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The meerkat (Suricata suricatta) or suricate is a small mongoose found in southern Africa. It is characterised by a broad head, large eyes, a pointed snout, long legs, a thin tapering tail, and a brindled coat pattern. The head-and-body length is around 24–35 cm (9.4–13.8 in), and the weight is typically between 0.62 and 0.97 kg (1.4 and 2.1 lb). The coat is light grey to yellowish-brown with alternate, poorly-defined light and dark bands on the back. Meerkats have foreclaws adapted for digging and have the ability to thermoregulate to survive in their harsh, dry habitat. Three subspecies are recognised.

 

Meerkats are highly social, and form packs of two to 30 individuals each that occupy home ranges around 5 km2 (1.9 sq mi) in area. There is a social hierarchy—generally dominant individuals in a pack breed and produce offspring, and the nonbreeding, subordinate members provide altruistic care to the pups. Breeding occurs around the year, with peaks during heavy rainfall; after a gestation of 60 to 70 days, a litter of three to seven pups is born.

 

They live in rock crevices in stony, often calcareous areas, and in large burrow systems in plains. The burrow systems, typically 5 m (16 ft) in diameter with around 15 openings, are large underground networks consisting of two to three levels of tunnels. These tunnels are around 7.5 cm (3.0 in) high at the top and wider below, and extend up to 1.5 m (4 ft 11 in) into the ground. Burrows have moderated internal temperatures and provide a comfortable microclimate that protects meerkats in harsh weather and at extreme temperatures.

 

Meerkats are active during the day, mostly in the early morning and late afternoon; they remain continually alert and retreat to burrows when sensing danger. They use a broad variety of calls to communicate among one another for different purposes, for example to raise an alarm on sighting a predator. Primarily insectivorous, meerkats feed heavily on beetles and lepidopterans, arthropods, amphibians, small birds, reptiles, and plant material in their diet.

 

Commonly living in arid, open habitats with little woody vegetation, meerkats occur in southwestern Botswana, western and southern Namibia, and northern and western South Africa; the range barely extends into southwestern Angola. With no significant threats to the population, the meerkat is listed as Least Concern on the IUCN Red List. Meerkats are widely depicted in television, movies and other media.

 

Etymology

The word 'meerkat' derives from the Dutch name for a kind of monkey, which in turn comes from the Old High German mericazza, possibly as a combination of meer ('lake') and kat ('cat'). This may be related to the similar Hindi: मर्कट (markat, or monkey), deriving from Sanskrit, though the Germanic origin of the word predates any known connections to India. The name was used for small mammals in South Africa from 1801 onward, possibly because the Dutch colonialists used the name in reference to many burrowing animals. The native South African[clarification needed] name for the meerkat is 'suricate', possibly deriving from the French 'surikate', which in turn may have a Dutch origin. In Afrikaans the meerkat is called graatjiemeerkat or stokstertmeerkat; the term mierkatte or meerkatte can refer to both the meerkat and the yellow mongoose (Afrikaans: rooimeerkat). In colloquial Afrikaans mier means 'ant' and kat means 'cat', hence the name probably refers to the meerkat's association with termite mounds.

 

Taxonomy

In 1776, Johann Christian Daniel von Schreber described a meerkat from the Cape of Good Hope, giving it the scientific name Viverra suricatta. The generic name Suricata was proposed by Anselme Gaëtan Desmarest in 1804, who also described a zoological specimen from the Cape of Good Hope. The present scientific name Suricata suricatta was first used by Oldfield Thomas and Harold Schwann in 1905 when they described a specimen collected at Wakkerstroom. They suggested there were four local meerkat races in the Cape and Deelfontein, Grahamstown, Orange River Colony and southern Transvaal, and Klipfontein respectively. Several zoological specimens were described between the late 18th and 20th centuries, of which three are recognised as valid subspecies:

 

S. s. suricatta (Schreber, 1776) occurs in southern Namibia, southern Botswana, and South Africa.

S. s. majoriae Bradfield, 1936 occurs in central and northwestern Namibia.

S. s. iona Crawford-Cabral, 1971 occurs in southwestern Angola.

Phylogeny and evolution

Meerkat fossils dating back to 2.59 to 0.01 million years ago have been excavated in various locations in South Africa. A 2009 phylogenetic study of the family Herpestidae suggests it split into two lineages around the Early Miocene (25.4–18.2 mya)—eusocial and solitary mongooses. The meerkat belongs to the monophyletic eusocial mongoose clade along with several other African mongooses: Crossarchus (kusimanse), Helogale (dwarf mongoose), Liberiictis (Liberian mongoose) and Mungos (banded mongoose). The solitary mongoose lineage comprises two clades including species such as Meller's mongoose (Rhynchogale melleri) and the yellow mongoose (Cynictis penicillata).

 

Characteristics

The meerkat is a small mongoose of slim build characterised by a broad head, large eyes, a pointed snout, long legs, a thin tapering tail and a brindled coat pattern. It is smaller than most other mongooses except the dwarf mongooses (genus Helogale) and possibly Galerella species. The head-and-body length is around 24–35 cm (9.4–13.8 in), and the weight has been recorded to be between 0.62–0.97 kg (1.4–2.1 lb) without much variation between the sexes (though some dominant females can be heavier than the rest). The soft coat is light grey to yellowish brown with alternate, poorly-defined light and dark bands on the back. Individuals from the southern part of the range tend to be darker. The guard hairs, light at the base, have two dark rings and are tipped with black or silvery white; several such hairs aligned together give rise to the coat pattern. These hairs are typically between 1.5 and 2 cm (0.59 and 0.79 in), but measure 3–4 cm (1.2–1.6 in) on the flanks. Its head is mostly white and the underparts are covered sparsely with dark reddish-brown fur, with the dark skin underneath showing through. The eyes, in sockets covering over 20% of the skull length, are capable of binocular vision. The slim, yellowish tail, unlike the bushy tails of many other mongooses, measures 17 to 25 cm (6.7 to 9.8 in), and is tipped with black. Females have six nipples. The meerkat looks similar to two sympatric species—the banded and the yellow mongooses. The meerkat can be told apart from the banded mongoose by its smaller size, shorter tail and bigger eyes relative to the head; the yellow mongoose differs in having a bushy tail and lighter coat with an inner layer of yellow fur under the normal brown fur.

 

The meerkat has 36 teeth with the dental formula of

3.1.3.2

3.1.3.2

It is well adapted for digging, movement through tunnels and standing erect, though it is not as capable of running and climbing. The big, sharp and curved foreclaws (slightly longer than the hindclaws) are highly specialised among the feliforms, and enable the meerkat to dig efficiently. The black, crescent-like ears can be closed to prevent the entry of dirt and debris while digging. The tail is used to balance when standing upright. Digitigrade, the meerkat has four digits on each foot with thick pads underneath.

 

The meerkat has a specialised thermoregulation system that helps it survive in its harsh desert habitat. A study showed that its body temperature follows a diurnal rhythm, averaging 38.3 °C (100.9 °F) during the day and 36.3 °C (97.3 °F) at night. As the body temperature falls below the thermoneutral zone, determined to be 30–32.5 °C (86.0–90.5 °F), the heart rate and oxygen consumption plummet; perspiration increases sharply at temperatures above this range. Additionally, it has a basal metabolic rate remarkably lower than other carnivores, which helps in conserving water, surviving on lower amounts of food and decreasing heat output from metabolic processes. During winter, it balances heat loss by increasing the metabolic heat generation and other methods such as sunbathing.

 

Ecology and behaviour

The meerkat is a social mammal, forming packs of two to 30 individuals each comprising nearly equal numbers of either sex and multiple family units of pairs and their offspring. Members of a pack take turns at jobs such as looking after pups and keeping a lookout for predators. Meerkats are a cooperatively breeding species—typically the dominant 'breeders' in a pack produce offspring, and the nonbreeding, subordinate 'helpers' provide altruistic care for the pups. This division of labour is not as strictly defined as it is in specialised eusocial species, such as the breeder-worker distinction in ants. Moreover, meerkats have a clear dominance hierarchy with older individuals having a higher social status. A study showed that dominant individuals can contribute more to offspring care when fewer helpers were available; subordinate members increased their contributions if they could forage better.

 

Packs live in rock crevices in stony areas and in large burrow systems in plains. A pack generally occupies a home range, 5 km2 (1.9 sq mi) large on average but sometimes as big as 15 km2 (5.8 sq mi), containing many burrows 50 to 100 m (160 to 330 ft) apart, of which some remain unused. A 2019 study showed that large burrows towards the centre of a range are preferred over smaller ones located near the periphery; this was especially the case with packs that had pups to raise. A pack may shift to another burrow if the dominant female has little success finding prey in an area. The area near the periphery of home ranges is scent marked mostly by the dominant individuals; there are communal latrines, 1 km2 (0.39 sq mi) large, close to the burrows. Packs can migrate collectively in search of food, to escape high predator pressure and during floods.

 

Meerkats are highly vigilant, and frequently survey their surroundings by turning their heads side to side; some individuals always stand sentry and look out for danger. Vocal communication is used frequently in different contexts; for instance repetitive, high-pitched barks are used to warn others of predators nearby. They will generally retreat to their burrows for safety, where they will remain until the danger is gone. They stick their heads out of burrows to check the area outside, still barking. Mobs of meerkats fiercely attack snakes that may come near them. Raptors such as bateleurs, martial eagles, tawny eagles, and pale chanting goshawks are major aerial predators; on the ground, meerkats may be threatened by bat-eared foxes, black-backed jackals, and Cape foxes.

 

Social behaviour

Encounters between members of different packs are highly aggressive, leading to severe injuries and often deaths; 19% of meerkats die by conspecific violence, which is the highest recorded percentage among mammals. Females, often the heaviest ones, try to achieve dominance over the rest in many ways such as fierce competition or taking over from the leader of the pack. A study showed that females who grew faster were more likely to assert dominance, though males did not show such a trend. Males seeking dominance over groups tend to scent mark extensively and are not submissive; they often drive out older males in a group and take over the pack themselves. Subordinate individuals face difficulties in breeding successfully; for instance, dominant females often kill the litters of subordinate ones. As such, subordinate individuals might disperse to other packs to find mates during the breeding season. Some subordinate meerkats will even kill the pups of dominant members in order to improve their own offspring's position.[30] It can take days for emigrants to secure entry into other packs, and they often face aversion from the members. Males typically succeed in joining existing groups; they often inspect other packs and their burrow systems in search of breeding opportunities. Many often team up in 'coalitions' for as long as two months and travel nearly 5 km (3.1 mi) a day on twisted paths. Dispersal appears to be less common in females, possibly because continuing to stay within a pack can eventually win them dominance over other members. Dispersed females travel longer than coalitions, and tend to start groups of their own or join other similar females; they aim for groups of emigrant males or those without a breeding female. Subordinate females, unlike subordinate males, might be ousted from their packs, especially in the latter part of the dominant female's pregnancy, though they may be allowed to return after the birth of the pups.

 

Burrowing

Meerkat burrows are typically 5 m (16 ft) in diameter with around 15 openings, though one of dimensions 25 by 32 m (82 by 105 ft) with as many as 90 holes has been reported. These large underground networks comprise two to three levels of tunnels up to 1.5 m (4 ft 11 in) into the ground; the tunnels, around 7.5 cm (3.0 in) high at the top, become broader after descending around a metre. The entrances, 15 cm (5.9 in) in diameter, are created by digging at an angle of 40 degrees to the surface; the soil accumulated as a result can slightly increase the height of burrow sites. 'Boltholes' are used for a quick escape if dangers are detected. While constructing or renovating burrows meerkats will line up to form a continuous head-to-tail chain, break the soil into crumbs with their foreclaws, scoop it out with their forepaws joined and throw it behind them between their hindlegs.

 

Outside temperatures are not reflected at once within burrows; instead there is usually an eight-hour lag which creates a temperature gradient in warrens, so that burrows are coolest in daytime and warmest at night. Temperatures inside burrows typically vary between 21 and 39 °C (70 and 102 °F) in summer and −4 and 26 °C (25 and 79 °F) in winter; temperatures at greater depths vary to a much lesser extent, with summer temperatures around 22.6 to 23.2 °C (72.7 to 73.8 °F) and winter temperatures around 10 to 10.8 °C (50.0 to 51.4 °F). This reduces the need for meerkats to thermoregulate individually by providing a comfortable microclimate within burrows; moreover, burrowing protects meerkats in harsh weather and at extreme temperatures. Consequently, meerkats spend considerable time in burrows; they are active mainly during the day and return to burrows after dark and often to escape the heat of the afternoon. Activity peaks during the early morning and late afternoon. Meerkats huddle together to sleep in compact groups, sunbathe and recline on warm rocks or damp soil to adjust their body temperatures.

 

Meerkats tend to occupy the burrows of other small mammals more than constructing them on their own; they generally share burrows with Cape ground squirrels and yellow mongooses. Cape ground squirrels and meerkats usually do not fight for space or food. Though yellow mongooses are also insectivores like meerkats, competition for prey is minimal as yellow mongooses are less selective in their diet. This association is beneficial to all the species as it saves time and efforts spent in making separate warrens. Many other species have also been recorded in the meerkat burrows, including African pygmy mice, Cape grey mongooses, four-striped grass mice, Highveld gerbils, rock hyraxes, slender mongooses, South African springhares and white-tailed rats.

 

Vocalisations

Meerkats have a broad vocal repertoire that they use to communicate among one another in several contexts; many of these calls may be combined by repetition of the same call or mixing different sounds. A study recorded 12 different types of call combinations used in different situations such as guarding against predators, caring for young, digging, sunbathing, huddling together and aggression.

 

Short-range 'close calls' are produced while foraging and after scanning the vicinity for predators. 'Recruitment calls' can be produced to collect meerkats on sighting a snake or to investigate excrement or hair samples of predators or unfamiliar meerkats. 'Alarm calls' are given out on detecting predators. All these calls differ in their acoustic characteristics, and can evoke different responses in the 'receivers' (meerkats who hear the call); generally the greater the urgency of the scenario in which the call is given, the stronger is the response in the receivers.

 

This indicates that meerkats are able to perceive the nature of the risk and the degree of urgency from the acoustics of a call, transmit it and respond accordingly. For instance, upon hearing a terrestrial predator alarm call, meerkats are most likely to scan the area and move towards the source of the call, while an aerial predator alarm call would most likely cause them to crouch down. A recruitment call would cause receivers to raise their tails (and often their hair) and move slowly towards the source.

 

The complexity of calls produced by different mongooses varies by their social structure and ecology. For instance eusocial mongooses such as meerkats and banded mongooses use calls in a greater variety of contexts than do the solitary slender mongooses. Moreover, meerkats have more call types than do banded mongooses. Meerkat calls carry information to identify the signaling individual or pack, but meerkats do not appear to differentiate between calls from different sources. The calls of banded mongooses also carry a 'vocal signature' to identify the caller.

 

Diet

The meerkat is primarily an insectivore, feeding heavily on beetles and lepidopterans; it can additionally feed on eggs, amphibians, arthropods (such as scorpions, to whose venom they are immune), reptiles, small birds (such as the southern anteater-chat), plants and seeds. Captive meerkats include plenty of fruits and vegetables in their diet, and also kill small mammals by biting the backs of their skulls. They have also been observed feeding on the desert truffle Kalaharituber pfeilii. Meerkats often eat citron melons and dig out roots and tubers for their water content.

 

Mongooses spend nearly five to eight hours foraging every day. Like other social mongooses, meerkats in a pack will disperse within 5 m (16 ft) of one another and browse systematically in areas within their home range without losing visual or vocal contact. Some individuals stand sentry while the rest are busy foraging. Meerkats return to an area only after a week of the last visit so that the food supply is replenished sufficiently. They hunt by scent, and often dig out soil or turn over stones to uncover hidden prey. Meerkats typically do not give chase to their prey, though they may pursue geckos and lizards over several metres. Food intake is typically low during winter.

 

Reproduction

Meerkats breed throughout the year with seasonal peaks, typically during months of heavy rainfall; for instance, maximum births occur from January to March in the southern Kalahari. Generally only dominant individuals breed, though subordinate members can also mate in highly productive years. Females become sexually mature at two to three years of age. Dominant females can have up to four litters annually (lesser for subordinate females), and the number depends on the amount of precipitation. Mating behaviour has been studied in captive individuals. Courtship behaviour is limited; the male fights with his partner, getting hold of her by her snout. He will grip the nape of her neck if she resists mounting, and hold her down by grasping her flanks during copulation.

 

After a gestation of 60 to 70 days, a litter of three to seven pups is born. Pups weigh around 100 g (3.5 oz) in the first few days of birth; the average growth rate for the first three months is 4.5 g (0.16 oz) per day, typically the fastest in the first month. A 2019 study showed that growth and survival rates of pups might decrease with increase in temperature.

 

Infants make continuous sounds that resemble bird-like tweets, that change to a shrill contact call as they grow older. Young pups are kept securely in a den, from where they emerge after around 16 days, and start foraging with adults by 26 days. The nonbreeding members of the pack help substantially with juvenile care, for instance they feed the pups and huddle with them for warmth. A study showed that nearly half of the litters of dominant females, especially those born later in the breeding season were nursed by subordinate females, mostly those that were or recently had been pregnant.

 

Sex biases have been observed in feeding; for instance, female helpers feed female pups more than male pups unlike male helpers who feed both equally. This is possibly because the survival of female pups is more beneficial to female helpers as females are more likely to remain in their natal pack. Some helpers contribute to all activities more than others, though none of them might be specialised in any of them. Sometimes helpers favour their own needs over those of pups and decide not to feed them; this behaviour, known as "false-feeding", is more common when the prey is more valued by the meerkat.

 

The father remains on guard and protects his offspring, while the mother spends a lot of time foraging to produce enough milk for her young. Mothers give out shrill, repetitive calls to ensure their pups follow them and remain close together. Unable to forage themselves, young pups vocalise often seeking food from their carers. Like many species, meerkat pups learn by observing and mimicking adult behaviour, though adults also engage in active instruction. For example, meerkat adults teach their pups how to eat a venomous scorpion by removing the stinger and showing the pups how to handle the creature. The mother runs around with prey in her mouth, prompting her pups to catch it. Pups become independent enough to forage at around 12 weeks of age. Meerkats are estimated to survive for five to 15 years in the wild; the maximum lifespan recorded in captivity is 20.6 years.

 

Females appear to be able to discriminate the odour of their kin from that of others. Kin recognition is a useful ability that facilitates cooperation among relatives and the avoidance of inbreeding. When mating occurs between meerkat relatives it often results in negative fitness consequences (inbreeding depression), that affect a variety of traits such as pup mass at emergence from the natal burrow, hindleg length, growth until independence and juvenile survival. These negative effects are likely due to the increased homozygosity or higher genetic similarity among individuals that arise from inbreeding and the consequent expression of deleterious recessive mutations.

 

Distribution and habitat

The meerkat occurs in southwestern Botswana, western and southern Namibia, northern and western South Africa; the range barely extends into southwestern Angola. It lives in areas with stony, often calcareous ground in a variety of arid, open habitats with little woody vegetation. It is common in savannahs, open plains and rocky areas beside dry rivers in biomes such as the Fynbos and the Karoo, where the mean yearly rainfall is below 600 mm (24 in). The average precipitation reduces to 100 to 400 mm (3.9 to 15.7 in) towards the northwestern areas of the range. It prefers areas with short grasses and shrubs common in velds, such as camelthorn in Namibia and Acacia in the Kalahari. It is absent from true deserts, montane regions and forests. Population densities vary greatly between places, and are significantly influenced by predators and rainfall. For instance, a study in the Kgalagadi Transfrontier Park, where predation pressure is high, recorded a lower mean meerkat density relative to a ranch with lower occurrence of predators; in response to a 10% decrease in rainfall over a year, the density fell from 0.95 to 0.32/km2 (2.46 to 0.83/sq mi).

 

Threats and conservation

The meerkat is listed as Least Concern on the IUCN Red List; the population trend appears to be stable. There are no significant threats except low rainfall, which can lead to deaths of entire packs. Research has shown that temperature extremes have negative impacts on Kalahari Desert meerkats. Increased maximum air temperature is correlated with decreased survival and body mass in pups, perhaps as a result of dehydration from water loss during evaporative cooling or decreased water content in food, or from the heavier metabolic costs of thermoregulation on hot days. Higher temperatures are also associated with increased rates of endemic tuberculosis infection; this may be due to decreased immune function resulting from physiological stress, as well as increased male emigration rates observed during heat waves.

 

Meerkats occur in several protected areas such as the Kgalagadi Transfrontier Park and the Makgadikgadi Pan. The Kalahari Meerkat Project, founded by Tim Clutton-Brock, is a long-term research project run by four different research groups that focuses on understanding cooperative behaviour in meerkats. It began in the Gemsbok National Park but was shifted to the Kuruman River Reserve in 1993.

 

In culture

Meerkats are generally tame animals. However, they are unsuitable as a pet as they can be aggressive and have a strong, ferret-like odour. In South Africa meerkats are used to kill rodents in rural households and lepidopterans in farmlands. Meerkats can transmit rabies to humans, but yellow mongooses appear to be more common vectors. It has been suggested that meerkats may even limit the spread of rabies by driving out yellow mongooses from their burrows; meerkats are generally not persecuted given their economic significance in crop protection, though they may be killed due to rabies control measures to eliminate yellow mongooses. Meerkats can also spread tick-borne diseases.

