the upper levels of the two main turbine compartments.[18]

 

The ships carried a maximum of 6,688 long tons (6,795 t) of fuel oil, but only 5,400 long tons (5,500 t) of that was usable as the rest had to be retained as ballast in the port fuel tanks to offset the weight of the island and main guns. They demonstrated a range of 9,910 nautical miles (18,350 km; 11,400 mi) at a speed of 10.7 knots (19.8 km/h; 12.3 mph) with 4,540 long tons (4,610 t) of oil.[20]

Armament

Lexington firing her 8-inch guns, 1928

 

The Bureau of Construction and Repair was not then convinced that aircraft could be an effective and sufficient armament for a warship. Thus the design as carriers included a substantial gun battery of eight 8"/55 caliber guns[N 3] in four twin gun turrets, two pairs of superfiring turrets fore and aft of the island. These turrets were mounted above the flight deck on the starboard side, two before the bridge, and two behind the funnel. The guns in theory could fire to both sides, but it is probable that if they were fired to port (across the deck) the blast would have damaged the flight deck. The guns could be depressed to −5° and elevated to +41°; they were loaded at an angle of +9°.[21] They fired 260-pound (118 kg) projectiles at a muzzle velocity of 2,800 ft/s (850 m/s); this gave a maximum range of 31,860 yards (29,133 m).[22]

 

The Lexington class' anti-aircraft (AA) armament consisted of a dozen 5"/25 caliber guns, six on each side of the ship on single mounts. They had a maximum elevation of +85°.[21] They fired 53.85-pound (24.43 kg) projectiles at a muzzle velocity of 2,110 ft/s (640 m/s). Their maximum range against surface targets was 17,700 yards (16,200 m) at +30° elevation.[23]

 

As built, the ship were not fitted with any light AA guns, but a few .50-inch (13 mm) water-cooled M2 Browning anti-aircraft machine guns were fitted shortly after commissioning and the numbers gradually increased over the 1930s. Lexington had 24 of these guns aboard when she was sunk in early 1942. Their 1.6-ounce (45 g) projectiles had a muzzle velocity of 2,930 ft/s (890 m/s), but an effective range of only 1,600 yards (1,500 m). They had a rate of fire of 550–700 rounds per minute and were exceedingly reliable,[24] however, their projectiles were too light and too short ranged so they were replaced by license-built Oerlikon 20 mm autocannon beginning in 1942. The Oerlikon fired 20-millimeter (0.79 in), .272-pound (0.123 kg) high-explosive shells at a muzzle velocity of 2,750 ft/s (840 m/s). Its maximum range was 4,800 yards (4,400 m) although the effective range was under 1,000 yards (910 m). The cyclic rate of fire was 450 rounds per minute, but the practical rate was between 250 and 320 rounds per minute owing to the need to reload magazines.[25] Saratoga mounted 52 of these guns in late 1942.[26]

 

The Navy had been developing a quadruple 1.1-inch light AA gun since the early 1930s, but it was delayed with teething problems, so five single 3"/50 caliber Mk 10 AA guns were installed in 1940 as temporary replacements. They fired 13-pound (5.9 kg) shells at a muzzle velocity of 2,700 ft/s (820 m/s). At +85° elevation they had an anti-aircraft ceiling of 29,800 feet (9,100 m).[27]

 

The Navy made plans to remove the eight-inch (203 mm) gun turrets in 1940 and replace them with four twin 5"/38 caliber dual-purpose gun turrets (the standard mounting on U.S. battleships and cruisers). At the same time, the five-inch (127 mm) 25-caliber guns were to be replaced with more 5"/38 guns on a two for three basis to compensate for their greater weight. The guns fired 55-pound (25 kg) projectiles at a muzzle velocity of 2,600 ft/s (790 m/s) at a rate of fire up to 20 rounds per minute. Against surface targets they had a range of 18,200 yards (16,600 m).[28]

 

Five quadruple 1.1-inch gun mounts were finally fitted aboard the Lexington-class ships in late 1941 and early 1942. The .9-pound (0.41 kg) projectiles had a muzzle velocity of 2,700 ft/s (820 m/s) and an effective range of 3,000 yards (2,700 m). The maximum rate of fire was 150 rounds per minute although the frequent need to reload the eight-round magazines reduced that.[29] The gun was not successful in service and it was replaced by the license-built Bofors 40 mm autocannon beginning in late 1942. The 40-millimeter (1.6 in), 1.98-pound (0.90 kg) high-explosive shell was fired at a muzzle velocity of 2,890 ft/s (880 m/s). Its maximum range was 11,000 yards (10,000 m) although the effective range was around 4,000–5,000 yards (3,700–4,600 m). The cyclic rate of fire was 160 rounds per minute. The guns were fitted in quadruple and twin gun mounts in increasing numbers over the war.[30] Saratoga had 23 quadruple and two twin mounts in early 1944.[26]

 

Lexington's eight-inch gun turrets were removed in early 1942, but they were replaced by seven additional quadruple 1.1-inch gun mounts as a temporary measure. The ship was sunk before her five-inch guns could be replaced and the turrets installed. Saratoga's armament was upgraded in early 1942 while she was under repair after she had been torpedoed.[31]

Fire control and electronics

 

The two superfiring eight-inch turrets had a Mk 30 rangefinder at the rear of the turret for local control, but the guns were normally controlled by two Mk 18 fire-control directors, one each on the fore and aft spotting tops.[32] A 20-foot (6.1 m) rangefinder was fitted on top of the pilothouse to provide range information for the directors.[21] Each group of three 5-inch guns was controlled by a Mk 19 director, two of which were mounted on each side of the spotting tops. Plans were made before the war to replace the obsolete Mk 19 directors with two heavier Mk 33 directors, one each on the fore and aft five-inch spotting tops, but these plans were cancelled when the dual-purpose guns replaced the main armament in early 1942.[33]

 

Saratoga received a RCA CXAM-1 early warning radar in February 1941 during a refit in Bremerton. The antenna was mounted on the forward lip of the funnel with its control room directly below the aerial, replacing the secondary conning station formerly mounted there. She also received two FC (Mk 3) surface fire-control radars in late 1941, although these were both removed along with her main armament in January 1942. The new dual-purpose guns were controlled by two Mk 37 directors, each mounting an FD (Mk 4) anti-aircraft gunnery radar. When the 1.1-inch guns were replaced by 40 mm guns in 1942, the directors for the smaller guns were replaced by five Mk 51 directors. Additional radars were added during 1942 and the ship's electronics were modernized during her refit in January 1944.[34]

Armor

 

The waterline belt of the Lexington-class ships tapered 7–5 inches (178–127 mm) in thickness from top to bottom and angled 11° outwards at the top. This angle increased the armor's relative thickness to horizontal, close-range fire, albeit at the cost of reducing its relative height which increased the chance of plunging shellfire going over or under it. It covered the middle 530 feet (161.5 m) of the ships. Forward, the belt ended in a bulkhead that also tapered from seven to five inches in thickness. Aft, it terminated at a seven-inch bulkhead. This belt had a height of 9 feet 4 inches (2.8 m). The third deck over the ships' machinery and magazine was armored with two layers of special treatment steel (STS) totaling 2 inches (51 mm) in thickness. The steering gear, however, was protected by two layers of STS that totaled 3 inches (76 mm) on the flat and 4.5 inches (114 mm) on the slope.[35]

 

The gun turrets were protected only against splinters with .75 inches (19 mm) of armor. The conning tower was 2–2.25 inches (51–57 mm) of STS, and it had a communications tube with two-inch sides ran from the conning tower down to the lower conning position on the third deck. The torpedo defense system of the Lexington-class ships consisted of three to six medium steel protective bulkheads that ranged from .375 to .75 inches (10 to 19 mm) in thickness. The spaces between them could be left empty or used as fuel tanks to absorb the detonation of a torpedo's warhead.[35]

Ships

Ship Name Hull No. Builder Laid Down Launched Commissioned Fate

Lexington CV-2 Fore River Ship and

Engine Building Co., Quincy[36] 8 January 1921[37] 3 October 1925[37] 14 December 1927[37] Sunk in the Battle of Coral Sea, 8 May 1942[37]

Saratoga CV-3 New York Shipbuilding Corporation,

Camden[36] 25 September 1920[38] 7 April 1925[38] 16 November 1927[39] Sunk as a target ship, 25 July 1946[39]

Service

Lexington (top) and Saratoga alongside the smaller Langley at Puget Sound Navy Yard in 1929

 

Lexington and Saratoga were used to develop and refine carrier tactics in a series of annual exercises before World War II. On more than one occasion these included successfully staged surprise attacks on Pearl Harbor, Hawaii.[40] Lexington's turbo-electric propulsion system allowed her to supplement the electrical supply of Tacoma, Washington, in a drought from late 1929 to early 1930.[20] She also delivered medical personnel and relief supplies to Managua, Nicaragua, after an earthquake in 1931.[41]

 

Lexington was at sea when the Pacific War began on 7 December 1941, ferrying fighter aircraft to Midway Island. Her mission was cancelled and she returned to Pearl Harbor a week later.[42] After a few days, she was sent to create a diversion from the force en route to relieve the besieged Wake Island garrison by attacking Japanese installations in the Marshall Islands. The island was forced to surrender before the relief force got close enough, and the mission was cancelled. A planned attack on Wake Island in January 1942 had to be cancelled when a submarine sank the oiler required to supply the fuel for the return trip. Lexington was sent to the Coral Sea the following month to block any Japanese advances into the area. The ship was spotted by Japanese search aircraft while approaching Rabaul, New Britain, and her aircraft shot down most of the Japanese bombers that attacked her. Together with the carrier Yorktown, she successfully attacked Japanese shipping off the east coast of New Guinea in early March.[43]

 

Lexington was briefly refitted in Pearl Harbor at the end of the month and rendezvoused with Yorktown in the Coral Sea in early May. A few days later the Japanese began Operation MO, the invasion of Port Moresby, Papua New Guinea, and the two American carriers attempted to stop the invasion forces. They sank the light aircraft carrier Shōhō on 7 May in the Battle of the Coral Sea, but did not encounter the main Japanese force of the carriers Shōkaku and Zuikaku until the next day. Aircraft from Lexington and Yorktown succeeded in badly damaging Shōkaku, but the Japanese aircraft crippled Lexington. Vapors from leaking aviation gasoline tanks sparked a series of explosions and fires that could not be controlled, and the carrier had to be scuttled by an American destroyer on the evening of 8 May to prevent her capture.[44]

 

Shortly after the Japanese attack on Pearl Harbor, Saratoga was the centerpiece of the unsuccessful American effort to relieve Wake Island and was torpedoed by a Japanese submarine a few weeks later. After lengthy repairs, the ship supported forces participating in the Guadalcanal Campaign and her aircraft sank the light carrier Ryūjō in the Battle of the Eastern Solomons in August 1942. She was again torpedoed the following month and returned to the Solomon Islands area after repairs were completed.[45]

 

In 1943, Saratoga supported Allied forces involved in the New Georgia Campaign and invasion of Bougainville in the northern Solomon Islands and her aircraft twice attacked the Japanese base at Rabaul in November. Early in 1944, her aircraft provided air support in the Gilbert and Marshall Islands Campaign before she was transferred to the Indian Ocean for several months to support the Royal Navy's Eastern Fleet as it attacked targets in Java and Sumatra. After a brief refit in mid-1944, the ship became a training ship for the rest of the year.[46]

 

In early 1945, Saratoga participated in the Battle of Iwo Jima as a dedicated night fighter carrier. Several days into the battle, she was badly damaged by kamikaze hits and was forced to return to the United States for repairs.[47] While under repair, the ship, now increasingly obsolete, was permanently modified as a training carrier with some of her hangar deck converted into classrooms.[48] Saratoga remained in this role for the rest of the war and was used to ferry troops back to the United States after the Japanese surrender in August. In July 1946, she was used as a target for atomic bomb tests in Operation Crossroads, and sank at Bikini Atoll.[49] Her wreck is easily accessible to scuba divers and organized dive tours are available.[50][51]

