Full length pic of my new gorgeous silky nightdress feels so wonderful to slip Into ❤️

Built 1973,

Builder: John Manly Ltd. Vancouver,

Gross tonnage: 68.22,

Engines; 2XMTU series 60, 950 bhp,

Twin screw,

Tow winch: Westminster Machine Works Ltd.,

Tow line: 1 3/8 x 6X 26 Galvd. 2275" ( 2x400' pennants ),

Length Overall x Breadth Extreme: 16 x 6 m,

North Arm, of the, Fraser River, Burnaby, British Columbia, Canada

In the process of cutting it (Chrissy)

The greater adjutant is a huge bird, standing tall at 145–150 cm (57–60 in). The average length is 136 cm (54 in) and average wingspan is 250 cm (99 in). While no weights have been published for wild birds, the greater adjutant is among the largest of living storks, with published measurements overlapping with those of the jabiru (Jabiru mycteria), saddle-billed stork (Ephippiorhynchus senegalensis) and marabou stork (Leptoptilos crumeniferus). Juvenile greater adjutant storks in captivity weighed from 8 to 11 kg (18 to 24 lb). For comparison, the heaviest known wild stork was a marabou stork scaling 8.9 kg (20 lb). The huge bill, which averages 32.2 cm (12.7 in) long, is wedge-like and is pale grey with a darker base. The wing chord averages 80.5 cm (31.7 in), the tail 31.8 cm (12.5 in) and the tarsus 32.4 cm (12.8 in) in length. With the exception of the tarsus length, the standard measurements of the greater adjutant are on average greater than that of other stork species. A white collar ruff at the base of its bare yellow to red-skinned neck gives it a vulture-like appearance. In the breeding season, the pouch and neck become bright orange and the upper thighs of the grey legs turn reddish. Adults have a dark wing that contrasts with light grey secondary coverts. The underside of the body is whitish and the sexes are indistinguishable in the field. Juveniles are a duller version of the adult. The pendant inflatable pouch connects to the air passages and is not connected to the digestive tract. The exact function is unknown, but it is not involved in food storage as was sometimes believed. This was established in 1825 by Dr John Adam, a student of Professor Robert Jameson, who dissected a specimen and found the two layered pouch filled mainly with air. The only possible confusable species in the region is the smaller lesser adjutant (Leptoptilos javanicus), which lacks a pouch, prefers wetland habitats, has a lighter grey skull cap, a straighter edge to the upper mandible and lacks the contrast between the grey secondary coverts and the dark wings.

Like others storks, it lacks vocal muscles and produces sound mainly by bill-clattering, although low grunting, mooing or roaring sounds are made especially when nesting. The bill-clattering display is made with the bill raised high and differs from that of the closely related African marabou which holds the bill pointed downwards.

Brisbanes Story Bridge length is 777m (includes road approaches at both ends) and is the main city bridge on the edge of the city centre.

At the far side at water level are some heritage listed Howard Smith Wharves.

Brisbane City Council had initially proposed an extensive commercial development of the site that includes hotel, sport and entertainment facilities in new or refurbished old buildings.

This plan was rejected by the local community which resulted in a revised plan incorporating greater public space and less commercial development. The revised plan was then rejected by the state government over concerns with flooding.

During 1941 and 1942, five air-raid shelters were constructed below the cliff face, and still remain there.

Below is a shot of the walkway along the bridge.

As much as I love short sexy cheongsam/qipaos, I really would like a floor length red dress to look proper as a Chinese bride. Maybe soon?

From www.kbmt.org.uk

The PD3 was the final variant of the Leyland Titan, being the 30ft long version of the PD2 model, introduced in 1956 when double deckers of that length on 2 axles were first permitted. In usual Leyland practice, the chassis type code indicated the particular combination of specification, the PD3A/12 featuring the Leyland 0.600 engine, air brakes, pneumocyclic gearbox and a concealed radiator.

By the late 1960`s the rear engined bus had become very popular because of the ease with which it would accept bodywork capable of one person operation and thereby also attracting government grants. The grants were largely aimed at persuading operators to modernise their fleets and naturally most operators took advantage of the scheme. The result of this trend was a decline in the demand for traditional front engined chassis, and fewer and fewer were ordered. In 1969 the last of a long line of Leyland Titans was produced.

In the 1950`s and up to 1964, Bradford had sourced its double deckers from AEC. The 1966 deliveries were Daimler CVG6s but in 1967 Bradford strangely ordered its first PD3s at the same time as taking its first rear engined double deckers, which comprised both Leyland Atlanteans and Daimler Fleetlines. These two models again featured in 1968 deliveries but for the 1969 double deck intake, PD3s were again specified, the batch comprising 15 buses numbered 301 - 315, These were among the last PD3s delivered, being concurrent with a batch for Stockport, an export order for India, and two (including the very last) for Ramsbottom.

When new in April 1969, 309 was allocated to Bankfoot depot and ran on the Manchester Road and City Circle routes. On formation of the West Yorkshire PTE it was renumbered 2309 and later transferred to the Hall Ings (Interchange) depot on its opening in 1977. It continued in service with the PTE until May 1984 and passed immediately on withdrawal to the West Yorkshire Transport Museum, where it was restored to original condition and livery. It was acquired by Keighley Bus Museum from the administrators of Transperience in September 1998 with support from the Heritage Lottery Fund, the Science Museum PRISM Fund and Bradford Metropolitan Borough SNL801.

Bradford had acquired earlier batches of Regent V all with Metro Cammell bodies, in small numbers in 1959 (15), 1961 (5) and 1962 (10) and in larger numbers for trolleybus replacement in 1963 (60) and 1964 (30), these buses being numbered 106-225, a total of 120 buses. This period saw the closure of trolleybus routes to Bradford Moor (1962), Crossflatts (1963). Bolton - Bankfoot (1964) and Eccleshill (1964). Bradford first motorbuses in 1926 had been AEC's and Regent IIIs and Vs were bought regularly between 1947 & 1964.

By the late 1950s a move was being made away from the traditional rear entrance open platform for two major reasons. The most important of these was safety. Later the entrance began to appear at the front of the vehicle so that the driver could supervise the platform. The addition of doors also meant that the bus was warmer and at a time was car ownership was beginning to grow. this was considered an important element in the fight to retain passengers.

6220 KW is representative of the Bradford fleet of the early 1960s as by this time about a third of the fleet was of this type. The vehicle was still in service at the formation of the West Yorkshire PTE in 1974, and received fleet number 2220 as a Bradford District vehicle. Due to the increasing difficulty of obtaining spares for AEC vehicles after the company's closure, many of these buses were withdrawn before the end of their expected lives and scrapped in the early 1970s. 2220, however, was retained for use as a mobile mess room for the bus station painting crew and remained in use even after the engine had ceased to function, being towed to site as necessary.

The bus was purchased by the West Yorkshire Transport Museum in 1985 and restored to original condition. It was acquired by Keighley Bus Museum from the administrators of Transperience in September 1998 with support from the Heritage Lottery Fund, the Science Museum PRISM Fund and Bradford Metropolitan Borough Council.

6220 KW: AEC Regent V MetroCammell H40/30F 1964

During the early 1960s, trolleybus operators throughout the country were looking at running costs and deciding that trolleybus operation was becoming too expensive. Routes and systems were gradually closed as opportunity arose and replacement motorbuses were purchased. Bradford in the early 1960s was in the throes of redevelopment and a decision was taken that certain trolleybus routes should be abandoned.

Dense, dark brown cerata with white flecks cover most of body. Exposed notum is brownish yellow with densely spread, small, purplish brown and yellow flecks.

1: cleioproctic anus. 2: faecal mass. 3: tip of small triangular propodial tentacle.

Length 55 mm. Menai Strait, Wales. March 2010.

Full SPECIES DESCRIPTION BELOW

Sets of OTHER SPECIES at: www.flickr.com/photos/56388191@N08/collections/

PDF available at www.researchgate.net/publication/364340435_Aeolidia_papil...

Aeolidia papillosa (Linnaeus, 1761)

Synonyms: Limax papillosus Linnaeus, 1761; Eolis papillosa (Linnaeus, 1761).

Current taxonomy: World Register of Marine Species www.marinespecies.org/aphia.php?p=taxdetails&id=138709

Vernacular names: Common grey sea slug; Shag-rug aeolis; Plumed sea slug (English); Môrwlithen lwyd (Welsh); Stor trådsnegl (Danish); Vlokkige zeenaaktslak; Grote vlokslak (Dutch); Eolidien à papilles (French); Breitwartige Fadenschnecke (German).

GLOSSARY BELOW

Preface

In 2016, Kienberger et al. segregated with molecular sequencing what had previously been generally accepted in Europe as A. papillosa into Aeolidia papillosa sensu stricto (Linnaeus, 1761) and Aeolidia filomenae Kienberger et al., 2016. Descriptions published before 2016 combine features of the two species and often, such as in Alder & Hancock (1845-1855) fig. 31 flic.kr/p/2nRfmBr and Thompson & Brown (1984), illustrated the descriptions with images of probable A. filomenae. This account draws on the description in Kienberger et al. (2016).

Description

The large, broad and relatively low body sometimes grows to a maximum length of 120 mm. The ground colour of the notum varies from light white–beige, through mustard brownish, to reddish brown or dark brown with, often dense, darker flecks spread over it fig. 01 flic.kr/p/2nRf5eB & fig. 02 flic.kr/p/2nRgbPe .

Kienberger et al. (2016) state, “A white Y–shaped or triangular mark extending from the oral tentacles to the pericardial area between the rhinophores may be present.” (See appendix below for discussion of this). Dorsal surfaces are usually concealed by dense cerata apart from the head and a bare zone extending back from the rhinophores fig. 01 flic.kr/p/2nRf5eB & fig. 03 flic.kr/p/2nRbkGX .

The cleioproctic anus is located between the ninth and tenth row of the right side.

(fig. 04 flic.kr/p/2nRbkBr & fig. 01 flic.kr/p/2nRf5eB & Kienberger et al. 2016). The genital aperture is situated on the right side between the sixth and eighth anterior rows of cerata, which usually conceal it.