 

Meerkats have been widely portrayed in movies, television and other media. A popular example is Timon from the Lion King franchise, who is an anthropomorphic meerkat. Meerkat Manor (2005–2008), a television programme produced by Oxford Scientific Films that was aired on Animal Planet, focused on groups of meerkats in the Kalahari that were being studied in the Kalahari Meerkat Project. Meerkats populated an acidic floating island in the 2012 film Life of Pi.

Shoulder Length bob razor haircut with layers – Dry haircutting techniques on mid length hair

  

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St Ives Herring Drifter Pioneer PZ277

 

Designer: Traditional

Builder: Paynters of St Ives

Year: 1899

Location:

Length on deck: 47'

Beam: 9'10"

Draft: 4'10"

 

St Ives Herring Drifter Pioneer PZ277

 

Pioneer PZ277 was built Paynters of St Ives for local fisherman Henry Hendy. She remained in the Hendy family until 1988.

 

Some records state her build date as 1891, some a little later in 1899.

 

She was the first steam fishing vessel in west Cornwall and by all accounts was not well received by the local fisherman as her steam propulsion enabled her to reach fishing grounds more quickly and gave a distinct advantage over the traditional sailing vessels. It seems this animosity towards the boat forced her to move to Penzance where she worked out of as a drifter for many years.

 

She was a steam boat until 1947 when a Kelvin diesel was installed, followed later by a Lister and now a Ford.

 

Her history is a rich and varied one, from her days breaking new ground in the fishing industry, mustered for the D-Day landing evacuations, Used in the clean up of the Tori Canyon oil spill clean up and she has eve had a childrens book written about her. The reason that she was not used in the D-Day evacuations was that the volume of coal needed aboard would have taken up too much space and not left any room for soldiers.

 

Bought by her current owner and refitted with some new planking, new wiring, new sails and general improvement and upgrading

 

Construction

 

Carvel planked in pine, possibly pitch pine.

Iron fastened to sawn oak frames. New planking fastened with stainless screws.

All internal ballast.

Solid straight laid pine deck, caulked and payed then finished in grey deck paint.

Bulwark all round on stanchions mounted through the covering board.

Fore and aft coachroof with wooden coamings.

Central wheelhouse in painted T&G pine.

 

Rig

 

Gaff ketch rig on deck stepped masts.

Solid wooden pine masts, booms and gaff yards all finished with oil.

Rigging is solid galvanised rod tensioned with galvanised rigging screws.

Brand new sails from Rowsells in tan. Mainsail, jib and mizzen.

Machinery

Ford 6cyl 120hp diesel engine.

Fixed 3 blade bronze propeller.

Steel fuel tank to port in the engine room with a copper day tank above the engine. Total capacity of approximately 500 litres. Fuel pumped up to the day tank with an electric transfer pump.

4 x 12 volt batteries, (2 x 115ah and 2 x 110ah)

2 x 12 volt batteries in forepeak linked to give 24 volts for anchor windlass.

Victron 25 amp battery charger when connected to shore power. 2 x engine alternators (1 x 12 volt and 1 x 24 volt)

New plastic 120 litre water tank to starboard in the engine space.

 

Accommodation

 

Accommodation split between fore and aft areas.

All new upholstery throughout.

Forward cabin accessed via the fore hatch with 2 single berths and sitting headroom. Storage space in the bows.

Main saloon cabin accessed from the wheelhouse. Galley to port and heads compartment to starboard.

Galley has a Calor B700 2 burner gas stove with oven and grill. Single sink with pressurised cold water. Top loading 12 volt fridge to starboard.

Heads is a Jabsco manual sea toilet which discharges directly overboard.

Main saloon has a settee either side with a centreline table.

Outboard under the side decks is a pilot berth each side.

Wood burning stove against the forward bulkhead.

Wheelhouse has doors either side with the helm to starboard and a thwart across the aft end.

Engine space is under the wheelhouse with a ladder down under the aft wheelhouse thwart.

Aft cabin accessed through the aft hatch and has 2 single berths with sitting headroom.

Doors from the aft cabin through into the engine room.

 

Equipment

 

ICOM IC-M330 DSC VHF

Garmin chartplotter

Navigation lights

 

Plastimo 6 person offshore life raft

2 x auto electric bilge pumps

 

4 x 12 volt batteries

2 x engine alternators

Victron 12/25 240 volt battery charger

 

24 volt anchor windlass

Galvanised anchor chain

CQR anchor

Warps

Fenders

 

Calor B700 galley stove

Pressurised water system

Jabsco sea toilet

New Upholstery 2023

Which view qualifies as “scenic?” I say they all do. There isn’t a lens that is limited to “scenery” and there isn’t a lens that can not take “scenic” views. It just depends on what you are looking for. The red barn. which is dead center in each shot, is about one mile away from my position.

 

I didn't spend much time trying to get rid of the haze, so I apologize for that, but that's not the point of this exercise.

 

The Nikon D200 has a 1.5X crop factor, so I have shown both the actual focal length and the standardized 35 mm equivalent focal length. In comparing cameras of different formats, it is important to utilize the standardized lengths to compensate for the difference in crop factors.

 

I wanted a focal length a bit longer than my Voigtlander 17.5mm for night photography. I could have gone with the Panasonic 15mm, but I decided on the Voigtlander 15mm M mount adapted to M43. This was my first time using this adapter and lens combination and it was a very tight fit on the adapter. I also found that the distance markers on the lens are now inaccurate. Infinity focus is somewhere around 3 feet with the adapter. It looks like very close focusing is lost with the adapter, but infinity focus is what I mainly want anyway.

 

As for the experimenting, I took shots between f5.6 and f8 and it seemed sharpest in between, f6.7 I guess. There is noticeable softness on the left and right sides, similar to the Nokton 17.5mm. It seems fairly sharp in the center, but I have to experiment some more with the focus distance. There are the sharp starbursts that seem to be evident with all CV lenses.

 

More photos like this one are in my set

New York Night

 

學名:Yuhina brunneiceps

英名: Formosan Yuhina

身長(length):13 cm

冠羽畫眉是台灣特有的鳥類,成群地的於中、高海拔之闊葉、針葉混合林的中、上層活動,通常會成群混於繡眼畫眉，或山雀科鳥種群中，一路上蹦蹦跳跳著覓食。冬天較冷時，則會移棲至較低海拔。主要以昆蟲、果實、花蜜和花粉為食，在花季期間常可看見牠們倒掛在枝頭吸食花蜜。

過去常在山區聽見悅耳的聲音「吐---米酒─ 吐---米酒─」,讓山林間回響著一種婉轉的樂音.... 總好奇著,到底是什麼鳥兒呀...直到塔塔加第一次拍到它..頭上戴著一頂褐色的船形帽，臉灰白而略帶黃色還有兩撇彎曲上翹的八字鬍子，身上穿了一件灰褐色的外套，胸前的斑紋，背部大致為灰褐色，臉部，並有一條黑色的過眼線。

 

"Formosan Yuhina", is a small songbird endemic to the island of Taiwan. The Taiwan Yuhina is 13 cm in length with a deep brown chestnut-coloured crest and a black beard stripe descending from its beak. The bird's back, wings and tail are olive brown, and its lower breast is lighter in colour. Agreeing with other typical yuhinas in habitus, its colouration pattern is rather uncommon among the genus.

 

This species is found in temperate forests, 1000-3300 m in altitude in its native habitat. It is gregarious, active and quite tame. It keeps to lower forest and often joins other species, especially tits in mixed flocks. The flocks, while feeding, make a constant soft chatter. The call of the Taiwan Yuhina is a sound somewhat like twi-MI-chiu, which resembles the phrase "We MEET you".

My first container / cargo ship taken and uploaded

 

IMO: 9193305

MMSI: 211331640

Call Sign: DHBN

Flag: Germany [DE]

AIS Vessel Type: Cargo

Gross Tonnage: 54465

Deadweight: 66971 t

Length Overall x Breadth Extreme: 294.05m × 32.2m

Year Built: 2000

 

Read more at www.marinetraffic.com/en/ais/details/ships/shipid:133240/...

+++ DISCLAIMER +++

Nothing you see here is real, even though the model, the conversion or the presented background story might be based historical facts. BEWARE!

  

Some background:

The Boeing 727 was an American midsized, narrow-body three-engine jet aircraft built by Boeing Commercial Airplanes from the early 1960s to 1984. Intended for short and medium-length flights, it could carry 149 to 189 passengers and later models could fly up to 2,700 nautical miles (5,000 km) nonstop. It was originally powered by three Pratt & Whitney JT8D engines below the T-tail, one on each side of the rear fuselage with a center engine that connected through an S-duct to an inlet at the base of the fin.

 

The 727 followed the 707 and the 720, both quad-jet airliners, with which it shared its upper fuselage cross-section and cockpit design. The 727 was designed as a more economical alternative to the 707/720s and was tailored to operations from smaller airports, so independence from ground facilities was an important requirement. This led to one of the 727's most distinctive features: the built-in airstair that opened from the rear underbelly of the fuselage, which initially could be opened in flight (a feature that was later blocked). Nose wheel brakes were available as an option to reduce braking distance on landing, which provided reduction in braking distances of up to 150 m. In order to protect the tail section in the event of an over-rotation on take-off, the 727 was equipped with a retractable tailskid. Another innovation was the auxiliary power unit (APU), which allowed electrical and air-conditioning systems to run independently of a ground-based power supply, and without having to start one of the main engines. An unusual design feature was that the APU was mounted in a hole in the keel beam web, in the main landing gear bay.

 

The 727's fuselage had an outer diameter of 148 inches (3.8 m). This allowed six-abreast seating (three per side) and a single aisle when 18-inch (46 cm) wide coach-class seats were installed. An unusual feature of the fuselage was the 10-inch (25 cm) difference between the lower lobe forward and aft of the wing, as the higher fuselage height of the center section was simply retained towards the rear.

 

The 727 proved to be such a reliable and versatile airliner that it came to form the core of many startup airlines' fleets. The 727 was successful with airlines worldwide partly because it could use smaller runways while still flying medium-range routes. This allowed airlines to carry passengers from cities with large populations, but smaller airports, to worldwide tourist destinations. One of the features that gave the 727 its ability to land on shorter runways was its clean wing design: With no wing-mounted engines, leading-edge devices (Krueger, or hinged, flaps on the inner wing and extendable leading edge slats out to the wingtip) and trailing-edge lift enhancement equipment (triple-slotted, fowler flaps) could be used on the entire wing. Together, these high-lift devices produced a maximum wing lift coefficient of 3.0 (based on the flap-retracted wing area).

 

The 727-100 first flew in February 1963 and entered service with Eastern Air Lines in February 1964; the stretched 727-200 flew in July 1967 and entered service with Northeast Airlines that December. After the global success of the -100 and especially the stretched -200 series, Boeing considered another version, the -300 series, a thoroughly modified variant, dedicated to the South American and Asian markets and optimized for “hot and high” climate operations.

 

The basis for the -300 was the extended -200 airframe, but in order to improve security as well as landing and starting characteristics, a fourth engine was added for extra thrust. This changed the tail layout completely, since the central JT8D and its S-duct were deleted. Instead, the 727-300’s four engines were re-arranged in two new twin-nacelles along the reinforced rear fuselage, similar to the Vickers VC-10 and Ilyushin Il-62 long-range airliners, which were both bigger/heavier aircraft, though. With the fourth engine’s extra power, the -300 became the Boeing 727 variant with the shortest take-off run: only 1.5 miles were necessary to get airborne (vs. 2 miles for late 727-200 variants and even less than 1,6 miles for the lighter, early 727-100). It also had the highest operational ceiling and an improved rate of climb, but top speed and range remained virtually unaffected.

 

In order to better cope with smaller airfields with less-than-perfect runways and higher landing speeds, the -300’s landing gear was reinforced and the twin wheels on the 727’s main legs replaced with four-wheel bogies. This necessitated bigger landing gear wells and the relocation of the APU into the rear fuselage, occupying the space of the former middle engine. The 727’s tail-mounted airstair was retained, and basically any interior feature and layout of the 727-200 cabin could be ordered for the -300, too, including side freight doors and equipment for mixed cargo/passenger operations.

 

Even though thrust-reversers were planned for all four engines, the inboard devices were omitted for serial production aircraft due to continued tail plane buffeting on the prototype, which flew in March 1970 for the first time. In order to compensate for this loss of braking power, Boeing’s engineers added a unique feature to the 727-300: a drogue parachute, which could be deployed to relieve the brakes and augment the outer JT8D’s thrust reversers, once the landing speed had been reduced to 80 knots or less. The parachute was mounted in a clamshell compartment in the now empty tail section.

 

However, the improved performance came at a price: through its additional engine, the 727-300 turned out to be costly to operate, being almost on par with the 707 and 720 models, which the 727 was originally intended to replace. In consequence, this specialized variant was only built in small numbers and found only a few operators. Launch customer was Aéromexico in 1972, ordering ten -301 machines primarily for domestic and South American routes. Other major civil operators became Air India with eight -302 machines, TAME (EP Linea Aerea del Ecuador) with six -303 aircraft, and Aerolíneas Argentinas with five -304 aircraft. A total of six machines were furthermore built under the designation C-22D for military operators; two of them flew as VIP transports for the USAF (also carrying out CIA missions, the integral airstair was a convenient detail of the type), and two each flew for the air forces of Mexico and Pakistan.

 

The highest production rate of the 727 was in the 1970s. Airport noise regulations have led to 727s being equipped with hush kits, the last 727 was completed in 1984. Successor models include variants of the 737 and the 757-200. The last commercial passenger flight of the 727 was in January 2019 in Iran, even though a few machines of the type still remain in government and private use or operate as freighters.

  

General characteristics:

Crew: 3 (+ 3 flight attendants)

Length: 153 ft 2 in (46.68m)

Wingspan: 108 ft (32.92m)

Height: 34 ft 11 in (10.65m)

Wing area: 1,650 sq ft (153 m²), 32° sweep

Empty weight: 100,700 lb (45,720 kg)

Max. takeoff weight: 209,500 lb (95,100 kg)

Fuel capacity: 8,090 US gal (30,620 l)

Cabin width: 140 in/3.56m

Two-class seats: 134 (20F@38" + 114Y@34")

Single-class seats: 155@34", absolute maximum of 189 passengers

 

Powerplant:

4× Pratt & Whitney JT8D-11 low-bypass (0.96 to 1) turbofan engines,

delivering 15,000 lbf (66.72 kN) each

 

Performance:

Maximum speed: Mach 0.9 (961 km/h; 519 kn)

Cruise speed: Mach 0.86 (917 km/h; 495 kn)

Landing speed: 151 ml/h (244 km/h; 135 kn)

Rate of climb: 1,920 ft/min (9.8 m/s)

Maximum service ceiling: 44,550 ft (13,600 m)

Range: 1,900 nmi (2,173 ml, 3,500 km)

Takeoff distance to 35 ft (11 m): 7,860 ft (2,400 m)

Landing distance from 50 ft (15 m): 2,160ft at maximum gross landing weight with thrust reverser,

1,800ft with additional drogue parachute deployment

  

The kit and its assembly:

This model became the third and relatively spontaneous entry for the “More or less engines” group build at whatifmodelers.com. It was actually an early idea for the GB, but I rejected it at first because I usually do not build small-scale airliners and did not have any ingredient for the build at hand. However, a fellow modeler had a similar idea, a four-engine Sud Aviation Caravelle, and upon discussing the project in the forum I became eventually convinced to build this conceptual sister ship, even though the procurement of its major ingredients took some time.

 

I considered and checked several Boeing 727 kits on the market, and settled for the Minicraft kit – in particular its USAF C-22C boxing. The Revell kit, a 727-100, was rejected as outdated rubbish and due to its short fuselage, and the Airfix kit, a long -200, also fell through because of its raised surface details and simply for being an Airfix kit.

The Minicraft kit was the only option left – and even though it has its weak points, too (like the wings’ massive leading edges and a so-so fit of the fuselage halves), it turned out to be a sound basis for this modification project. Its main selling points were engraved surface details, the lack of passenger cabin window openings and separate decals for the windows. Esp. the latter two factors were an important part of my construction and painting plan for this build (see below).

 

Another important ingredient for this build were the engines. For a quad-engine conversion I found a resin set for VC-10 engines from Bra.Z Models (and procured them from Hong Kong!), which are a good match in size and shape. Furthermore, due to the more massive rear end and potential operations from less-than-perfect runways, I decided to replace the original twin main wheels with four-wheel bogies, taken from the remains of a Hasegawa 1:200 Boeing 747 kit. Since the 727’s main landing gear well doors remain closed on the ground, this change was relatively simple to make.

 

The only major change beyond the engine nacelle swap concern the fin and the tail tip: the original 2nd engine and its air intake with the S-duct had to go. This stunt was more challenging than it sounds at first, because the intake duct widens the fin’s root considerably, and the respective bulge reaches very far back, almost reaching the rudder!

This meant that a considerable portion of the fin had to be cut away, what also left a gap in the fuselage spine. The latter was filled with a piece of 0.5mm styrene sheet from inside of the fuselage (before the halves were glued together), and then a “prosthesis” from 1.5mm styrene sheet was inserted into the gap in the fin, trying to sculpt a suitable profile with a mild curve at the fin’s base, inspired the early 737s’ fin shape.

Around this skeleton, I built the new fin with the help of 2C putty, because some serious sculpting was necessary to create a suitable fin profile and shape that would blend into the existing fin section. A proper intersection at the fin’s base had to be created, too, a real 3D puzzle, more complex than one might think at first!

 

The tail exhaust opening was trimmed down to a wedge shape, and then the tail tip was filled/sculpted with a 2C putty plug, creating a clamshell shape for the fictional brake parachute container without extending the tail tip too much.

A small APU outlet was added on the new tail tip’s starboard side, too, while the APU’s intake was placed in the fin’s lower leading edge. The original ventral APU intake between the wings was faired over.

 

One of the Minicraft kit’s weak points is the shape of the wings’ leading edges: they look very crude and solid, with an almost vertical front. In an attempt to mend this flaw, I tried to give the leading edges a more rounded shape with the help of putty.

 

The model’ nose section was filled with a lot of lead and, for the model’s in-flight pics, I added a ventral, vertical styrene tube in the model’s center of gravity as a display holder adapter.

  

Painting and markings:

The idea behind this four-engine 727 was a dedicated “hot & high” variant, so I searched for an obvious operator, and it was to be a commercial airline. Mexico became my first and favorite candidate, despite the fact that Aéromexico did not operate any Boeing aircraft during the Seventies, rather a fleet of mixed Douglas aircraft. I also found the airline’s livery of that era to be very attractive, with an NMF finish and orange and black trim - very elegant and colorful.

 

Finding suitable decals became a challenge, though. After some research I found a DC-8 Aéromexico sheet from 26decals – it not only matched the intended time slot, it also had the benefit of coming with separate decals for cheat lines and windows. This was a perfect match for the window-less Minicraft Boeing 727 kit, and, as a convenient complement, the kit’s C-22 boxing had the benefit that it depicts a uniform, white aircraft, so that its decal sheet comes with “clean” window and door decals, without any colored background. A perfect match for my plan!

 

Painting was straightforward. After having finished the building phase, I gave the model an initial coat of grey acrylic primer from the rattle can. Some small surface blemishes had to be corrected, and then I added light grey panels on top of the wings and the stabilizers (Humbrol 40, gloss FS 36440). The fin as well as the engine pods and the wing tips were painted in orange; Humbrol 18 (Gloss Orange) came very close to the decals’ tone. These areas were masked with Tamiya tape and then the model received an overall coat with a tone called “White Aluminum”, also from the rattle can.

 

Thereafter, the decals for the orange and black trim were applied. Since the DC-8 decals would not fit the 727 fuselage in every place, orange paint and generic black and silver decal stripes (TL Modellbau) were used for fine-tuning. Once the “style” decals were applied, the windows were added and the model received an overall coat of gloss acrylic varnish, also from the rattle can.

 

In a final step, the landing gear (painted all glossy white) was mounted.

  

This conversion appears simple at first sight, but the execution caused some headaches. The challenge was not so much building this model, but rather getting all the major input parts and pieces together. Creating a new fin shape was also more challenging than one would expect at first sight. However, the result is quite subtle, and I guess that this fictional 727-300 might make some people look twice, since it reminds a lot of the (bigger) Vickers VC10. Indeed, the outlines are very similar.

 

When I called in at the Calgary Zoo on 14 October 2014, this time the adult Komodo Dragon (Varanus komodoensis) called Loka was visible. She is the oldest female Komodo dragon in captivity and she arrived at the Calgary Zoo just a few months ago. Very recently, the Calgary Zoo acquired four new young ones (all from the same litter) and they are in the exhibit next to Loka, so that they don't get eaten. My photo is a close-up shot of one of the young ones, which was lying next to a bright lamp - hence the rather golden look to its skin. The IUCN Status of the Komodo Dragon is ENDANGERED – there are only between 3 to 5 thousand Komodo dragons left in the wild.

 

“The Komodo dragon’s size (2.4 - 2.7 m or 72 - 108 in length) and appearance as well as the yellow color of its long, forked tongue inspired the ‘dragon’ portion of their name, evoking thoughts of mythical, firebreathing creatures.

 

Komodo dragons are the largest lizard in the world. As such they are also the largest of the monitor lizards, an ancient reptile group with ancestors that date back more than 100 million years.

 

Their habitat is hilly and rugged volcanic forest and grassland where conditions are hot and dry; tropical dry forest and sometimes moist deciduous monsoon forests of southeastern Indonesia.