SPECIFICATIONS

 

Overall Length (m)- 8.88

Length of hull (m)- 8.50

Overall beam (m)- 2.99

Bridge clearance (m)- 3.36

Boatweight without engine (kg)- 3100

Maximum engine weight (kg)- 588

Maximum load (People, Gear, Engine) (kg)-1475

Shat length - 1-XXL/2-XL

Maximum power (hp / kw)- 500 / 368

Drat (m)- 0.59

Water tank (L)- 100

Fuel tank maximum capacity (L)- 400

Fuel tank type- Integrated

Boat's height (m)- 3.32

Maximum number of people - 10

CE category- B

 

MERCURY ENGINE

 

Twin outboard engine: Twin Mercury 225 V6 - Twin Mercury 250 V8 Verado -

Hazel bought this full length mirror for three quid at the boot sale today.

by Voigtländer NOKTON 25mm F0.95

50.0mm ( 35mm equivalent focal length )

Grumman Aerospace

Crew one

Wingspan 38ft

Length 38ft 10in

18721lbs

One 6250lb static thrust Pratt & Whitney J48

579mph

Range 1300 miles

Ceiling 42800

Four 20mm cannons

 

The USS Midway Museum is a maritime museum located in downtown San Diego, California at Navy Pier. The museum consists of the aircraft carrier Midway. The ship houses an extensive collection of aircraft, many of which were built in Southern California

 

For the video;

youtu.be/xQdAifKkz_k

Length: 30 cm

 

Weight: 125 g (male); 90 g (female)

 

Similar species: Eurasian blackbird, Bellbird

 

A large dark honeyeater with a decurved black bill, dark brown eyes, black legs and feet, and black head, underparts, wings and tail showing iridescent blue-green on the head and wings. The upper back and flanks are brown with a bronze sheen, the nape and sides of the neck have filamentous white feathers, and there are two curled white feather tufts on the throat.

by Nikkor 50mm F2

100.0mm ( 35mm equivalent focal length )

That #nofilter Instagram hashtag thing, I don't get. I mean, the instant you take a photo in JPG form, it's already been filtered by the built-in settings on your camera/phone. What's the point of bragging about it? Besides, a lot of #nofilter photos end up looking like just that: photos loaded raw onto the internet that don't do the subject matter justice at all.

 

So in a world currently obsessed with using "Photoshopped" as a dirty word, I say, Photoshop on. It has many uses, like making an already-beautiful dress surreal in length by adding a couple extra yards to the train. Besides, guys, you do know "airbrushing" isn't really a thing anymore, right?

  

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Manchester Anime & Gaming Con 2016, Anime, Manga, Cosplay, Cosplayer, Female, Yoko Littner, Gurren Lagann, Hero, Snipper, Action, Hot Pants, Bikini, Boots, Knee Length Socks, Belt, Scarf, Studs, Gloves, Flames, Wig, Black, Red, White, Pink, Silver

Seven Pelican is a diving vessel.

 

• Length 94m x breadth 18m

• Deck area 670m²

• Accommodation for 105 persons

• 120t crane

• 1 x observation class ROV

• 18-man twin bell saturation dive system

rated to 284m with two hyperbaric lifeboats

seabed

 

General Information

Classification DNV, +1A1, EO,DYNPOS

AUTRO, SF, F-AMC, HELDK

Built Sandefjord, Norway (1985)

Flag State Authority Bahamas Maritime

Port of Registry Nassau

 

Dimensions

Length Overall 94.10m

Breadth 18m

Depth 9.5m

Draft (summer) 6.55m

Deadweight 2,333t

Gross Tonnage 4,892t

Net Tonnage 1,468t

Manoeuvring and Propulsion Systems

Main Engines 4 x 3,000kW (Wichman)

Generators 4x 4,085kVA (Nebb)

Harbour Generator 150kW

Main Propulsion 2 x 2,757kW stern azimuth

thrusters (Liaaen)

Tunnel Thrusters (bow) 3 x 1,100kW (Brunvoll)

Tunnel Thrusters (stern) 1 x 912kW(Brunvoll)

Dynamic Positioning Systems

DP Classification DYNPOS AUTRO (Class III)

ERN Rating 99.99.99

DP System Kongsberg K-POS DP-21

Kongsberg K-POS DP-11BU

(emergency bridge)

DP Reference Systems 3 x DGPS

2 x HiPAP 351

1 x RADius 1000

1 x taut wire (stbd side fr. 96)

1 x taut wire (port side fr.95)

1 x fanbeam interface

 

Speed / Consumptions

DP Operations 19m3/day

Economical Speed 10.0 knots at 23m3/day

Full Speed 13.0 knots at 28m3/day

In Port Consumption 4m3/day

Tank Capacities (100%)

Fuel Oil 1,393m3

Fresh Water 576m3

Ballast Water 1,146m3

Lub. Oil 42m3

 

Cargo Deck

Deck Area (main deck) 670m2

Deck Area (main) usable 450m2

Deck Area (c deck) 130m2

Deck Strength (main deck) 10t/m2

Deck Cranes

Main Deck Crane

(Main Line) 120t at 8.3m (double fall)

50t at 20m (single fall)

 

Main Deck Crane

(Whip Line) 10t at 10m-24m

Auxiliary Deck Crane I

(telescopic) 5t at 8 to 12m

Auxiliary Deck Crane II

(telescopic) 5t at 8 to 12m

Auxiliary Deck Crane III

(wet bell) 2.2t

Auxiliary Deck Crane IV

(provisions) 2t

ROV System

 

The vessel is fitted with one observation class ROV as standard with the option for one work-class ROV.

 

Dive System

The saturation diving system is classed by Det Norske Veritas.

Saturation System 18 man at 284m

Chambers 3 x 6 man

Bells 2 x 3 man

SPHL 2 x 16 man

Dive moonpools (2) 3.6m x 3.4m

 

Helideck

The vessel is fitted with an approved and certified helideck. The helideck has a D value of 19.5 and is approved for Super Puma helicopters.

 

Accommodation

105 persons

Single Cabins 19

Double Cabins 43

Hospital (not included in total) 2

 

Communication Systems

The vessel is fitted with Inmarsat B and C. In addition the

vessels KU Band system has the option to be converted to C

Band as operational requirements demand. The vessel also

has dedicated crew WiFi internet access

PICTURES

(All oil paintings unless otherwise stated)

 

LOT

  

1

 

C. Lucy — Portrait of Cromwell, seated in a chair, the base with inscription, "Sicillum Reipub Angliæ," 80in. by 60in.

 

2

 

Ed. Hughes, 1894 — Portrait of two young ladies, in landscape, in pierced and carved frame, 94in. by 58in.

 

3

 

Kneller — Full-length portrait of Doddington, Duchess of Manchester, wife of Chas., Duke of Manchester, co-heir of Lord Brooke, 94in. by 56in., in carved gilt acorn-pattern frame

 

4

 

Cervas — Full-length portrait of George Montague, 2nd Earl of Halifax, 1715, 94in. by 54in., in painted carved frame

 

5

 

English School — A portrait of L. W. Debaines, Esq., 1861, standing with horse, in landscape, "presenting to Duchess of Manchester by members of Duke of Manchester’s Corps of Light Horse Volunteers, 1866," 96in. by 94in., gilt compo frame

 

6

 

Rubens and Snyders — Promethus chained to rock being attached by eagle, gilt compo frame, 922in. by 80in.

 

7

 

Sir Joshua Reynolds — Portrait of Eliza, Duchess of Manchester, and her son, as Diana and Cupid, in landscape, carved gilt leaf-pattern frame, 100in. by 66in.

 

8

 

Van Somer — Full-length portrait of Nathaniel Rich, brother of Earl of Warwick, wearing linen ruff and cloak, holding sword, carved gilt frame, 82in. by 48 in.

 

9

 

P. Nason — Full-length portrait of Sir Oliver St. John, wearing cloak, lace collar and cuffs, standing on a terrace, carved gilt scroll frame, 86in. by 60in.

 

10

 

Van dyck (after) — A portrait group of the children of Chas. I, 66in. by 78in., carved gild gadroon-pattern frame

 

11

 

Mytens — A portrait of Robert Rich, Earl of Warwick, High Admiral, standing on a terrace, holding stick, 86in. by 54in., in gilt compo acorn-pattern frame

 

12

 

Wissing — A full-length portrait of Robert, son of Earl of Manchester, wearing ermine cloak, flowing brown hair, right arm resting on a pedestal, in carved gilt leaf and shell-pattern frame, 92in. by 58in.

 

13

 

Wissing — A portrait of King William III., flowing hair, wearing ermine cloak, standing with right hand on hip, curtain background, 88in. by 54in., in painted carved floral and leaf-pattern frame

 

14

 

Kneller — Full-length portrait of Queen Anne, in similar frame

 

15

 

Veronese — The Marriage at Cana, 54in. by 74in., in carved gilt gadroon-pattern frame

 

16

 

Claude — Mountainous landscape, with waterfall and figures, carved gilt acanthus-pattern frame, 44in. by 68in.

 

17

 

Van Dyck — A portrait group of Joceline, Earl of Northumberland, wife and child, in carved leaf and gadroon frame, 52in. by 72in.

 

18

 

Van Dyck — Portrait group of Countesses Rutland and Southampton, and a child as cupid, curtain background, carved leaf and gadroon frame, 52in. by 60in.

 

19

 

Bassano — The Agony in the Garden, carved gilt egg and tongue frame, 42in. by 56in.

 

20

 

Gal Gabron — A squirrel with fruit, flagon, etc., on a table covered with a Persian carpet, plain moulded gilt frame, 60in. by 48in.

 

21

 

Van Dyck — Portrait group of Lady Kingston and Lady Brooke, carved gilt gadroon frame, 52in. by 60in.

 

22

 

Correggio — Peter denying Christ, carved gilt egg and tongue frame, 44in. by 62in.

 

23

 

Mignard — Two children of Robert, 4th Lord Brooke, with dwarf servant, two holding fruit, the other a cross-bow, carved gilt gadroon frame, 52in. by 622in.

 

24

 

Van Dyck — Portrait of Lord George Goring and Henry, Earl of Holland, and child, in carved gilt gadroon frame, 51in. by 59in.

 

25

 

Tintoretto — Christ in the House at Emmaus, at supper, carved gilt leaf-pattern frame, 50in. by 96in.

Van Dyck — Portrait of Lord George Goring and Henry, Earl of Holland, and child, in carved gilt gadroon frame, 51in. by 59in.

 

25

 

Tintoretto — Christ in the House at Emmaus, at supper, carved gilt leaf-pattern frame, 50in. by 96in.

 

26

 

Veronese — Christ in the House of Pharisees, inscribed "Fecit D Covi Magnu Levi, A.D. MDLLXXIII, Lucæ Cap V. Die XX Apl.," 52in. by 92in., carved gilt frame

 

27

 

Kneller School — Portrait of Anne, daughter of Sir Christopher Yelverton, Bt., married Robert, Earl of Manchester, and secondly, Chas., Earl of Halifax, carved gilt leaf-pattern frame, 82in. by 44in.

 

28

 

Van Somer — Full-length portrait of Sir Henry Sidney, wearing lace-trimmed cloak, holding sword, 90in. by 56in., in carved gilt acorn-pattern frame

 

29

 

Canaletto — Venetian canal scene, showing Grand Square and St. Mark’s, and landing of Chas., Earl of Manchester, carved gilt gadroon frame, 54in. by 104in. (Exhibited Art Treasures Exhibition, 1857)

 

30

 

Snyders — Still Life, boar’s head, lobster, etc., on table, carved gilt frame, 36in. by 55in.