The numerous, crowded cerata are arranged in up to 25 close, difficult to discern, rows of eight to twelve cerata each, on each side of the body. They decrease in size towards the posterior of the body, and the anterior cerata positioned by the rhinophores are small fig. 05 flic.kr/p/2nRfnP6 . The cerata are often elongate and thin, with a uniform diameter for most of their length fig. 06 flic.kr/p/2nRdUp5 . Their dimensions can be altered but they are never flattened. They are translucent but usually covered with dark pigment marks and, sometimes, some white marks fig. 05 flic.kr/p/2nRfnP6 . Where the pigment is less intense, usually at the basal half of the posterior, the digestive gland may be visible fig. 07 flic.kr/p/2nRfnGH , and the dull whitish cnidosac is visible when not obscured by white apical pigment fig. 08 flic.kr/p/2nRdUkn . The general colour of individuals depends largely on the colour of the ceratal pigment, which is usually darker than the notum fig. 03 flic.kr/p/2nRbkGX but the peripheral cerata are sometimes pale fig. 09 flic.kr/p/2nRbkt5 .

The smooth, conical rhinophores are similar in colour to or a little darker than the body. The truncated tip usually has a small, terminal, translucent, pale spot fig. 10 flic.kr/p/2nRgvXT & fig. 11 flic.kr/p/2nRgvXh . The internal eye at the base of each rhinophore is rarely visible through the body, but may be discerned on some pale American specimens fig. 12 flic.kr/p/2nRfnCe .

The head has translucent, whitish, oral tentacles with variable amounts of dark and/or white freckling fig. 09 flic.kr/p/2nRbkt5 & fig. 10 flic.kr/p/2nRgvXT but the white does not form a well defined line. They are longer than the rhinophores and placed apart on the anterior edge of the head at a distance, when it is spread, equal to about three times the thickness of a tentacle base (IFS, pers. obs. fig. 10 flic.kr/p/2nRgvXT ).

The broad foot has small triangular propodial tentacles at the anterior fig. 10 flic.kr/p/2nRgvXT .

Key identification features Features vary and may sometimes overlap with similar species. Identifications should be made on the basis of more than a single feature. American specimens differ in some respects.

Aeolidia papillosa

Features as in Kienberger et al. (2016). [IFS pers. obs. in square brackets.]

1) Maximum length 120 mm.

2) Body colour extremely variable: from light white-beige, through mustard brownish, to reddish brown or dark brown.

3) “A white Y–shaped or triangular mark extending from the oral tentacles to the pericardial area between the rhinophores may be present”. [Pale marks on the head are frequent on A. papillosa in America fig. 13 flic.kr/p/2nRfnC4 , where A. filomenae is absent, but seem to be rare in Europe. See appendix below.]

4) Elongate thin cerata, not flattened, usually with uniform diameter for most of length fig. 06 flic.kr/p/2nRdUp5 . In difficult to count crowded rows.

5) Cerata darker than body.

6) [Dull whitish cnidosac visible if not obscured by white apical pigment fig. 08 flic.kr/p/2nRdUkn .]

7) Rhinophores dark, [usually with a small, terminal, translucent, pale spot on the truncated tip fig. 10 flic.kr/p/2nRgvXT & fig. 11 flic.kr/p/2nRgvXh ].

8) Internal eyes at base of rhinophores, visible rarely if ever in Europe. [Sometimes visible in America fig. 12 flic.kr/p/2nRfnCe ].

9) [Distance between oral tentacles at base about three times thickness of tentacle base, fig. 10 flic.kr/p/2nRgvXT ].

Similar species

Aeolidia filomenae Kienberger, Carmona, Pola, Padula, Gosliner & Cervera, 2016.

Features as in Kienberger et al. (2016). [IFS pers. obs. in square brackets.]

1) Longest specimen described in Kienberger et al. (2016) was 45 mm; maximum possible length not stated; at least 70 mm fig. 16 flic.kr/p/2nRbkeN .

2) Body white fig. 14 flic.kr/p/2nRgvUb , light beige, pink fig. 16 flic.kr/p/2nRbkeN or greenish with white or brown flecks [which may concentrate into dense brown on the head, rhinophores and pericardial area fig. 18 flic.kr/p/2nRgvAW ].

3) White ‘Y’ mark on oral tentacles and head, with stem passing back between the rhinophores, is often present. Varies from very evident and intense opaque white fig. 15 flic.kr/p/2nRgbpB to unobtrusive beige or light brown, and may be partly covered by white or beige flecks fig. 16 flic.kr/p/2nRbkeN . [See appendix.]

4) Cerata, [often in neat, easily counted rows], are typically flattened, broader at their base, and often slightly hooked inwards fig. 17 flic.kr/p/2nRfnk5 . This is the primary feature for identification (L. Carmona, pers. comm. 7 October 2022) [They may inflate a little to give a thicker cross section.]

5) Cerata usually [have much less surface pigment than on A. papillosa and] are usually lighter than the rest of the body fig. 15 flic.kr/p/2nRgbpB . [But some have dark cerata fig. 18 flic.kr/p/2nRgvAW .]

6) Apices of cerata are white, [often revealing large white cnidosacs fig. 15 flic.kr/p/2nRgbpB ].

7) Blunt, conical, smooth rhinophores are translucent whitish with opaque white or yellowish-white freckles which often concentrate to colour the distal quarter fig. 19 flic.kr/p/2nRbjYN . [Most also have brown spots of varying extent and intensity on the basal three-quarters fig. 18 flic.kr/p/2nRgvAW ]

8) Internal eyes sometimes faintly visible at base of rhinophores in lighter specimens fig. 19 flic.kr/p/2nRbjYN .

9) [Distance between oral tentacles at base about three times thickness of tentacle base. fig. 15 flic.kr/p/2nRgbpB ]

Pre 2016 authors such as Alder & Hancock (1845-1855) fig. 20 flic.kr/p/2nRfnd6 and Thompson & Brown (1984), illustrated their descriptions of A. papillosa with images of probable A. filomenae.

Aeolidiella alderi (Cocks, 1852) fig. 21 flic.kr/p/2nRgb6f , A. glauca (Alder & Hancock, 1845) fig. 22 flic.kr/p/2nRbjUz and A. sanguinea (Norman, 1877) fig. 23 flic.kr/p/2nRgvnQ .

1) Extreme maximum length 46 mm (A. sanguinea, others shorter).

2) Body translucent white or pale shade of other colour. Any opaque marks are scattered, small and not dark.

3) No white ‘Y’ or triangular mark on head.

4) Cerata not flattened, with uniform diameter for most of length

5) Cerata have more saturated colour than body.

6) Apices of cerata are white or pale.

7) Rhinophores translucent, no dark pigment marks.

8) Internal eyes visible at base of rhinophores

9) Distance between oral tentacles at base about same as thickness of single tentacle base (IFS pers. obs.).

Habits and ecology

Information in this section is mainly from Thompson & Brown (1984) who did not differentiate A. papillosa from A. filomenae, so it may apply to either one or both.

It lives sublittorally and on lower shores where there is some hard substrate, including estuaries down to 20‰ salinity and on muddy sand with isolated stones coated with sediment.

A. papillosa attacks and eats sea anemones, including Actinia equina and Metridium senile fig. 02 flic.kr/p/2nRgbPe . It is immune to the toxic nematocysts in their tentacles and exuded acontia fig. 24 flic.kr/p/2nRgvmn , and it ingests them and stores them in cnidosacs at the tips of its cerata for release when it is attacked. The effect is powerful enough in a dog's mouth to make it drop the slug (IFS pers. obs.) but it does not prevent haddock, Gadus aeglefinus, from consuming it (Thompson & Brown, 1984). Other enemies include copepod parasites and Nucella lapillus which occasionally eats its spawn. When alarmed it can raise its cerata and roll into a ball resembling a sea anemone fig. 25 flic.kr/p/2nRdTsa . Faeces are irregular masses fig. 01 flic.kr/p/2nRf5eB & fig. 04 flic.kr/p/2nRbkBr .

A. papillosa is a simultaneous hermaphrodite. Its convoluted white, pink or purple cord of spawn, somewhat resembling a coiled spring, is attached spirally to hard substrate from January to August in Britain. Initially, the coil forms a compact disc fig. 26 flic.kr/p/2nRgv6H but, as it ages, it absorbs water and expands into a looser coil fig. 27 flic.kr/p/2nRbjsT . When several individuals spawn close together, a confused mass may result fig. 28 flic.kr/p/2nRdTmo .

Veliger larvae hatch from the spawn and live in the plankton before metamorphosis. Small juveniles are not often found on shore; they may spend their early life sublittorally (Thompson & Brown, 1984).

Distribution and status

A. papillosa sensu stricto is an amphiboreal species with maximum uncorrected p-distance of 1.6% between individuals (Carmona et al., 2013), which is common along the Atlantic coasts of Europe and North America fig. 29 flic.kr/p/2nRbjqZ and from Washington State to Alaska in the in the north-eastern Pacific fig. 30 flic.kr/p/2nRfmFe . Kienberger et al. (2016) verified with molecular sequencing specimens from Sweden, Netherlands, Maine, Massachusetts, Alaska and Washington State. GBIF map www.gbif.org/species/2291938 . UK map NBN species.nbnatlas.org/species/NHMSYS0021312941

Acknowledgements

For use of images I gratefully thank Nils Aukan, Emil Burman, Roy Dahl, Jeff Goddard, Heine Jensen, Guillaume Lemonnier, Sutherland MacIver, Erin McKittrick, Malcolm Storey and Alex Wilson. For providing specimens to photograph I thank Simon Taylor. For information and advice I thank J. Lucas Cervera, Leila Carmona and Marta Pola, but any errors or omissions are my (IFS) responsibility.

Appendix

Kienberger et al. (2016) stated of A. papillosa, “A white Y–shaped or triangular mark extending from the oral tentacles to the pericardial area between the rhinophores may be present”. But the common practice of European recorders on iNaturalist and Facebook is to record all specimens with a white Y as A. filomenae.

As substantiation for their statement, Kienberger et al. refer to their Fig. 5B which shows a sequenced A. papillosa from the White Sea with a whitish mark on the head resembling a wine glass with the stem passing back between the rhinophores. Apart from it, the only European Aeolidia image with a wine glass mark found by IFS is one from the Mersey Estuary fig. 31 flic.kr/p/2nRfmBr . Whether the wine glass mark should be regarded as a form of white Y is an open question. Sometimes it is centrally faded with small lateral branches to resemble a Y, but the branches bend to meet at an obtuse angle of nearly 180° instead of the acute junction of the arms of a Y fig. 13 flic.kr/p/2nRfnC4 & fig. 29 flic.kr/p/2nRbjqZ .

Judging from the many images posted as A. papillosa on iNaturalist, and ‘Fig. 5F’ from Alaska in Kienberger et al. (2016), the wine glass mark is frequent on it in North America both in the Atlantic and Pacific. In the Pacific, it is often misidentified as A. loui Kienberger, Carmona, Pola, Padula, Gosliner & Cervera, 2016, especially in Washington and further north where there is no molecular evidence for A. loui ( L. Carmona, pers. comm. 7 October 2022).