 

Komodos can eat large chunks of food without chewing because of their loosely-articulated jaws. Powerful neck and throat muscles help this process. A Komodo dragon can consume up to 80 per cent of its own body weight at one time.” From the Calgary Zoo website.

 

www.calgaryzoo.com/animals/reptiles/komodo-dragon

 

simple.wikipedia.org/wiki/Komodo_dragon

The ae‘o is a slender wading bird that grows up to 15 inches in length. It has a black back and white forehead, and is white below; the female has a tinge of brown on its back. This endemic endangered species has very long pink legs and a long black bill. The Hawaiian subspecies differs from the North American stilt by having more black on its face and neck, and longer bill, tarsus, and tail.

 

Habitat & Behavior:

Ae‘o use a variety of aquatic habitats but are limited by water depth and vegetation cover. Specific water depths of 13 cm (5 inches) are required for optimal foraging. Nest sites are frequently separated from feeding sites and stilts move between these areas daily. Nesting sites are adjacent to or on low islands within bodies of fresh, brackish, or salt water.

 

Feeding habitats are shallow bodies of water providing them with a wide variety of invertebrates and other aquatic organisms (worms, crabs, fish). They like to loaf around in open mudflats, sparsely vegetated pickleweed mats, and open pasture lands perhaps because visibility is good and. During the nesting period, incubating pairs may move between the nest site and a foraging area.

 

Stilts have a loud chirp that sounds like: kip kip kip. The female chirp is lower than the male’s.

 

Past & Present:

Stilts were historically known to be on all the major islands except Lana‘i and Kaho‘olawe. As with the other Hawaiian waterbirds, historic numbers are unknown. It is believed that there were about 1,000 of them in the late 1940s.

 

The ae‘o can still be found on all the major islands except Kaho‘olawe, but their numbers have not increased by much. It appears that the population has stabilized or slightly increased over the past 30 years. Stilt numbers have varied between 1,100 and 1,783 between 1997 and 2007, according to state biannual waterbird survey data, with Maui and O‘ahu accounting for 60-80% of them.

 

The primary causes of the decline of this Hawaiian native waterbird has been the loss and degradation of wetland habitat and introduced predators (e.g., rats, dogs, cats, mongoose). Other factors include alien plants, introduced fish, bull frogs, disease, and sometimes environmental contaminants.

 

The ae‘o can be seen at Hanalei National Wildlife Refuge on Kaua‘i, James Campbell National Wildlife Refuge on O‘ahu, Kakahai‘a NWR on Moloka‘i, and Kealia Pond NWR on Maui, as well as other wetlands around the state.

 

Conservation Efforts:

The ae‘o was once a popular game bird, but waterbird hunting was banned in 1939. State and Federal effort in protecting wetlands, enforcing strict hunting laws, educating, and working with private organizations and landowners, play an important role in ensuring the livelihood of the ae‘o and many other waterbirds.

 

The ae‘o was listed as an endangered species in 1967 under the Federal Endangered Species Act. The Hawaiian Waterbirds Recovery Plan was completed in 1978, revised in 1985, and in May 2005 a draft recovery plan was published.

info from The U.S. Fish and Wildlife Service

 

Do not use this image on websites, blogs, or other media without my explicit permission © 2016 M Leeson - all rights reserved.

Male musculoskeletal system front and back isolated on a white background

ohemgeebean.wordpress.com/2014/03/23/i-wanna-walk-on-your...

The Silvereye (Zosterops lateralis) is a small bird 11 to 13 cm in length and around 10 g in weight, it has a conspicuous ring of white feathers around its eye. There are a number of plumage variations depending on the sub-species. Generally it has olive-green wings and either a grey or olive-green back, a lighter coloured throat - yellow or grey, flanks that range from chestnut to pale buff, and an undertail that may be white or yellow. Within Australia there are seasonal migrations and the ranges of the sub-species overlap. The other islands within its range tend to host only a single sub-species each so only one plumage variant is seen.

 

The Silvereye is native to Australia, New Zealand and the south-west Pacific islands of Lord Howe, New Caledonia, Loyalty Islands, Vanuatu, and Fiji.

 

Silvereyes feed on insect prey and large amounts of fruit and nectar, making them occasional pests of commercial orchards. Birds are seen alone, in pairs or small flocks during the breeding season, but form large flocks in the winter months.

Floor length khimar, flap niqab (or niqab casquette), also my hand - wearing a mit-scarf (enclosed in a sewn up end of a black silk scarf). Complete purdah and I love it

Length: 25 ft

Width: 21 ft

Height: 10 ft

Crew: 1 Pilot

Armaments: 2 Terras Arms Mk V Laser Cannons

Armor: Titanium Plate

Shields: Terras Arms Mk II Deflector Shields

Drive system: Two Saraca sub-light systems Mk III Sarif engines and maneuvering thrusters

Hyperdrive system: None

 

“They didn't call her the ‘Mamba’ just because the Model run was ‘M’. She’s a killer and I’m proud to call her mine.”

 

-Vincent “Double Down” Deviate Wing Leader 23rd Terras fighter wing

 

With the reorganization of the Terran Empire’s space fleet after the Nova War it became Immediately apparent that the older strategy of larger gunships built around older tactics of plasma torpedoes launched at long range wouldn't work against the faster and more nimble Nova League ships. Particularly their interceptors which rang rings (figuratively) around the slower and more heavily armed gunships. The ‘Mamba’ was developed to augment the new generation of Gunships the Mamba's only mission being to provide cover against enemy interceptors. Armed exclusively with rapid fire laser cannons and larger more maneuverable engines and thruster suites the Model 25 Terran Interceptor was integral to the turning point and defeat of the Nova League main battle fleet. Now as tensions with the Centuri Conglomeration separatists rise across the neutral space DMZ between these two powers the Mamba has been seen taking a more active role in the Empires fleets practicing to fight against the more maneuverable, but unshielded, Centuri interceptors.

 

++++++++++++++++++++++++++++++++++++++++++++++++++++

 

Thought I'd get in on the Microspace while I was fiddling

hope you like it

 

Hail Terras

 

Also big thanks to this ship www.flickr.com/photos/dragon55/14560146921/in/pool-micros... for giving me the Idea

 

Pride and Prejudice: on Raphael Perez's Artwork

   

Raphael Perez, born in 1965, studied art at the College of Visual Arts in Beer Sheva, and from 1995 has been living and working in his studio in Tel Aviv. Today Perez plays an important role in actively promoting the LGBT (lesbian, gay, bisexual and transsexual) art and culture in Tel Aviv, and the internet portal he set up helps artists from the community reach large audiences in Israel and abroad. Hundreds of his artworks are part of private collections in Israel and abroad, and his artworks were shown in several group exhibitions: in Tel Aviv Museum of Art, "Zman Le'Omanut" art gallery, Camera Obscura, The Open House in Jerusalem, Ophir Gallery, The Haifa Forum and other private businesses and galleries.

 

In 2003-4 his paintings and studio appeared in a full-length movie, three student films and two graduation films.

   

Raphael Perez is the first Israeli artist to express his lifestyle as a Gay. His life and the life of the LGBT community are connected and unfold over hundreds of artwork pieces. His art creation is rare and extraordinary by every Israeli and international artistic standard. His sources of inspiration are first and foremost life events intertwined in Jewish and Israeli locality as well as influences and quotes from art history (David Hockney, Matisse). This uniqueness has crossed international borders and has succeeded in moving the LGBT and art communities around the world.

   

This is the first time we meet an Israeli artist who expresses all of his emotions in a previously unknown strength. The subjects of the paintings are the everyday life of couples in everyday places and situations, along with the aspiration to a homosexual relationship and family, equality and public recognition. Perez's works bring forward to the cultural space and to the public discourse the truth about living as LGBT and about relationships, with all of their aspects – casual relationships and sex, the yearning for love, the everyday life and the mundane activities that exist in every romantic relationship – whether by describing two men in an intimate scene in the bathroom, the bedroom or the toilet, a male couple raising a baby or the homosexual version of the Garden of Eden, family dinners, relationship ups and downs, the complexity in sharing a life as well as mundane, everyday life competing with the aspiration to self realization – through Perez's life.

     

Perez's first artworks are personal diaries, which he creates at 14 years of age. He makes sure to hide these diaries, as in them he keeps a personal journal describing his life events in the most genuine way. In these journals he draws thousands of drawings and sketches, next to which he alternately writes and erases his so-called "problematic texts", texts describing his struggle with his sexual orientation. His diaries are filled with obsessive cataloging of details, daily actions, friends and work, as well as repeating themes, such as thoughts, exhibits he has seen, movies, television, books and review of his work.

   

When he is done writing, Perez draws on his diaries. Each layer is done from beginning to end all along the journal. In fact, the work on the diaries never ends.

 

This struggle never ends, and when the emotion is passed on to paper, and it ends its role and becomes meaningless in a way, the visual-graphic side becomes dominant, due to the need to hide the written text, according to Perez. In books and diaries this stands out even more – when he chooses to draw in a style influenced by children's drawings, the characters are cheerful, happy, naïve and do not portray any sexuality, and when he tries drawing as an adult the sketches became more depressed and somber. During these years Perez works with preschool children, teaching them drawing and movement games. Perez says that during this period he completely abandoned the search for a relationship, either with a woman or a man, and working with children has given him existential meaning. This creation continues over 10 years, and Perez creates about 60 books-personal journals in various sizes (notepads, old notebooks, atlases and even old art books).

   

In his early paintings (1998-1999) the transition from relationships with women to relationships with men can be seen, from restraint to emotional outburst in color, lines and composition. Some characters display strong emotional expression. The women are usually drawn in restraint and passiveness, while a happy and loving emotional outburst is expressed in the colors and style of the male paintings.

   

"I fantasized that in a relationship with a woman I could fly in the sky, love, fly. However, I felt I was hiding something; I was choked up, hidden behind a mask, as if there was an internal scream wanting to come out. I was frustrated, I felt threatened…"

   

His first romance with a man in 1999 has drawn out a series of naïve paintings dealing with love and the excitement of performing everyday actions together in the intimate domestic environment.

   

"The excitement from each everyday experience of doing things together and the togetherness was great, so I painted every possible thing I liked doing with him."

   

From the moment the self-oppression and repression stopped, Perez started the process of healing, which was expressed in a burst of artworks, enormous in their size, amount, content and vivid colors – red, pink and white.

   

In 2000 Perez starts painting the huge artworks describing the hangouts of the LGBT community (The Lake, The Pool) and the Tel Avivian balcony paintings describing the masculine world, which, according to him, becomes existent thanks to the painting. Perez has dedicated this year to many series of drawings and paintings of the experience of love, in which he describes his first love for his new partner, and during these months he paints from morning to night. These paintings are the fruit of a long dialogue with David Hockney, and the similarity can be seen both in subjects and in different gestures.

   

In 2001 Perez creates a series of artworks, "Portraits from The Community". Perez describes in large, photorealistic paintings over 20 portraits of active and well-known members of the LGBT community. The emphasis is on the achievements that reflect the community's strong standing in Tel Aviv.

 

As a Tel-Avivian painter, in the past two years Perez has been painting urban landscapes of central locations in his city. Perez wanders around the city and chooses familiar architectural and geographical landmarks, commerce and recreation, and historical sites, and paints them from a homosexual point of view, decorated with the rainbow flag, which provide a sense of belonging to the place. His artworks are characterized by a cheerful joie de vivre and colors, and they also describe encounters and meetings. The touristic nature of his paintings makes them a declaration of Tel Aviv's image as a place where cultural freedom prevails.

 

Perez's Tel Aviv is a city where young families and couples live and fill the streets, the parks, the beach, the houses and the balconies – all the city's spaces. The characters in his paintings are similar, which helps reinforcing the belonging to the LGBT community in Tel Aviv. The collective theme in Perez's artwork interacts with the work of the Israeli artist Yohanan Simon, who dealt with the social aspects of the Kibbutz. Simon, who lived and worked in a Kibbutz, expressed the human model of the Kibbutznik (member of a Kibbutz) and the uniqueness of the Kibbutz members as part of a group where all are equal. Simon's works, and now Perez's, have contributed to the Israeli society what is has been looking for endlessly, which is a sense of identity and belonging.

 

Perez maps his territory and marks his boundaries, and does not forget the historical sites. Unlike other Tel Avivian artists, Perez wishes to present the lives of the residents of the city and the great love in their hearts. By choosing the historical sites in Tel Aviv, he also pays tribute to the artist Nachum Gutman, who loved the city and lived in it his whole life. In his childhood Gutman experienced historical moments (lighting the first oil lamp, first concert, first pavement), and as an adult he recreated the uniqueness of those events while keeping the city's magic.

 

Like Gutman, Perez has also turned the city into an object of love, and it has started adorning itself in rich colors and supplying the energy of a city that wishes to be "the city that never sleeps", combining old and new. Perez meticulously describes the uniqueness and style of the Bauhaus houses and balconies along the modern glass and steel buildings, all from unusual angles in a rectangular format that wishes to imitate the panorama of a diverse city in its centennial celebrations.

   

Daniel Cahana-Levensohn, curator.

       

Interview with the painter Raphael Perez about his family artist book

 

An interview with the painter Raphael Perez about an artist's book he created about his family, the Peretz family from 6 Nissan St. Kiryat Yuval Jerusalem

     

Question: Raphael Perez, tell me about the family artist book you created

 

Answer: I created close to 40 artist books, notebooks, diaries, sketch books and huge books. I dedicated one of the books to my dear family, a book in which I took a childhood photograph of my family, my parents and brothers and sisters.. I pasted the photographs inside a book (the photograph is 10 percent of the total painting) and I drew with acrylic paints, markers and ink on the book and the photograph, so that the image of the photograph was an inspiration to me Build the story that includes page by page..

     

Question: Tell me when you were born, where, and a little about your family

 

Answer: I was born on March 4, 1965 in the Kiryat Yuval neighborhood in Jerusalem

 

I have a twin brother named Miki Peretz and we are seven brothers and sisters, five boys and two girls

   

Question: Tell us a little about your parents

 

Answer: My parents were new immigrants from Morocco, both immigrated young.

 

My mother's name before the wedding was Alice - Aliza ben Yair and my father's name was Shimon Peretz,

 

My mother was born in the Atlas Mountains and was orphaned at a young age and was later adopted by my father's family at the age of 10, so that my mother and father spent childhood and adolescence together....

 

They had a beautiful and happy relationship but sometimes when they argued my mother would say "even when she was a child she was like that..." This means that their acquaintance and relationship dates back to childhood..

     

Question: What did your parents Shimon and Aliza Peretz work for?

 

Answer: My father, Shimon Perez, born in 1928 - worked in a building in his youth and then for thirty years worked as a receptionist at Hadassah Ein Kerem Hospital in Jerusalem... My father's great love was actually art, he loved to draw as a hobby, write, read, solve crossword puzzles and research Regarding the issue of medicinal plants, as a breadwinner he could not fulfill his dream of becoming an artist, in order to support and feed seven children. But we are the next generation, his children are engaged in the world of creativity and education, a field in which both of my parents were engaged during their lives. My father died at the age of 69

   

My mother, Alice Aliza Perez, born in 1934, worked as an assistant to a kindergarten teacher, and later took care of a baby at home. She is a woman of wholehearted giving and caring for children and people, a warm, generous and humble woman.. and took care of us in our childhood for every emotional and physical deficiency.. My mother is right For the year 2023, the 89-year-old is partly happy and happy despite the difficulties of age.. May you have a long life..

   

My mother really loved gardening and nature and both of them together created a magnificent garden, my parents have a relatively large garden so they could grow many types of special and rare medicinal plants and my father even wrote a catalog (unpublished) of medicinal plants and we even had botany students come to us who were interested in the field... today they They also grow ornamental plants, and fruit trees...

   

Question: A book about the brothers and sisters

 

Answer: My elder brother David Perez repented in his mid-twenties.. He was a very sharp, opinionated, curious and very charismatic guy who brought many people back to repentance, and also helped people with problems through the yeshiva and the synagogue to return to the normal path of life, he died young at the age of 56

   

Hana Peretz: My lovely sister, raised eight children, worked in the field of education, a kindergarten teacher, and child care.

 

She has a very large extended family of grandchildren, great-grandchildren and great-great-grandchildren...

   

My brother Avi (Abraham) Peretz studied in Israel at the University of Philosophy and Judaism, he married a wonderful woman named Mira Drumi, a nurse by profession, and together they had three wonderful children, when they moved to the United States in their mid-twenties, where my brother Avi Peretz completed his master's degree in education, worked in the field Education and for the last twenty years is A conservative rabbi

   

The fourth brother is Asher Peretz - a great man of the world, very fond of traveling and has been to magical places all over the world, engaged in the creation of jewelry with two children.

   

I am Rafi Peretz english raphael perez the fifth and after fifteen minutes my twin brother was born

 

My mother still gets confused and can't remember who was born first :-)

   

My twin brother Miki micky - Michael Peretz, a beloved brother (everyone is beloved), a talented industrial designer, he has three children, his wife Revital Peretz Ben, who is a well-known art curator, active and responsible for the art field in Tel Aviv, they are a dynamic and talented couple, full of talents and action

   

The lovely little sister Shlomit Peretz - has been involved in the Bezeq telephone company for almost three decades, and is there in management positions, raising her lovely and beloved child.

     

The art book I dedicated to my family is colorful, rich in details, shows a very intense childhood, happy, cheerful, colorful, ... We were taught to be diligent and to be happy in our part and to see the glass half full in life, to have emotional intelligence and to put the relationship and love at the center with self-fulfillment in work that will interest you us and you will give us satisfaction.

   

Each of us is different in our life decisions and my family is actually a mosaic of the State of Israel that includes both religious and secular people from the entire political spectrum who understand that the secret to unity is mutual respect for each other... when my mother these days is also the family glue in everyone's gatherings on Shabbat and holidays..

   

The personification of the flower couple paintings by the Israeli painter Raphael Perez

 

Raphael Perez, also known as Rafi Peretz, is an Israeli painter who

 

explores his personal and sexual identity through his flower paintings. He created a series of flower paintings from 1995 to 1998, when he was in his early thirties and still in relationships with women, despite feeling gay. His flower paintings reflect his emotional turmoil and his struggle with his sexual orientation. He painted two flowers, one blooming and one wilting, to represent the contrast and conflict between his heterosexual relationships and his true self. He also painted single flowers or two flowers in their prime, to express his longing for a harmonious relationship that matches his nature. He chose sunflowers, white lilies, and red lilies as symbols of expression, purity, and joy, respectively. He painted from real flowers, using different styles and light to create drama and mood. Perez’s paintings of the flower couples are minimalist and focused on the theme of the complex relationship. He omitted any background or context, leaving only the canvas and the drawing of the flower couples. In some of the paintings, he added a very airy abstract surface with thin oil paints that give an atmosphere of watercolors. He also made drawings of flowers in ink, markers and gouache on paper. Later on, he created large acrylic paintings of flowers and still life. Perez’s flower paintings are not mere illustrations or decorations. They are autobiographical and psychological expressions of his inner state and his struggle with his sexuality. He wanted to reveal his loneliness, distress and concealment through these paintings, and to connect with people who are in a similar situation. He deliberately chose only two flowers and no more to intensify the engagement in the charged and complex relationship. Perez also painted and drew couples of men and women with charged psychological states, as well as states of desire for connection and realization of a heterosexual relationship that did not succeed. He used hyperrealism and expressive styles to convey his frozen and calculated state, as well as his mental stress. He used harsh lighting to create contrast and drama, with one side very bright and the other side darker. Perez was influenced by some of the famous artists who painted flowers, such as Van Gogh, who also used sunflowers as a symbol of expression. He also used white lilies and red lilies to convey freshness, cleanliness, purity, color, joy, movement, eruption, and splendor. Perez also painted some single flowers or two flowers in their prime, to show his aspiration for a future where he will have a harmonious relationship. Today, he is 58 years old and in a happy relationship for 10 years with his partner Assaf Henigsberg. He is surrounded by female friends and soulmates and not conflicted with heterosexual relationships as he used to be. He occasionally paints flowers in pots to symbolize home, stability, and peace. Sometimes I paint flowers in pots, which represent home, stability, and solid ground for me. I don’t paint just a couple of flowers, but pots full of flowers that overflow with life. This means that we also have a supportive network of family, friends, and peers around us. We live in a rich, supportive, and protective world. These paintings are a personification of my psychological state, when I had no words to express my feelings to myself. The painting began In 35 years of my creation (starting in 1998), you can read more about how my art and style evolved over time. Perez’s flower paintings are a unique and extraordinary artistic creation that reveals his personal journey and his sexual identity. His work is honest, expressive, and emotional, as well as beautiful and vibrant.