 

31

 

Rubens — Descent from the Cross, plain gilt frame, 52in. by 38in.

 

32

 

Mary Beale (1632-1697) [Pupil of Sir Peter Lely] — Half-length portrait of Elizabeth Pelham, married Ed. Montague, seated, wearing blue cloak, signed and dated 1683, moulded gilt frame, 50in. by 40in.

 

33

 

Dobson — A portrait of Lord Mandeville (son of 2ndEarl) as a youth, brown flowing hair, wearing lace collar and cuffs, landscape background, carved gilt frame, 44in. by 34in.

 

34

 

Mor — Portrait, "Sir Ed. Montague of Boughton, Kt., Chief Justice, Exor. of King Henry VIII., anno. 1556," panel, 44in. by 33in. (Exhibited National Portrait Exhibition, 1866)

 

35

 

Lely — Portrait, "Lady Anne, Daughter of Robt. Montague, Earl of Manchester, married James, Earl of Suffolk," three-quarter length, seated, wearing blue cloak, carved gilt leaf-pattern frame, 48in. by 38in.

 

36

 

Hudson — A portrait, half-length, of Ann Montague, daughter of Duke of Manchester, married Lord Torrington, wearing pale green dress, with blue ribbon, carved gilt frame, 50in. by 40in.

 

37

 

Van Dyck — Half-length portrait of Dorothy Sydney, Countess of Sunderland, wearing pearl necklace and head-dress, brown satin dress, carved gilt frame, 48in. by 38in.

 

38

 

Van Dyck — Half-length portrait of Lady Ann Carr, daughter of Robert, Earl of Somerset, married to William, 1st Duke of Bedford, wearing pearl earrings and necklet, crimson dress, carved gilt frame, 44in. by 34in.

 

39

 

Van Dyck — A half-length portrait of James Godfrey, husband of Arabella Churchill, sister of John, Duke of Marlborough, brown flowing hair, lace collar and cuffs, dark green coat, carved gilt frame, 44in. by 36in.

 

40

 

Baptiste — Flowerpiece, black frame, 32in. by 36in.

 

41

 

Mytens — A half-length portrait of Sir Ed. Montague, seated, wearing slashed sleeves, and Order of Bath, carved gilt gadroon frame, 46in. by 36in.

 

42

 

Le Nain — The Poor Artist’s Studio, 44in. by 38in.

 

43

 

Ribera — Bearded man reading book, carved gilt frame, 38in. by 28in.

 

44

 

Mytens — A portrait of Sir Hy. Montague, 1st Earl of Manchester, three-quarter length, wearing lace ruff and cuffs, dark coat, holding a letter, latticed mahogany panel, carved gilt frame, 44in. by 32in. (Exhibited National Portrait Exhibition, 1866)

 

45

 

Sir A. More (after) — A three-quarter length portrait, " Sir Ed. Montague, of Boughton, Knight, Chief Justice, and Exor. to Henry VIII., anno 1556," carved gilt frame, panel, 44in. by 31in.

 

46

 

Early Italian School — The Crucifixion, panel, 45in. by 35in.

 

47

 

Mynx, Rome, 1758 — A full-length portrait of George, Duke of Manchester, in period dress, standing by a table on which is a map of the Mediterranean, 96in. by 68in., carved gilt frame

 

48

 

Jansen — A full-length portrait of Lady Ann Rich, Viscountess Mandeville, married 2nd Earl, in embroidered cream satin dress, plaiting hair by a table covered in lace, carved gilt acorn-pattern frame, 87in. by 54in.

 

49

 

Sir Peter Lely — A full-length portrait of Edward, 2nd Earl of Manchester, holding staff and wearing Order of Garter, brown flowing hair, carved gilt acorn-pattern frame, 93in. by 57in.

 

50

 

Zoffany — A full-length portrait of Queen Charlotte, wearing cream robes, left hand resting on a table on which is ermine cloak and crown, carved gilt frame, with crown pediment, 93in. by 57in.

 

51

 

Kneller — Full-length portrait, "Charles, Duke and Earl of Manchester, son of Robert, Earl of Manchester," standing by a table on which is a coronet, carved gilt floral and leaf frame, 93in. by 57in.

 

52

 

Jansen — A portrait of Sir Henry Montague, 1st Earl of Manchester, holding staff, in crimson and ermine robe, full-length, with curtain background, carved gilt acorn-pattern frame, 93in. by 57in.

 

53

 

Van Dyck — A half-length portrait, "Lord Kimbolton, Gentleman of the Parliament Force of Charles I," wearing breast-plate and sword, holding staff, carved gilt frame, surmounted by helmet, and with military trophies in high relief, 49in. by 39in.

 

54

 

Desanges — Portrait of Louise, Duchess of Manchester, wife of 7th Duke, full-length, wearing jewelled cream dress, pearl necklace and green cloak, 66in. by 38in.

 

55

 

Desanges — Portrait of George, 6th Duke of Manchester, in frock coat, 66in. by 38in.

 

56

 

Desanges, about 1850 — A portrait of The Duchess of Manchester, married 6th Duke, wearing green satin dress, trimmed lace, arched top, 66in. by 38in.

 

57

 

Carlo Lotti — The Good Samaritan with two attendant figures, carved gilt frame, 45in. by 66in.

 

58

 

Dutch School, 16th Century — Portrait of a Statesman seated in chair, wearing lace trimmed cap and ruff, carved gilt frame, 50in. by 39in.

 

59

 

Early Dutch School — Landscape, with figures boar hunting, with dogs, 2 windmills to left, mountains and buildings to right, 32in. by 60in.

 

60

 

Kneller — Portrait of George, Earl of Halifax, three-quarter length, with powdered hair and ermine cloak, carved and moulded frame, 46in. by 34in.

 

61

 

Jansen — Portrait of Sir Henry Montague, Earl of Manchester, Lord Privy Seal, etc., oval, carved gilt frame, 72in. by 422in.

 

62

 

Larguilliere School — Portrait of Duke of Montague, three-quarter length, wearing armour and holding staff, powdered hair, 46in. by 36in.

 

63

 

Mid-Victorian School — Portrait of a lady seated, wearing green dress and holding posy of flowers, landscape background, 49in. by 39in.

 

64

 

Swinton — A portrait of Millicent, Countess Manchester, wife of 6th Duke, in black dress, seated at a table with hands crossed, 50in. by 39in.

 

65

 

Kneller School — Portrait of Edward Montague, brown flowing hair, wearing breast-plate and red cloth, landscape background, 50in. by 41in.

 

66

 

J. Duvall — A horse in stable, "Doncaster," 28in. by 37in.

 

67

 

English School — A portrait of a Lawyer, three-quarter length, powdered wig, holding a sealed document, 48in. by 38in.

 

68

 

Lely — A portrait of a nobleman wearing lace scarf, brown flowing hair, brown dress, curtain background, 46in. by 37in.

 

69

 

Wissing — A portrait of Brig.-Gen. Montague when a child, wearing plumed hat and holding bow, unframed, 50in. by 40in.

 

70

 

Riley — A portrait of a statesman with chain necklet, lawn collar and cuffs, flowing hair, curtain background, 47in. by 38in.

 

71

 

Murray — Portrait of William, Duke of Manchester, three-quarter length, powdered hair, wearing ermine trimmed red dress and order, carved and moulded frame, 46in. by 34in.

 

72

 

Larguilliere School — A portrait of a child holding a torch, as cupid, gesso frame, 36in. by 29in.

 

73

 

Jansen — Portrait of lady seated in a chair, brown hat, wearing wide linen and lace collar and cuffs, green satin dress, 42in. by 32in.

 

74

 

A. Bierstadt — Woody landscape, with pine trees, pool, and equestrian figure, 39in. by 30in.

 

75

 

Gladstone Eyre — Portrait of a bearded gentleman, wearing blue tie, grey hair, oval, 32in. by 24in.

 

76

 

Victorian School — A male portrait, full-length, in Shakespearean costume, 36in. by 28in.

 

77

 

Jansen — A portrait of Edward, Baron Montague, bearded, wearing muslin ruff, and order, three-quarter length, inscribed "A.E. 39,"2 and armorial crest, and date 1607, braced panel, unframed, 45in. by 35in.

 

78

 

Jansen — Portrait of Sir William Montague, wearing lace ruff and cuffs, in crimson cloak, panel, 45in. by 32in.

 

79

 

Jansen — Portrait of a Statesman of the Commonwealth, laced jacket, with lace collar and cuffs, holding staff, unframed, 42in. by 34in.

 

80

 

Baptiste — Flowerpiece, 37in. by 44in.

 

81

 

Baptiste — Vase of flowers, on a pedestal, 37in. by 30in.

 

See Illustration Plat No.1

 

82

 

Baptiste — Vase of flowers, 32in. by 37in.

 

83

 

Jansen — Portrait of Henry, 1st Earl of Manchester, in lace trimmed cap, lace ruff and cuffs, carved gilt frame, 32in. by 24in.

 

84

 

English School, 17th Centry — Portrait of Cecil, Earl of Salisbury, in Elizabethan costume, holding pendant in left hand and baton in right hand, panel, unframed, 31in. by 224in.

 

85

 

Flemish School — Bust portrait of an elderly man, wearing ruff and cloth hat, panel, unframed, 23in. by 18in.

 

86

 

Ruysch — The Annunciation, and The Holy Family with attendant figures and floral borders, painted in ovals, carved gilt frames, a pair, 43in. by 36in.

 

87

 

Guido (after) — The Magdalen, three-quarter length, carved gilt frame, 39in. by 32in.

 

88

 

Early Italian School — Angels, in landscape, carved laurel wreath frame, 28in. by 37in.

 

89

 

Jansen — Portrait of Sir Charles Montague in armour, left hand resting on sword, armorial crests to the top corners, 38in. by 28in.

 

90

 

Opie, 1787 — Portrait of Mrs. Hannah More, white hair, green dress with white collar, carved gilt frame, 30in. by 224in.

 

Exhibited National Portrait Exhibition 1868

 

91

 

Mary Beale — A portrait of Princess Sophia of Hanover, half-length, painted in an oval, panel, 29in. by 23in.

 

92

 

Flemish School, 16th Century — Portrait of Le Comte Bloudoff, with seal at back, carved gilt frame, 28in. by 19in.

 

93

 

Pickersgill — Portrait of Millicent, wife of 6th Duke of Manchester, in green dress, wearing bracelet, seated, 30in. by 25in.

 

94

 

Hudson — Portrait of George Montague, son of Brig.-Gen. Edward Montague wearing ruff and green coat, half-length, carved gilt acanthus frame, 30in. by 25in.

 

95

 

C. Doyster, 1872 (after Rembrandt).- Rembrandt’s self portrait, 24in. by 20in.

 

96

 

Cornelius Johnson, 1671 — Portrait of a lady with slashed sleeves, wearing pearl necklace, painted in an oval, signed and dated, carved gilt frame, 29in. by 24in.

 

97

 

Ramsay — Portrait of young lady, half-length, in low dress, wearing jewelled necklace, high lace collar, painted in an oval, 229in. by 23in.

 

98

 

P. Gade, 1945 — Portrait of Gaston de Foix, wearing breast-plate, a youth with hand on his shoulder, panel, 30in. by 23in., initialled P.G., and dated

 

99

 

W. Beechey — Half-length portrait of Lord Frederick Montague, wearing brown coat and linen ruff, brown flowing hair, 25in. by 20in

 

100

 

Saunders — Portrait of William, 5th Duke of Manchester, wearing green jacket, linen jabot, curtain background, 25in. by 20in.

 

101

 

Jansen — Portrait of Francis St. John, son of Oliver St. John, wearing dark coat, embroidered, with lawn collar, brown flowing hair, oval, 27in. by 22in.

 

102

 

Jansen — Bust portrait of King James 1., painted in an oval, profile left, carved gilt frame, 28in. by 23in.