Kienberger et al. differentiated A. papillosa and A. filomenae on the basis of molecular sequencing, and they described morphological features observed on the specimens studied which correlated with each species. It is possible that subsequent experience and photography of larger numbers have revealed more morphological variations but they need molecular sequencing for substantiation.

In June 2016, J. Lucas Cervera, co author with Kienberger, posted on Facebook Group N. E. Atlantic Nudibranchs to say that an in depth, focused study of UK and Irish specimens is still required to understand much better the diversity of this complex in that area, but that without material it is not possible. He would like collections to be made from different localities and then sent to him together in one or two packs, as if he receives the material scattered over time it is difficult to arrange students and material for a study focused on the issue. If you wish to help, please first email leila.carmona@uca.es for detail of how to preserve and send specimens.

Without further linked morphological and molecular study, morphological identifications of British and Irish Aeolidia species including those illustrated in this account are uncertain. Some specimens have some morphological features of each species fig. 32 flic.kr/p/2nSPveL and cannot be confidently identified without molecular sequencing; they are best recorded as Aeolidia sp.

References and links

Alder, J. & Hancock, A. 1845-1855. A monograph of the British nudibranchiate mollusca. London, Ray Society. Family 3 Plate 9 [A. papillosa sensu lato includes A. filomenae ] www.biodiversitylibrary.org/item/131598#page/314/mode/1up

Carmona, L., Pola, M., Gosliner, T. M. and Cervera, J. L. (2013) A tale that morphology fails to tell: a molecular phylogeny of Aeolidiidae (Aeolidida, Nudibranchia, Gastropoda). PLoS ONE 8(5): e63000. journals.plos.org/plosone/article?id=10.1371/journal.pone...

iNaturalist www.inaturalist.org/observations

Kienberger, K., Carmona, L., Pola, M., Padula, V., Gosliner, T.M. and Cervera, J.L. 2016. Aeolidia papillosa (Linnaeus, 1761) (Mollusca: Heterobranchia: Nudibranchia), single species or a cryptic species complex? A morphological and molecular study. Zool. J. Linn. Soc., 177: 481–506. www.researchgate.net/publication/303953645_Aeolidia_papil...

Thompson, T.E. & Brown, G.H. 1984. Biology of opisthobranch molluscs 2. London, Ray Society.

Glossary

acontia = thread-like tissue containing numerous stinging nematocysts which are released by some sea anemones.

amphiboreal = living in the cold temperate boreal zone to south of Arctic on more than one side of the Atlantic and/or Pacific.

cerata = (sing. ceras, adj. ceratal) lobes on notum of some nudibranchs.

cleioproctic = (of anus) located on the notum to the right of the midline.

Cnidaria = hydroids, jellyfish, sea anemones etc. which possess cnidocytes.

cnidocytes = explosive stinging cells of Cnidaria. en.wikipedia.org/wiki/Cnidocyte

cnidosac = storage capsule at tips of cerata of Aeolidiidae for ingested cnidocytes.

digestive gland = large organ in gastropods which acts like the liver and pancreas in mammals to absorb food.

distal = away from centre of body or from point of attachment.

hermaphrodite, simultaneous = individual acts as both male and female at the same time with similar partner.

molecular sequencing = technique for determining the sequence of the bases adenine, guanine, cytosine, and thymine (A, G, C and T) in a DNA molecule.

notum = (of sea slugs) the dorsal surface of the body; the back.

partim = partly, in part, a part, some of, some.

pericardium = sac containing heart, sometimes visible as a raised pericardial mound behind rhinophores in sea slugs.

pleuroproctic = (of anus) located on side of body below the notal edge or cerata.

propodial tentacles = tentacular, lateral extensions on anterior of the foot.

rhinophore = chemo-receptor tentacle; many sea slugs have a pair on top of the head.

sensu lato = (abbreviation s.l.) in the wide sense, possibly an aggregate of more than one species.

sensu stricto = (abbreviation s.s.) in the strict sense, excluding species that have been aggregated or confused with it.

veliger = shelled larva which moves by action of cilia on a velum (bilobed flap). Stage may be passed in plankton or within liquid-filled egg-capsule.

Models at the Bangkok International Motorshow 2013.

Golphins, short stockings (right under knee)

Schweiz / Tessin - Verzascatal

The Valle Verzasca is a valley in the Locarno district of the canton of Ticino, Switzerland. It comprises the municipalities of Mergoscia, Vogorno, Corippo, Lavertezzo, Brione, Gerra, Frasco, and Sonogno. As of 2004, the total population is 3,200. It is the most central valley of Ticino, and none of the passes out of the valley cross cantonal or national borders. The valley is formed by the river Verzasca and is situated between the Leventina and the Maggia and culminates at Pizzo Barone.

Geography

Located between the Leventina and the Valle Maggia valleys, Valle Verzasca extends over a length of 25 kilometres (16 mi) in north–south direction and is situated in the north of the Lago Maggiore. The valley floor is at about 500 metres (1,640 ft) to 900 metres (2,953 ft) above sea level. The surrounding mountain passes respectively have an average altitude of 2,400 metres (7,874 ft). The valley is crossed by the Verzasca which is dammed at the southernly outlet of the valley, forming the Lago di Vogorno, before it flows in the Magadino plain in the vicinity of the Ticino in the Lago Maggiore.

The Valle Verzasca includes the geographical centre of Ticino, which is located at Mergoscia, near the lower end of the valley.

Climate

Due to the different altitudes, all climate zones are combined in the Valle Verzasca. Tenero-contra and Gordola include the insubric climate region thanks to the deep-sea level, close to the Lago Maggiore and protected by the mountains from the north winds. Vineyards and Mediterranean vegetation benefit from the mildest climate area of Switzerland, nebulae are rare and rainfall of short duration. With increasing altitude, the hills and mountain climate goes over to regions dominated by the Alpine climate (over 2,000 metres (6,562 ft)).

Flora and fauna

The diversity benefits among other things, the cultivation of vines, and it flourish chestnut forests and palm trees thrive. Due to differences in soil type and amounts, almost all flora occurring in the Ticino and fauna of the various environmental zones are found in the Verzasca Valley.

The Romans introduced and comparable to the tropical wood species, Castanea sativa is in the southern part of the valley, below 1,000 metres (3,281 ft), the dominant species. It is no longer actively cultivated, but favors the further diffusion, and studies suggest taking advantage of the valuable wood of chestnut as a valuable wood.

In the Valle Verzasca the endemic Nera Verzasca goat has been preserved, which looks very much like the ancient Roman goat. This medieval durable goat has short hair, because it's not stuck in the snow.

Culture

Due to its isolated location, the Verzasca Valley is claimed as one of the valleys that could best keep its originality. The secluded geographical location made it unattractive for conquerors since the Roman period, and even before. The first traces of settlement in the area are from the early 2nd millennium BC, in its southern part. In Berzona, a locality (frazione) of Vogorno, a carved rock known as a Sass di Striöi (literally: witches stone) is situated on a hiking trail. The shell rock most likely dates from around 600–700 BC; there are about 90 such carved rocks in the Verzasca Valley. Although initially free farmers, the valley was alternately ruled by the Swiss Confederacy, Savoy, Leventia and the Rusca family from about 1410 onwards. In the European Middle Ages, the population were mainly farmers, and since the early 17th century, many residents had to leave for seasonal labour outside their home valley. Often unemployed young men were recruited as mercenaries for foreign armies. In two quarries granite is mined by local workers.

The so-called Rustici (Italian for farm house) in grey stone, with white borders on the windows and heavy stone roofs, are typical houses in the valley. Wood rafters are used to support the heavy stone roof, Castanea sativa wood. Many chapels along the way bear witness to the deep faith of the inhabitants of the valley. Valle Vercasza was the origin of many of the region's so-called Spazzacamini (literally: chimney sweep children).

Tourism

With the connection to the public transport, tourism developed from the end of the 19th century, but the majority of young people from the Valley still look for income opportunities in wealthier regions of Switzerland or northern Italy. Currently the majority of locals are active in the tourism trade. The conversion of the old Rustici houses into holiday houses created jobs, increased tourism revenues and ensured that the old houses and the characteristic image of the Verzasca Valley are preserved.

The mountaintop with views of the Valais, Bernese, Glarus and Grisons Alps, as well as the many transitions in the side and neighbouring valleys are popular to mountain hikers, and around a dozen mountain huts provide accommodation and meals. The Verzasca is popular to canoeists and divers, but considered to be dangerous and difficult. The Verzasca Dam is also well known for its 220 m height jump, which is one of the highest jumps in the world and also the most famous bungy jump, as it was used in the James Bond film GoldenEye.

Transportation

The only valley access for road traffic and the Postauto buses are bounded from Tenero or Gordola. The starting on the left side of the valley road (built from 1866 to 1871) crosses Vogorno, Corippo, Lavertezzo, Brione (Verzasca), Gerra (Verzasca), Frasco and ends in Sonogno; a short road leads to Corippo. On the right side of the valley, the road and post road trips from Locarno ends in Mergoscia.

(Wikipedia)

Das Verzascatal (italienisch Valle Verzasca) ist ein Tal im Schweizer Kanton Tessin, das zum Bezirk Locarno gehört. Im Verzascatal liegen die Ortschaften Mergoscia, Vogorno, Corippo, Lavertezzo, Brione (Verzasca), Gerra (Verzasca), Frasco und Sonogno. Ausser Mergoscia, das als eigene Gemeinde zum Kreis Navegna gehört, sind heute alle zur Gemeinde Verzasca zusammengeschlossen, die identisch mit dem Kreis Verzasca ist.

Lage

Das Verzascatal ist ein wildes Tal mit steilen Hängen und unzähligen Wasserfällen. Die Verzascahäuser (Rustici) aus grauem Stein mit weissen Umrandungen an den Fenstern und schweren Steinplattendächern sind typisch für das Tal. Die Kapellen entlang der Wege zeugen vom religiösen Glauben der Talbewohner.

Das Verzascatal ist mit Mergoscia das geometrische Zentrum des Tessins. Es ist das einzige Tal, das nur an Tessiner Täler grenzt. Es liegt zwischen der Leventina und dem Maggiatal und erstreckt sich über eine Länge von 25 km in Süd-Nord-Richtung nördlich des Lago Maggiore. Der Talboden liegt auf 500 bis 900 m ü. M. Die Berge, die das ganze Tal umrahmen, haben eine durchschnittliche Höhe von 2400 m ü. M. Das Tal wird vom Fluss Verzasca durchflossen, der am Talausgang gestaut wird und den Lago di Vogorno bildet, bevor er in der Magadinoebene in der Nähe des Ticino in den Lago Maggiore fliesst.