   

The characteristics of the naive painting of the painter Raphael Perez

 

A full interview with the Israeli painter Raphael Perez (Hebrew name: Rafi Peretz) about the ideas behind the naive painting, resume, personal biography and curriculum vitae Question: Raphael Perez Tell us about your work process as a naive painter? Answer: I choose the most iconic and famous buildings in every city and town that are architecturally interesting and have a special shape and place the iconic buildings on boulevards full of trees, bushes, vegetation, flowers. Question: How do you give depth in your naive paintings? Answer: To give depth to the painting, I build the painting with layers of vegetation, after those low famous buildings, followed by a tall avenue of trees, and behind them towers and skyscrapers, in the sky I sometimes put innocent signs of balloons, kites. A recurring motif in some of my paintings is the figure of the painter who is in the center of the boulevard and paints the entire scene unfolding in front of him, also there are two kindergarten teachers who are walking with the kindergarten children with the state flags that I paint, and loving couples hugging and kissing and family paintings of mother, father and child walking in harmony on the boulevard. Question: Raphael Perez, what characterizes your naive painting? Answer: Most naive paintings have the same characteristics (Definition as it appears in Wikipedia) • Tells a simple story to absorb from everyday life, usually with humans. • The representation of the painter's idealization to reality - the mapping of reality. • Failure to maintain perspective - especially details even in distant details. • Extensive use of repeating patterns - many details. • Warm and bright colors. • Sometimes the emphasis is on outlines. • Most of the characters are flat, lack volume • No interest in texture, expression, correct proportions • No interest in anatomy. • There is not much use of light and shade, the colors create a three-dimensional effect. I find these definitions to be valid for all my naive paintings Question: Raphael Perez, why do you choose the city of Tel Aviv? Answer: I was born in Jerusalem, the capital city which I love very much and also paint, I love the special Bauhaus buildings in Tel Aviv, the ornamental buildings that were built a century ago in the 1920s and 1930s, the beautiful boulevards, towers and modern skyscrapers give you the feeling of the hustle and bustle of a large metropolis and there are quite a few low and tall buildings that are architecturally fascinating in their form the special one Also, the move to Tel Aviv, which is the capital of culture, freedom, and secularism, allowed me to live my life as I chose, to live in a relationship with a man, Jerusalem, which is a traditional city, it is more complicated to live a homosexual life, also, the art world takes place mainly in the city of Tel Aviv, and it is possible that from a professional point of view, this allows I can support myself better in Tel Aviv than in any other city in Israel. Question: Raphael Perez, are the paintings of the city of Tel Aviv different from the paintings of the city of Jerusalem? Answer: Most of the paintings of Jerusalem have an emphasis on the color yellow, gold, the color of the old city walls, the subjects I painted in Jerusalem are mainly a type of idealization of a peaceful life between Jews and Arabs and paintings that deal with the Jewish religious world, a number of paintings depict all shades of the currents of Judaism today In contrast, the Tel Aviv paintings are more colorful, with skyscrapers, the sea, balloons and more secular motifs Question: Raphael Perez, tell me about which buildings and their architects you usually choose in your drawings of cities Answer: My favorite buildings are those that have a special shape that anyone can recognize and are the symbols of the city and you will give several examples: In the city of Tel Aviv, my favorite buildings are: the opera building with its unusual geometric shape, the Yisrotel tower with its special head, the Hail Bo Shalom tower that for years was the symbol of the tallest building in Tel Aviv, the Levin house that looks like a Japanese pagoda, the burgundy-colored Nordeau hotel with the special dome at the end of the building, A pair of Alon towers with the special structure of the sea, Bauhaus buildings typical of Tel Aviv with the special balconies and the special staircase, the Yaakov Agam fountain in Dizengoff square appears in a large part of the paintings, many towers that are in the stock exchange complex, the Aviv towers and other tall buildings on Ayalon, in some of the paintings I took plans An outline of future buildings that need to be built in the city and I drew them even before they were built in reality, In the paintings of Jerusalem, I mainly chose the area of the Old City and East Jerusalem, a painting of the walls of the Old City, the Western Wall, the Church of the Holy Sepulcher, the El Akchea Mosque, the Tower of David, most of the famous churches in the city, the right hand of Moses, in most of the paintings the Jew is wearing a blue shirt with a red male cord I was in the youth movement and the Arab with a galabia, and in the paintings of the religious public then, Jews with black suits and white shirts, tallitas, kippahs, special hats, synagogues and more I also created three paintings of the city of Haifa and one painting of Safed In the Haifa paintings I drew the university, the Technion, the famous Egged Tower, the Sail Tower, well-known hotels, of course the Baha'i Gardens and the Baha'i Temple, Haifa Port and the boats and other famous buildings in the city Question: Raphael Perez, have you created series of other cities from around the world? Answer: I created series of New York City with all the iconic and famous buildings such as: the Guggenheim Museum, the famous skyscrapers - the Chrysler Building, the Empire State Building, Lincoln Center, the famous synagogue in the city, the Statue of Liberty, the flags of the United States and other famous buildings Two paintings of London and all its famous sites, Big Ben, famous monuments, the Ferris wheel, Queen Elizabeth and her family, the double bus, the famous public telephone, palaces, famous churches, well-known monuments I created 4 naive paintings of cities in China, a painting of Shanghai, two paintings of the city of Suzhou and a painting of the World Park in the city of Beijing... I chose the famous skyline of Shanghai with all the famous towers, the famous promenade, temples and old buildings, two Paintings of the city of Suzhou with the famous canals, bridges, special gardens, towers and skyscrapers of the city Question: Raphael Perez What is the general idea that accompanies your paintings Answer: To create a good, beautiful, naive, innocent world in which we will see the innovation of the modern city through the skyscrapers in front of small and low buildings that bring the history and past of each country, all with an abundance of vegetation, boulevards, trees Resume, biography, CV of the painter Rafi Peretz and his family Question: When was Raphael Perez born in hebrew his name rafi peretz? Answer: Raphael Perez in Hebrew his name Rafi Peretz was born on March 4, 1965 Question: Where was Raphael Perez born? Answer: Raphael Perez was born in Jerusalem, Israel Question: What is the full name of Raphael Perez? Answer: His full name is Raphael Perez Question: Which art institution did Raphael Perez graduate from? Answer: Raphael Perez graduated from the Visual Arts Center in Be'er Sheva Question: When did Raphael Perez start painting? Answer: Raphael Perez started painting in 1989 Question: When did you start making a living selling art? Answer: Raphael Perez started making a living selling art in 1999 Question: Where does Raphael Perez live and work? Answer: Since 1995, Raphael Perez has been living and working from his studio in Tel Aviv Question: In which military framework did Raphael Perez serve in the IDF? Answer: Raphael Perez served in the artillery corps Question: Raphael Perez, what jobs did he work after his military service? Answer: Raphael Perez worked for 15 years in education in therapeutic settings for children and taught arts and movement Question: How many brothers and sisters does Raphael Perez, the Israeli painter, have? Answer: There are seven children in total, with the painter 5 sons and two daughters, that means the painter Raphael Perez has 4 more brothers and two sisters Question: What do the brothers and sisters of the painter Raphael Perez do? Answer: The elder brother David Peretz Perez was involved in the field of religious studies, the sister Hana Peretz Perez is involved in the field of education, a kindergarten teacher and child care, the brother Avi Peretz Perez who is in the United States today is a conservative rabbi but in the past was involved in education and therapy, the brother Asher Peretz Perez is involved in the fields of creativity and jewelry The twin brother Mickey Peretz Perez is a well-known industrial designer and seller. The younger sister Shlomit Peretz Perez works in a managerial position at Bezeq. Question: Tell me about the parents of the painter Raphael PerezAnswer: The painter Raphael Perez's parents are Shimon Perez Peretz and Eliza Alice Ben Yair, they were married in 1950 in Jerusalem, both were born in Morocco and immigrated to Israel in 1949, Shimon Peretz worked in a building in his youth and later as a receptionist at the Hadassah Ein Kerem Hospital, Eliza Alice Peretz dealt in child care Kindergarten, working in kindergartens and of course taking care of and raising her seven children

 

=================

רפי פרץ צייר אמן ישראלי עכשווי מודרני אמנים ישראלים אומנים ישראליים עכשוויים מודרניים האמנים הישראלים העכשוויים המודרניים האומנים הישראליים העכשוויים המודרניים יוצר הומו הומוסקסואל קווירי הומוסקסואליות באמנות הישראלית מגדר אומנות ומגדר אמנות ישראלית עכשווית מודרנית האמנות הישראלית העכשווית המודרנית

 

erotic gay art painting artist raphael perez pintura homossexual da arte de gomoseksual badiiy rasm гомосексуальний художній живопис pittura di arte omosessuale lukisan seni homoseksual listmálun samkynhneigðra péintéireacht ealaíne homaighnéasach pikturë arti homoseksual homoseksuaalne kunstimaal хомосексуална художествена живопис homoseksualno likovno slikarstvo жывапіс гомасэксуальнага мастацтва সমকামী আর্ট পেইন্টিং homoseksuel kunstmaleri homoszexuális művészeti festmény рассоми санъати гомосексуалӣ gomoseksual sungat suratkeşligi homoseksuālas mākslas glezniecība homoseksualaus meno tapyba homoseksuell kunstmaleri homoseksualno likovno slikarstvo

 

queer artworks paintings homoerotic painter lgbt artwork glbt artworks homo erotica man nude male naked men image images picture pictures homosexual homosexualiy artists painters artist body realism realistic famous

 

مثلي الجنس الفن الغريبة الأعمال الفنية معرض معرض رجل عارية لوحة رجال عراة صورة الجسم الإسرائيلي فنان رسام مثلى الفنانين الرسامين لوحات واقعية مثلي الجنس الشهير صورة كبيرة

 

arte homosexual queer obras de arte galería exposición hombre desnudo pintura hombres desnudos retrato cuerpo artista israelí pintor artistas gay pintores pinturas realistas homoerótico famoso imagen grande

 

гомосексуальное искусство квир произведения искусства галерея выставка мужчина ню живопись голые мужчины портрет тело израильский художник художник геи художники художники реалистичные картины гомоэротика знаменитый большое изображение

 

ομοφυλοφιλική τέχνη queer artworks γκαλερί έκθεση άντρας γυμνή ζωγραφική γυμνοί άντρες πορτραίτο ισραήλ καλλιτέχνης ζωγράφος γκέι καλλιτέχνες ζωγράφοι ρεαλιστικοί πίνακες ομοιορωτική διάσημη μεγάλη εικόνα

 

homosexuelle kunst queer kunstwerke galerie ausstellung mann nackt malerei nackte männer porträtkörper israelischer künstler maler schwule künstler maler realistische gemälde homoerotisch berühmtes großes bild

 

homoseksuele kunst queer kunstwerken galerie tentoonstelling man naakt schilderij naakte mannen portret lichaam Israëlische kunstenaar schilder homo kunstenaars schilders realistische schilderijen homo-erotisch beroemd groot beeld

 

art homosexuel queer oeuvres d'art galerie exposition homme peinture nue hommes nus portrait corps artiste israélien peintre artistes gais peintres peintures réalistes homoérotique célèbre grande image

 

homoseksualna sztuka queer dzieła galeria wystawa mężczyzna nago malarstwo nagi mężczyzna portret ciało izraelski artysta malarz homoseksualiści malarze realistyczni obrazy homoerotyk sławny duży obraz

 

Eşcinsel sanat queer sanat eseri galeri sergi adam çıplak boyama çıplak erkekler portre vücut İsrail sanatçı ressam eşcinsel sanatçılar ressamlar gerçekçi resim sergisi homoerotik ünlü büyük resim

 

समलैंगिक कला क्वीर कलाकृतियों गैलरी प्रदर्शनी आदमी नग्न पेंटिंग नग्न पुरुषों चित्र शरीर इजरायल कलाकार चित्रकार समलैंगिक कलाकारों चित्रकारों यथार्थवादी चित्रों समलैंगिक प्रसिद्ध बड़ी छवि

 

homoseksuell konst queer konstverk galleri utställning man nakenmålning nakna män porträtt kropp israelisk konstnär målare gay konstnärer målare realistiska målningar homoerotisk berömd stor bild

From Wikipedia, the free encyclopedia

 

The SS Nieuw Amsterdam

S.S. Nieuw Amsterdam

 

Career (Netherlands)

 

Flag of the Netherlands.svg

 

Name: Nieuw Amsterdam

Namesake: New Amsterdam (New York)

Operator: Holland America Line

Builder: N.V. Rotterdam Drydock Company, Rotterdam, Netherlands

Laid down: January 5, 1936

Launched: April 10, 1937

Christened: April 10, 1937

Maiden voyage: May 10, 1938

Fate: Scrapped in 1974

 

General characteristics

 

Tonnage: 36,287 gross tons (36,667 tons after 1947 refit)

Length: 758 feet (231.5 m)

Beam: 88 feet (26.9 m)

Installed power: Single reduction geared turbines; 34,000 shp

Propulsion: Twin screws

Speed: 20.5 knots (38.0 km/h)

Capacity: 1,220: 556 First Class, 455 Second Class, 209 Third Class

 

The Nieuw Amsterdam was a Dutch ocean liner built in Rotterdam for the Holland America Line. This Nieuw Amsterdam, the second of four Holland America ships with that name, is considered by many to have been Holland America's finest ship.

 

Originally she was to be named Prinsendam, however during construction, Holland America Line decided to name their new flagship Nieuw Amsterdam, in honor of the Dutch settlement of New Amsterdam, modern day New York.

 

Construction on the new liner was carried out at the N.V. Rotterdam Drydock Company. Christened by Queen Wilhelmina in April 1937, Nieuw Amsterdam was, at 36,982 tonnes, the largest liner ever constructed in the Netherlands up to that time. Proudly she was dubbed the Dutch "Ship of peace" since there were no provisions for possible war use incorporated in her design.

 

Interior[edit]

 

The Nieuw Amsterdam was the Netherlands' "ship of state", just as the Normandie was France's, the Queen Mary was Britain's and United States was the United States', and numerous Dutch artists vied for the honor of creating some part of the ship.

     

The first-class dining room aboard the Nieuw Amsterdam

Their creation emerged in the spring of 1938, a light-colored and very spacious ship throughout, and although she had spacious public rooms, the colour scheme used gave her an even larger feel. Modern in every way, her owners proclaimed her "the ship of tomorrow". She followed the Art Deco trend of the day in both interior decorations and exterior design. The interiors were distinguished by fluorescent lighting, aluminum motifs, and gentle pastels throughout the ship that created an understated elegance that would make the liner a favorite among seasoned transatlantic passengers.[1]

 

One of the ship’s centerpieces was the first class restaurant, having a Moroccan leather ceiling which was adorned by numerous Murano glass light fixtures, and columns covered in gold leaf. Tinted mirrors, ivory walls and satinwood furniture all contributed to create the luxurious atmosphere. The restaurant had no portholes or windows facing the open sea, making it depend solely on artificial illumination. This might sound a bit odd, but it was just the same in the first class restaurant on board the fabulous Normandie of 1935.[2] There also were two swimming pools on board, one outdoor and the other indoors on E-deck. It featured expensive Delft tiling which was an impressive sight.

 

Passengers must have found it difficult to believe they were at sea when in the air-conditioned First Class Theater. The deeply cushioned seats commanded an unobstructed view of the stage, and the egg-shaped contour of the auditorium took advantage of the latest in scientific sound-proofing materials and amplifying equipment to ensure perfect acoustics for concerts, dramatic performances and pre-release motion pictures. Found at the front end of the Theatre was a striking mural in red, black and gold by Reyer Stolk. The Nieuw Amsterdam was the second ship in the world after the Normandie to boast a theater, a feature the larger and faster Queen Mary did not have.

 

A favorite rendezvous of many Nieuw Amsterdam passengers was the handsome First Class Smoking Room with its rich Circassian walnut paneling and deep, luxurious armchairs and settees. Flanked by two enclosed sun verandas extending to the sides of the ship, the Smoking Room had its own modern bar stocked with a connoisseur choice of fine liquors.

 

First Class staterooms on the Nieuw Amsterdam were unusually attractive, ranging in size from cozy single person cabins to elaborate cabins-de-luxe. The handsome and modern decorative scheme made the cabins comfortable spots for daytime and evening relaxation. All First Class cabins on Nieuw Amsterdam had a private bathroom, a unique feature which no previous liner could boast.

 

Early career[edit]

 

On April 23, 1938, the Nieuw Amsterdam set out on her sea trials, which were to take place on the North Sea. Testing her speed and manoeuvring capability, the new vessel turned out to be all that she was supposed to be. Upon her return from the sea trials, the Nieuw Amsterdam was transferred to Holland America ownership and officially registered in the Dutch merchant fleet.

 

The sleek new liner's maiden voyage was set for May 10, 1938, and upon her arrival in New York she immediately won adulation and acclaim.

 

Although she was neither as large or fast as many of her contemporaries, she was to be a popular liner for the Dutch and was showered with superlatives. Her sleek outline and two slim funnels provided a striking profile and she soon garnered a loyal following amid stiff competition from great liners such as Cunard's Queen Mary and the superb Normandie of the French Line. Despite the fierce competition, Nieuw Amsterdam proved to be one of the few money-making vessels of the day.[3]

 

Wartime service[edit]

 

The Netherlands’ “ship of peace” was not to enjoy the praise lavished on her for long. After only seventeen voyages, Nieuw Amsterdam was laid up at Hoboken, New Jersey in 1939 after the German invasion of Poland. She would be idle for only a year, however, and was requisitioned by the British Ministry of Transport after Holland fell to Hitler’s armies. She would spend the remainder of the war years as a troop transport, despite the fact she had been constructed without the consideration of ever being used in a military capacity. During the course of the conflict she would transport over 350,000 troops and steam some 530,452 nautical miles (982,397 km) before being returned to the Holland America Line in 1946.

 

Refitting the Nieuw Amsterdam[edit]

 

The Nieuw Amsterdam triumphantly returned to her home port of Rotterdam on April 10, 1946. Fifteen weeks were required to remove the troop fittings: the special kitchens, alarm systems, hammocks, and 36 guns.

 

Then 2,000 tons of furniture and decorations were shipped to the Netherlands from wartime storage in San Francisco. The furnishings were for the most part in very poor condition, a result of six years of neglect. About 3,000 chairs and 500 tables were sent back to their original builders for reupholstering and refinishing. One quarter of the furnishings had to be replaced entirely.

 

Factories and warehouses in Europe combed their supplies for materials and fabrics, much of which had been concealed from the Nazis during the occupation. Many smaller parts, such as hinges and clamps, had to be made by hand, since the machinery that once made them had been stolen or destroyed by the enemy.

     

The first-class main hall aboard the Nieuw Amsterdam

The entire rubber flooring was renewed, as was nearly all of the carpeting. All of the steel work was scaled and preserved and all piping cleaned. All ceilings and floors were removed; all of the liners 374 bathrooms were rebuilt. In the passenger spaces the wood paneling, which had been scratched and mutilated, was sanded down to half its thickness and relacquered. All the cabin's closets and fixtures were replaced. The entire electrical wiring system was renewed.

 

Having been painted over for blackouts and cracked in tropical climates, 12,000 square feet (1,100 m2) of glass was refurbished. Even the hand rails had to be repolished to eradicate thousands of carved initials. The project was monumental, because of the material shortages and the decline of the number of skilled craftsmen.

 

On October 29, 1947, after 18 months at the shipyard, the Nieuw Amsterdam reentered transatlantic service. Over 100 liners were restored with similar efforts.

  

Post war career and demise[edit]

     

The Nieuw Amsterdam as a cruise ship

The refit took eighteen months and cost more than her original construction, but on October 29, 1947, the Nieuw Amsterdam was finally back on the transatlantic run. Her passenger accommodations had been slightly altered, and the ship emerged with a gross tonnage some 400 tons larger than before, ending up at 36,667.[4]

 

For the next twenty years Nieuw Amsterdam would enjoy a loyal following and financial success. Even when joined by a more contemporary fleet mate in 1959, the SS Rotterdam, the Nieuw Amsterdam still commanded a loyal following and remained one of the most popular ships on the north Atlantic. Her several refits in the 1950s ensured she remained in top condition and continued service despite her being near thirty years of age. In 1967 severe boiler problems seemed to indicate an end to the venerable liner’s career, however new US Navy surplus boilers were installed during a sixteen week shipyard period at Wilton-Fijenoord in Schiedam and her career continued.

     

Painting of the Nieuw Amsterdam

In the same decade jet travel had made continued Atlantic passenger runs impractical, so Nieuw Amsterdam was shifted to cruising in the Caribbean. Soon escalating operating cost and competition from newer cruise vessels meant an end to the grand liner’s service career. Nieuw Amsterdam had been an enduring icon on the North Atlantic for the better part of three decades—certainly her refined interiors and impeccable service added much to her appeal.

 

The ship sailed to the breakers in 1974

 

Side Flash - Full Length: Experimenting with different flash bulbs on the AD200s, trying out some different looks with the side lighting.

Description: The standard length of the initial phase of the yellowhead wrasse is sixty-two millimeters. This image was taken with a Nikon D1X 5.47-megapixel camera with a 105-millimeter f/2.8D AF Micro-Nikkor lens and dual Nikon SB28 flash units.

 

Creator/Photographer: Belize Larval-Fish Group 2004

 

The Division of Fishes of the Smithsonian's National Museum Natural History has sent several teams to Belize in order to photograph larvae in the field. The 2004 team included Julie H. Mounts and Carole C. Baldwin from February 18 through 25, and David G. Smith, Lee A. Weigt, and Claudette Decourley from February 25 through March 11.

 

Medium: Digital photograph

 

Geography: Belize

 

Date: 2004

 

Repository: National Museum of Natural History, Division of Fishes

 

Image ID: halichoeres_garnoti_initial

The Plaza Hotel.

 

Landmark 20-story luxury hotel with a height of 250 ft (76 m) and length of 400 ft (120 m) that occupies the west side of Grand Army Plaza, from which it derives its name, and extends along Central Park South in Manhattan. Fifth Avenue extends along the east side of Grand Army Plaza. It is owned by El-Ad Properties and managed and operated by Fairmont Hotels and Resorts of Canada.