 

103

 

Raeburn — Portrait of Alexander, 4th Duke of Gordon, in military uniform, half-length, 36in. by 28in.

 

Exhibited National Portrait Exhibition 1868

 

104

 

Gilbert Stuart — Portrait of Gen. Boyd, wearing dark coat and linen jabot, half-length, panel, oval, 28in. by 23in.

 

105

 

Molinaer — Landscape, with river, cottages and figures, an inn to the left, and the companion picture, River view, with avenue of trees, figures, etc., panels, 24in. by 40in., a pair

 

106

 

Jordaens — Bust portrait of a bearded man, wearing dark coat and linen collar, right hand across chest, panel, 222in. by 17in.

 

107

 

Ricci — A Roman triumph, with Consul and numerous figures, carved gilt frame, 24in. by 16in.

 

108

 

Barrocio — Hagar and Ishmael in garden, carved acanthus frame, 20in. by 16in.

 

109

 

Rottenhamer (1564-1606) — St. Katherine and St. Agnes, painted within oval floral borders, 25in. by 20in., pierced and carved gilt frames, a pair

 

110

 

Carlo Dolci — Ecce Homo, panel, 20in. by 16in., in Florentine carved gilt frame

 

111

 

Early Italian School — A half-length portrait of a cleric wearing dark cloak and linen collar and apron, curtain background, on copper, 18in. by 12in., carved gilt frame

 

112

 

Flemish School, 16th Century — Portrait of Catherine Russell, Lady Brooke, wearing dark head-dress, with linen collar and posy of flowers, panel, 15in. by 11in.

 

113

 

Kneller — Portrait, full-length, of Anne, Countess of Suffolk, daughter of Robert, Earl of Manchester, 16in. by 11in.

 

114

 

Ferrato — Madonna and Child, panel, 20in. by 15in., carved gilt frame

 

115

 

Russell — Portrait of Lady Kingston, with curled hair, in white bodice, wearing pearl earrings and necklace, panel, 15in. by 12in., carved gilt frame

 

116

 

Russell — Bust portraits of Charles I. and Queen Henrietta Maria, panels, 14in. by 12in., in carved gilt frames

 

117

 

Russell — Bust portrait of Algernon Percy, Earl of Northumberland, Lord High Admiral, 1640, panel, 15in. by 12in., carved gilt frame

 

118

 

Russell — Bust portrait of Henry, Earl of Holland, wearing breast-plate and sash, panel, 15in. by 12in., carved gilt frame

 

119

 

Russell — Bust portrait of a gentleman, brown flowing hair, lawn collar, panel, 15in. by 12in., carved gilt frame

 

120

 

Buck — Portrait of a gentleman and child, in landscape, stream at distance, water-colour drawing, 18in. by 13in., glazed

 

121

 

Ed. Hopley, 1851 — A wood nymph reclining, oval, in landscape, 6in. by 9in., glazed

 

122

 

Bernadino Luini — A sibyl, bust portrait, panel, 14in. by 12in.

 

123

 

Van Dyck School — Portrait of group of two ladies, one in red dress, and one in cream dress, panel, 8in. by 9_in., carved gilt frame

 

124

 

Sir Thos. Lawrence — Portrait study of Duchess of Manchester, head and shoulders, coloured chalks, 16in. by 10in.

 

125

 

John Sargent, R.A. — Portrait of a lady, head and shoulders, charcoal drawing, 24in. by 18in.

 

126

 

English School, 18th Century — Bust portrait of a man in armour, brown hair, panel, 28in. by 24in.

 

127

 

Pickersgill — Portrait of a young lady, holding book, lace collar, curled hair, 29in. by 24in.

 

128

 

Henry Bambrick — Copy of a portrait of "Col. William Southwell, 1676," 30in. by 24in.

 

129

 

Shayer — Figures and horses in landscape, with dead game, 24in. by 41in.

 

130

 

C. Doyster, 1872, after Soldi — A Venetian lady, 39in. by 30in.

 

131

 

A painting — Christ on the Cross, another, A Country Mansion, and another, panel, Male portrait in Tudor Costume 3

 

132

 

English School — Portrait of a man with brown flowing hair and linen collar, 30in. by 24in., and another, Susanah and the Elders, 50in. by 40in.

 

133

 

Lely School — Portrait of lady in green dress, holding veil, 30in. by 25in.

 

134

 

G. Jekyll, 1865 — "Jehu," a chariot driver, with two horses, 28in. by 22in.

 

135

 

J. Swinton, 1852 — Portrait of Viscountess Mandeville, Louise, wife of the 7th Duke of Manchester, crayon, oval, 30in. by 25in.

 

136

 

Thirty small etchings after Millais, Hook, etc., in two frames, glazed

 

Exhibited International Exhibition, 1862 — The Etching Club

 

137

 

L. Desanges, 1872 — Two young ladies (Louise, Duchess of Manchester and Lady Mary Montague), a study in crayon, 29in. by 24in.

 

138

 

English School, 18th Century — Half-length portrait of gentleman with powdered hair, wearing jabot and embroidered coat, 30in. by 24in.

 

139

 

Flemish School, 18th Century — Landscapes, with cattle, figures and huntsmen, in white frames, a pair, 28in. by 44in.

 

140

 

Jansen — Portrait of a middle-aged lady in white-brimmed hat and Elizabethan dress, holding a book, 29in. by 24in.

 

141

 

Lely School — Portrait of a lady, half-length, 34in. by 26in., and another painting of a bearded man in dark coat, 31in. by 26in.

 

142

 

Wissing — Portrait of a young man, half-length, wearing brown cloak and lace jabot, oval, 228in. by 23in.

 

143

 

Kneller School — Portrait of a gentleman with powdered hair, light coat and cravat, painted in an oval, 30in. by 24in.

 

144

 

Ramsay — Portrait of Mary, daughter of Sir John Bernard, in decolette blue dress trimmed ermine, painted in an oval, 30in. by 24in.

 

145

 

English School, 18th Century — Bust portrait of an officer wearing armour, 30in. by 24in., and another of an elderly man wearing ruff and dark coat, 30in. by 24in.

 

146

 

English School — Half-length portrait of Oliver St. John, wearing cloth cap and brown coat, 35in. by 26in.

 

147

 

Pickersgill — Half-length portrait of George, 6thDuke of Manchester, in red cloak, 30in. by 25in.

 

148

 

Walker — Half-length portrait of a gentleman wearing green cloak and tasselled linen collar, carved gilt frame, 30in. by 24in.

 

149

 

Mary Beale — Bust portrait of a nobleman of the time of James II., with brown flowing hair and lace jabot, painted in an oval, carved gilt frame, 30in. by 24in.

 

150

 

Guido School — Magdalen, Florentine gilt frame, 27in. by 22in.

 

151

 

Italian School — A sibyl, Florentine gilt frame, 25in. by 19in.

 

152

 

Richards — Half-length portrait of a young lady in green dress, painted in an oval, 28in. by 24in.

 

153

 

Mary Beale (1632-1697) (Pupil of Sir Peter Lely) — Half-length portrait of Dodington, Countess of Manchester, wife of 1st Duke, brown dress with white sleeves, carved gilt frame, 30in. by 24in.

 

154

 

Unknown — Half-length portrait of a young lady in embroidered dress and red cloak, oval, 35in. by 27in.

 

155

 

Russell — Portrait of a young lady, half-length, wearing brown and white dress, holding a rose, 28in. by 24in.

 

156

 

W. Wissing (1656-1687) — Portrait of Bishop Burnett in Commonwealth dress, oval, 26in. by 23in.

 

157

 

Mierevelt — Bust portrait of Gustavus Adolphus, King of Sweden, with pointed beard, lace collar, 26in. by 22in.

 

158

 

A painting — A Tyrolese view, with lake, bridge and church, the latter set with clock in box case, striking on three gongs, 23in. by 28in.

 

159

 

Titian — A Doge of Venice, 48in. by 38in., in carved gilt frame

 

160

 

Fried Kaulbach, Kimbolton Castle, 1859 — A portrait, full-length of Louisa, Duchess of Manchester, in red velvet dress, wearing pearl necklace, 92in. by 58in.

 

161

 

L. W. Desanges — Portrait of Louise, Duchess of Manchester, wife of 7th Duke, full-length, hands resting on a chair, carved gilt frame, 94in. by 58in.

 

162

 

A pair of oleographs — Full-length portrait, labelled "Ol. Cromwell," as a young soldier in armour, and the companion portrait, Charles I., in armour, 86in. by 52in.

 

163

 

A pastel portrait of a girl wearing white dress and blue sash, petting a dog, 29in. by 23in., in carved frame, glazed

 

164

 

Professor W. B. Richmond, A.R.A. — Portrait of a lady wearing pink-lined blue cloak, convex mirror background, 30in. by 24in., carved gilt frame

 

165

 

Canaletto — The Grand Canal Venice, showing the State Barge, with innumerable gondolas, figures and buildings, unframed, 35in. by 54in.

 

See Illustration Plat No. 2

 

166

 

Hudson — A portrait of Sir John Hartopp, grandfather of Lady Bernard, seated in a chair, powdered flowing hair, brown coat, white scarf, 36in. by 28in.

 

167

 

Soldi — A three quarter-length portrait of William, 2nd Duke of Manchester, wearing crimson and ermine cloak, left hand resting on sword, right hand on hip, carved gilt frame, 50in. by 40in.

 

168

 

Sir Peter Lely — A portrait of a nobleman with brown flowing hair, dark coat, with linen collar and cuffs, half-length, holding staff and key, carved gilt frame, 50in. by 40in.

 

169

 

Sir Godfrey Kneller — A portrait of Ann, Countess of Manchester, wearing brown dress and ermine trimmed cloak, a coronet on a table, carved gilt frame, 50in. by 40in.

 

170

 

Mytens — A portrait of Sir Wm. Roper, three quarter-length, holding sword and gloves, inscribed "Anno. Dom. 1610, Spes. Mea in Deo," lattice braced mahogany panel, 44in. by 34in.

 

Exhibited National Portrait Exhibition, 1866

 

171

 

Sir Peter Lely — Portrait of Edward, 2nd Earl of Manchester, brown flowing hair, in blue and cream cloak with sash, holding staff, 50in. by 40in.

 

Exhibited Art Treasures Exhibition, 1857

 

172

 

Andrea Soldi, 1741 — Portrait of Harriett Dunch, wife of Robt. Montague, seated, holding child, carved gilt acanthus frame, 50in. by 40in.

 

173

 

Bassano — Elevation of the Host, a High Priest, with figures kneeling in the Temple, carved gilt frame, 58in. by 42in.

 

174

 

Fiammingo — The Deluge, carved gilt frame, 35in. by 47in.

 

175

 

L. Desanges, 1851 — a three-quarter-length portrait of Lady Olivia Montague, Countess of Tankerville, seated, holding a fan, 50in. by 34in.

 

176

 

Corregio School ("Caraggio, Testa Gallery, Bologna") — Christ scourged, carved gilt frame, 53in. by 42in.

 

177

 

T. B. Oudrey — Fox with pheasant, signed and dated, carved leaf-pattern frame in bold relief, 36in. by 54in.

 

178

 

Kneller — Boy in landscape, with dog, castle background, black and gilt frame, 54in. by 42in.

 

179

 

Soldi — Portrait of William, 2nd Duke of Manchester, three-quarter-length, carved gilt frame, 50in. by 40in.

 

180

 

Titian — Holy Family, carved gilt frame, 39in. by 46in.

 

181

 

Bassano — Portrait of a bearded man, with linen cravat, holding a book, carved gilt gadroon frame, 44in. by 34in.

 

Exhibited Art Treasures Exhibition, 1857

 

182

 

Riley — Portrait of Robert, 4th Lord Brook, holding sword, and petting a dog, carved gilt frame, 50in. by 40in.