Die Seitentäler des Valle Verzasca sind von folgenden Dörfern aus erreichbar: Auf der rechten Talseite: das Val Resa und Valle di Mergoscia von Mergoscia; das Val di Corippo von Corippo; das Val d’Orgnana und Valle del Cansgell von Lavertezzo; das Val d’Osura von Brione; das Val Redòrta und Val Vegornèss von Sonogno. Auf der linken Talseite: das Val della Porta von Vogorno; das Val Carecchio, Val Pincascia und Val d’Agro von Lavertezzo; das Val Mött von Gerra; das Val d’Efra von Frasco.

Klima, Flora und Fauna

Aufgrund der unterschiedlichen Höhenlagen sind in der Valle Verzasca viele Klimazonen vereint. Tenero-Contra und Gordola gehören dank tiefer Meereshöhe, Seenähe und dem Schutz der Berge des Verzascatales vor den Nordwinden zur insubrischen Klimaregion. Weinberge und mediterrane Vegetation profitieren hier vom mildesten Klima der Schweiz, Nebel sind selten und Regenfälle von kurzer Dauer. Dieses Klima zieht sich weit in das Tal hinein, in dem Reben, Kastanienwälder und Palmen gedeihen. Es geht dann mit zunehmender Höhe über das Hügel- und Bergklima bis in die Regionen mit alpinem Klima (über 2000 m ü. M.). Wegen der Unterschiede in der Bodenbeschaffenheit und der Höhe können im Verzascatal fast alle im Tessin vorkommenden Pflanzen- und Tierarten der verschiedenen Umweltzonen angetroffen werden.

Die von den Römern eingeführte Edelkastanie (Castanea sativa) ist im südlichen Teil des Tales, unterhalb 1000 m, die dominierende Baumart. Ihr Holz hat ähnliche Eigenschaften wie die Tropenhölzer. Die Kastanienwälder werden seit den 1950er-Jahren nicht mehr bewirtschaftet, da es sich meist um Niederwälder handelt. Im Verzasca können in der Nähe von Dörfern und Maiensässen (monti) «auf den Stock gesetzte» Kastanienbäume, etwa auf Mannshöhe abgesägte Baumstümpfe, gefunden werden. Da die Kastanie die Fähigkeit hat, aus dem abgesägten Baumstumpf wieder auszutreiben (Stockausschlag), musste solange gewartet werden (etwa zehn Jahre), bis die Triebe den gewünschten Umfang erreichten, um zum Beispiel als Balken für die tonnenschweren Steindächer eingesetzt werden zu können. Im Jahre 2005 publizierte Studien über Versuchsanlagen schlagen vor, das wertvolle Kastanienholz wieder als Wertholz – zum Beispiel für Parkettböden – zu nutzen.

Im Verzascatal hat sich die alte Ziegenrasse Nera-Verzasca-Ziege erhalten, die der römischen Ziege sehr ähnlich sieht, wie aufgrund von Hornfunden in Augusta Raurica nachgewiesen werden konnte. Diese mittelalterliche Robustziege hat kurzes Haar, an dem Schnee nicht haftet.

Wirtschaft

Früher betrieb die Bevölkerung hauptsächlich Landwirtschaft, das heisst vor allem Weidewirtschaft. Ab dem 14. Jahrhundert überwinterten Einwohner mit ihrem Vieh in der Magadinoebene. Seit dem 17. Jahrhundert fand eine saisonale Auswanderung zur Erwerbstätigkeit statt. Arbeitslose und abenteuerlustige Männer liessen sich als Söldner für fremde Kriegsdienste anwerben. Piccoli spazzacamini (italienisch für kleine Schornsteinfeger) nannte man im 19. und frühen 20. Jahrhundert in Italien und im Tessin die Buben, die vor allem in den Städten Norditaliens als Kaminfegerkinder arbeiten mussten.

Seit 1873 wird in zwei Steinbrüchen von einheimischen Arbeitern Granit abgebaut. Mit dem Anschluss an den öffentlichen Verkehr entwickelte sich ab Ende des 19. Jahrhunderts der Tourismus. Im späteren 19. Jahrhundert, nach dem kalifornischen Goldrausch, begann auch im Verzascatal die Tradition der Kalifornienwanderung, die teilweise als Ersatz für die abgebrochene ältere europäische Auswanderungstradition angesehen werden kann.

Während der Krise der 1930er-Jahre breitete sich die Arbeitslosigkeit auch im Verzasca aus, und da auch Amerika die Grenzen geschlossen hatte, war auch die Auswanderung nicht mehr möglich.

Um der arbeitslosen Bevölkerung zu helfen, wurde das «Komitee für die Tätigkeiten in Heimarbeit» («Comitato per i lavori casalinghi a domicilio») gegründet. Die Talbewohner wurden mit typischen handwerklichen Tätigkeiten beschäftigt: Wollfärbung mit natürlichen Farben (Blättern, Wurzeln und Früchten, die vor Ort vorhanden sind), Handspinnerei, Strickerei und Holzarbeiten, um ihre finanzielle Not zu lindern. Daraus entwickelte sich 1933 die «Pro Verzasca», eine örtliche Vereinigung zur Wahrung der moralischen und materiellen Interessen der Region und ihrer besten Eigenschaften.

Der Umbau der alten Verzascahäuser (Rustici) in Ferienhäuser schafft Arbeitsplätze, erhöht die Tourismuseinnahmen und sorgt dafür, dass die alten Häuser und das charakteristische Ortsbild erhalten bleiben.

Im Jahre 1990 waren nur noch 20 Prozent der Beschäftigten im Landwirtschaftssektor tätig.

Verkehr

Der einzige Talzugang für den Autoverkehr und das Postauto ist im Süden ab Tenero oder Gordola. Die auf der linken Talseite beginnende Kantonsstrasse führt über Vogorno, Corippo, Lavertezzo, Brione (Verzasca), Gerra (Verzasca), Frasco und endet in Sonogno. Sie wurde erst in den Jahren 1866 bis 1871 gebaut. Eine kurze Stichstrasse führt nach Corippo.

Auf der rechten Talseite endet die Strasse und Postautostrecke ab Locarno bereits in Mergoscia.

Tourismus

Die vielen Gipfel mit Sicht auf die Walliser-, Berner und Glarner- und Bündneralpen sowie die zahlreichen Übergänge in die Seiten- und Nachbartäler machen das Valle Verzasca zu einem Anziehungspunkt für Bergwanderer. Die Berghütten Cornavosa, Barone, Cognora, Efra, Osola, Fümegna und Borgna bieten Unterkunft.

Der Sentierone Valle Verzasca ist ein rot-weiss markierter Wanderweg (Bergweg), der von Tenero aus oberhalb des Lago di Vogorno oder via Mergoscia und später entlang der Verzasca in mehreren Etappen bis nach Sonogno führt.

Die Via Alta della Verzasca (VAV) gilt als eine der wildesten Bergwanderungen der Schweiz (SAC-Wanderskala = T6). Sie führt über verlassene Alpen, schroffe Gräben und schwer zugängliche Seitentäler und verbindet fünf Hütten miteinander. Die Route ist blau-weiss markiert und die schwierigsten Stellen sind mit Sicherungen (Drahtseile, Metallbügel) versehen. Die VAV führt oft durch sehr ausgesetztes Gelände mit Kletterstellen, so dass sie nur für erfahrene Berggänger zu empfehlen ist.

Die Bergwanderung Trekking 700 von Mesocco (GR) nach Formazza (I) führt durch das Valle Verzasca: die 4. Etappe: Biasca – Capanna Efra, die 5. Etappe: Capanna Efra – Sonogno und die 6. Etappe: Sonogno – Prato-Sornico.

Der Verzasca-Fluss ist unter Kanuten und Tauchern beliebt, gilt aber als schwierig bis gefährlich.

Über Geschichte und Gegenwart des Tales informiert das Museo di Val Verzasca in Sonogno.

Geschichte

Wegen seiner schweren Erreichbarkeit gilt das Verzascatal als eines der Täler, das am besten seine Ursprünglichkeit bewahren konnte. Die abgelegene geographische Lage machte es für die Eroberer uninteressant.

Zeugen einer sehr frühen Besiedlung der Verzasca-Region fanden sich an der Mündung der Verzasca. Dort wurden Steinarten aus der jüngeren Steinzeit (1800 v. Chr.) gefunden. In Berzona, einem Ortsteil (frazione) von Vogorno, liegt am Wanderweg ein grosser Schalenstein, der Sass di Striöi (Hexenstein), der vermutlich um 600 bis 700 v. Chr. bearbeitet wurde. Insgesamt gibt es im Verzascatal rund neunzig derartig eingemeisselte Felsen. In Tenero wurde 1880 eine bedeutende römische Nekropole aus dem 1. und 2. Jahr. n. Chr. entdeckt. Die Funde (Bronzen, Amphoren, Münzen) befinden sich im archäologischen Museum des Castello dei Visconti in Locarno.

Vermutlich um 1000 n. Chr. gründeten die Talbewohner eine Gemeinschaft (comunità) bestehend aus den vier Dorfgenossenschaften (vicinie): Vogorno (mit Corippo), Lavertezzo, Brione (mit Gerra) und Frasco (mit Sonogno). Die Gemeinschaft gehörte zum Pieve von Locarno, gegen den sie sich 1398 auflehnte. Zwischen 1410 und 1500 geriet das Tal abwechselnd unter die Herrschaft der Eidgenossen, Savoyer, Leventiner und der Rusca. Nach 1686 konnte sich die Gemeinschaft von den Marcacci Vögten befreien. 1803 wurde das Verzascatal ein Kreis (circolo) mit dem Hauptort Lavertezzo. In religiöser Hinsicht gehörte das Verzascatal bis zum 13. Jahrhundert zur Pfarrei San Vittore di Locarno.

Geologie

Einzigartig für die Region ist der spektakulär gefärbte Gneis. Es handelt sich um einen Oligoklasgneis, der unter dem Handelsnamen Serizzo bekannt ist. Die Farben verlaufen zwischen Braun, Schwarz, Grau und Weiss. Die Gesteine des benachbarten Valle Maggia sind dagegen meist rein grau.