 

The Plaza is the second hotel of that name on the site. The French Renaissance château-style building was designed by Henry Janeway Hardenbergh and opened to the public on October 1, 1907. At the time, it cost $12.5 million to construct. When the hotel opened, a room at the Plaza Hotel was only $2.50 per night (equivalent of $62 today). Today, the same room costs from $695 upwards.

 

The Plaza was accorded landmark status by the New York City Landmarks Preservation Commission in 1969; it was designated a National Historic Landmark (NHL) in 1986. The Waldorf-Astoria is the only other New York City hotel to be designated as a National Historic Landmark.

 

Long the site for famous performers and guests, it has also been the meeting place for important political meetings. The nationally known singers Eartha Kitt, Liza Minnelli, Kay Thompson, Andy Williams, and Peggy Lee played the Persian Room; unaccompanied ladies were not permitted in the Oak Room bar; and women favored the Palm Court for luncheons and teas. The Beatles stayed at the Plaza during their first visit to the United States in February 1964. On November 28, 1966, in honor of the publisher Katharine Graham, the writer Truman Capote hosted his acclaimed "Black & White Ball" in the Grand Ballroom.

 

Conrad Hilton bought the Plaza for US$7.4 million in 1943 (equivalent of $99.4 million today) and spent US$6.0 million (equivalent of $80.6 million today) refurbishing it. The Childs Company, a national restaurant chain which partnered in the development of the neighboring Savoy-Plaza Hotel, (now the site of the General Motors Building), purchased the Plaza Hotel in 1955 for 1,100,000 shares of Childs common stock, valued at approximately $6,325,000 (equivalent of $54.9 million today). Childs subsequently changed its name to Hotel Corporation of America, now known as Sonesta International Hotels Corporation. Donald Trump bought the Plaza for $407.5 million in 1988 (equivalent of $800 million today). Trump commented on his purchase in a full-page open letter he published in The New York Times: "I haven't purchased a building, I have purchased a masterpiece — the Mona Lisa. For the first time in my life, I have knowingly made a deal that was not economic — for I can never justify the price I paid, no matter how successful the Plaza becomes."

 

After Trump's divorce from wife Ivana Trump, the Plaza's president, Trump sold the hotel for $325 million in 1995 (equivalent of $496 million today) to Troy Richard Campbell, from New Hampshire. He sold it in 2004 for $675 million (equivalent of $831 million today) to a Manhattan developer, El Ad Properties. El Ad bought the hotel with plans of adding residential and commercial sections. Since The Plaza Hotel is a New York landmark, Tishman Construction Corporation, the construction management company hired to complete the renovations and conversions, had to comply with landmark regulations.

 

El Ad temporarily closed The Plaza on April 30, 2005, for extensive renovations. Beginning May 2005, the Plaza's contents were available to the public via hotel liquidation sale conducted by NCL/National Content Liquidators out of Springboro, Ohio. The Plaza reopened on March 1, 2008. Today the Plaza offers 282 hotel rooms and 152 private condo hotel units; it is managed by Fairmont Hotels and Resorts. Diamond retailer Lev Leviev put in the first bid for a Plaza apartment at $10 million. But lately, it is still possible to acquire ownership of the apartments at 50 sqm cost from $ 1.5 million. In May 2007, a new apartment in the Plaza was sold for a record $50 million, but prices dropped through 2009.

 

As of April 2012, it is rumored that the Sahara Group of India is in talks to purchase the property. It is still unclear on who will manage the property if the change in ownership takes place.

 

In November 2008 the Plaza Hotel unveiled its retail collection, an underground mall featuring luxury brands such as Vertu and Demel Bakery, an Austrian-owned business. In 2010 the Plaza Food Hall, an eating establishment run by Chef Todd English, opened in the underground mall.

In September 1985, ministers of developed countries met at the Plaza to consult on finance issues and affirmed their agreement by signing the Plaza Accord. It served as an agreement among the finance ministers of the United States, Japan, West Germany, France and Britain to bring down the price of the U.S. dollar against their currencies.

 

The hotel offers tours of its interior to the public.

The wild boar (Sus scrofa), also known as the wild swine, common wild pig, Eurasian wild pig, or simply wild pig, is a suid native to much of Eurasia and North Africa, and has been introduced to the Americas and Oceania. The species is now one of the widest-ranging mammals in the world, as well as the most widespread suiform. It has been assessed as least concern on the IUCN Red List due to its wide range, high numbers, and adaptability to a diversity of habitats. It has become an invasive species in part of its introduced range. Wild boars probably originated in Southeast Asia during the Early Pleistocene and outcompeted other suid species as they spread throughout the Old World.

 

As of 2005, up to 16 subspecies are recognized, which are divided into four regional groupings based on skull height and lacrimal bone length. The species lives in matriarchal societies consisting of interrelated females and their young (both male and female). Fully grown males are usually solitary outside the breeding season. The wolf is the wild boar's main predator in most of its natural range except in the Far East and the Lesser Sunda Islands, where it is replaced by the tiger and Komodo dragon respectively. The wild boar has a long history of association with humans, having been the ancestor of most domestic pig breeds and a big-game animal for millennia. Boars have also re-hybridized in recent decades with feral pigs; these boar–pig hybrids have become a serious pest wild animal in the Americas and Australia.

 

Terminology

As true wild boars became extinct in Great Britain before the development of Modern English, the same terms are often used for both true wild boar and pigs, especially large or semi-wild ones. The English boar stems from the Old English bār, which is thought to be derived from the West Germanic bair, of unknown origin. Boar is sometimes used specifically to refer to males, and may also be used to refer to male domesticated pigs, especially breeding males that have not been castrated.

 

Sow, the traditional name for a female, again comes from Old English and Germanic; it stems from Proto-Indo-European, and is related to the Latin: sus and Greek hus, and more closely to the New High German Sau. The young may be called piglets or boarlets.

 

The animals' specific name scrofa is Latin for 'sow'.

 

Taxonomy and evolution

MtDNA studies indicate that the wild boar originated from islands in Southeast Asia such as Indonesia and the Philippines, and subsequently spread onto mainland Eurasia and North Africa. The earliest fossil finds of the species come from both Europe and Asia, and date back to the Early Pleistocene. By the late Villafranchian, S. scrofa largely displaced the related S. strozzii, a large, possibly swamp-adapted suid ancestral to the modern S. verrucosus throughout the Eurasian mainland, restricting it to insular Asia. Its closest wild relative is the bearded pig of Malacca and surrounding islands.

 

Domestication

With the exception of domestic pigs in Timor and Papua New Guinea (which appear to be of Sulawesi warty pig stock), the wild boar is the ancestor of most pig breeds. Archaeological evidence suggests that pigs were domesticated from wild boar as early as 13,000–12,700 BCE in the Near East in the Tigris Basin, being managed in the wild in a way similar to the way they are managed by some modern New Guineans. Remains of pigs have been dated to earlier than 11,400 BCE in Cyprus. Those animals must have been introduced from the mainland, which suggests domestication in the adjacent mainland by then. There was also a separate domestication in China, which took place about 8,000 years ago.

 

DNA evidence from sub-fossil remains of teeth and jawbones of Neolithic pigs shows that the first domestic pigs in Europe had been brought from the Near East. This stimulated the domestication of local European wild boars, resulting in a third domestication event with the Near Eastern genes dying out in European pig stock. Modern domesticated pigs have involved complex exchanges, with European domesticated lines being exported in turn to the ancient Near East. Historical records indicate that Asian pigs were introduced into Europe during the 18th and early 19th centuries. Domestic pigs tend to have much more developed hindquarters than their wild boar ancestors, to the point where 70% of their body weight is concentrated in the posterior, which is the opposite of wild boar, where most of the muscles are concentrated on the head and shoulders.

 

Synonymous species

The Heude's pig (Sus bucculentus), also known as the Indochinese warty pig or Vietnam warty pig, was an alleged pig species found in Laos and Vietnam. It was virtually unknown and was feared extinct, until the discovery of a skull from a recently killed individual in the Annamite Range, Laos, in 1995. Subsequent studies indicated that Sus bucculentus was not a valid taxon. As of 2022 the Mammal Diversity Database included it in Sus scrofa.

 

Description

The wild boar is a bulky, massively built suid with short and relatively thin legs. The trunk is short and robust, while the hindquarters are comparatively underdeveloped. The region behind the shoulder blades rises into a hump and the neck is short and thick to the point of being nearly immobile. The animal's head is very large, taking up to one-third of the body's entire length. The structure of the head is well suited for digging. The head acts as a plough, while the powerful neck muscles allow the animal to upturn considerable amounts of soil: it is capable of digging 8–10 cm (3.1–3.9 in) into frozen ground and can upturn rocks weighing 40–50 kg (88–110 lb). The eyes are small and deep-set and the ears long and broad. The species has well developed canine teeth, which protrude from the mouths of adult males. The medial hooves are larger and more elongated than the lateral ones and are capable of quick movements. The animal can run at a maximum speed of 40 km/h (25 mph) and jump at a height of 140–150 cm (55–59 in).

 

Sexual dimorphism is very pronounced in the species, with males being typically 5–10% larger and 20–30% heavier than females. Males also sport a mane running down the back, which is particularly apparent during autumn and winter. The canine teeth are also much more prominent in males and grow throughout life. The upper canines are relatively short and grow sideways early in life, though they gradually curve upwards. The lower canines are much sharper and longer, with the exposed parts measuring 10–12 cm (3.9–4.7 in) in length. In the breeding period, males develop a coating of subcutaneous tissue, which may be 2–3 cm (0.79–1.18 in) thick, extending from the shoulder blades to the rump, thus protecting vital organs during fights. Males sport a roughly egg-sized sack near the opening of the penis, which collects urine and emits a sharp odour. The function of this sack is not fully understood.

 

Adult size and weight is largely determined by environmental factors; boars living in arid areas with little productivity tend to attain smaller sizes than their counterparts inhabiting areas with abundant food and water. In most of Europe, males average 75–100 kg (165–220 lb) in weight, 75–80 cm (30–31 in) in shoulder height and 150 cm (59 in) in body length, whereas females average 60–80 kg (130–180 lb) in weight, 70 cm (28 in) in shoulder height and 140 cm (55 in) in body length. In Europe's Mediterranean regions, males may reach average weights as low as 50 kg (110 lb) and females 45 kg (99 lb), with shoulder heights of 63–65 cm (25–26 in). In the more productive areas of Eastern Europe, males average 110–130 kg (240–290 lb) in weight, 95 cm (37 in) in shoulder height and 160 cm (63 in) in body length, while females weigh 95 kg (209 lb), reach 85–90 cm (33–35 in) in shoulder height, and reach 145 cm (57 in) in body length. In Western and Central Europe, the largest males weigh 200 kg (440 lb) and females 120 kg (260 lb). In Northeastern Asia, large males can reach brown bear-like sizes, weighing 270 kg (600 lb) and measuring 110–118 cm (43–46 in) in shoulder height. Some adult males in Ussuriland and Manchuria have been recorded to weigh 300–350 kg (660–770 lb) and measure 125 cm (49 in) in shoulder height. Adults of this size are generally immune from wolf predation. Such giants are rare in modern times, due to past overhunting preventing animals from attaining their full growth.

 

The winter coat consists of long, coarse bristles underlaid with short brown downy fur. The length of these bristles varies along the body, with the shortest being around the face and limbs and the longest running along the back. These back bristles form the aforementioned mane prominent in males and stand erect when the animal is agitated. Colour is highly variable; specimens around Lake Balkhash are very lightly coloured, and can even be white, while some boars from Belarus and Ussuriland can be black. Some subspecies sport a light-coloured patch running backward from the corners of the mouth. Coat colour also varies with age, with piglets having light brown or rusty-brown fur with pale bands extending from the flanks and back.

 

The wild boar produces a number of different sounds which are divided into three categories:

 

Contact calls: Grunting noises which differ in intensity according to the situation. Adult males are usually silent, while females frequently grunt and piglets whine. When feeding, boars express their contentment through purring. Studies have shown that piglets imitate the sounds of their mother, thus different litters may have unique vocalisations.

Alarm calls: Warning cries emitted in response to threats. When frightened, boars make loud huffing ukh! ukh! sounds or emit screeches transcribed as gu-gu-gu.

Combat calls: High-pitched, piercing cries.

Its sense of smell is very well developed to the point that the animal is used for drug detection in Germany. Its hearing is also acute, though its eyesight is comparatively weak, lacking color vision and being unable to recognise a standing human 10–15 metres (33–49 ft) away.

 

Pigs are one of four known mammalian taxa which possess mutations in the nicotinic acetylcholine receptor that protect against snake venom. Mongooses, honey badgers, hedgehogs, and pigs all have modifications to the receptor pocket which prevents the snake venom α-neurotoxin from binding. These represent four separate, independent mutations.

 

Social behaviour and life cycle

Boars are typically social animals, living in female-dominated sounders consisting of barren sows and mothers with young led by an old matriarch. Male boars leave their sounder at the age of 8–15 months, while females either remain with their mothers or establish new territories nearby. Subadult males may live in loosely knit groups, while adult and elderly males tend to be solitary outside the breeding season.

 

The breeding period in most areas lasts from November to January, though most mating only lasts a month and a half. Prior to mating, the males develop their subcutaneous armour in preparation for confronting rivals. The testicles double in size and the glands secrete a foamy yellowish liquid. Once ready to reproduce, males travel long distances in search of a sounder of sows, eating little on the way. Once a sounder has been located, the male drives off all young animals and persistently chases the sows. At this point, the male fiercely fights potential rivals. A single male can mate with 5–10 sows. By the end of the rut, males are often badly mauled and have lost 20% of their body weight, with bite-induced injuries to the penis being common. The gestation period varies according to the age of the expecting mother. For first-time breeders, it lasts 114–130 days, while it lasts 133–140 days in older sows. Farrowing occurs between March and May, with litter sizes depending on the age and nutrition of the mother. The average litter consists of 4–6 piglets, with the maximum being 10–12. The piglets are whelped in a nest constructed from twigs, grasses and leaves. Should the mother die prematurely, the piglets are adopted by the other sows in the sounder.

 

Newborn piglets weigh around 600–1,000 grams, lacking underfur and bearing a single milk incisor and canine on each half of the jaw. There is intense competition between the piglets over the most milk-rich nipples, as the best-fed young grow faster and have stronger constitutions. The piglets do not leave the lair for their first week of life. Should the mother be absent, the piglets lie closely pressed to each other. By two weeks of age, the piglets begin accompanying their mother on her journeys. Should danger be detected, the piglets take cover or stand immobile, relying on their camouflage to keep them hidden. The neonatal coat fades after three months, with adult colouration being attained at eight months. Although the lactation period lasts 2.5–3.5 months, the piglets begin displaying adult feeding behaviours at the age of 2–3 weeks. The permanent dentition is fully formed by 1–2 years. With the exception of the canines in males, the teeth stop growing during the middle of the fourth year. The canines in old males continue to grow throughout their lives, curving strongly as they age. Sows attain sexual maturity at the age of one year, with males attaining it a year later. However, estrus usually first occurs after two years in sows, while males begin participating in the rut after 4–5 years, as they are not permitted to mate by the older males. The maximum lifespan in the wild is 10–14 years, though few specimens survive past 4–5 years. Boars in captivity have lived for 20 years.

 

Behaviour and ecology

The wild boar inhabits a diverse array of habitats from boreal taigas to deserts. In mountainous regions, it can even occupy alpine zones, occurring up to 1,900 m (6,200 ft) in the Carpathians, 2,600 m (8,500 ft) in the Caucasus and up to 3,600–4,000 m (11,800–13,100 ft) in the mountains in Central Asia and Kazakhstan. In order to survive in a given area, wild boars require a habitat fulfilling three conditions: heavily brushed areas providing shelter from predators, water for drinking and bathing purposes and an absence of regular snowfall.

 

The main habitats favored by boars in Europe are deciduous and mixed forests, with the most favorable areas consisting of forest composed of oak and beech enclosing marshes and meadows. In the Białowieża Forest, the animal's primary habitat consists of well-developed broad-leaved and mixed forests, along with marshy mixed forests, with coniferous forests and undergrowths being of secondary importance. Forests made up entirely of oak groves and beeches are used only during the fruit-bearing season. This is in contrast to the Caucasian and Transcaucasian mountain areas, where boars will occupy such fruit-bearing forests year-round. In the mountainous areas of the Russian Far East, the species inhabits nutpine groves, hilly mixed forests where Mongolian oak and Korean pine are present, swampy mixed taiga and coastal oak forests. In Transbaikalia, boars are restricted to river valleys with nut pine and shrubs. Boars are regularly encountered in pistachio groves in winter in some areas of Tajikistan and Turkmenistan, while in spring they migrate to open deserts; boar have also colonized deserts in several areas they have been introduced to.

 

On the islands of Komodo and Rinca, the boar mostly inhabits savanna or open monsoon forests, avoiding heavily forested areas unless pursued by humans. Wild boar are known to be competent swimmers, capable of covering long distances. In 2013, one boar was reported to have completed the 11-kilometre (7 mi) swim from France to Alderney in the Channel Islands. Due to concerns about disease, it was shot and incinerated.

 

Wild boar rest in shelters, which contain insulating material like spruce branches and dry hay. These resting places are occupied by whole families (though males lie separately) and are often located in the vicinity of streams, in swamp forests and in tall grass or shrub thickets. Boars never defecate in their shelters and will cover themselves with soil and pine needles when irritated by insects.

 

Diet

The wild boar is a highly versatile omnivore, whose diversity in choice of food is comparable to that of humans. Their foods can be divided into four categories:

 

Rhizomes, roots, tubers and bulbs, all of which are dug up throughout the year in the animal's whole range.

Nuts, berries and seeds, which are consumed when ripened and are dug up from the snow when necessary.

Leaves, bark, twigs and shoots, along with garbage.

Earthworms, insects, mollusks, fish, rodents, insectivores, bird eggs, lizards, snakes, frogs and carrion. Most of these prey items are taken in warm periods.

A 50 kg (110 lb) boar needs around 4,000–4,500 calories of food per day, though this required amount increases during winter and pregnancy, with the majority of its diet consisting of food items dug from the ground, like underground plant material and burrowing animals. Acorns and beechnuts are invariably its most important food items in temperate zones, as they are rich in the carbohydrates necessary for the buildup of fat reserves needed to survive lean periods. In Western Europe, underground plant material favoured by boars includes bracken, willow herb, bulbs, meadow herb roots and bulbs and the bulbs of cultivated crops. Such food is favoured in early spring and summer, but may also be eaten in autumn and winter during beechnut and acorn crop failures. Should regular wild foods become scarce, boars will eat tree bark and fungi, as well as visit cultivated potato and artichoke fields. Boar soil disturbance and foraging have been shown to facilitate invasive plants. Boars of the vittatus subspecies in Ujung Kulon National Park in Java differ from most other populations by their primarily frugivorous diet, which consists of 50 different fruit species, especially figs, thus making them important seed dispersers. The wild boar can consume numerous genera of poisonous plants without ill effect, including Aconitum, Anemone, Calla, Caltha, Ferula and Pteridium.

 

Boars may occasionally prey on small vertebrates like newborn deer fawns, leporids and galliform chicks. Boars inhabiting the Volga Delta and near some lakes and rivers of Kazakhstan have been recorded to feed extensively on fish like carp and Caspian roach. Boars in the former area will also feed on cormorant and heron chicks, bivalved molluscs, trapped muskrats and mice. There is at least one record of a boar killing and eating a bonnet macaque in southern India's Bandipur National Park, though this may have been a case of intraguild predation, brought on by interspecific competition for human handouts. There is also at least one recorded case of a group of wild boar attacking, killing, and eating an adult, healthy female axis deer (Axis axis) as a pack.

 

Predators

Piglets are vulnerable to attack from medium-sized felids like Eurasian lynx (Lynx lynx), jungle cats (Felis chaus), and snow leopards (Panthera uncia), as well as other carnivorans like brown bears (Ursus arctos) and yellow-throated martens (Martes flavigula).

 

The wolf (Canis lupus) is the main predator of wild boar throughout most of its range. A single wolf can kill around 50 to 80 boars of differing ages in one year. In Italy and Belarus' Belovezhskaya Pushcha National Park, boars are the wolf's primary prey, despite an abundance of alternative, less powerful ungulates. Wolves are particularly threatening during the winter, when deep snow impedes the boars' movements. In the Baltic regions, heavy snowfall can allow wolves to eliminate boars from an area almost completely. Wolves primarily target piglets and subadults and only rarely attack adult sows. Adult males are usually avoided entirely. Dholes (Cuon alpinus) may also prey on boars, to the point of keeping their numbers down in northwestern Bhutan, despite there being many more cattle in the area.

 

Leopards (Panthera pardus) are predators of wild boar in the Caucasus (particularly Transcaucasia), the Russian Far East, India, China and Iran. In most areas, boars constitute only a small part of the leopard's diet. However, in Iran's Sarigol National Park, boars are the second most frequently targeted prey species after mouflon (Ovis gmelini), though adult individuals are generally avoided, as they are above the leopard's preferred weight range of 10–40 kg (22–88 lb). This dependence on wild boar is largely due in part to the local leopard subspecies' large size.

 

Boars of all ages were once the primary prey of the tiger (Panthera tigris) in Transcaucasia, Kazakhstan, Middle Asia and the Far East up until the late 19th century. In modern times, tiger numbers are too low to have a limiting effect on boar populations. A single tiger can systematically destroy an entire sounder by preying on its members one by one, before moving on to another sounder. Tigers have been noted to chase boars for longer distances than with other prey. In two rare cases, boars were reported to gore a small tiger and a tigress to death in self-defense. A "large male tiger" died of wounds inflicted by an old wild boar it had killed in "a battle royal" between the two animals.