 

183

 

Titian — Portrait of Francis, 1st Grand Duke of Tuscany, and his Secretary, one writing with a quill pen, the other holding a deed, inscribed "Grand Duke and Machiavel," carved gilt gadroon frame, 42in. by 46in.

 

184

 

Lely - Portrait of Charles, 4th Earl of Manchester, seated, wearing jabot, brown cloak and linen sleeves, carved gilt frame, 50in. by 40in.

 

Exhibited Belfast Library Art Loan Exhibition, 1888

 

185

 

Hudson — Portrait, inscribed "Lady Oxenden, daughter of Edmund Dunch, married to Sir Geo. Oxenden, Bart.," and the companion picture, "Sir Geo. Oxenden, Comisr. Treasury," carved gilt frames, 50ins by 40in., a pair

 

186

 

Sir Peter Lely — Portrait of "Elizabeth, daughter of Earl of Southampton, married to Jocelin, last Earl of Northumberland, and afterwards to Ralph, Lord Montague," carved gilt frame, 50in. by 40in.

 

187

 

Soldi — Portrait of "Isabella, daughter of John, Duke of Montague, married to William, 2nd Duke of Manchester," seated in landscape as Diana, carved gilt frame, 50in. by 40in.

 

188

 

Hudson — Portrait of "Robert, 3rd Duke and Earl of Manchester, 2nd son of Charles, Duke and Earl of Manchester," carved gilt frame, 50in. by 40in.

 

189

 

English School, circa 1600 — Portrait of "Sir John Popham, Kt., Lord Chiefe Iustice of England and of her MAtis. Most Honorable Prive Covnsell," panel, with crest, 44in. by 34in.

 

(He was Lord Chief Justice in 1592 in which year he was knighted. He presided at the Trials of Guy Fawkes and Sir Walter Raleigh)

 

190

 

John Burton — Portrait of a young officer in scarlet tunic, wearing an Order, half-length, 36in. by 28in.

 

191

 

John Burton, 1849 — Portrait of a young gentleman wearing linen collar and plum-coloured cloak, 36in. by 28in.

 

192

 

Hudson — Portrait, "Harriett, daughter of Edmund Dunch, married to Robt., Duke of Manchester," seated, wearing green dress, left arm resting on table, carved gilt frame, 50in. by 40in.

 

193

 

Kneller — Portrait, "Ann Montague, married to James Howard, Earl of Suffolk," wearing brown dress, right arm resting on a vase, carved frame, 50in. by 40in.

 

194

 

Ribera — A Hermit (an elderly beared man in brown cloak), octagonal, carved gilt frame, 34in. by 29in.

 

195

 

W. C. Knell, 1859 — Coast scene, Dover, with sailing and rowing boats, rough sea, 28in. by 44in.

 

196

 

Jansen — Portrait, "Wm. Montague, Lord of the Manor of Oakley, son of Sir Ed. Montague, ÆTATIS SVA, 88, 1619," 45in. by 34in.

 

197

 

Thos. Heaphy — "Proserpine in the Garden of Enna," 11in. diameter

 

198

 

Henry Tidey — 1861 — "Dar Thula," a woman with shield and a soldier with lance, water-colour drawing, glazed, 51in. by 30in.

 

199

 

Ten engravings, etc., various, including the Sistine Madonna, etc.

 

200

 

A set of four engravings by T. Cook, after Hogarth, "Canvassing for votes," "The Polling," "The Election entertainment," and "The Chairing"

 

201

 

Eight large engravings, etc. (six in oak frames, two in gilt frames)

 

202

 

Ten similar, various

 

203

 

Twelve similar, including photographs

 

204

 

Victorian School — A portrait of an officer in dark cloak, holding helmet, and the companion portrait of a lady in cream satin dress, oval, a pair, 22in. by 17in.

 

205

 

English School — A portrait of Queen Elizabeth, panel, 222in. by 17in., and a painting, Children of Charles I., 14in. by 16in.

 

206

 

A set of Hogarth engravings (1735), "Marriage à la Mode," in oak frames, glazed (14)

 

207

 

W. Brocas, 1843 and 1845 — Three water-colour drawings, Interiors, with figures, and a sketchbook by the same, 1843

 

207a

 

J. W. Whymper, 1884 — Landscape, with castle ruins and figures, water-colour drawing

 

208

 

D. Macdonald, 1847 — Five portraits, various, crayons, framed and glazed

 

209

 

A large sepia etching, quay scene, and four other etchings, etc., various

 

210

 

Five paintings of Horses, unframed

 

211

 

H. Duvell — Four paintings of horses and cattle, in gilt frames

 

212

 

Eug. Doveria, ’48 — Tyrolese peasants, a pair, water-colour drawings, touched up with white

 

213

 

G., 1872 — A military review; another, Castle and grounds; and another, Seapiece, with boat, water-colour drawings (3)

 

214

 

F. de Prades — An officer on horseback; an arched painting, Terrace figures; and another, "Portrait of a gentleman in Victorian dress" (3)

 

215

 

G. Morland, 1794 — A pigsty with figure at door, 10in. by 12in., signed and dated

 

216

 

English School, 17th Century — The Music Lesson, Youth and Maid by Spinet, panel, 12in. by 15in.

 

217

 

A pair of water-colour drawings, Italian lake scenes, and two others, Coast scenes

 

218

 

Victorian School — Portrait of Susan, wife of 5thDuke of Manchester, in landscape, wearing pink dress and flowered h at, 18in. by 14in.

 

219

 

Dutch School, 16th Century — Bust portrait of a bearded man, with lace ruff and crimson cloak, panel, 19in. by 17in.

 

220

 

English School — River view, with sailing boats and figures, unframed, 13in. by 18in.

 

221

 

Matthew Thornicraft — Derwent Water, and Grange in Borrowdale, Cumberland, a pair, 18in. by 24in.

 

222

 

Three old sepia drawings, Roman triumphs, and another, coloured, Procession in Rome, much faded

 

223

 

Italian School — Two paintings in painted wall frames, Coast scene, with dog in foreground, and Landscape, with figures, and four others, Coat of Arms, a Landscape, Cupids at play, and Male portrait (6)

 

224

 

Twenty-four engravings, prints, etc., various, framed

 

225

 

Twenty-four ditto

 

226

 

Twenty-four ditto (mostly personal photographs)

 

227

 

Dutch School — A village scene, with church and cavalry, black painted carved frame, 29in. by 22in.

 

228

 

A painting, a dog, another, a hare, another, Castle and grounds with two horses, and another, Forest scene with two stags4

 

229

 

Six drawings, Studies of young ladies, and a water-colour ditto

 

230

 

Twenty-four photographs, etc., various, framed

 

231

 

M. Morley — Pride and Impudence, after Landseer; another, Dying Gaul, charcoal drawings

 

232

 

Four pairs of stipple sepia prints, Cupid, Psyche, etc., after Bartolozzi, and a pair of ditto in colour

 

233

 

An engraving, Village Politicians, after Wilkie, another, Cathedral and lock, by Lucas, after Constable, and two others, Dover and Hastings, after Turner

 

234

 

Ten portrait engravings, Louis XV. and Charles I., etc., framed

 

235

 

L. Dashwood, 1764 — Portrait of a young lady, half-length, in blue and white wrap, pastel

 

236

 

A pastel — A portrait of Elizabeth, 4th Duchess of Manchester, profile right, reading a book, carved gilt frame, glazed

 

237

 

A pastel portrait of a child with dog, oval, carved gilt frame

 

238

 

A similar portrait of a young lady in pale blue and white dress, half-length, in carved gilt frame

 

239

 

A small oval pastel portrait, Lady Anna Maria Montague, and an oblong pastel portrait, Viscount Mandeville, son of George, Duke of Manchester

 

240

 

Victorian School — Portrait of elderly lady in black dress, seated, reading a book, 72in. by 44in.

 

241

 

Four gilt picture frames and two easels

 

242

 

A Russian Ikon, 9in. by 7in., in moulded pearwood frame

 

Fitted in Dining Room

 

243

 

Lucatelli — Bay scene, with buildings, figures and boats (inset to wall over door), 322in. by 78in.

 

Fitted in Entrance Hall

 

244

 

Pelegrini — The Children of Charles, 1st Duke of Manchester (inset to panelling over fireplace), in carved pine frame, 101in. by 79in.

 

245

 

Lucatelli — Landscapes, with figures, in carved pine frames, approx. 32in. by 78in. (inset to panelling as overdoors), a set of four

The Silverton Tramway Company, a rare private railway of 50klms in length, was incorporated in New South Wales October 14, 1886 and the line was completed and opened for traffic on January 12, 1888. One of only two privately owned railways in the state, the tramway was originally founded to transport ore from local mines in the Broken Hill and Silverton region into South Australia. The company soon branched out, not only carrying ore from the mines but freighted other goods and offered a passenger service which accounted for a third of their business.

 

The company serviced travelers on long trips heading interstate to Semaphore (Adelaide) to the Largs Bay Holiday Camp and excursions for local community groups often conveying passengers to Silverton and McCulloch Park (at Stephens Creek) for the day and returning to Broken Hill in the afternoon. When traveling to South Australia the train would travel from Broken Hill, through Silverton and then to Burns which is on the New South Wales side of the border of Cockburn (a town divided by the NSW/SA border).

 

In 1927 the New South Wales government completed the railway from Sydney to Broken Hill, thus joining the Silverton Tramway and completing the link from Sydney to Adelaide. It played a strategic role in the trans-Australia network until 1970, when it was surpassed by the New South Wales Government Railways (Indian-Pacific). From 1888-1970 it was critical to the economic functioning of Broken Hill, by providing the key transport of ore to the Port Pirie smelters. It played a significant role in the politics and recreation of Broken Hill, and a crucial role at times of water shortage in Broken Hill.

 

Today, Silverton resides in the Unincorporated Area of New South Wales (NSW) and so does not feature a City Council. It is run by the Silverton Village Committee, who to this day hold their quarterly meetings in the Silverton Municipal Chambers.

 

Source: Silverton NSW (www.aussietowns.com.au/town/silverton-nsw), New South Wales Heritage Register & Discover Broken Hill (discoverbrokenhill.com.au/silverton-nsw/historic-building...).

Still temperature not dropping, today it was over 27C but at night I am sure its bellow 25C, very pleasant. Still no sign of rain.

 

Canon Digital IXUS 970 IS

Shutter 1/318 sec

Lens Aperture F/3.2

Focal Length 7 mm

F-Num F/3.2

Exposure 1/320 sec

ISO 80

 

Correction by Photoshop CS4

 

13 Nov 2009 @ 16:41 Kuwait Time

 

Photography: Azhar Munir © 2009

 

Rate my photo: 1 2 3 4 5 6 7 8 9 10

Red-headed Trogon

 

The red-headed trogon (Harpactes erythrocephalus) is a species of bird in the family Trogonidae.

 

The red-headed trogon is on average 34 cm (13 in) in length. The male has a red head and breast, a unique feature in the Trogon group. The female resembles the Diard’s trogon without a speckled undertail.

 

The head, neck and upper breast of an adult male is dull crimson. A narrow white band crosses the mid breast, underneath which the lower breast to abdomen is light red to pink. Pale red can be observed on the flanks whereas the mantle and back of the bird are rusty brown. The male perches on branches with the support of mauve-blue legs. Regarding wing colouration, the lesser and median wing coverts, secondary coverts, as well as outer webs of tertials and secondaries are vermiculated black and white. The primary feathers also appear black and white. As for the bird’s long tail, the central feathers are dark brown with a black tip, the second and third pairs are black and the outer pairs are white with black bases. Finally, a black-tipped cobalt blue bill, a deep mauve-blue gape and eyering and reddish-brown irises shape the bird’s face.