(Wikipedia)

Type Geophysical survey FleetMon Geophysical survey Icon

Flag The Bahamas Flag of The Bahamas

IMO 9239446

MMSI 311222000

Callsign C6RX4

Year Built 2001

Length 84 m

Width 20 m

Draught Avg 5.5 m / ...

Speed Avg/Max 6.9 kn / 14.1 kn

Skandi Carla berthed at Pocra Quay, what a beauty, first time I've seen her in the harbour , I love it when I can get up close to these magnificent vessels.

Skandi Carla is one of Fugro’s purpose-designed and built ROV survey, IRM and construction support vessels. Delivered in 2001, it is a diesel-electric, DP2 vessel equipped with advanced DGPS, USBL acoustic system and a Seapath 200. A moon pool allows work class ROVs to be launched safely and the large main deck is available for exclusive client use.

One of the distinguishing features of the vessel are the three optional mezzanine decks. These 4.8 m x 14 m platforms can be used for the deployment of a second work class ROV system, or other client equipment.

Skandi Carla is tted with a heave compensated Hydramarine 50T/15m knuckle boom deck crane with optimum deployment and recovery speeds at depths down to 3,000 metres. The combination of knuckle boom design and full active heave compensation has proven to provide ideal construction support capability.

The primary work class ROV - FCV 3087C is deployed through the moon pool using a custom-built Rolls-Royce Launch & Recovery System (LARS) designed to minimise the impact of vessel motion, thus extending the window within which the vehicle can be deployed. The 5.4 m x 5.5 m moon pool is enclosed in a large hanger which, with adjoining workshops and stores areas, provides a safe and protected environment for the maintenance of the vehicle. The winch for the LARS provides heave compensated, high speed deployment and recovery of the vehicle in water depths down to 3,000 metres.

Norway's west coast maritime cluster has again demonstrated its technological skills and business verve through the delivery of a complex, diesel-electric offshore support vessel equipped to carry out deepwater subsea inspection and construction tasks. Ordered from Aukra Industrier by local operator District Offshore (DOF), the 275-ft. (84-m) Skandi Carla ranks among the world's most sophisticated ships designed for ROV(remote-operated vehicle) deployment. The powerful, dynamic-positioning vessel entered an immediate five-year charter assignment to Aberdeen-based survey specialist Fugro-UDI, to whose requirements she has been customized.

She is considered equally well suited to the harsh environment of the North Sea as to the so-called Golden Triangle development areas of West Africa, Brazil and the Gulf of Mexico, where operations in extreme water depths are the norm. ROV-based work can be carried out by the new vessel at depths as great as 3,000 m.

Built to a design developed by the Norwegian consultancy Marin Teknikk (MT), the versatile Skandi Carla has integrated, protected moonpool for ROV operations, just forward of midships, complemented by an open deck area of 640-sq. m. The deck has been strengthened for a 5-t/sq. m. loading, with a total carrying capacity of 2,000-tons, and is plumbed by a 50-ton, heave-compensated Hydramarine crane stooled on the starboard side.

The main, work-class ROV is dispatched and retrieved through the moonpool using a custom-designed launch and recovery system (LARS). A moveable mezzanine deck arranged in the after part of the ship provides a platform that can be used for a second ROV - or for trenching equipment. The arrangements permit two ROVs to be deployed simultaneously, with the second unit put overboard to starboard by way of the Hydramarine crane. Facilities are in place on deck to support clients' trenching, pipeline and cable deployment spreads.

Scope for undertaking unbroken, longer work assignments is enhanced by the foreship helideck, strengthened to receive a Super Puma-type aircraft, and enabling personnel to be changed out at sea. In terms of bunker capacity relative to the fuel consumption profile, the ship has an endurance of around 40 days.

Characteristic of such vessels, Skandi Carla has a large accommodation capacity for up to 80 persons in single-berth and two-berth cabins, so that charterers' own technical specialists can be carried in addition to the vessel's regular complement. Her power and propulsion plant is based on four eight-cylinder engines of the Caterpillar 3600-series, a popular marquee among Norwegian operators yield. The 'Big Cats' serve as the prime movers in the 2,475-kV main gensets.

Diesel-electric has become the mode of choice for many Norwegian supply and support vessel owners in the latest period of fleet investment, through the recognition of benefits with regard to overall operating performance in terms of flexibility and full-cycle economy. The location of the diesel-alternator aggregates only about one-third aft in Skandi Carla is also indicative of the increased ship design and layout possibilities conferred by a diesel-electric system. Furthermore, its adoption denotes a perception of environmental benefits, in terms not only of reduced exhaust emissions but also as concerns onboard noise and vibration levels. In fact, the vessel's environmental attributes as a whole have been recognized in the award of the Clean class notation by Det Norske Veritas.

The propulsion, maneuvering and station-keeping devices which form the main electrical energy consumers are the two 2,200-kW main thrusters, of contra-rotating azimuth type, plus two 1,000-kW bow tunnel thrusters and adjacent, retractable unit of 1,000-kW. ABB had total responsibility for the ship's electrotechnical systems, engineering and installation.

A Simrad SDP21 system from Kongsberg ensures the precise dynamic positioning critical to the safe and efficient performance of subsea assignments, as well for operations alongside structures. The nature of the outfit is such that it meets the Norwegian Maritime Directorate's Class II requirements for DP. The propulsion arrangements give a free-running speed of 14 knots.

Aukra undertook the District Offshore build project on the basis of a delivery time of less than 10 months, demonstrating the depth of individual capability within the Aker Yards group. Production scheduling and work quality, key competitive factors in Aukra's target markets, benefit considerably from the full weather protection afforded by the yard's facilities near Molde. Skandi Carla has been taken under the wing of DOF Management, which was already familiar with the Aker build philosophy and delivery performance as a result of earlier projects at the group's other Norwegian yards, namely Aker Brattvaag, Langsten Slip and Soviknes Verft.

S.S. Minnesota (II)

Other name: USS Troy

Sister: Dakota

Builder: Eastern Shipbuilding Co., New London, Connecticut

Keel laid January 15, 1901; Launched April 16, 1903; maiden voyage January 23, 1905; scrapped in Germany, 1923

Hull: length 622'; beam 75' 4"; 20,718 tons; 32 watertight compartments; 9 decks

Power: twin screws; triple expansion engines with cylinders of 29", 51" and 89" diameter, stroke 57"; 2,293 n.h.p.; steam pressure 250 lbs.; 14 ½ knots

The Minnesota (II) and her sister Dakota (wrecked in March 1907) were built for the railroad entrepreneur James J. Hill of St. Paul, Minnesota. Hill's Great Northern Steamship Company formed a logical extension of his railroad empire linking Seattle with Shanghai, China. The line's two ships cost a total of $7,803,404 to build. They never made money, and the 43 voyages of the Great Northern Steamship Company's ships left it with a deficit of $2,887,982.19. The Minnesota (II) was for many years the largest merchant ship sailing under the U.S. flag and her cargo capacity was said to equal that of 100 trains of 25 cars each. Her captain, officers, and petty officers were all American, but the crew was predominantly Chinese.

The Minnesota (II) sailed from the Great Northern's Smith Cove dock delivering Midwest grains to markets in Asia and returning with Chinese silks and other Oriental goods. But she was too large for the volume of business available and was extremely uneconomical until reboilered in 1916. The Minnesota (II) made 40 round trip voyages between the U.S. West Coast and the Far East with the cost of her operation and insurance rising steadily. The final blow came with the passage of Senator La Follette's Seaman's Act in 1915, which was likely to add $140,000 to her operating costs each year.

Fortunately, because of the insatiable demand for shipping created by World War One the North Atlantic offered better opportunities. In November 1915, chartered to British interests, the Minnesota (II) sailed for Cape Horn but her boilers gave out and she had to be towed into San Francisco. The damage was blamed on a crewman hired by German consular agents in Seattle who had been exposed by British secret service agents. Repairs were estimated to take about a month, but when she arrived in San Francisco the Minnesota (II) was impounded by U.S. Marshals representing the British interests, who had been waiting for their cargo, and she spent all of 1916 under repair and awaiting settlement of legal actions against her owner. Among other improvements made at this time her promenade deck was carried forward to the mainmast and she was given additional lifeboats.

In January 1917 she was sold to the Atlantic Transport Line bought for service on the North Atlantic alongside Manchuria and Mongolia. The price was $2.6 million. (The purchase led the Atlantic Transport Line to rechristen their veteran steamer of the same name as Mahopac.) The Minnesota (II) finally reached New York in March by way of the Panama Canal. She was the second largest freighter on the Atlantic and arrived just as Germany was resuming unrestricted submarine warfare. She sailed on her first voyage to Europe unarmed but was later armed in accordance with measures authorized by the U.S. Government and given a U.S. Navy gun crew. She began her first trans-Atlantic passage late in March 1917 and was in English waters when the United States declared war on Germany in April. During the remainder of the conflict Minnesota completed seven more round-trip voyages between the U.S. and the United Kingdom.

In early 1919 the U.S. Navy chartered the Minnesota (II) for use as a troopship and renamed her Troy (ID # 1614) to avoid confusion with the U.S. battleship Minnesota. She was placed in commission in February and made three passages from France to the U.S., bringing home more than 14,000 troops. She was decommissioned in September 1919 and returned to her owners. Her name was reverted to Minnesota and although she was converted from coal to oil fuel for post-war operation her refurbishment was abandoned and she never resumed active service. She was sold for scrapping in Germany in November 1923.

From my Bayside trek with Mike Jones who tells me he's thinking of trading in his motor coach for that big sailboat ....

5 Image HDR - Downtown Miami, Florida

Camera Canon EOS 5D Mark III

Exposure 0.067 sec (1/15)

Aperture f/16.0

Focal Length 40 mm

ISO Speed 200

Processed with VSCOcam with 4 preset

Blue Cocktail Dress With V-neck Sequin Mini-length For Club

Item ID #:DR1HNPT028

Wallis dress and New Look faux suede nude heels xxx

Just noting my current length. It is nearly what I would consider waist length. I don't often see my hair from the back, so it's interesting to see that the hemline is a little lopsided looking after a year of no trims. It is usually put up though, so I am not going to bother with it now. Right is completely untouched after a wash, I let it air dry as usual, no finger combing or anything. Left is with a bit of combing while the hair is drying. I have noticed that it tends to make the hair dry a little smoother.

Reichsbrücke

(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

The Pont Saint-Bénézet (French pronunciation: ​[pɔ̃ sɛ̃ benezɛ]; Provençal: Pònt de Sant Beneset), also known as the Pont d'Avignon (IPA: [pɔ̃ daviɲɔ̃]), is a famous medieval bridge in the town of Avignon, in southern France.