 

In the Amur region, wild boars are one of the two most important prey species for Siberian tigers, alongside the Manchurian wapiti (Cervus canadensis xanthopygus), with the two species collectively comprising roughly 80% of the felid's prey. In Sikhote Alin, a tiger can kill 30–34 boars a year. Studies of tigers in India indicate that boars are usually secondary in preference to various cervids and bovids, though when boars are targeted, healthy adults are caught more frequently than young and sick specimens.

 

On the islands of Komodo, Rinca and Flores, the boar's main predator is the Komodo dragon (Varanus komodoensis).

 

Distribution and habitat

Reconstructed range

The species originally occurred in North Africa and much of Eurasia; from the British Isles to Korea and the Sunda Islands. The northern limit of its range extended from southern Scandinavia to southern Siberia and Japan. Within this range, it was only absent in extremely dry deserts and alpine zones. It was once found in North Africa along the Nile valley up to Khartoum and north of the Sahara. The species occurs on a few Ionian and Aegean Islands, sometimes swimming between islands. The reconstructed northern boundary of the animal's Asian range ran from Lake Ladoga (at 60°N) through the area of Novgorod and Moscow into the southern Urals, where it reached 52°N. From there, the boundary passed Ishim and farther east the Irtysh at 56°N. In the eastern Baraba steppe (near Novosibirsk) the boundary turned steep south, encircled the Altai Mountains and went again eastward including the Tannu-Ola Mountains and Lake Baikal. From here, the boundary went slightly north of the Amur River eastward to its lower reaches at the Sea of Okhotsk. On Sakhalin, there are only fossil reports of wild boar. The southern boundaries in Europe and Asia were almost invariably identical to the seashores of these continents. It is absent in the dry regions of Mongolia from 44 to 46°N southward, in China westward of Sichuan and in India north of the Himalayas. It is absent in the higher elevations of the Pamir and the Tian Shan, though they do occur in the Tarim basin and on the lower slopes of the Tien Shan.

 

Present range

In recent centuries, the range of wild boar has changed dramatically, largely due to hunting by humans and more recently because of captive wild boar escaping into the wild. Prior to the 20th century, boar populations had declined in numerous areas, with British populations probably becoming extinct during the 13th century. In the warm period after the ice age, wild boar lived in the southern parts of Sweden and Norway and north of Lake Ladoga in Karelia. It was previously thought that the species did not live in Finland during prehistory because no prehistoric wild boar bones had been found within the borders of the country. It was not until 2013, when a wild boar bone was found in Askola, that the species was found to have lived in Finland more than 8,000 years ago. It is believed, however, that man prevented its establishment by hunting. In Denmark, the last boar was shot at the beginning of the 19th century, and by 1900 they were absent in Tunisia and Sudan and large areas of Germany, Austria and Italy. In Russia, they were extirpated in wide areas by the 1930s. The last boar in Egypt reportedly died on 20 December 1912 in the Giza Zoo, with wild populations having disappeared by 1894–1902. Prince Kamal el Dine Hussein attempted to repopulate Wadi El Natrun with boars of Hungarian stock, but they were quickly exterminated by poachers.

 

A revival of boar populations began in the middle of the 20th century. By 1950, wild boar had once again reached their original northern boundary in many parts of their Asiatic range. By 1960, they reached Leningrad and Moscow and by 1975, they were to be found in Archangelsk and Astrakhan. In the 1970s they again occurred in Denmark and Sweden, where captive animals escaped and now survive in the wild. In England, wild boar populations re-established themselves in the 1990s, after escaping from specialist farms that had imported European stock.

 

Status in Great Britain

By the 11th century, wild boars were apparently already becoming rare in Britain. A 1087 forestry law enacted by William the Conqueror punished through blinding the unlawful killing of a boar. Charles I attempted to reintroduce the species into the New Forest, but this population was exterminated in the 17th century during the English Civil War. Between their medieval extinction and the 1980s, when wild boar farming began, only a handful of captive wild boar, imported from the continent, were present in Britain. Occasional escapes of wild boar from wildlife parks have occurred as early as the 1970s, but since the early 1990s significant populations have re-established themselves after escapes from farms, the number of which has increased as the demand for meat from the species has grown. A 1998 MAFF (now DEFRA) study on wild boar living wild in Britain confirmed the presence of two populations of wild boar living in Britain; one in Kent/East Sussex and another in Dorset.

 

Another DEFRA report, in February 2008, confirmed the existence of these two sites as 'established breeding areas' and identified a third in Gloucestershire/Herefordshire; in the Forest of Dean/Ross on Wye area. A 'new breeding population' was also identified in Devon. There is another significant population in Dumfries and Galloway. Populations estimates were as follows:

 

The largest population, in Kent/East Sussex, was then estimated at 200 animals in the core distribution area.

The smallest, in west Dorset, was estimated to be fewer than 50 animals.

Since winter 2005–2006 significant escapes/releases have also resulted in animals colonizing areas around the fringes of Dartmoor, in Devon. These are considered as an additional single 'new breeding population' and currently estimated to be up to 100 animals.

Population estimates for the Forest of Dean are disputed as, at the time that the DEFRA population estimate was 100, a photo of a boar sounder in the forest near Staunton with over 33 animals visible was published and at about the same time over 30 boar were seen in a field near the original escape location of Weston under Penyard many kilometres or miles away. In early 2010 the Forestry Commission embarked on a cull, with the aim of reducing the boar population from an estimated 150 animals to 100. By August it was stated that efforts were being made to reduce the population from 200 to 90, but that only 25 had been killed. The failure to meet cull targets was confirmed in February 2011.

 

Wild boars have crossed the River Wye into Monmouthshire, Wales. Iolo Williams, the BBC Wales wildlife expert, attempted to film Welsh boar in late 2012. Many other sightings, across the UK, have also been reported. The effects of wild boar on the U.K.'s woodlands were discussed with Ralph Harmer of the Forestry Commission on the BBC Radio's Farming Today radio programme in 2011. The programme prompted activist writer George Monbiot to propose a thorough population study, followed by the introduction of permit-controlled culling.

 

In Scotland wild boar can be killed legally without a license and are culled by land managers as wild populations appear occasionally.

 

Introduction to North America

Wild boars are an invasive species in the Americas, having been introduced by European explorers and settlers in the 16th century to serve as a source of food. Wild boars now cause problems including out-competing native species for food, destroying the nests of ground-nesting species, killing fawns and young domestic livestock, destroying agricultural crops, eating tree seeds and seedlings, destroying native vegetation and wetlands through wallowing, damaging water quality, coming into violent conflict with humans and pets and carrying pig and human diseases including brucellosis, trichinosis and pseudorabies. In some jurisdictions, it is illegal to import, breed, release, possess, sell, distribute, trade, transport, hunt, or trap Eurasian boars. Hunting and trapping is done systematically, to increase the chance of eradication and to remove the incentive to illegally release boars, which have mostly been spread deliberately by sport hunters.

 

History

While domestic pigs, both captive and feral (popularly termed "razorbacks"), have been in North America since the earliest days of European colonization, pure wild boars were not introduced into the New World until the 19th century. The suids were released into the wild by wealthy landowners as big game animals. The initial introductions took place in fenced enclosures, though several escapes occurred, with the escapees sometimes intermixing with already established feral pig populations.

 

The first of these introductions occurred in New Hampshire in 1890. Thirteen wild boars from Germany were purchased by Austin Corbin from Carl Hagenbeck and released into a 9,500-hectare (23,000-acre) game preserve in Sullivan County. Several of these boars escaped, though they were quickly hunted down by locals. Two further introductions were made from the original stocking, with several escapes taking place due to breaches in the game preserve's fencing. These escapees have ranged widely, with some specimens having been observed crossing into Vermont.

 

In 1902, 15–20 wild boar from Germany were released into a 3,200-hectare (7,900-acre) estate in Hamilton County, New York. Several specimens escaped six years later, dispersing into the William C. Whitney Wilderness Area, with their descendants surviving for at least 20 years.

 

The most extensive boar introduction in the US took place in western North Carolina in 1912, when 13 boars of undetermined European origin were released into two fenced enclosures in a game preserve in Hooper Bald, Graham County. Most of the specimens remained in the preserve for the next decade, until a large-scale hunt caused the remaining animals to break through their confines and escape. Some of the boars migrated to Tennessee, where they intermixed with both free-ranging and feral pigs in the area. In 1924, a dozen Hooper Bald wild pigs were shipped to California and released in a property between Carmel Valley and the Los Padres National Forest. These hybrid boar were later used as breeding stock on various private and public lands throughout the state, as well as in other states like Florida, Georgia, South Carolina, West Virginia and Mississippi.

 

Several wild boars from Leon Springs and the San Antonio, Saint Louis and San Diego Zoos were released in the Powder Horn Ranch in Calhoun County, Texas, in 1939. These specimens escaped and established themselves in surrounding ranchlands and coastal areas, with some crossing the Espiritu Santo Bay and colonizing Matagorda Island. Descendants of the Powder Horn Ranch boars were later released onto San José Island and the coast of Chalmette, Louisiana.

 

Wild boar of unknown origin were stocked in a ranch in the Edwards Plateau in the 1940s, only to escape during a storm and hybridize with local feral pig populations, later spreading into neighboring counties.

 

Starting in the mid-1980s, several boars purchased from the San Diego Zoo and Tierpark Berlin were released into the United States. A decade later, more specimens from farms in Canada and Białowieża Forest were let loose. In recent years, wild pig populations have been reported in 44 states within the US, most of which are likely wild boar–feral hog hybrids. Pure wild boar populations may still be present, but are extremely localized.

 

Introduction and lack of control in South America

In South America, the European boar is believed to have been introduced for the first time in Argentina and Uruguay around the 20th century for breeding purposes. In Brazil, the creation of wild boar and hybrids started on a large scale in the mid-1990s. With the invasion of wild boar that crossed the border and entered Rio Grande do Sul around 1989, and the escape and intentional release by several Brazilian breeders in the late 1990s – in response to a IBAMA decision against the import and breeding of wild boar in 1998 – numerous feral species formed a growing population, which progressively advances in Brazilian territory. The species has no natural predators in Brazil, as it is an exotic species, in addition to breeding with the domestic pig, generating the so-called "javaporco" (neologism created to define this hybrid), factors that contribute to the exaggerated increase in the population. With its population in continuous and uncontrolled growth, without predators, the wild boar causes environmental damage, contributing to the aggradation of river and stream springs, attacking native species feeding on eggs and puppies, causing damage to fauna, flora and to agriculture and livestock, since it also attacks farm animals and can carry various diseases, including zoonosis.

 

Pest control in Brazil

As a form of control for the wild boar population (which is considered a pest and harmful species), hunting and killing are allowed for Collectors, Shooters and Hunters (CACs) duly registered by the environmental control agency, IBAMA, which, on the other hand, seeks to encourage the preservation of similar species of native peccaries, such as the "queixada" and the "caititu".

 

Effect on other habitats

Wild boars negatively impact other habitats through the destruction of the environment, or homes of wildlife. When wild boars invade new areas, they adapt to the new area by trampling and rooting, as well as displacing many saplings/nutrients. This causes a decrease in growing of many plants and trees. Water is also affected negatively by wild boars. When wild boars are active in streams, or small pools of water, it causes increased turbidity (excessive silt and particle suspension). In some cases, the fecal coliform concentration increases to dangerous levels because of wild boars. Aquatic wildlife is affected, more prominently fish, and amphibians. Wild boars have caused a great decrease in over 300 animal or plant species, 250 being endangered or threatened.

 

The boars cause many habitats to become less diverse because of their feeding behaviors and predation. Wild boars will dig up eggs of species and eat them, as well as killing other wildlife for food. When these boars compete with other species for resources, they usually come out successful. A study published in the Journal of Experimental Marine Biology and Ecology was conducted on the results of Feral Swine control. Only two years after the control started, the amount of turtle nests jumped from 57 to 143, and the turtle nest predation percent dropped from 74 to 15. They kill and eat deers, lizards, birds, snakes, and more. These boars are called "opportunist omnivores", which means they eat almost anything. This means they can survive almost anywhere. A big surplus of food and the ability to adapt to any new place causes lots of breeding. All of these factors make it difficult to get rid of wild boars. Wild boars also tend to carry diseases and numerous pathogens. This also adds to the decrease in diversity among species.

 

Diseases and parasites

Wild boars are known to host at least 20 different parasitic worm species, with maximum infections occurring in summer. Young animals are vulnerable to helminths like Metastrongylus, which are consumed by boars through earthworms and cause death by parasitising the lungs. Wild boar also carry parasites known to infect humans, including Gastrodiscoides, Trichinella spiralis, Taenia solium, Balantidium coli and Toxoplasma gondii. Wild boar in southern regions are frequently infested with ticks (Dermacentor, Rhipicephalus, and Hyalomma) and hog lice. The species also suffers from blood-sucking flies, which it escapes by bathing frequently or hiding in dense shrubs.

 

Swine plague spreads very quickly in wild boar, with epizootics being recorded in Germany, Poland, Hungary, Belarus, the Caucasus, the Far East, Kazakhstan and other regions. Foot-and-mouth disease can also take on epidemic proportions in boar populations. The species occasionally, but rarely contracts Pasteurellosis, hemorrhagic sepsis, tularemia, and anthrax. Wild boar may on occasion contract swine erysipelas through rodents or hog lice and ticks.

 

Relationships with humans

The wild boar features prominently in the cultures of Indo-European people, many of which saw the animal as embodying warrior virtues. Cultures throughout Europe and Asia Minor saw the killing of a boar as proof of one's valor and strength. Neolithic hunter gatherers depicted reliefs of ferocious wild boars on their temple pillars at Göbekli Tepe some 11,600 years ago. Virtually all heroes in Greek mythology fight or kill a boar at one point. The demigod Herakles' third labour involves the capture of the Erymanthian Boar, Theseus slays the wild sow Phaea, and a disguised Odysseus is recognised by his handmaiden Eurycleia by the scars inflicted on him by a boar during a hunt in his youth. To the mythical Hyperboreans, the boar represented spiritual authority. Several Greek myths use the boar as a symbol of darkness, death and winter. One example is the story of the youthful Adonis, who is killed by a boar and is permitted by Zeus to depart from Hades only during the spring and summer period. This theme also occurs in Irish and Egyptian mythology, where the animal is explicitly linked to the month of October, therefore autumn. This association likely arose from aspects of the boar's actual nature. Its dark colour was linked to the night, while its solitary habits, proclivity to consume crops and nocturnal nature were associated with evil. The foundation myth of Ephesus has the city being built over the site where Prince Androklos of Athens killed a boar Boars were frequently depicted on Greek funerary monuments alongside lions, representing gallant losers who have finally met their match, as opposed to victorious hunters as lions are. The theme of the doomed, yet valorous boar warrior also occurred in Hittite culture, where it was traditional to sacrifice a boar alongside a dog and a prisoner of war after a military defeat

 

The boar as a warrior also appears in Germanic cultures, with its image having been frequently engraved on shields and swords. They also feature on Germanic boar helmets, such as the Benty Grange helmet, where it was believed to offer protection to the wearer and has been theorised to have been used in spiritual transformations into swine, similar to berserkers. The boar features heavily in religious practice in Germanic paganism where it is closely associated with Freyr and has also been suggested to have been a totemic animal to the Swedes, especially to the Yngling royal dynasty who claimed descent from the god.

 

According to Tacitus, the Baltic Aesti featured boars on their helmets and may have also worn boar masks. The boar and pig were held in particularly high esteem by the Celts, who considered them to be their most important sacred animal. Some Celtic deities linked to boars include Moccus and Veteris. It has been suggested that some early myths surrounding the Welsh hero Culhwch involved the character being the son of a boar god. Nevertheless, the importance of the boar as a culinary item among Celtic tribes may have been exaggerated in popular culture by the Asterix series, as wild boar bones are rare among Celtic archaeological sites and the few that do occur show no signs of butchery, having probably been used in sacrificial rituals.

 

The boar also appears in Vedic mythology and Hindu mythology. A story present in the Brahmanas has the god Indra slaying an avaricious boar, who has stolen the treasure of the asuras, then giving its carcass to the god Vishnu, who offered it as a sacrifice to the gods. In the story's retelling in the Charaka Samhita, the boar is described as a form of Prajapati and is credited with having raised the Earth from the primeval waters. In the Ramayana and the Puranas, the same boar is portrayed as Varaha, an avatar of Vishnu.

 

In Japanese culture, the boar is widely seen as a fearsome and reckless animal, to the point that several words and expressions in Japanese referring to recklessness include references to boars. The boar is the last animal of the Oriental zodiac, with people born during the year of the Pig being said to embody the boar-like traits of determination and impetuosity. Among Japanese hunters, the boar's courage and defiance is a source of admiration and it is not uncommon for hunters and mountain people to name their sons after the animal inoshishi (猪). Boars are also seen as symbols of fertility and prosperity; in some regions, it is thought that boars are drawn to fields owned by families including pregnant women, and hunters with pregnant wives are thought to have greater chances of success when boar hunting. The animal's link to prosperity was illustrated by its inclusion on the ¥10 note during the Meiji period and it was once believed that a man could become wealthy by keeping a clump of boar hair in his wallet.

 

In the folklore of the Mongol Altai Uriankhai tribe, the wild boar was associated with the watery underworld, as it was thought that the spirits of the dead entered the animal's head, to be ultimately transported to the water. Prior to the conversion to Islam, the Kyrgyz people believed that they were descended from boars and thus did not eat pork. In Buryat mythology, the forefathers of the Buryats descended from heaven and were nourished by a boar. In China, the boar is the emblem of the Miao people.

 

The boar (sanglier) is frequently displayed in English, Scottish and Welsh heraldry. As with the lion, the boar is often shown as armed and langued. As with the bear, Scottish and Welsh heraldry displays the boar's head with the neck cropped, unlike the English version, which retains the neck. The white boar served as the badge of King Richard III of England, who distributed it among his northern retainers during his tenure as Duke of Gloucester.

 

As a game animal and food source

Humans have been hunting boar for millennia, the earliest artistic depictions of such activities dating back to the Upper Paleolithic. The animal was seen as a source of food among the Ancient Greeks, as well as a sporting challenge and source of epic narratives. The Romans inherited this tradition, with one of its first practitioners being Scipio Aemilianus. Boar hunting became particularly popular among the young nobility during the 3rd century BC as preparation for manhood and battle. A typical Roman boar hunting tactic involved surrounding a given area with large nets, then flushing the boar with dogs and immobilizing it with smaller nets. The animal would then be dispatched with a venabulum, a short spear with a crossguard at the base of the blade. More than their Greek predecessors, the Romans extensively took inspiration from boar hunting in their art and sculpture. With the ascension of Constantine the Great, boar hunting took on Christian allegorical themes, with the animal being portrayed as a "black beast" analogous to the dragon of Saint George.

 

Boar hunting continued after the fall of the Western Roman Empire, though the Germanic tribes considered the red deer to be a more noble and worthy quarry. The post-Roman nobility hunted boar as their predecessors did, but primarily as training for battle rather than sport. It was not uncommon for medieval hunters to deliberately hunt boars during the breeding season when the animals were more aggressive. During the Renaissance, when deforestation and the introduction of firearms reduced boar numbers, boar hunting became the sole prerogative of the nobility, one of many charges brought up against the rich during the German Peasants' War and the French Revolution.

 

During the mid-20th century, 7,000–8,000 boars were caught in the Caucasus, 6,000–7,000 in Kazakhstan and about 5,000 in Central Asia during the Soviet period, primarily through the use of dogs and beats. In Nepal, farmers and poachers eliminate boars by baiting balls of wheat flour containing explosives with kerosene oil, with the animals' chewing motions triggering the devices.

 

Wild boar can thrive in captivity, though piglets grow slowly and poorly without their mothers. Products derived from wild boar include meat, hide and bristles. Apicius devotes a whole chapter to the cooking of boar meat, providing 10 recipes involving roasting, boiling and what sauces to use. The Romans usually served boar meat with garum. Boar's head was the centrepiece of most medieval Christmas celebrations among the nobility. Although growing in popularity as a captive-bred source of food, the wild boar takes longer to mature than most domestic pigs and it is usually smaller and produces less meat. Nevertheless, wild boar meat is leaner and healthier than pork, being of higher nutritional value and having a much higher concentration of essential amino acids. Most meat-dressing organizations agree that a boar carcass should yield 50 kg (110 lb) of meat on average. Large specimens can yield 15–20 kg (33–44 lb) of fat, with some giants yielding 30 kg (66 lb) or more. A boar hide can measure 3 m2 (4,700 sq in) and can yield 350–1,000 grams (12–35 oz) of bristle and 400 grams (14 oz) of underwool.

 

Boars can be damaging to agriculture in situations where their natural habitat is sparse. Populations living on the outskirts of towns or farms can dig up potatoes and damage melons, watermelons and maize. However, they generally only encroach upon farms when natural food is scarce. In the Belovezh forest for example, 34–47% of the local boar population will enter fields in years of moderate availability of natural foods. While the role of boars in damaging crops is often exaggerated, cases are known of boar depredations causing famines, as was the case in Hachinohe, Japan in 1749, where 3,000 people died of what became known as the "wild boar famine". Still, within Japanese culture, the boar's status as vermin is expressed through its title as "king of pests" and the popular saying (addressed to young men in rural areas) "When you get married, choose a place with no wild boar."