 

The head, neck and upper breast of an adult female are olive-brown. Just like the male, a narrow white band crosses the mid breast, underneath which the lower breast to abdomen is light red to pink. The mantle and back appear orange to brown in colour. The wings are vermiculated dark brown and yellowish brown. The tail feathers are very similar to those of the males. The bill, gape and bare eyering are pale blue on females.

 

At the juvenile stage, the head, neck and upper-parts are buff brown, whereas the underparts appear buff white. No black tip on the narrower central tail feathers can be observed.

 

The Red-headed trogon is a widely distributed species of the Harpactes genus and is occurs across much of the Indian subcontinent and Southeast Asia. It is sporadically distributed from North-Eastern India, Bangladesh and Central Nepal to Southern China, through the Malay Peninsula all the way to areas of Sumatra.

 

The red-headed trogon prefers upland forests. In the Himalayan foothills it lives in dense broad-leaved forests and in tropical and subtropical zones the species inhabits mostly mixed bamboo forests. In Southeast Asia, this species frequents broadleaved evergreen forests from 300m up to 2600m. In Myanmar, Red-headed trogons live in bamboo and oak forests at 2500m altitude with Ward's Trogons (Harpactes wardi). On the Malay Peninsula, the birds can be observed regularly between 300m and 1680m in evergreen lowland, lower montane and taller upper montane forests. Towards the south of the peninsula however, it is rarely seen below 700m. In Laos, it shares its habitat of evergreen forests and adjacent plains 1700m high, with the Orange-breasted Trogon (Harpactes oreskios). Finally, in northern, western and southern Thailand, it favours climax broad-leaved evergreen forests between 400m and 2000m which it also shares with the Orange-breasted Trogon (Harpactes oreskios).

 

The bird's local conservation status varies depending on the level of disturbance in the forest. Generally speaking it is locally fairly common in Northeastern India, frequent in Bhutan, and locally dispersed in Bangladesh. The forests of Vietnam appear to be a stronghold, for the birds are reported regularly from many localities throughout the country. Elsewhere throughout its range, it is uncommon to scarce, including Nepal where habitat destruction most certainly explains a rapid decline in population numbers in that area.

 

In most regions, the red-headed trogon is sedentary although researchers have observed altitudinal movements in Southern Laos, as well as in the Sangthong district, Northern Laos.

 

Red-headed trogons can most often be found perched on a shaded branch waiting for prey, alone or in pairs. Flight between trees is often sluggish and very low, only a few meters above the ground.

 

Red-headed trogons are most active in the early hours of the morning and at night, when they fly on the edges of forest clearings in pursuit of flying moths.

 

In central south Thailand, they share their habitat with the Orange-breasted trogon (Harpactes oreskios). The two species often follow flocks of foraging birds taking advantage of the insects they flush out.

 

The male’s call resembles that of the Eurasian golden oriole (Oriolus oriolus): a sequence of usually five to six, well-spaced mellow “tyaup” notes, repeated every minute. Occasionally the male calls an extended “pluu-du” note marked by a significant terminal drop in pitch. The call is repeated every 3–6 seconds. As an alarm signal, the Red-headed trogon emits a chattering croak.

 

Red-headed trogons feed primarily on insects and their larvae found in the foliage, on tree branches or in mid air. They also eat leaves and fruits. Some food items include green orthopterans, stick-insects, cicadas, millipedes, flies, beetles, centipedes, woodlice and moths.

 

In Northern India, eggs are laid between mid April and mid July, with a peak in May and June. In China, eggs are laid in April, as do eggs in Myanmar. In Thailand, nesting occurs slightly earlier, in March and continues until July, while on the Malay Peninsula dependent juveniles have been observed anytime between early March and late May.

 

Red-headed trogons usually nest in natural tree cavities, 1.5 to 5m above the ground. The entrance hole is generally wide. Indeed, the pair will enlarge narrow entrances, and occasionally, will excavate the entire nesting cavity. Birds have been seen using old nesting holes of woodpeckers and barbets.

 

Both sexes contribute to the nesting process, namely excavating, incubating the eggs, brooding and feeding the offspring. However females spend more time brooding, since they alone incubate and brood at night. Males on the other hand contribute more to providing the chicks with food. During the day the pair will take it in turns to brood although they have been known to incubate together.

 

Nest success is low, at about 9%.

It is the largest North American heron and, among all extant herons, it is surpassed only by the goliath heron (Ardea goliath) and the white-bellied heron (Ardea insignis). It has head-to-tail length of 91–137 cm (36–54 in), a wingspan of 167–201 cm (66–79 in), a height of 115–138 cm (45–54 in), and a weight of 1.82–3.6 kg (4.0–7.9 lb).[7][8][9][10] In British Columbia, adult males averaged 2.48 kg (5.5 lb) and adult females 2.11 kg (4.7 lb).[11] In Nova Scotia and New England, adult herons of both sexes averaged 2.23 kg (4.9 lb),[12] while in Oregon, both sexes averaged 2.09 kg (4.6 lb)[13] Thus, great blue herons are roughly twice as heavy as great egrets (Ardea alba), although only slightly taller than them, but they can weigh about half as much as a large goliath heron.[14]

 

Notable features of great blue herons include slaty (gray with a slight azure blue) flight feathers, red-brown thighs, and a paired red-brown and black stripe up the flanks; the neck is rusty-gray, with black and white streaking down the front; the head is paler, with a nearly white face, and a pair of black or slate plumes runs from just above the eye to the back of the head. The feathers on the lower neck are long and plume-like; it also has plumes on the lower back at the start of the breeding season. The bill is dull yellowish, becoming orange briefly at the start of the breeding season, and the lower legs are gray, also becoming orangey at the start of the breeding season. Immature birds are duller in color, with a dull blackish-gray crown, and the flank pattern is only weakly defined; they have no plumes, and the bill is dull gray-yellow.[6][15][16] Among standard measurements, the wing chord is 43–49.2 cm (16.9–19.4 in), the tail is 15.2–19.5 cm (6.0–7.7 in), the culmen is 12.3–15.2 cm (4.8–6.0 in), and the tarsus is 15.7–21 cm (6.2–8.3 in).[17][18] The heron's stride is around 22 cm (8.7 in), almost in a straight line. Two of the three front toes are generally closer together. In a track, the front toes, as well as the back, often show the small talons.[19]

 

The subspecies differ only slightly in size and plumage tone, with the exception of A. h. occidentalis, native to sSuth Florida, which also has a distinct white morph, known as the great white heron (not to be confused with the great egret, for which "great white heron" was once a common name).[2] The great white heron differs from other great blues in bill morphology, head plume length, and in having a total lack of pigment in its plumage. It averages somewhat larger than the sympatric race A. h. wardi and may be the largest race in the species. In a survey of A. h. occidentalis in Florida, males were found to average 3.02 kg (6.7 lb) and females average 2.57 kg (5.7 lb), with a range for both sexes of 2 to 3.39 kg (4.4 to 7.5 lb).[7] This is mainly found near salt water, and was long thought to be a separate species. Birds intermediate between the normal morph and the white morph are known as Würdemann's heron; these birds resemble a "normal" great blue with a white head.

 

The theory that great white herons may be a separate species (A. occidentalis) from the great blue heron has again been given some support by David Sibley.[3]

Hellz yeah!

Focal length: 135mm

Exposure time: 1/200 sec

F-stop: f/16

ISO speed: 200

Flash: on the left upper cam

In profile, anterior and posterior straight.

 

Key id. features BELOW

SPECIES DESCRIPTION part A 2Pu flic.kr/p/BG8mKq

SPECIES DESCRIPTION part B 3Pu flic.kr/p/BRHsiR

OTHER SPECIES ALBUMS

www.flickr.com/photos/56388191@N08/collections/

 

Key identification features of typical British specimens.

 

Patella ulyssiponensis

1) Basal half of pallial tentacles has opaque pigment which can be white, off-white, cream or, on large specimens, yellowish or orange. The distal half fades to a translucent tip. Opaque basal half is often distinct from translucent mantle-skirt that they arise from, so it is possible to confuse with P. depressa. It is important to use pallial tentacles in combination with foot-colour/shell-length for identification. Examples at 26Pu flic.kr/p/BGqszN .

2) Foot is NOT pitch-brown/black or dark khaki. It can be whitish when young 30Pu flic.kr/p/BGqk4q becoming yellowish 31Pu flic.kr/p/BGrKw1 and, sometimes, orange with age 21Pu flic.kr/p/AUuNww . Juveniles under 12mm length may show a blackish internal shadow through the thin pale translucent foot 30Pu flic.kr/p/BGqk4q as they lack gonads above the foot that mask the dark viscera of adults.

  

Similar species

 

Patella vulgata

Extremely variable species; foot colours and nearly all shell-features have overlaps with P. depressa and P. ulyssiponensis.

1. Pigment-less pallial tentacles are slender, translucent and same colour as mantle-skirt they arise from. 40Pu flic.kr/p/BPJ1vQ .

Cautions:

Pallial tentacles of P. vulgata may look white when arise from colourless mantle-skirt in some lighting, but no pigment 41Pu flic.kr/p/AUxuXs .

Translucency and fineness of pallial tentacles of P. vulgata often make discernment difficult, especially when mantle skirt retracted from shell-rim and pallial tentacles viewed against shell 42Pu flic.kr/p/BGtg3y ; often virtually invisible when out of water as may be retracted as well as highly translucent 43Pu flic.kr/p/AUDqUz .

Foot colour of P. vulgata varies greatly, sometimes orange resembling P. ulyssiponensis 53PualbumPvhigh.

Shell interior can be white or tinted orange in P. vulgata 53PualbumPvhigh and 44Pu flic.kr/p/BPKJ6G .

 

Patella depressa

[1 & 2 in combination, not singly, are diagnostic of typical specimens but exclude intermediates.]

1. Pigmented pallial tentacles are opaque chalky-white for more than half of extended-length; may have translucent tip; distinctly whiter than buff mantle-skirt from which they arise 45Pu flic.kr/p/BJLMBx . Even when mantle-skirt retracted, pallial tentacles often clearly visible contrasting with the darker mantle 46Pu flic.kr/p/AUxm6u .

2. Sole of foot pitch-brown 47Pu flic.kr/p/AUDiJH to black 46Pu flic.kr/p/AUxm6u .

3. On shell-interior, whitish projecting points of ribs have short, unglazed, chalky, pure-white central line, but reduced or lacking where projecting points of ribs eroded 48Pu flic.kr/p/BS4e7v . [This feature recently recognised by S. Payne, and applies to all in large sample examined by IFS. Unsure yet if universal on P. depressa and exclusive of P. vulgata and P. ulyssiponensis.]

Caution:

Shell interior can be orange-cream in P. depressa 49Pu flic.kr/p/BixiVz

 

Patella caerulea Linnaeus, 1758.

Does not occur in Britain. In Iberia and Mediterranean, separation from it of some specimens of P. ulyssiponensis could not be achieved with foot colour and shell morphology by Sanna et al. (2011) who relied on the use of DNA sequencing. They did not mention attempting the use of pallial tentacle colour on live specimens; it may be worth investigation. See Sanna et al. for images of P. caerulea.

 

Camera: Nikon 1 J4

Aperture: f/4.5

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ISO: 160

Lens: 1 NIKKOR 18.5mm f/1.8

Focal Length: 18.5mm (49mm in 35mm equivalent)

by Asahi Opt. Super-Takumar 55mm F1.8

110.0mm ( 35mm equivalent focal length )

María Pagés is a sinuous dancer of traditional flamenco; but tradition takes a back seat in her full-length "Songs Before a War."

 

May 8, 2005

Flamenco's Strange New Moves

By VALERIE GLADSTONE

 

JEREZ DE LA FRONTERA, Spain

 

SINCE 1994, the Jerez Flamenco Festival has drawn flamenco lovers, many of them American, to this small, pretty town in the heart of Andalusia. For 15 days, they see exhibits, master classes and performances by both new and established dancers and musicians. On a cold and rainy late winter night, a crowd of shivering festival patrons hurried into the Teatro Villamarta for a premiere from María Pagés, a leading light of the flamenco revolution that has turned this traditional dance form into a hot show-biz commodity.