A wooden bridge spanning the Rhône between Villeneuve-lès-Avignon and Avignon was built between 1177 and 1185. This early bridge was destroyed forty years later in 1226 during the Albigensian Crusade when Louis VIII of France laid siege to Avignon. Beginning in 1234 the bridge was rebuilt with 22 stone arches. The stone bridge was about 900 m (980 yd) in length and only 4.9 m (16 ft 1 in) in width, including the parapets at the sides. The bridge was abandoned in the mid-17th century as the arches tended to collapse each time the Rhône flooded making it very expensive to maintain. Four arches and the gatehouse at the Avignon end of the bridge have survived. The Chapel of Saint Nicholas which sits on the second pier of the bridge, was constructed in the second half of 12th century but has since been substantially altered. The western terminus, the Tour Philippe-le-Bel, is also preserved.

The bridge was the inspiration for the song Sur le pont d'Avignon and is considered a landmark of the city. In 1995, the surviving arches of the bridge, together with the Palais des Papes and Cathédrale Notre-Dame des Doms were classified as a World Heritage Site.

Contents

1History

1.1Saint Bénézet

1.2Saint Nicholas Chapel

1.3Gatehouses

1.4Roman bridge hypothesis

2The song "Sur le Pont d'Avignon"

3Pictorial record

4See also

5Notes

6References

7Sources

8Further reading

9External links

History

The bridge spanned the Rhône between Avignon and Villeneuve-lès-Avignon. The first bridge was built between 1177 and 1185 but was destroyed during the siege of Avignon by Louis VIII of France in 1226. Beginning in 1234 the bridge was rebuilt.[1] Historians have suggested that the first bridge would have been either constructed entirely of wood or may have been a wooden superstructure supported on stone piers. Only when rebuilt was the bridge constructed entirely in stone.[2][3][a] The stone bridge had 22 arches and 21 piers and a length of some 900 m (980 yd). It did not run directly between the two gatehouses, but instead followed a curved path, probably an adaption to the position of the islands at the time. Over the centuries the Rhône has shifted across its floodplain. The position of the islands in the 13th century is not well documented but a 17th-century map shows that the southern end of the Île de la Barthelasse was upstream of the bridge. The bridge crossed small islands that lay upstream of the Île de Piot.[5][6] The spacing between the piers varied between 37 and 52 m (121 and 171 ft).[5] The bridge was only 4.9 m (16 ft 1 in) in width, including the parapets at the sides.[7] The arches were liable to collapse when the river flooded and were sometimes replaced with temporary wooden structures before being rebuilt in stone.[1][b][13]

The bridge fell into a state of disrepair during the 17th century. By 1644 the bridge was missing four arches, and a flood in 1669 swept away more of the structure.[14][15] Since then, its surviving arches have successively collapsed or been demolished, and only four of the arches remain.[5] The only other visible vestige of the bridge is some masonry from pier 11 that is attached to a private building on the Île de la Barthelasse.[5][c] Remains of other piers are buried under a thick layer of sediment on the island or at the bottom of the Rhône.[5] The locations of piers 9 and 10, both now on the Île de la Barthelasse, were confirmed by cores drilled at their expected positions. Masonry from the piers was reached at a depth of 3 m (10 ft) below ground level. Just below the masonry, at a depth of around 6.7 m (22 ft 0 in), wooden fragments, identified as silver fir (Abies alba), were recovered. Carbon-14 dating of this material gave dates of 1238–1301 AD for pier 9 and 1213–1280 AD for pier 10 (the range is for 2σ).[6]

The arches are segmental rather than the semi-circular shape typically used in Roman bridges. Of the remaining arches the largest span is 35.8 m (117+1⁄2 ft) between the third and fourth piers.[16][17] The piers have cutwaters that are pointed both upstream and downstream. These reduce the scour around the piers, one of the main threats to the stability of stone bridges. The piers were constructed with openings in the stone work to reduce the pressure from the flow of water when river was in flood.[18]

With the collapse of the Saint-Bénézet bridge the Rhône at Avignon was crossed by ferry until the beginning of the 19th century. Between 1806 and 1818 a wooden bridge was built across the two branches of the river, a few hundred metres south of the old bridge at the Porte de l'Oulle.[19][20] The section across the Avignon branch of the Rhône was replaced by a suspension bridge in 1843. This was demolished in 1960 with the opening of the Edouard Daladier bridge.[21] The section of the wooden bridge across the Villeneuve branch of the Rhône was not replaced until 1909. The replacement stone bridge, the Nouveau Pont, was damaged by bombing in 1944. It was repaired after the war but was replaced by the Pont du Royaume in 1972.[22]

Saint Bénézet

An uneducated shepherd, Bénézet (born c.1165 - died c 1184, feast day April 14, patron saint of bridge builders) claimed that he was divinely commanded in a vision to build the bridge at a point where the force of the Rhône was so great that it had discouraged even Roman engineers in antiquity. The bishop of Avignon, at first skeptical, finally approved the project, and work began in 1177. Bénézet reputedly overcame many obstacles miraculously, and construction of the bridge was said to have caused 18 miraculous healings. Convinced that the work was ordained by God, wealthy patrons formed the first “Bridge-Building Brotherhood” to fund Bénézet's endeavour. He died four years before the bridge was completed and was buried in a chapel built on one of the piers. After almost 500 years his body was removed, and his relics are at Saint-Didier in Avignon.[23]

Saint Nicholas Chapel

The Saint Nicholas Chapel sits on a platform on the upstream side of the second pier (between the second and third arches). The bridge chapel has undergone several phases of reconstruction and restoration. It is now divided into two floors, each with a nave and an apse. The upper floor is on a level with the platform of the bridge and reduces the width of the walkway to 1.75 m (5 ft 9 in). The lower floor is accessed by a set of steps that descend from the bridge.[24]

The exterior of the chapel shows evidence of the rebuilding work with blocked windows on the south-eastern wall. The nave is covered with stone roof tiles which rest on a series of corbels. The polygonal apse has a flat roof and sits above the cutwater of the pier.[24]

The lower chapel with its apse decorated with five arches dates from the second half of the 12th century. At a later date, perhaps as early as the 13th century when the level of the bridge was raised, a floor supported by a ribbed quadripartite vault was inserted into the structure. The simple rectangular upper chapel with the barrel vaulted roof was consecrated in 1411. A side door was created in the lower chapel as the stonework of the raised bridge blocked the original entrance. In 1513 a pentagonal apse with gothic columns was added to the upper chapel.[24]

In 1670, after the bridge was abandoned, the relics of Saint Bénézet were transferred to the Hôpital du Pont (also called the Hôpital St Bénézet) within the city walls next to the gatehouse.[25]

The bridge was also the site of devotion by the Rhône boatmen, whose patron saint was Saint Nicholas. They initially worshipped in the Saint Nicholas Chapel on the bridge itself (where Saint Bénézet's body was also interred) but the increasing dilapidation of the bridge made access difficult. In 1715 the confraternity of boatmen built a chapel on dry land on the Avignon side of the bridge outside the city walls next to the gatehouse.[26] This chapel was destroyed by the major flood of the Rhône that occurred in 1856. A residence for a caretaker was built on the ruins during the restoration work undertaken beginning around 1878.[27] The residence was demolished as part of the restoration work on the bridge and gatehouse carried out in the 1980s.

Gatehouses

The bridge had great strategic importance as when first built it was the only fixed river crossing between Lyon and the Mediterranean Sea. It was also the only river crossing between the Comtat Venaissin, an enclave controlled by the Pope, and France proper under the authority of the kings of France. As such, it was closely guarded on both sides of the river. The right bank, which was controlled by the French crown, was overlooked by the fortress of the Tour Philippe-le-Bel which was built at the beginning of the 14th century.[28] On the Avignon side, a large gatehouse was erected in the 14th century and then extensively modified in the 15th century. The walkway passed over the city wall and down a ramp (now destroyed) which led into the city.[29]

Between 1265 and 1309 another stone bridge was constructed across the Rhône, 40 km (25 mi) upstream from Avignon, at what is now Pont-Saint-Esprit but then known as Saint-Saturnin-du-Port. The Pont-Saint-Esprit bridge originally had 20 arches and a length of 900 m (980 yd). Although now somewhat modified, the medieval bridge has survived until the present day.[30]

The Chapel of Saint Nicholas and the four remaining arches were listed as a Monument historique in 1840.[31]

Roman bridge hypothesis

A scholarly debate has taken place on whether a bridge existed prior to the construction of the Saint Bénézet bridge in the 12th century. An earlier bridge was first proposed by Henri Revoil at the French Archaeological Conference held in Avignon in 1882. His main argument was based on the appearance of the stonework at the base of the four surviving piers. At very low water, stone blocks were visible which were larger than those above and had features that appeared foreign to the existing bridge. The style of the masonry indicated to Revoil that there had been an earlier bridge dating from either the late Roman or Carolingian periods.[32][33] In 1892 Louis Rochetin published an article suggesting that the projecting stone blocks at the base of the first pier and those on either side of the second pier supporting the chapel were the remains of springers that would have supported earlier Roman arches.[34][35]

Denis-Marcel Marié, in his book on the bridge self-published in 1953, reviewed all the previous publications and in the final chapter came out in support of the hypothesis that an early bridge had been built by the Gallo-Romans towards the end of the Roman occupation. He suggested that the bases of the surviving piers belonged to this earlier bridge and that the semi-circular arches employed during the Roman period meant that the level of the roadway would have been higher than the top of the surviving chapel. Marié surmised that this early bridge had collapsed over the following seven centuries and the 12th century Bénézet bridge had consisted of a decking supported on wooden piles linking the ruined Roman piers. The piles were necessary because the gaps between the Roman stone piers would have been too large to span with wooden beams without the intervening support. The height of the Bénézet bridge would have been at the level of the lower chapel.[36]

Further support for the existence of a Roman bridge came in an article by Perrot et al. published in 1971. The article described a survey undertaken in 1969 on the surviving vestiges of the piers in the Villeneuve branch of the river before their total destruction by the Compagnie Nationale du Rhône (CNR). The article also included long quotes from an unpublished report by Mr Mathian, an engineer working for the CNR, on a survey carried out in 1965 on the four intact piers on the Avignon side of the river. This survey had discovered a layer of wood, at least 20 cm in thickness, under the foundations of each of the four intact piers. A sample of the wood was dated by the Centre national de la recherche scientifique (CNRS) using the radiocarbon technique to between 290 and 530 AD, corresponding to the end of the Roman Empire.[37][d] In the survey of the ruined piers in the Villeneuve channel, a pier (listed as number 14) was found to contain wooden beams within the masonry. A sample of this wood was radiodated to 890 AD.(error estimates were not specified).[38] During the dredging of the Villeneuve channel the remains of three large wooden piles were recovered, two of which were still shod with iron tips. Samples of wood from these were sent for dating, but at the time of the publication of the article, the results had not been received.[39]