 

In Central Europe, farmers typically repel boars through distraction or fright, while in Kazakhstan it is usual to employ guard dogs in plantations. However, research shows that when compared with other mitigation tactics, hunting is the only strategy to significantly reduce crop damage by boars. Although large boar populations can play an important role in limiting forest growth, they are also useful in keeping pest populations such as June bugs under control. The growth of urban areas and the corresponding decline in natural boar habitats has led to some sounders entering human habitations in search of food. As in natural conditions, sounders in peri-urban areas are matriarchal, though males tend to be much less represented and adults of both sexes can be up to 35% heavier than their forest-dwelling counterparts. As of 2010, at least 44 cities in 15 countries have experienced problems of some kind relating to the presence of habituated wild boar.

 

A 2023 study found that allowing wild pigs to forage on edible garbage in large regional landfills results in those animals getting physically large/heavier, having larger litters of piglets, and causing more wild pig-vehicle collisions in the vicinity of the landfill. The effects of letting these pigs scavenge in these landfills can present unique challenges to population management, control, public safety, and disease transmission. Wild pigs foraging on edible food waste in landfills has also been identified as a vector that facilitates the spread of African swine fever virus.

 

Attacks on humans

Actual attacks on humans are rare, but can be serious, resulting in penetrating injuries to the lower part of the body. They generally occur during the boars' rutting season from November to January, in agricultural areas bordering forests or on paths leading through forests. The animal typically attacks by charging and pointing its tusks towards the intended victim, with most injuries occurring on the thigh region. Once the initial attack is over, the boar steps back, takes position and attacks again if the victim is still moving, only ending once the victim is completely incapacitated.

 

Boar attacks on humans have been documented throughout history. The Romans and Ancient Greeks wrote of these attacks (Odysseus was wounded by a boar and Adonis was killed by one). A 2012 study compiling recorded attacks from 1825 to 2012 found accounts of 665 human victims of both wild boars and feral pigs, with the majority (19%) of attacks in the animal's native range occurring in India. Most of the attacks occurred in rural areas during the winter months in non-hunting contexts and were committed by solitary males.

 

Management

Managing wild boar is a pressing task in both native and invasive contexts as they can be disrupting to other systems when not addressed. Wild boar find their success through adaptation of daily patterns to circumvent threats. They avoid human contact through nocturnal lifestyles, despite the fact that they are not evolutionarily predisposed, and alter their diets substantially based on what is available. These "adaptive generalists", can survive in a variety of landscapes, making the prediction of their movement patterns and any potential close contact areas crucial to limiting damage. All of these qualities make them equally difficult to manage or limit.

 

Within Central Europe, the native habitat of the wild boar, there has been a push to re-evaluate interactions between wild boar and humans, with the priority of fostering positive engagement. Negative media and public perception of wild boar as "crop raiders" have made those living alongside them less willing to accept the economic damages of their behaviors, as wild boar are seen as pests. This media tone impacts management policy, with every 10 negative articles increasing wild boar policy activity by 6.7%. Contrary to this portrayal, wild boar, when managed well within their natural environments, can be a crucial part of forest ecosystems.

 

Defining the limits of proper management is difficult, but the exclusion of wild boar from rare environments is generally agreed upon, as when not properly managed, they can damage agricultural ventures and harm vulnerable plant life. These damages are estimated at $800 million yearly in environmental and financial costs for the United States alone. The breadth of this damage is due to prior inattention and lack of management tactics for extended lengths of time. Managing wild boar is a complex task, as it involves coordinating a combination of crop harvest techniques, fencing, toxic bait, corrals, and hunting. The most common tactic employed by private land owners in the United States is recreational hunting, however, this is generally not as effective on its own. Management strategies are most successful when they take into account reproduction, dispersion, and the differences between ideal resources for males and females.

 

According to a study, wild boars are causing soil disturbance that, among other problems, globally results in annual carbon dioxide emissions equivalent to that of ~1.1 million passenger vehicles (4.9 Mt, 0.01% of all GHG emissions as of 2022), implying that as of 2021 hunted boar meat – unlike other meat products – has beneficial effects on the environment even though the effect would diminish if boars are introduced for meat production and consistently retaining small populations of boars may be preferable.

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Each square is a different photo. Taken at a different focal length, and taken at a different distance from the subject (me). In some photos, I am as close as a couple feet, at 24mm.. and in some photos I am as far as 30 feet at 105mm. I tried frame the chair in the photo so it appeared the same size in each photo, then used the self time to take the picture of myself. I probably took 15-20 photos, and used 12 for the final shot.

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The vervet monkey (Chlorocebus pygerythrus), or simply vervet, is an Old World monkey of the family Cercopithecidae native to Africa. The term "vervet" is also used to refer to all the members of the genus Chlorocebus. The five distinct subspecies can be found mostly throughout Southern Africa, as well as some of the eastern countries. These mostly herbivorous monkeys have black faces and grey body hair color, ranging in body length from about 40 cm (16 in) for females, to about 50 cm (20 in) for males.

 

In addition to behavioral research on natural populations, vervet monkeys serve as a nonhuman primate model for understanding genetic and social behaviors of humans. They have been noted for having human-like characteristics, such as hypertension, anxiety, and social and dependent alcohol use. Vervets live in social groups ranging from 10 to 70 individuals, with males moving to other groups at the time of sexual maturity. Studies done on vervet monkeys involve their communication and alarm calls, specifically in regard to kin and group recognition, and particular predator sightings.

 

The vervet monkey was previously classified as Cercopithecus aethiops, now renamed 'grivet', and reclassified as Chlorocebus. The vervet and malbrouck have also been considered conspecific, or as subspecies of a widespread Ch. aethiops. The different taxa are distinguished by coat colour and other morphological characteristics. The characteristics of Ch. aethiops graduate into Ch. pygerythrus where their ranges meet, and thus deciding if the vervets commonly known to occur in Kenya are actually Ch. aethiops is difficult; animals in the same pack may be classified as one species or the other, and Ch. pygerythrus may also interbreed with Ch. tantalus where their ranges meet.

 

Colin Groves recognised the below five subspecies of vervet monkey in the third edition of Mammals of the World:

 

Chlorocebus pygerythrus excubitor

Ch. p. hilgerti from southern Kenya

Ch. p. nesiotes

Ch. p. pygerythrus from South Africa, Botswana, Lesotho, and Eswatini.

Ch. p. rufoviridis from Mozambique and Uganda has a distinctly reddish-coloured back, which is darker towards the base of the tail.

Groves used Ch. p. hilgerti for all East African vervets except the insular subspecies Ch. p. excubitor and Ch. p. nesiotes. The name Ch. p. centralis has been suggested to have precedence, and that Ch. p. hilgerti should be restricted to the population of southern Ethiopia.

 

Synonymy

Ch. p. pygerythrus, as Cercopithecus aethiops, was also formerly divided into four subspecies:

 

C. a. pygerythrus, from South Africa (Western Cape, Eastern Cape, Northern Cape and southern KwaZulu-Natal), and Lesotho; is said to have pale-colored limbs and white hands and feet (though the hands are also said to be black with a scattering of greyish hairs), and a greyish body colour with an olive sheen.

C. a. cloetei, from northern KwaZulu-Natal, Eswatini, and northern South Africa; is darker, with greyish-brown speckles and dark feet.

C. a. marjoriae, from southern Botswana and the North West Province of South Africa; is pale in colour (light ash-grey).

C. a. ngamiensis, from north-eastern Botswana and the Okavango; has pale feet and a yellowish back and the tail is darker (especially towards the tip) than in other southern vervets.

 

These subspecies are no longer recognised and are synonymous with Ch. p. pygerythrus.

 

The vervet monkey ranges throughout much of Southern and East Africa, being found from Ethiopia and extreme southern South Sudan all the way down to South Africa. It is not found west of the East African Rift or the Luangwa River, where it is replaced by the closely related malbrouck (C. cynosuros) species. The vervet monkey inhabits savanna, riverine woodland, coastal forest, and mountains up to 4000 m (13,100 ft). They are adaptable and able to persist in secondary and/or highly fragmented vegetation, including cultivated areas, and sometimes are found living in both rural and urban environments. Annual home range size has been observed to be as high as 176 ha, with an average population density of 54.68 animals/km².

 

Vervet monkeys that are naturalised (introduced by humans) are found in Cape Verde, Ascension Island, Saint Helena, St Kitts and Nevis, and Barbados. Dania Beach, Florida, is home to about 40 introduced vervets.

 

The vervet monkey very much resembles a gray langur, having a black face with a white fringe of hair, while its overall hair color is mostly grizzled-grey. The species exhibits sexual dimorphism; the males are larger in weight and body length and may be recognized by a turquoise-blue scrotum. Adult males weigh between 3.9 and 8.0 kg (8.6 and 17.6 lb), averaging 5.5 kg (12 lb), and have a body length between 420 and 600 mm (17 and 24 in), averaging 490 mm (19 in) from the top of the head to the base of the tail. Adult females weigh between 3.4 and 5.3 kg (7.5 and 11.7 lb) and average 4.1 kg (9.0 lb), and measure between 300 and 495 mm (11.8 and 19.5 in), averaging 426 mm (16.8 in).

 

When males reach sexual maturity, they move to a neighboring group. Often, males move with a brother or peer, presumably for protection against aggression by males and females of the resident group. Groups that had previously transferred males show significantly less aggression upon the arrival of another male. In almost every case, males migrate to adjacent groups. This obviously increases benefits in regard to distance traveled, but also reduces the amount of genetic variance, increasing the likelihood of inbreeding.

 

Females remain in their groups throughout life. Separate dominance hierarchies are found for each sex. Male hierarchies are determined by age, tenure in the group, fighting abilities, and allies, while female hierarchies are dependent on maternal social status. A large proportion of interactions occurs between individuals that are similarly ranked and closely related. Between unrelated individuals, female competition exists for grooming members of high-ranking families, presumably to gain more access to resources. These observations suggest individual recognition is possible and enables discrimination of genetic relatedness and social status. Interactions between different groups are variable, ranging from highly aggressive to friendly. Furthermore, individuals seem to be able to recognise cross-group vocalisations, and identify from and to which monkey each call is intended, even if the call is made by a subadult male, which is likely to transfer groups. This suggests the members within a group are actively monitoring the activity of other groups, including the movement of individuals within a group.

 

Within groups, aggression is directed primarily at individuals that are lower on the hierarchy. Once an individual is three years or older, it is considerably more likely to be involved in conflict. Conflict often arises when one group member shows aggression toward a close relative of another. Further, both males and females may redirect aggression towards individuals in which both had close relatives that were previously involved in a conflict. This suggests complex recognition not only of individuals, but also of associations between individuals. This does not suggest recognition of other's individual kinship bonds is possible, but rather that discrimination of social relationships does occur.

 

Vervet monkeys have four confirmed predators: leopards, eagles, pythons, and baboons. The sighting of each predator elicits an acoustically distinct alarm call. As infants, vervets learn to make the variety of calls from observation alone, without explicit tutelage. In experimentation with unreliable signalers, individuals became habituated to incorrect calls from a specific individual. Though the response was lessened for a specific predator, if an unreliable individual gives an alarm call for a different predator, group members respond as if the alarm caller is, in fact, reliable. This suggests vervet monkeys are able to recognize and to respond to not only the individual calling, but also to the semantics of what the individual is communicating. Vervet monkeys are thought to have up to 30 different alarm calls. In the wild, they have been seen giving a different call when seeing a human being approaching, leading researchers to believe that vervet monkeys may have a way of distinguishing between different land and flight predators.

 

Mothers can recognise their offspring by a scream alone. A juvenile scream elicits a reaction from all mothers, yet the juvenile's own mother has a shorter latency in looking in the direction of the scream, as well as an increased duration in her look. Further, mothers have been observed to help their offspring in conflict, yet rarely aid other juveniles. Other mothers evidently can determine to which mother the offspring belongs. Individuals have been observed to look towards the mother whose offspring is creating the scream.

 

Siblings likely provide the prevailing social relationships during development. Within social groups, mother-offspring and sibling interactive units are distinct groups. The sibling interactions are heavily supportive and friendly, but do have some competition. Contests primarily involve postweaning resource allocation by the common mother. For example, siblings have conflict over grooming time allocated by their mother. Offspring are usually not born in extremely close time proximity due to the interbirth period of the mother. This time can be reduced by use of an allomother. The clarity of the familial and sibships within a group may act as a form of alliance, which would come at relatively low cost in regards to grooming. Other alliances are shown through conflict with aggressive individuals that have acted against a closely related sibling.

 

Allomothering is the process when another individual besides the mother cares for an infant. In groups of vervet monkeys, infants are the target of a tremendous amount of attention. Days after an infant is born, every member of the group inspects the infant at least once by touching or sniffing. While all group members participate in infant caretaking, juvenile females that cannot yet menstruate are responsible for the majority of allomothering. The benefit is mutual for the mother and allomother. Mothers that use allomothers are able to shorten their interbirth periods, the time between successive births. At the same time, allomothers gain experience in rearing infants, and had more success in raising their own offspring. Juvenile females discriminate in preference for the infant they choose to allomother, and usually choose siblings or infants of high-ranking individuals. When a mother allows her juvenile daughter to become an allomother for a newborn sibling, the mother decreases her own investment in the infant, while increasing the chances of successful rearing of her immature daughter.

 

Grandmothers and grandchildren share one-quarter of their genes, so they should be more likely to form affiliative relationships than unrelated members in a group. Not only do infants approach their grandmothers more often than unrelated members, but they also prefer their grandmothers compared to other adult female kin, not including their own mothers. Additional research has shown grandmothers show no preference over the sex of their grandchild. Interest in the grandchild spurred from the rank of the grandmother within a group. Higher-ranking grandmothers showed more interest in caring for their grandchildren when compared to low-ranking grandmothers. The presence of grandmothers has been associated with a decrease in mortality of infants.

 

Spiteful actions are extremely rare in the animal kingdom. Often, an indirect benefit is gained by the individual acting 'spitefully', or by a close relative of that individual. Vervet monkeys have been observed to destroy a competitor's food source rather than consume or steal it themselves. While energy is being lost on destroying the food, an advantage is obtained by the individual due to an increase in competitive gain. This would be pertinent for a male that could be displaced within his group by immigrating males.

 

Female vervets do not have external signs indicating estrus, thus elaborate social behaviors involving reproduction do not occur. Typically, a female gives birth once a year, between September and February, after a gestation period around 165 days. Usually, only one infant is born at a time, though twins can occur rarely. A normal infant weighs 300–400 grams (11–14 oz).

 

The vervet monkey eats a primarily herbivorous diet, living mostly on wild fruits, flowers, leaves, seeds, and seed pods. In agricultural areas, vervets become problem animals, as they raid bean, pea, young tobacco, vegetable, fruit, and grain crops. Animal foods of their diet include grasshoppers and termites. Raids of cattle egrets and weaver bird nests have been observed where the vervets eat the eggs and chicks.

 

A list of some natural food plants and part of the plant eaten, in South Africa:

 

Acacia erioloba – seeds and pods

Aloespp. – nectar (flowers)

Celtis africana – fruit

Colophospermum mopane – seeds

Deinbollia oblongifolia – fruit

Euphorbia ingens – fruit

Euphorbia tirucalli – fruit

Ficus abutilifolia – figs

Ficus sur – figs

Ficus sycomorus – figs

Grewia afra – fruit

Harpephyllum afrum – fruit

Hyphaene coriacea – fruit

Phoenix reclinata – fruit

Protorhus longifolia – fruit

Rhus chirindensis – fruit

Sclerocarya birrea – fruit

Strelitzia nicolai – soft parts of the flowers

Ximenia caffra – fruit

Ziziphus mucronata – fruit

 

The monkeys are used for biomedical research. Many people living in close proximity to vervet colonies see them as pests, as they steal their food. Heavy fines in some areas discourage the killing of vervet monkeys.

 

Its status according to the IUCN is "least concern".

 

This species was known in ancient Egypt, including the Red Sea Mountains and the Nile Valley. From fresco artworks found in Akrotiri on the Mediterranean island of Santorini there is evidence that the vervet monkey was known to the inhabitants of this settlement around 2000 BC; this fact is most noted for evidence of early contact between Egypt and Akrotiri. Excavations dated to the end of the 1st century AD from Berenike, a Roman-Egyptian port-town on the Red Sea coast, demonstrate that vervet monkeys must have been kept as pets at that time.

One of series of full length shots. I did manage to take some that I liked! Hope you do too?!

The biggest containership in the world MSC Mina built by shipyard Daewoo Shipbuilding & Marine Engineering (DSME) on her maiden call to port of Rotterdam. Three weeks ago the sister ship MSC Gulsun built by shipyard Samsung Heavy Industries (SHI) visited Rotterdam for the first time.

Both ships has the same dimensions. But the bridge is obviously different.

Length 399.90m,

Beam 61.55m (widest ship ever in Suez Canal)

Max draught 16.5m,

23,756 TEU

Shoulder Length bob razor haircut with layers – Dry haircutting techniques on mid length hair

  

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Old lengths of wood that I came across, today!! No idea why anyone would have dumped them but there's lots of straight lines and rectangular shapes!

 

Flickr Lounge ~ Weekly Theme (Week 12) ~ Geometry ....

 

Stay Safe and Healthy Everyone!

 

Thanks to everyone who views this photo, adds a note, leaves a comment and of course BIG thanks to anyone who chooses to favourite my photo .... Thanks to you all!

27 September 2014

 

I can not take credit for this sighting because a pair of young girls around 5 & 7 y/o found this beautiful snake which was approx 2.5' in length. It did puff itself and hissed too, and minutes later it simply slithered off toward the rock ledges nearby.

 

A first for me and not too shabby with the macro either.

Fagelgracht

Length 137.07m, Beam 19.11m, dwt 12.500, TEU 730

 

Munich Maersk

Length 399m, beam 58.60m, BRZ 214.286, tdw 210.000, TEU 20.586

Reichsbrücke

Coordinates: 48 ° 13 '42 " N, 16 ° 24' 36" E | |

(Pictures you can see by clicking on the link at the end of page!)

Empire Bridge, seen from the north bank of

Use motor vehicles in the basement underground,

Cyclists, pedestrians

Road train Lassallestraße - Wagramerstraße (B8 )

Location Vienna, between Leopoldstadt (2nd District)

and Danube City (22 nd District)

Prestressed concrete bridge construction, double deck bridge

Total length 865 meters

Width 26.10 meters

Release 8 November 1980

Altitude 157 m above sea level. A.

Card reichsbrücke.png

Location of the Empire Bridge in Vienna

The Empire Bridge is one of Vienna's most famous bridges. It crosses the Danube, the Danube Island and the New Danube and connects the second District of Vienna, Leopoldstadt, with the 22nd District, Danube city. The building extends from Mexico place at Handelskai (2nd district) in a northeasterly direction to the Danube City and the Vienna International Centre (District 22).

The current kingdom bridge (Reichsbrücke) was opened in 1980, it is the third crossing of the Danube in the same axis, which bears the name kingdom bridge. The first Empire Bridge (also: Crown Prince Rudolf bridge when Project: National Highway Bridge), an iron bridge on current five pillars existed from 1876 until 1937. The second Empire Bridge, a chain bridge with two 30-meter high pylons on two river piers, was opened in 1937, it was next to St. Stephen's Cathedral and the Giant Ferris one of the landmarks of the city of Vienna. After the Second World War it was the only intact Danube river crossing downstream of Linz in Austria and became the busiest stretch of road in Austria. On Sunday, the first August 1976 the bridge collapsed in the early morning hours on full width of the Danube into the water. In the accident, which was not foreseeable by the then state of the art, one person was killed. The meaning and emotional charge, which had received the bridge by its colorful past in the Viennese population, increased further by the collapse.

Prehistory

The Danube before regulation (centric is the location of the Reichsbrücke marked)

Some years after the devastating flood of 1830 was considering Emperor Ferdinand I to regulate the Danube and at the same time to build several bridges over the resulting stream bed. The plan was, among other things, a chain bridge approximately at the site of today's Empire bridge, whose construction costs were estimated at two to three million florins. However, these plans came as well as future intentions, build stable bridges over the unregulated Danube, before the Vienna Danube regulation not for execution, the projects went not beyond the planning stage. All bridges over the Danube, whether for road or since 1838 for the Northern Railway, then had rather provisional character. Jochbrücken Those were trestle bridges made ​​of wood, which were regularly swept away by floods or Eisstößen (bumps of ice chunks) and then re-built.

On 12 September 1868 eventually ordered Emperor Franz Joseph I, the nephew and successor of Ferdinand, the regulation of the Danube. At the same time, eventually, should be built "stable bridges". One of them should represent a direct extension of the hunter line (Jägerzeile) (today: Prater Road and the Schwimmschulstraße (now Lassallestraße). With the choice of this location a central urban axis should be continued, which ranged from the Gloriette in Schonbrunn over St. Stephen's Cathedral and the Prater Stern to the Danube. On the other side of the Danube, the bridge should join to the Vienna, Kagraner and Leopold Auer Reichsstrasse (since 1910 Wagramerstraße), which became a major transit route in the northeastern areas of the monarchy. The name of the bridge was accordingly to "Empire Road bridge" set.