 

The Pagés Company's "Songs Before a War" ("Canciones, Antes de una Guerra") showed clearly that commercial success is not necessarily a good thing. Ms. Pagés, who won a wide following in the flamenco segment of "Riverdance," was trying to use this soulful, ancient dance to convey an antiwar message. Supplanting the usual keening vocals and thrumming guitars with popular music associated with war, she kicked up her heels to Louis Armstrong's "When the Saints Go Marching In" and to African songs sung by Tsidii Le Loka. In the final moments, a curtain painted with a map of the world unfurled behind the performers as John Lennon's "Imagine" played over the sound system.

 

Ms. Pagés, who will take "Canciones" to the International Festival of Music and Dance in Granada in June, is sinuous and eloquent when dancing traditional flamenco, and she knows how to move dancers around the stage. But this show, with its corny, incongruous elements, proved simply labored.

 

And it is not alone. The so-called "new" flamenco that has been developing over the last decade is mired in a crisis born of its success. As audiences have gotten bigger, a kind of artistic inflation has set in, with shows becoming more ambitious and more pretentious. At this festival, which often serves as a preview of the flamenco that will be seen in the United States the following year, major stars like Eva Yerbabuena, Antonio Canales and Ms. Pagés all seemed unable to deliver mature, complex work. Only the relatively unknown Rafaela Carrasco managed a piece worth exporting.

 

The festival's director, Francisco Lopez, is aware of the problem. "What we see now is dancers trying to make the transition from an entertainment designed for a party or cafe to producing modern shows for large audiences," he said. "It's going to take time. Flamenco is really in its adolescence."

 

Miguel Marin, who packages the annual tour Flamenco Festival U.S.A., and who comes to Jerez every year looking for dancers and musicians to take to the United States, has seen first-hand the phenomenal growth of the flamenco audience both in Spain and abroad. In 2001, his festival's first year, he scheduled 11 shows in 3 cities. Last year there were 50 shows in 11 cities. "In New York the first year," he said, "3,639 people attended three concerts. Last year, 13,595 attended eight concerts, and many concerts sold out."

 

Given the rousing response of audiences both at home and abroad to their less traditional efforts, Spain's flamenco artists may not see any reason to change or grow. While foreigners continue to enjoy old-fashioned, highly theatrical flamenco performances, like those regularly presented by Noche Flamenca in New York (which is playing this month at Theater 80 in the East Village), the Spanish have largely had their fill. They are far more interested in artists who incorporate contemporary music and movement and in works that tell stories. But for several reasons, intrinsic to flamenco and to Spain, few artists are up to the challenge.

 

Flamenco was born in ancient Gypsy settlements in southern Spain some 150 years ago, but the concept of a flamenco show is new. Since its beginnings, flamenco has largely been a soloist's art, performed casually and spontaneously in homes and cafes. Over time, certain combinations of movement became connected with traditional songs, and dancers usually proved their artistry not by choreographing new steps but by imbuing the old with a display of spirit and virtuosity - rather like ballet dancers in "Swan Lake" and "Giselle."

 

Since flamenco artists have a rich source of traditional dance forms to use as reference for their solos, they have not pursued choreographic training. And few flamenco songs tell stories. They consist of four or five brief lines that evoke emotions. So learning how to embody a character or dramatize a narrative is not part of a flamenco dancer's preparation.

 

When asked about their training, the dancers usually point out that they have studied with the greats from their hometowns in Andalusia and spent a few years with a noted flamenco company. Now, because of expanding opportunities, dancers start troupes long before they are seasoned artists. They rarely understand what choreography entails, Mr. Lopez said.

 

"If a flamenco dancer is called in to choreograph for the National Ballet of Spain," he added, "he or she teaches the whole company one of his or her signature routines. Then the whole company copies it, and they'll do it all together. That's what they call choreographing."

 

Another difficulty for flamenco artists trying to extend the form is the relative poverty of contemporary Spanish dance. Artistically isolated from the rest of the world during the Franco regime, Spain missed many developments in dance between 1939 and 1975. There are Spanish choreographers whose work has made it to the international stage, like Nacho Duato and Ramon Oller. But Spain's modern dance culture, far less developed than those of other European countries, has given flamenco artists few models to emulate. Trying to expand the lexicon, they borrow ballet pirouettes or Graham contractions. Ms. Pagés even added a Hollywood soft shoe to one piece. But they have difficulty integrating these moves with flamenco style.

 

In some ways, flamenco today resembles American modern dance before Martha Graham: Isadora Duncan, Ruth St. Denis and the other soloists who preceded her probably did not worry much about the paucity of group works. It took Graham's expansive choreographic vision to establish modern dance as a significant alternative to ballet. Flamenco will remain an uneven patchwork of inspired solo dancing and embarrassing new choreography until it is transformed by a similar maverick.

 

The festival here did offer hope. Rafaela Carrasco, who presented "A Glance at Flamenco" ("Una Mirada del Flamenco"), appears on her way to creating truly original and modern flamenco, without gimmicks or pedantry. Her beautiful show was filled with atmospheric images evoking sensations and dreams. The musical arrangements included solos for cello, tabla and piano that worked well with the traditional instruments. But above all, Ms. Carrasco choreographed with contrapuntal complexity, meshing traditional moves with her own idiosyncratic and fluid style.

 

"Flamenco has its limitations," Ms. Carrasco said. "There are a lot of emotions that need other types of movement. That's why I've developed my own technique. I also make sure that my musical arrangements support my style. I learned a lot from the choreographer Mario Maya about theater. Still, we should have places to study choreography.

 

"It is very exciting being a flamenco choreographer in Spain today. It is also very lonely."

 

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Digital Zoom Ratio 1.5x

Focal Length (35mm format) 24 mm

short digital tele macro

 

Stechdornblättrige Mahonie (Mahonia aquifolium)

Die Gewöhnliche Mahonie ist eine immergrüne Pflanze.

Der Alkaloid-Gehalt der Beeren liegt bei etwa 0,05 %; sie sind essbar und werden z. B. für die Herstellung von Marmeladen und Fruchtweinen verwendet.

 

In der Literatur finden sich Hinweise auf die medizinische Verwendung von Pflanzenextrakten, insbesondere des darin enthaltenen Berberins zur Bekämpfung von Haarschuppen und Schuppenflechte, möglicherweise auch Akne.

 

The Mahonia aquifolium

 

The ordinary Mahonie is an evergreen plant.

 

The alkaloid content of the berries is about 0.05%; They are edible and are used, for example, for the production of jams and fruit wines.

  

The literature contains references to the medical use of plant extracts, in particular the Berberins contained therein for the control of hair sheds and psoriasis, possibly also acne.

 

digitales kurzes Tele Makro

Camera Panasonic DMC-TZ41

Exposure 0.001 sec (1/1300)

Aperture f/3.3

 

ISO Speed 100 - fixed

Exposure Bias -0.66 EV

 

C1 Preset macro

Contrast Normal

Saturation High

Sharpness Hard

Image Quality High

AFArea Mode AF-points (0 23)

Image Stabilization Off

"camera-raw" best of the camera - all camera internal features set off

 

°°°°°°°°°°°°°°°°°°°

  

-->> Click , click

© View LARGE on BLACK

or white, or grey

__ For your Eyes only ©

Another shot of the new tripod.

 

Tumblr

 

i'm having a whisker-appreciating period. They finally grew back full length since our last show and the boys look damn cute with them. I like them so much that i didn't shave them for our shows this weekend. Its mostly because I probably won't show much for a few months and i don't want them to go through the prickly grow-out stages again.

 

They did not stand in our way, Marco took home two points toward his championship on Saturday, despite being "ungroomed". Perry didnt win anything this weekend but he's just as pretty as he always was.

Quoting from Wikipedia: Jaguar E-Type:

 

• • • • •

 

The Jaguar E-Type (UK) or XK-E (US) is a British automobile manufactured by Jaguar between 1961 and 1974. Its combination of good looks, high performance, and competitive pricing established the marque as an icon of 1960s motoring. A great success for Jaguar, over seventy thousand E-Types were sold during its lifespan.

 

In March 2008, the Jaguar E-Type ranked first in Daily Telegraph list of the "100 most beautiful cars" of all time.[2] In 2004, Sports Car International magazine placed the E-Type at number one on their list of Top Sports Cars of the 1960s.

 

Contents

 

• 1 Overview

• 2 Concept versions

•• 2.1 E1A (1957)

•• 2.2 E2A (1960)

• 3 Production versions

•• 3.1 Series 1 (1961-1968)

•• 3.2 Series 2 (1969-1971)

•• 3.3 Series 3 (1971-1975)

• 4 Limited edtions

•• 4.1 Low Drag Coupé (1962)

•• 4.2 Lightweight E-Type (1963-1964)

• 5 Motor Sport

• 6 See also

• 7 References

• 8 External links

 

Overview

 

The E-Type was initially designed and shown to the public as a grand tourer in two-seater coupé form (FHC or Fixed Head Coupé) and as convertible (OTS or Open Two Seater). The 2+2 version with a lengthened wheelbase was released several years later.

 

On its release Enzo Ferrari called it "The most beautiful car ever made".

 

The model was made in three distinct versions which are now generally referred to as "Series 1", "Series 2" and "Series 3". A transitional series between Series 1 and Series 2 is known unofficially as "Series 1½".

 

In addition, several limited-edition variants were produced:

 

• The "'Lightweight' E-Type" which was apparently intended as a sort of follow-up to the D-Type. Jaguar planned to produce 18 units but ultimately only a dozen were reportedly built. Of those, one is known to have been destroyed and two others have been converted to coupé form. These are exceedingly rare and sought after by collectors.

• The "Low Drag Coupé" was a one-off technical exercise which was ultimately sold to a Jaguar racing driver. It is presently believed to be part of the private collection of the current Viscount Cowdray.

 

Concept versions

 

E1A (1957)

 

After their success at LeMans 24 hr through the 1950s Jaguars defunct racing department were given the brief to use D-Type style construction to build a road going sports car, replacing the XK150.

 

It is suspected that the first prototype (E1A) was given the code based on: (E): The proposed production name E-Type (1): First Prototype (A): Aluminium construction (Production models used steel bodies)

 

The car featured a monocoque design, Jaguar's fully independent rear suspension and the well proved "XK" engine.

 

The car was used solely for factory testings and was never formally released to the public. The car was eventually scrapped by the factory

 

E2A (1960)

 

Jaguar's second E-Type concept was E2A which unlike E1A was constructed from a steel chassis and used a aluminium body. This car was completed as a race car as it was thought by Jaguar at the time it would provide a better testing ground.

 

E2A used a 3 litre version of the XK engine with a Lucas fuel injection system.

 

After retiring from the LeMans 24 hr the car was shipped to America to be used for racing by Jaguar privateer Briggs Cunningham.

 

In 1961 the car returned to Jaguar in England to be used as a testing mule.

 

Ownership of E2A passed to Roger Woodley (Jaguars customer competition car manager) who took possession on the basis the car not be used for racing. E2A had been scheduled to be scrapped.