The archaeologist Dominique Carru, while accepting the radiocarbon date for the sample of wood, argued in 1999 that it is very unlikely that an earlier bridge existed. It is not mentioned in the surviving chronicles from the high medieval period[40] and a bridge would have led to the development of an urban centre on the right bank of the Rhône opposite Avignon, similar to those at other locations in the Rhône valley, such as Trinquetaille opposite Arles and Saint-Romain-en-Gal near Vienne. There is no evidence for a significant early settlement near the terminus of the bridge. The main east–west route in the Roman period passed through Tarascon-Beaucaire, 20 km (12 mi) to the south, and avoided the river at Avignon which was wide and variable in position.[41]

The song "Sur le Pont d'Avignon"

Main article: Sur le Pont d'Avignon

The bridge has achieved worldwide fame through its commemoration by the song "Sur le Pont d'Avignon" ("On the Bridge of Avignon"). An earlier song with the same title was popular in the 16th and 17th centuries. The melody was published by Ottaviano Petrucci in his Harmonice Musices Odhecaton of 1503–4. The 16th-century composer Pierre Certon used the melody in a mass with the title of "Sus le Pont d'Avignon".[42] The modern version of the song dates from the mid-19th century when Adolphe Adam included it in the opéra comique Le Sourd ou l'Auberge pleine which was first performed in Paris in 1853. The opera was an adaptation of the 1790 comedy by Desforges.[43]

Pictorial record

Detail from the Pérussis Altarpiece, the earliest depiction of the bridge, c. 1480. One arch near the center of the bridge has collapsed.

View towards Villeneuve by Étienne Martellange, 1608. Arch 7 has collapsed. Five arches near Villeneuve (18-22) are still standing.

View towards Avignon by Étienne Martellange, 1609. Arches 7 and 14 have collapsed.

View of the bridge in 1700 by Robert Bonnart. Arches 5 to 7 have collapsed.

The ruined bridge as depicted by Joseph Vernet, 1756. Arches 9 and 11 are still standing.

The four surviving arches depicted by Isidore Dagnan in 1833.

See also

List of medieval bridges in France

French Romanesque architecture

Notes

The bridge is mentioned in a letter sent by the prelates and barons of the army of Louis VIII to the Emperor Frederick II in 1226 justifying their conduct in the siege of Avignon. The letter refers to a wooden bridge built by the citizens of Avignon: "quam transire permisserant per pontem ligneum quem extra villam facerant".[3][4]

There are records of repairs to the bridge in 1321, 1324,[8] under Pope Clement VI in 1347,[9] 1375,[8] four arches were rebuilt by the antipope Clement VII in 1380,[10] 1431,[8] two arches and some of town walls collapsed in 1471,[8][11] and were rebuilt by Louis XI in 1479,[12] one arch collapsed in 1603 and two collapsed in 1633.[8]

Piers are numbered starting from the Avignon side of the river with piers 1 to 4 supporting the surviving arches. The ruins of pier 11 are located at 43°57′24.61″N 4°48′9.14″E.[5]

The article gives no technical details of the radiocarbon dating procedure and does not specify from which pier the sample was taken.

References

Labande 1910, pp. 46-47.

Rouquette 1974, pp. 223-224.

Marié 1953, p. 145.

Devic & Vaissete 1879, cols. 840-842.

Vella et al. 2013.

Ghilardi et al. 2015.

Viollet-le-Duc 1875, p. 221.

Maigret 2002, p. 17 Note 24.

Schäfer 1914, p. 358 (Aug. 29).

Müntz 1888, p. 173.

Champion 1861, p. 206.

Pastoret 1828, p. 502.

Girard 1958, p. 352.

Coulon 1644, p. 168.

Champion 1862, p. 24.

Rouquette 1974, pp. 225, 233.

Marié 1953, p. 135.

Cathedral, forge, and waterwheel: technology and invention in the Middle Ages By Frances Gies and Joseph Gies (Feb 1994) www.amazon.com/gp/search?index=books&linkCode=qs&...

Girard 1958, p. 354.

Delétoille, S.; Havard, I.; Decrock, B. "Pont de bois d'Avignon dit aussi pont de Chevalets ou Pont Bonaparte (Dossier IA84000925 réalisé en 2011)". Inventaire général du Patrimoine culturel, Région Provence-Alpes-Côte d'Azur. Retrieved 26 September 2018.

Delétoille, S.; Havard, I.; Decrock, B. "Pont suspendu d'Avignon (Dossier IA84000924 réalisé en 2011 )". Inventaire général du Patrimoine culturel Région Provence-Alpes-Côte d'Azur. Retrieved 26 September 2018.

Delétoille, S.; Havard, I.; Decrock, B. "Pont en pierre sur le bras de Villeneuve dit Nouveau Pont (Dossier IA84000949 réalisé en 2011 )". Inventaire général du Patrimoine culturel, Région Provence-Alpes-Côte d'Azur. Retrieved 26 September 2018.

brittanica.com/biography/Saint-Benezet

Rouquette 1974, pp. 229-232, 470.

Rouquette 1974, p. 232.

Pansier 1930, p. 26.

Marié 1953, p. 130.

Maigret 2002.

Pansier 1930.

Mesqui 2000, pp. 521-522.

Base Mérimée: Chapelle et pont Saint-Bénézet, Ministère français de la Culture. (in French)

Sagnier 1883, pp. 259-260.

Marié 1953, pp. 89-91.

Rochetin 1892, p. 304.

Marié 1953, pp. 118-122.

Marié 1953, pp. 150-154.

Perrot, Granier & Gagnière 1971, pp. 67-70.

Perrot, Granier & Gagnière 1971, p. 74.

Perrot, Granier & Gagnière 1971, p. 85-86.

Carru 1999, p. 117.

Carru 2001, p. 19.

Woetmann Christoffersen 1994, p. 55.

Anonymous 1853, p. 42.

Sources

Anonymous (6 February 1853). "Théatre Impérial de l'Opéra-Comique, Le Sourd ou l'Auberge pleine: Comédie en trois actes de Desforges, mélée de musique par Ad. Adam". Revue et Gazette Musicale de Paris: Journal des Artistes, des Amateurs et des Théâtres (in French). Paris. 20 (6): 42.

Bouette de Blémur, Jacqueline (1689). "La vie de Saint Benoist". Vies des Saints, Volume 2 (in French). Lyon, France: Pierre Valfray. pp. 111–113.

Carru, Dominique (1999). "Le Rhône à Avignon. Données archéologiques". Gallia. 56: 109–120. doi:10.3406/galia.1999.3248.

Carru, Dominique (2001). "Aux origines du mont Andaon: Villeneuve-lès-Avignon et sa proche région jusqu'au Moyen Âge". In Barruol, Guy; Bacou, Roseline; Girard, Alain (eds.). L'Abbaye Saint-André-lès-Avignon: histoire, archéologie, rayonnement (in French). Mane, Alpes-de-Haute-Provence, France: Alpes de Lumière. pp. 15–22. ISBN 978-2-906162-54-9.

Champion, Maurice (1861). "Bassin du Rhône". Les inondations en France depuis le VIe siècle jusqu'a nos jours (Volume 3) (in French). Paris: V. Dalmont. pp. 185–232 (up to 1600).

Champion, Maurice (1862). Les inondations en France depuis le VIe siècle jusqu'a nos jours (Volume 4) (in French). Paris: V. Dalmont.

Coulon, Louis (1644). Les Riviéres de France Volume 2 (in French). Paris: Francois Clousier.

Devic, C.; Vaissete, J., eds. (1879). Histoire générale de Languedoc. Volume 8. Toulouse: Edouard Privat.

Ghilardi, M.; Sanderson, D.; Kinnaird, T.; Bicket, A.; Balossino, S.; Parisot, J.-C.; Hermitte, D.; Guibal, F.; Fleury, J. (2015). "Dating the bridge at Avignon (south France) and reconstructing the Rhone River fluvial palaeo-landscape in Provence from medieval to modern times". Journal of Archaeological Science: Reports. 4: 336–354. doi:10.1016/j.jasrep.2015.10.002.

Girard, Joseph (1958). Évocation du Vieil Avignon (in French). Paris: Les Éditions de Minuit. OCLC 5391399.

Labande, M. L.-H. (1910). "Pont Saint-Bénézet et Chapelle de Saint-Nicolas". Congrès archéologique de France, 76e session, 1909, Avignon. Volume 1 Guide du Congrès (in French). pp. 46–52.

Maigret, Chantal (2002). "La tour Philippe le Bel 1303-2003: 700 ans d'histoire". Études Vauclusiennes (in French). 68: 5–22.

Marié, Denis-Marcel (1953). Le pont Saint Bénézet. Étude historique et archéologique d'un ouvrage en partie disparu. Volume 1: Histoires et réalité (in French). Versailles: D.-M. Marié (self-published). No further volumes were published. The link provides the text of chapters 1, 7, 10–12.

Mesqui, Jean (2000). "Pont Saint-Esprit: Pont sur le Rhône". Congrès archéologique de France - Monuments du Gard, 157e session 1999 (in French). Paris: Société française d'archéologie. pp. 521–523.

Müntz, E. (1888). "L'antipape Clément VII: Essai sur l'histoire des arts à Avignon vers la fin du XIVe siècle (suite)". Revue Archéologique. 3rd series (in French). 11 (2): 168–183.

Pansier, Pierre (1930). "La Tour du Pont d'Avignon" (PDF). Annales d'Avignon et du Comtat Venaissin (in French). 16: 5–19.

Pastoret, Claude-Emmanuel de, ed. (1828). Ordonnances des rois de France de la troisième race (in French). Volume 18. Paris: L'Imprimerie Royale.

Perrot, Roger; Granier, Jacques; Gagnière, Sylvain (1971). "Contribution à l'étude du pont Saint-Bénézet". Mémoires de l'Académie de Vaucluse. 6th ser. (in French). 5: 67–93.

Rochetin, L. (1892). "Archéologie Vauclusienne: Avignon dans l'Antiquité". Mémoire de l'Académie de Vaucluse (in French). 11: 187–212, 269–312.

Rochetin, L. (1893). "Additions et Corrections: Avignon dans l'Antiquité". Mémoire de l'Académie de Vaucluse (in French). 12: 240–243.