First Reichsbrücke - 1876-1937

Crown Prince Rudolf bridge

Since 6 November 1919 : Reichsbrücke

Crown Prince Rudolf bridge since 6 November 1919: Reichsbrücke

Official name of Crown Prince Rudolf Bridge (1876-1919), since then Reichsbrücke

Use vehicles, trams (from 26 June 1898 on the current bridge single track) and pedestrian

crossing of Handelskai, Danube and floodplain

Construction iron lattice structures (river bridge), 341.20 meters

Total length 1019.75 meter (incl. bridge over Handelskai and floodplain)

Width 11.40 meters

Release 21 August 1876

Closure 11 October 1937

Toll 32 cruisers and 64 Heller per vehicle (up to 1904)

The by Franz Joseph commissioned bridge, which the main part of the 2nd district after the regulation of the Danube with the on the left bank lying part of the city Kaisermuehlen, the now Old Danube and the to 1890/1892 independent community of Kagran connected, was navigable from August 1876 to October, 1937. It has been renamed several times: During the construction period it had the preliminary name of Empire Road bridge, after its opening, it was Crown Prince Rudolf bridge. The term "Empire Bridge" but soon won through in general usage, as was said, for example, the stop of the Donauuferbahn (Railway) at the bridge officially Kommunalbad-Reichsbrücke. After the fall of the monarchy on 6 November 1919 it was officially renamed Empire bridge.

With a total length of nearly 1,020 feet, it was at that time the longest bridge connection over the Danube. It was 11.40 meters wide, the road took 7.60 meters and 3.80 meters, the two sidewalks. The original plan had provided a total width of eight fathoms (15.20 meters), the Parliament decided shortly before the start of the construction to reduce the width because of cost reasons.

The bridge consisted of three parts. The so-called Hubertusdamm, protected the March field against flood, and the flood area created in the Danube regulation (inundation) on the north, the left bank of the river was spanned by a stone, 432 meters long inundation bridge, which consisted of 16 sheets of 23 and 39 m width. Handelskai on the southern right bank of the river spanned the so-called Kaibrücke of stone with a length of 90.4 meters and four arches, each 18.96 m width. The actual current bridge was 341.20 meters long and consisted of four individual iron grating structures that rested on five 3.80 meter thick pillars, three of which were in the water. The distance of each pillar was 79.90 meters.

Construction

The current bridge seen from the north, from the left bank (St Stephen's Cathedral in the background); recording before the summer of 1898, there's no tram track

Construction began in August, 1872. Although at that time the stream bed of the Danube had already been largely completed, but not yet flooded. The Empire bridge was then, as the northern railway bridge Stadlauer Bridge and the Emperor Franz Joseph Bridge (later Floridsdorfer bridge), built in dry construction.

The building was designed by the Road and Hydraulic Engineering Department of Imperial Ministry of Interior, whose boss, Undersecretary Mathias Waniek Ritter von Domyslow, was entrusted with the construction management. Total construction cost of 3.7 million guilders. The metal construction had a total weight of 2,193 tons and was manufactured by Schneider & Co in Burgundy of Belgian welding iron.

The two piers on the banks were about five feet below the river bed, which is about eleven meters founded under the riverbed on so-called "blue Viennese Tegel" (a stiff to semi-solid floor similar to the clay which as sedimentary rock is typical for the Vienna basin). The pillars of the two foreland bridges (Kaibrücke and inundation bridge ) were established in shallow coarse gravel.

Of the four Danube bridges built at that time only the kingdom bridge (Reichsbrücke) was not opened to traffic when the new bed of the Danube on 14 April 1875 was flooded. Until 16 months later, on 21 August 1876, the birthday of the Crown Prince Rudolf, opened the Imperial Governor of Lower Austria , Baron Conrad of Sigmund Eybesfeld, representing the emperor, the bridge and gave her in honor of Crown Prince - contrary to the original plan - the name "Crown Prince Rudolf bridge". The opening ceremony was attended by a delegation from Japan, Minister of War Feldzeugmeister Graf Maximilian von Artur Bylandt-Rheidt and mayor of Vienna Cajetan Felder. The governor read a royal resolution, in which Franz Joseph announced the full imperial satisfaction with Oberbauleiter Waniek and several Engineers and Building Officers were awarded the Imperial Knights Cross. As highlight of the celebration the keystone of the last pillar of the ramp was set - under it were built into a cassette several documents, photos of the bridge, coins and medals.

Bridge operation

The Kaibrücke over the Handelskai on the south, the right bank of the Danube, recording c.1907

The bridge ramp and the four brick arches over the Handels on the south, the right bank of the Danube, it ( right) the bridge over the stream, recording from 1876

After the suicide of Crown Prince Rudolf in 1889, the bridge was popularly called "suicide bridge ". It was in the first years of its operation still not a very popular crossing of the Danube. Industry and trade settled slowly to the other side of the Danube. There were also no significant trade routes from north to March Field. Via the Old Danube, which it would have to be crossed, leading to around 1900 only a rickety wooden bridge.

In the first 28 years of its operation, the crossing of the Empire Bridge was charged. 32 cruisers and 64 Heller had to be paid per vehicle, which has been regularly criticized by newspapers in Vienna. Only after the villages north of the Old Danube in the year 1904/1905 than 21st district were incorporated, the crossing was provided free of charge and increased the popularity of the bridge. From 26 June 1898, the bridge was frequented by the tram. The occasion was the 50-year Jubilee of Emperor Franz Joseph. The route went (over the current bridge (Strombrücke) just single track ) for the moment to shooting range (Schießstätte) at Arbeiterstrandbadstraße and was on 22 December 1898 extended until Kagraner place. Operator was the Vienna-Kagraner train (WKB), which initially used for six railcars acquired from Hamburg. In 1904, the traffic operation of Vienna-Street Railways WKB.

The end of the bridge

1910 were counted in Vienna over two million inhabitants. On the left, northern bank of the Danube, more and more settlements and commercial enterprises emerged. This increased both the importance and the traffic on the Empire Bridge. Neither the load nor the total roadway width of less than eight meters were sufficient for this additional burden. 1930 damage was discovered at the bridge, which would have necessitated the refurbishment in the near future. In recent years, their stock weight restrictions has been to protect the bridge. Vienna's city government first planned a conversion of the old kingdom bridge. In 1933, under the federal government of Dollfuss a new building was disposed.

During the three years of construction work had the old bridge remain usable - ie the existing 340 meters long by 4,900-ton Strombrücke was there moved by 26 meters downstream in September 1934, and connected with the banks. The move operation lasted only six hours, the traffic interruption to the reusability lasted three days. The suspended bridge was then three years in operation. Immediately after the opening of its successor bridge it was dismantled.

Second Empire Bridge - 1937-1976

Second Reichsbrücke

The second Empire Bridge, circa 1975

Official name Reichsbrücke, from 11 April 1946 to 18 July 1956 the Red Army Bridge

Use private transport (2 lanes next to the tracks, 2 on the tracks), tram (2 tracks in the middle position), pedestrians (sidewalks 2)

Construction through the air: "Spurious" self-anchored chain bridge with reversed horizontal thrust); broadening of the inundation bridge used since 1876

Total length 1225 meters

Width 26.90 meters (including sidewalks)

Longest span 241.2 meters in the central opening, 60.05 and 61.05 meters in the side openings

Construction September 1934

Release 10 October 1937

Closure 1 August 1976 (collapse)

The second realm bridge had a total length of 1255 meters. The current bridge had a length of 373 meters and a maximum span length of 241.2 meters, the construction of the third largest chain bridge in Europe. It had two pylons made ​​of steel with a height of 30 meters above road top, standing on two piers and with the bridge superstructure burd two steel chains carrying.

The bridge was staged as a symbol of the wealth and size of Vienna. So it was yet in the late 1930s next to St. Stephen's Cathedral and the Giant Ferris emblem for the third city of Vienna declared and served as an internationally used symbol on all promotional literature and invitations to the Vienna Exhibition in 1938.

Competition

First, the Commerce Department announced a precompetitive, although that could win the architects Emil Hoppe and Otto Schonthal, the result of which, however, did not correspond with the Ministry and the City of Vienna. The final competition for the construction of the Empire Bridge was finally announced in Spring 1933 and awarded in November. As architectural advisor to the eight-member jury acted the architect Clemens Holzmeister. The jurors selected from 64 submitted, one of which even provided for a tunnel under the river Danube. The winning project was a chain bridge by architects Siegfried Theiss and Hans Jaksch. This design provided only two pillars standing in the water. Three quarters of the full width of the river should be free spans. The bridge would connect directly to the still-to-use, only to be widened inundation bridge of the first Empire bridge over floodplain and Hubertusdamm.

Construction

Construction began on 26 February 1934, two weeks after the civil war-like battles in February. The cost of 24 million shillings were imposed to one third of the city of Vienna, two-thirds came from the federal budget. There were only Austrian companies involved in the construction. The two pillars were erected in caisson construction.

Soon the first difficulties appeared. The ground, especially in the Danube River, on which the bridge piers and anchor blocks for the chains should be founded, proved to be less viable than the planners had anticipated. It was originally planned to have to shoulder a large part of the weight of the Strombrücke, primarily of the area lying between the pillars middle part of the bridge, of two chains that run on both sides of the two pylons and should be anchored right in the river on heavy, solid anchor blocks of concrete. However, it was feared that this abutment on the Danube soft soil by the large tensile forces of 78.5 million N (8,000 t) per chain would start sliding and could not be adequately anchored in the Danube ground.

Professor Paul Fillunger of the Technical University of Vienna became the largest public critic of the building. He was of the opinion that not only the foundation of the anchor blocks, but also the pillars of the Danube in the soft ground was irresponsible because the bridge would not have the necessary stability. Contrasting opinion was his colleague of professors, soil mechanics Karl von Terzaghi. In his view, the nature of the Danube soil was suitable for the pier foundation. The disagreement was part of a personal feud, which was publicly held. Together with his wife Fillunger took in 1937 due to a disciplinary procedure that ran against him at the Technical University of Vienna his life. The construction of the bridge was rescheduled after the proposals Terzaghis: the chains were not fastened to anchor blocks on the Danube ground, but directly to the two main girders of the steel supporting structure, ie on the bridge itself anchored.

In June 1936, the building was overshadowed by a shipwreck: the people steamer "Vienna" DDSG was driven to a pillar. The ship broke up and sank immediately. Six people were killed.

The final link in the chain was composed of 98 members on 16 November 1936 inserted. Thereafter the lowering of the support stand began to displace the chain in tension. The production of the concrete deck slab of the bridge deck and the installation of sidewalks followed in the spring of 1937, in the summer, the bridge was painted dark green.

From 1 to 3 October 1937 the stress test of the building took place in the stretched chains and the pylons were slightly rotated. Were then driven as a load test 84 trucks and 28 loaded with stones streetcars on the bridge and left to stand there for a few hours. All measurements were running satisfactorily, so that on 4 October the first tram of line number 16 was able to drive over the kingdom bridge. A day later, the bridge was unofficially released for streetcar traffic. To traffic it remained locked up to its opening.

Austro-Fascist propaganda

A labor-and cost-intensive project such as the construction of the bridge was fully in line with the spirit of the Austro-fascist regime: the end of 1933, unemployment stood at 38.5 percent. The construction of the second Empire bridge can therefore be seen as a job creation project, similar to the construction of the Grossglockner High Alpine Road or the Vienna High Road.

On 10 October 1937, the Empire Bridge was officially opened. The corporate state government held a solemn state ceremony with President Wilhelm Miklas, Chancellor Kurt Schuschnigg, Cardinal Theodor Innitzer, the Vienna Vice Mayor Fritz Lahr and Trade Minister Taucher who called the new Reich bridge as a "symbol of creating life force of the new Austria". Present were alongside architects, project managers and designers also a delegation of the opus "New Life" of the Fatherland Front, all workers involved in the construction of the construction companies and 10,000 school children. Soldiers of the armed forces lined the shore.

The Viennese city researcher Peter Payer writes about the pompous production:

"Conspicuously, propagated the carefully staged celebration the new model of society of the Austro-fascist government: the ending of the class struggle and overcoming social barriers through meaningful work and cooperation of all professional groups. [ ...] The completion of the bridge was portrayed as unprecedented cultural achievement, as a joint work of all involved". - Peter Payer.

The event was broadcast live on the radio, the newspapers reported widely about it. At the event, postcards, envelopes, and a commemorative stamp was issued and even a "Reichsbrücke song "composed, in which was said:

"A thousand hammers, wheels, files,

thousand hands had to rush

the great work that was!

Salvation of the work that connects,

Hail to the work, healing our land!"

- Empire Bridge Song

The Empire Bridge in the Second World War

During the Second World War the German army used two support pillars of reinforced concrete under the Empire Bridge into the Danube, so that the building would not completely fall into the water when it was hit, but could be repaired. In addition, at each of the two pylons were erected platforms for anti-aircraft guns.

In early April, 1945, in the last days of the war, Soviet armies were moving from the south and west heading to the city center. The fleeing units of the SS blew up in their retreat to the north gradually almost all Vienna Danube bridges.

For the Nordwestbahnbrücke, the Floridsdorfer bridge and the Nordbahnbrücke the "defenders" of Vienna had by Hitler's headquarters on the 8th April 1945 sought the permission for demolition, the Stadlauer Ostbahnbrücke was also blown up without explicit permission. With the Reichsbrücke, however, Hitler had personally for days the blasting ruled out, still yet at 11 April 1945, just on 13 April afternoon allowed, at a time when the southern bridgehead was already occupied by the Red Army, was the northern bridgehead without coverage in their field of fire and the German troops who had retreated to the left bank of the Danube, north west withdrew, for not beeing closed in by the Red Army. There was therefore no chance to blow. The Red Army occupied the evening of the 13th April also the northern bridgehead.

On 11 April, at the height of the battle of Vienna, the Russian troops with armored boats already had been advanced on the Danube to the Reichsbrücke (officially called by the Russians "Object 56") and had obscured the area. They went on the right bank of the Danube, about 500 meters northwest of the bridge, on land and moved slowly to the building.

Decades later, it was unclear why exactly the Empire bridge was not blown up. The Red Army, the Austrian resistance movement O5 as well as members of the armed forces later claimed they just would have prevented the explosion. One version said that, at the Battle of 11 April some soldiers of the Red Army should have gotten to the beachhead, where they destroyed the explosive lines. Another version was that Red Army soldiers were led by a knowledgeable local Vienna sewer worker sneaked through the sewer system of Vienna to the bridge to prevent the demolition. Clarity created in 2012 the analysis of historical sources with the résumé. Ultimately, it was Hitler himself which had prevented demolition of the bridge until the last moment. The Reichsbrücke was now the only intact bridge crossing over the Danube between Linz and the state border. She was thus given a status symbol, it was a sign of the resilience of Austria.

The city council renamed the Empire Bridge on the anniversary of the liberation of Vienna on 11 April 1946 in honor of the liberators "Bridge of the Red Army Bridge". Was also on this occasion by the city government to the left of the bridge driveway in the 2nd district an obelisk (reddish colored lightweight concrete on wood construction) erected with the Soviet Star on the top of which was in German and Russian to read:

"THE HERO WILL

LANDING GUARD SQUAD

AND SAILORS

IN GRATITUDE

THE EXEMPT

VIENNA "

- Obelisk, then plaque on the bridge

The obelisk was removed after 1955. The inscription was then attached on a bronze plaque that was mounted directly to the bridge. The bridge was at 18 July 1956 re-named Reichsbrücke.

Reichsbrücke in the postwar period

To the rebuilding of Floridsdorfer bridge 1946 the Reichsbrücke was the only way to reach Vienna coming from the northeast on the road. Although it was not blown up, it still suffered numerous losses, primarily by shellfire. In 1946, took place the first rehabilitation of war damage of the bridge, ​​from May 1947 work on a larger scale was made. Thereby five hanging rods have been mended and repaired the vault of the inundation bridge. The smoke control ceiling above the Donauuferbahn has been replaced. At seven chain links had to be renewed a total of 26 blades. For this temporary piers were used on barges, which again ate on the river bed. The work was finished in 1952. On the Reichsbrücke originally was wooden heel patch installed, this was 1958-1960 replaced by granite stone pavement, which resulted in an additional load of 4688 kN for each pylon bearing. The enormous, newly ascended individual traffic led more often hinder the tram traffic on the bridge, therefore the tracks in the sixties by blocking lines have been declared not approved for individual traffic of the roadway. Now, congestion of vehicular traffic was the result.

Empire bridge collapse in 1976

The southern, right after the collapse of the banks, recording August 1976

Bridge debris on the north, left bank, recording August 1976

On Sunday, the first August 1976 Reichsbrücke 4:53 to 4:55 clock crashed to almost full length of the main bridge into the water. The first radio announcement was made at 5:00 clock. An eyewitness described the collapse as". The whole bridge has suddenly lifted a foot and then dropped loud crashing on the entire length".

On the Kaibrücke as well as on the Überschwemmungsbrücke (inundation bridge) the carrier collapsed in several places, but both bridges were standing. The Strombrücke itself broke into three parts, the middle part falling into the water as a whole and and the two outer parts obliquely hanging into the water. The south-facing pylon fell downstream and damaged heavily the stern of a passenger ship, the north side pylon collapsed in the other direction on the flood plain.

At the time of the collapse, five people were in four vehicles on the bridge: a bus driver in an urban articulated, two employees of the ÖAMTC in a roadside assistance vehicle, the driver of a Volkswagen Beetle, which had requested the breakdown service because of a defective tire following an accident as well as the driver of a minibus, who was employed as a driver at the ORF. The bus driver crashed his vehicle into the Danube and was rescued unharmed within hours. The ÖAMTC employees and the VW drivers were on that part of the Kaibrücke, which indeed broke and fell, but not completely destroyed, so that they could save themselves by foot. The ORF driver was trapped in his pickup truck and found his dead the day after the collapse.

Within an hour was a quarter of all vehicles of the in Vienna available Fire Brigade on the site of the collapse, it was the alarm given stage IV. Also, police, ambulance and army were represented by large contingents. The on the bridge located water pipes that supplied drinking water to the north of Vienna, put the Handelskai under water. Explosions were also feared because the gas lines running across the bridge were broken. There was on the scene for days strict non-smoking. First, many people were north of the Danube without gas, electricity, water and telephone. Already on the second August was, however, restored the supply.

de.wikipedia.org/wiki/Reichsbr%C3%BCcke

This tunnel with a length of 235 meters was built during the construction of the new road and todays motorway along the lake. It is only for cyclists and pedestrians. The old Standenhorn tunnel of the railway was reused for the road which was opened in 1964. Of that tunnel nothing can be seen today, except some old stones in the portal area of the road tunnel. This tunnel here does not have an own portal on the other side. It discharges into the escape tunnel from the Kerenzerberg tunnel of SBB on the east side (Sallernstollen). Switzerland, April 28, 2016. (1/6) >

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I found this cute little brown jumping spider in our hallway today. It was not very active, so I thought that it may be molting or dying. I gently placed it in a glass container to rest, then later onto a sheet of white paper. On the first go round of 1-4x magnification, I noticed that its tiny abdomen looked a bit shriveled. It occurred to me that it may be dehydrated, so I saturated a piece of wet tissue paper with water and sure enough the "spidey" immediately crawled onto the wet paper and remained there sucking up the water, much like we would suck through a straw. Yes, spiders drink water, as needed, normally from rain puddles or dew. If spiders are kept as "pets" a small water dish can be placed in the habitat. The mouthparts are located in back of the chelicera (the fangs that inject venom into their prey). Spiders normally get the fluids they need from the liquified bodies of their prey, and it has recently been discovered that some species of spiders will "drink" nectar.

 

After, I gave the spider the water, it became more active, though I was still able to work with it to get another set of photos before releasing it onto one of our houseplants. This spider was 6mm in length and 2mm in width.

  

ENGLISH CIVIL WAR RE-ENACTOR IN CROMWELL PERIOD COSTUME WALKS PAST AND A PERIOD SOLDER STANDING SHOWING A LADY THE LENGTH OF HIS PIKE WHO LOOKS UP TOWARDS THE POINTED TIP . PEOPLE ENJOYING THE DAY IN THIS EAST LONDON BOROUGH SUBURB STREET PARK RE-ENACTMENT DAY ENGLAND [000044] C

I've been an extreme weather junkie since I was a kid. Where I grew up in Mississippi, there were tornadoes and hurricanes. Maine doesn't have such violent storms, but we do have our own extreme weather, the cold. It seems like the first two weeks of January feature a below-zero cold snap every year. I was at Five Islands for this occurence two years ago, and witnessed my first sea smoke. Last year we went big at Portland Head Light and got some great images, one that is now a 8x9 foot mural at the new Berlin City Honda in South Portland.

 

There was a lot of pressure to build on those experiences and go even bigger this year. Rockland is a place I love to visit. It's a little far away at over an hour east on Route 1, but I don't have a lot of images from here and there are two fantastic targets I wanted to shoot with sea smoke, the Breakwater Lighthouse and Owls Head Harbor.

 

The date was set and come 4 AM Thursday Morning, we were on the road. It was dark when we arrived, but already we could see the mist pouring off the water. I had about 5 layers of clothing on, including some new mittens that really worked wonders saving my fingers from frostbite later on. It didn't feel like a very long time, but apparently I stood out there in the cold for about two hours. I was so determined to get my shot that everything else kind of faded away. It was a sublime two hours.

 

So, this is the frame I had in mind when I went out. As usual, several other possibilities presented themselves while I was out there, and the vortex over Owls Head has to be the shot that I will come away being happiest with. This was taken just after that. I took off the gloves and grabbed the extremely cold metal lenses with my barehands to change them and get the right focal length for this wide-angle shot taken just as the sun made it over the plumes of sea smoke on the horizon. You can see the hoar frost that formed on the rocks as the mist crept between them. It was beautiful.