 

Roger's wife Penny Griffiths owned E2A until 2008 when it was offered for sale at Bonham's Quail Auction. Sale price was US$4.5 million

 

Production versions

 

Series 1 (1961-1968)

 

Series I

 

• Production

1961–1968[3] [4]

 

• Body style(s)

2-door coupe

2-door 2+2 coupe

2-door convertible

 

• Engine(s)

3.8 L XK I6

4.2 L XK I6

 

• Wheelbase

96.0 in (2438 mm) (FHC / OTS)

105.0 in (2667 mm) (2+2) [5]

 

• Length

175.3125 in (4453 mm) (FHC / OTS)

184.4375 in (4685 mm) (2+2) [5]

 

• Width

65.25 in (1657 mm) (all) [5]

 

• Height

48.125 in (1222 mm) (FHC)

50.125 in (1273 mm) (2+2)

46.5 in (1181 mm) (OTS)[5]

 

• Curb weight

2,900 lb (1,315 kg) (FHC)

2,770 lb (1,256 kg) (OTS)

3,090 lb (1,402 kg) (2+2) [6]

 

• Fuel capacity

63.64 L (16.8 US gal; 14.0 imp gal)[5]

 

The Series 1 was introduced, initially for export only, in March 1961. The domestic market launch came four months later in July 1961.[7] The cars at this time used the triple SU carburetted 3.8 litre 6-cylinder Jaguar XK6 engine from the XK150S. The first 500 cars built had flat floors and external hood (bonnet) latches. These cars are rare and more valuable. After that, the floors were dished to provide more leg room and the twin hood latches moved to inside the car. The 3.8 litre engine was increased to 4.2 litres in October 1964.[7]

 

All E-Types featured independent coil spring rear suspension with torsion bar front ends, and four wheel disc brakes, in-board at the rear, all were power-assisted. Jaguar was one of the first auto manufacturers to equip cars with disc brakes as standard from the XK150 in 1958. The Series 1 can be recognised by glass covered headlights (up to 1967), small "mouth" opening at the front, signal lights and tail-lights above bumpers and exhaust tips under the licence plate in the rear.

 

3.8 litre cars have leather-upholstered bucket seats, an aluminium-trimmed centre instrument panel and console (changed to vinyl and leather in 1963), and a Moss 4-speed gearbox that lacks synchromesh for 1st gear ("Moss box"). 4.2 litre cars have more comfortable seats, improved brakes and electrical systems, and an all-synchromesh 4-speed gearbox. 4.2 litre cars also have a badge on the boot proclaiming "Jaguar 4.2 Litre E-Type" (3.8 cars have a simple "Jaguar" badge). Optional extras included chrome spoked wheels and a detachable hard top for the OTS.

 

An original E-Type hard top is very rare, and finding one intact with all the chrome, not to mention original paint in decent condition, is rather difficult. For those who want a hardtop and aren't fussy over whether or not it is an original from Jaguar, several third parties have recreated the hardtop to almost exact specifications. The cost ranges anywhere from double to triple the cost of a canvas/vinyl soft top.

 

A 2+2 version of the coupé was added in 1966. The 2+2 offered the option of an automatic transmission. The body is 9 in (229 mm) longer and the roof angles are different with a more vertical windscreen. The roadster remained a strict two-seater.

 

There was a transitional series of cars built in 1967-68, unofficially called "Series 1½", which are externally similar to Series 1 cars. Due to American pressure the new features were open headlights, different switches, and some de-tuning (with a downgrade of twin Zenith-Stromberg carbs from the original triple SU carbs) for US models. Some Series 1½ cars also have twin cooling fans and adjustable seat backs. Series 2 features were gradually introduced into the Series 1, creating the unofficial Series 1½ cars, but always with the Series 1 body style.

 

Less widely known, there was also right at the end of Series 1 production and prior to the transitional "Series 1½" referred to above, a very small number of Series 1 cars produced with open headlights.[8] These are sometimes referred to as "Series 1¼" cars.[9] Production dates on these machines vary but in right hand drive form production has been verified as late as March 1968.[10] It is thought that the low number of these cars produced relative to the other Series make them amongst the rarest of all production E Types.

 

An open 3.8 litre car, actually the first such production car to be completed, was tested by the British magazine The Motor in 1961 and had a top speed of 149.1 mph (240.0 km/h) and could accelerate from 0-60 mph (97 km/h) in 7.1 seconds. A fuel consumption of 21.3 miles per imperial gallon (13.3 L/100 km; 17.7 mpg-US) was recorded. The test car cost £2097 including taxes.[11]

 

Production numbers from Graham[12]:

 

• 15,490 3.8s

• 17,320 4.2s

• 10,930 2+2s

 

Production numbers from xkedata.com[13]: [omitted -- Flickr doesn't allow tables]

 

Series 2 (1969-1971)

 

Series II

 

• Production

1969–1971[3] [4]

 

• Body style(s)

2-door coupe

2-door 2+2 coupe

2-door convertible

 

• Engine(s)

4.2 L XK I6

 

• Curb weight

3,018 lb (1,369 kg) (FHC)

2,750 lb (1,247 kg) (OTS)

3,090 lb (1,402 kg) (2+2) [6]

 

Open headlights without glass covers, a wrap-around rear bumper, re-positioned and larger front indicators and taillights below the bumpers, better cooling aided by an enlarged "mouth" and twin electric fans, and uprated brakes are hallmarks of Series 2 cars. De-tuned in US, but still with triple SUs in the UK, the engine is easily identified visually by the change from smooth polished cam covers to a more industrial 'ribbed' appearance. Late Series 1½ cars also had ribbed cam covers. The interior and dashboard were also redesigned, with rocker switches that met U.S health and safety regulations being substituted for toggle switches. The dashboard switches also lost their symmetrical layout. New seats were fitted, which purists claim lacked the style of the originals but were certainly more comfortable. Air conditioning and power steering were available as factory options.

 

Production according to Graham[12] is 13,490 of all types.

 

Series 2 production numbers from xkedata.com[13]: [omitted -- Flickr doesn't allow tables]

 

Official delivery numbers by market and year are listed in Porter[3] but no summary totals are given.

 

Series 3 (1971-1975)

 

Series III

 

• Production

1971–1975

 

• Body style(s)

2-door 2+2 coupe

2-door convertible

 

• Engine(s)

5.3 L Jaguar V12

 

• Wheelbase

105 in (2667 mm) (both)[6]

 

• Length

184.4 in (4684 mm) (2+2)

184.5 in (4686 mm) (OTS)[6]

 

• Width

66.0 in (1676 mm) (2+2)

66.1 in (1679 mm) (OTS)[6]

 

• Height

48.9 in (1242 mm) (2+2)

48.1 in (1222 mm) (OTS)[6]

 

• Curb weight

3,361 lb (1,525 kg) (2+2)

3,380 lb (1,533 kg) (OTS)[6]

 

• Fuel capacity

82 L (21.7 US gal; 18.0 imp gal)[14]

 

A new 5.3 L 12-cylinder Jaguar V12 engine was introduced, with uprated brakes and standard power steering. The short wheelbase FHC body style was discontinued and the V12 was available only as a convertible and 2+2 coupé. The convertible used the longer-wheelbase 2+2 floorplan. It is easily identifiable by the large cross-slatted front grille, flared wheel arches and a badge on the rear that proclaims it to be a V12. There were also a very limited number of 4.2 litre six-cylinder Series 3 E-Types built. These were featured in the initial sales literature. It is believed these are the rarest of all E-Types of any remaining.

 

In 2008 a British classic car enthusiast assembled what is surely the last ever E-Type from parts bought from the end-of-production surplus in 1974.[15]

 

Graham[12] lists production at 15,290.

 

Series 3 production numbers from xkedata.com[13]: [omitted -- Flickr doesn't allow tables]

 

Limited edtions

 

Two limited production E-Type variants were made as test beds, the Low Drag Coupe and Lightweight E-Type, both of which were raced:

 

Low Drag Coupé (1962)

 

Shortly after the introduction of the E-Type, Jaguar management wanted to investigate the possibility of building a car more in the spirit of the D-Type racer from which elements of the E-Type's styling and design were derived. One car was built to test the concept designed as a coupé as its monocoque design could only be made rigid enough for racing by using the "stressed skin" principle. Previous Jaguar racers were built as open-top cars because they were based on ladder frame designs with independent chassis and bodies. Unlike the steel production E-Types the LDC used lightweight aluminium. Sayer retained the original tub with lighter outer panels riveted and glued to it. The front steel sub frame remained intact, the windshield was given a more pronounced slope and the rear hatch welded shut. Rear brake cooling ducts appeared next to the rear windows,and the interior trim was discarded, with only insulation around the transmission tunnel. With the exception of the windscreen, all cockpit glass was plexi. A tuned version of Jaguar's 3.8 litre engine with a wide angle cylinder-head design tested on the D-Type racers was used. Air management became a major problem and, although much sexier looking and certainly faster than a production E-Type, the car was never competitive: the faster it went, the more it wanted to do what its design dictated: take off.

 

The one and only test bed car was completed in summer of 1962 but was sold a year later to Jaguar racing driver Dick Protheroe who raced it extensively and eventually sold it. Since then it has passed through the hands of several collectors on both sides of the Atlantic and now is believed to reside in the private collection of the current Viscount Cowdray.

 

Lightweight E-Type (1963-1964)

 

In some ways, this was an evolution of the Low Drag Coupé. It made extensive use of aluminium alloy in the body panels and other components. However, with at least one exception, it remained an open-top car in the spirit of the D-Type to which this car is a more direct successor than the production E-Type which is more of a GT than a sports car. The cars used a tuned version of the production 3.8 litre Jaguar engine with 300 bhp (224 kW) output rather than the 265 bhp (198 kW) produced by the "ordinary" version. At least one car is known to have been fitted with fuel-injection.

 

The cars were entered in various races but, unlike the C-Type and D-Type racing cars, they did not win at Le Mans or Sebring.

 

Motor Sport

 

Bob Jane won the 1963 Australian GT Championship at the wheel of an E-Type.

 

The Jaguar E-Type was very successful in SCCA Production sports car racing with Group44 and Bob Tullius taking the B-Production championship with a Series-3 V12 racer in 1975. A few years later, Gran-Turismo Jaguar from Cleveland Ohio campaigned a 4.2 L 6 cylinder FHC racer in SCCA production series and in 1980, won the National Championship in the SCCA C-Production Class defeating a fully funded factory Nissan Z-car team with Paul Newman.

 

See also

 

• Jaguar XK150 - predecessor to the E-Type

• Jaguar XJS - successor to the E-Type

• Jaguar XK8 - The E-Type's current and spiritual successor

• Guyson E12 - a rebodied series III built by William Towns

 

References

 

• ^ Loughborough graduate and designer of E Type Jaguar honoured

• ^ 100 most beautiful cars

• ^ a b cPorter, Philip (2006). Jaguar E-type, the definitive history. p. 443. ISBN 0-85429-580-1.

• ^ a b"'69 Series 2 Jaguar E Types", Autocar, October 24, 1968

• ^ a b c d eThe Complete Official Jaguar "E". Cambridge: Robert Bentley. 1974. p. 12. ISBN 0-8376-0136-3.

• ^ a b c d e f g"Jaguar E-Type Specifications". http://www.web-cars.com/e-type/specifications.php. Retrieved 29 August 2009.

• ^ a b"Buying secondhand E-type Jaguar". Autocar 141 (nbr4042): pages 50–52. 6 April 1974.

• ^ See Jaguar Clubs of North America concourse information at: [1] and more specifically the actual Series 1½ concourse guide at [2]

• ^ Ibid.

• ^ Compare right hand drive VIN numbers given in JCNA concours guide referred to above with production dates for right hand drive cars as reflected in the XKEdata database at [3]

• ^"The Jaguar E-type". The Motor. March 22, 1961.

• ^ a b cRobson, Graham (2006). A–Z British Cars 1945–1980. Devon, UK: Herridge & Sons. ISBN 0-9541063-9-3.

• ^ a b chttp://www.xkedata.com/stats/. http://www.xkedata.com/stats/. Retrieved 29 August 2009.

• ^Daily Express Motor Show Review 1975 Cars: Page 24 (Jaguar E V12). October 1974.

• ^ jalopnik.com/5101872/british-man-cobbles-together-last-ja...

 

Some Studs-Not-On-Top tricks allow one to build micro moonbase corridors for any length corridor.