Rouquette, Jean-Maurice (1974). Provence Romane: La Provence Rhodanienne (in French, English, and German). Paris: Zodiaque. OCLC 1036957.

Sagnier, A. (1883). "Le Pont de Saint-Bénézet". Congrès archéologique de France, 49e session 1882, Séances Générales, Avignon (in French). pp. 259–282 (misnumbered from 272).

Schäfer, Karl Heinrich, ed. (1914). Die ausgaben der Apostolischen kammer unter Benedikt XII, Klemens VI und Innocenz VI (1335–1362) (in German and Latin). Paderborn, Germany: F. Schöningh.

Vella, Marc-Antoine; et al. (2013). "Géoarchéologie du Rhône dans le secteur du pont Saint-Bénézet (Avignon, Provence, France) au cours de la seconde moitié du deuxième millénaire apr. J.-C. : étude croisée de géographie historique et des paléoenvironnements". Géomorphologie : relief, processus, environnement (in French and English). 3: 287–310. doi:10.4000/geomorphologie.10300.

Viollet-le-Duc, Eugène (1875). Dictionnaire raisonné de l'architecture française du XIe au XVIe siècle Volume 7 (in French). Paris: A. Morel.

Woetmann Christoffersen, Peter (1994). French Music in the Early Sixteenth Century. Volume II Catalogue. Copenhagen: Museum Tusculanum Press. OCLC 32069293.

Further reading

Berthelot, Michel (17 February 2014). "Le Pont d'Avignon: combien de piles?" (PDF) (in French). Modèles et simulations pour l'architecture et le patrimoine, Centre National de la Research Scientifique/Ministère de la Culture et de la Communication.

Breton, Alain (1986–1987). "Les restaurations du pont Saint-Bénézet". Annuaire de la Société des Amis du Palais des Papes et des Monuments d'Avignon (in French): 87–94.

Chauzat, Françoise; Locci, Jean-Pierre; Reversac, Catherine (2000). Passages d'une rive à l'autre : exposition, juin 2000-avril 2001 : Palais des papes-Avignon (in French). Avignon: Archives départementales de Vaucluse. ISBN 978-2-86084-021-7.

Dupré, Judith (2017). Bridges: A History of the World's Most Spectacular Spans. New York: Hachette/Black Dog & Leventhal Press. ISBN 978-0-316-47380-4.

Falque, Maurice (1908). Étude des procès et contestations sur la propriété du Rhône et de la ville d'Avignon, 1302-1818 (Doctoral Thesis) (in French and Latin). Montpellier: Société anonyme de l'imprimerie générale du Midi.

Pansier, Pierre (1920–1921). "Histoire de l'ordre des frères du pont d'Avignon (1181-1410)". Annales d'Avignon et du Comtat Venaissin (in French). 7: 7–75.

Pansier, Pierre (1930). "Les chapelles du Pont Saint-Bénézet". Annales d'Avignon et du Comtat Venaissin (in French). 16: 81–117.

Pichard, George (1995). "Les crues sur le bas Rhône de 1500 à nos jours. Pour une histoire hydro-climatique". Méditerranée (in French and English). 82 (3): 105–116. doi:10.3406/medit.1995.2908.

Romefort, J. de (1930). "La destruction du pont d'Avignon par l'armée de Louis VIII en 1226". Mémoires de l'Institute Historique de Provence (in French). 7: 149–155.

Rouvet, Massillon (1890). "Le Pont d'Avignon". Réunion des sociétés des beaux-arts des départements en 1890, Quatorzième Session (in French). Paris: Plon-Nourrit. pp. 262–271.

Rouvet, Massillon (1891). "Le Pont d'Avignon". Réunion des sociétés des beaux-arts des départements en 1891, Quinzième Session (in French). Paris: Plon-Nourrit. pp. 318–324.

Wallon, Simone (1955). "La chanson 'Sur la pont d'Avignon' au XVIe et XVIIe siècle". Mélanges d'Histoire et d'Esthétique Musicales offerts à Paul-Marie Masson, Volume I (in French). Paris: Richard-Masse. pp. 185–192.

External links

Wikimedia Commons has media related to Pont Saint Bénezet.

Chauzat, Françoise. "Le pont d'Avignon sauvegardé au XIXe siècle" (in French). L’Histoire par l’image.

"Histoire du pont d'Avignon: Corpus documentaire & outils de recherche" (in French). UMR 5648-CNRS/Université d'Avignon.

Romanes.com : Map and pictures of the bridge

Saint-Bénezet Bridge at Structurae

vte

World Heritage Sites in France

List of World Heritage Sites in France

Île-de-France

Palace and Park of VersaillesFontainebleau Palace and ParkParis: Banks of the SeineProvins

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Parisian basin

Amiens CathedralBelfries of Belgium and France1Bourges CathedralChampagne hillsides, houses and cellarsChartres CathedralClimats and terroirs of BurgundyReims: Cathedral of Notre-Dame, Former Abbey of Saint-Rémi, Palace of TauAbbey of FontenayLe HavreMont-Saint-Michel and its BayVézelay Church and hill

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Belfries of Belgium and France1Nord-Pas de Calais Mining Basin

East

Great Saltworks of Salins-les-Bains and Royal Saltworks of Arc-et-SenansNancy: Place Stanislas, Place de la Carrière and Place d'AllianceStrasbourg: Grande Île, NeustadtPrehistoric pile dwellings around the Alps3

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Abbey Church of Saint-Savin-sur-Gartempe

South West

Episcopal city, AlbiPort of the Moon, BordeauxPrehistoric sites and decorated caves of the Vézère valleyPyrénées – Mont Perdu2Saint-Émilion

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Mediterranean

Roman and Romanesque monuments, ArlesCarcassonne citadelGulf of Porto: Calanches de Piana, Gulf of Girolata, Scandola ReserveAvignon: Papal Palace, Episcopal Ensemble, Avignon BridgePont du GardOrange: Roman Theatre and environs, Triumphal Arch

Multiple regions

The Architectural Work of Le CorbusierCanal du MidiFortifications of VaubanLoire Valley between Sully-sur-Loire and Chalonnes-sur-LoireRoutes of Santiago de Compostela in FranceAncient and Primeval Beech Forests of the Carpathians and Other Regions of Europe4

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and territories

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1Shared locally with other region/s and with Belgium2Shared with Spain3Shared with Austria, Germany, Italy, Slovenia and Switzerland4Shared with Albania, Austria, Belgium, Bosnia and Herzegovina, Bulgaria, Croatia, Czech Republic, Germany, Italy, North Macedonia, Poland, Romania, Slovakia, Slovenia, Spain, Switzerland and Ukraine

Categories: Bridges to nowhereBuildings and structures completed in 1185Bridges completed in the 12th centuryBridges in FranceBridges over the RhôneBridges with buildingsBuildings and structures in AvignonWorld Heritage Sites in FranceTourist attractions in AvignonTransport in Provence-Alpes-Côte d'Azur

en.wikipedia.org/wiki/Pont_Saint-B%C3%A9n%C3%A9zet

Nikon V1, 10-100mm f4.0-5.6

3 focal lengths of a sunset view

Red Halter Chiffon Knee-length A-Line Prom Dress Party

Item ID #:DR1HNPD217

Glenn and Mary Beaulieu opened The Main Pub Tavern in 1980, originally 14’ wide and 50’ in length and serving only beer as allowed with a Tavern license. Within a year, a liquor license was acquired, the building was purchased and we became The Main Pub Restaurant, expanding into the vacuum cleaner sales store and the carpet store on either side that became our lounge and dinning areas. In 1985 we purchased and tore down the lime-green Pine Hurst Grocery Store to add parking spaces, and in the 90s we added the atrium to our dinning space. Now in our 40th year of business, The Main Pub is still thriving as the longest running family owned restaurant in Manchester.

Keith Beaulieu purchased the restaurant from his proud parents in 2008 and with a passion for good food, craft beers and live music, has put fourth a fresh energy towards revitalizing The Main Pub Restaurant. In 2012 we renovated and expanded our kitchen facilities, allowing us to improve the quality of the food served and shorten the duration between ordering and reaching your table. There are many wonderful and delicious menu choices that will serve a wide range of tastes. We’re proud to offer a unique catering menu for parties of any size, and our dinning area, lounge and the atrium are available to accommodate parties of up to 75 guests.

The Main Pub is proud to offer one of the largest beer selections in the area, with 23 draught lines, 18 that are constantly rotating in and out, offering some of the finest craft and microbrews for you to discover and enjoy, as well as more than 30 different bottled beers on hand. Whether you’re thirsty for a familiar domestic beer, a locally brewed beverage or an atypical craft brew that you won’t find anywhere else – The Main Pub has your suds. We also have a huge selection of fine wines and premium liquors including bourbons, whiskeys, vodkas and tequilas.

Keith set out to bring a wider variety of artists and bands in as entertainment, constructed a hand built stage, installed a concert PA system as well as the lovely red stage curtains that now adorn the front windows and hide the candescent evening street light. Some of the finest local (Kung Fu, Bronze Radio Return) and nationally (Tim Reynolds, Karl Denison) touring bands have since graced the stage at The Main Pub and the room has developed a solid reputation as a regular tour stop between Boston and New York for many groups and artists.

If you’re a sports fan, you’ll find your game on one of our 9 large screen TVs in our lounge or bar. Join us on Sunday’s throughout football season and of course we’ll be showing UCONN football and men’s and women’s hoops games. And whether you’re a Red Sox fan or a Yankee fan, we’ll certainly have the game on the tube for you. If you’re a golf fan or a NHL fan, we’ll certainly be showing the major televised tournaments and hockey games.

There’s something cooking or happening every night of the week at The Main Pub. If you’re in the mood for excellent comfort food cooked just right or an exquisite evening out with someone special, our staff will proudly serve you with the same excellent service as we have for 40 years. Then, when your belly has been satisfied, there is always some entertainment happening to stick around for. On Sunday evenings, it’s local bluegrass and karaoke; Thursday’s it’s trivia; and on Friday and Saturday’s it’s live music.

Whether you’re a new customer visiting us for the first time or an old friend who has been with us for the journey, the Beaulieu family and The Main Pub staff thank you for your patronage. We’re pleased to have been a staple in the Manchester community for as long as we have and we look forward to being here for many years to come.

Wave Lengths is an audiovisual ode to swimming. In a pool, as in life, we are alone together. Yet there is something about the immersive nature of swimming that further separates an individual from their peers. In the water time slows and speeds up. Thoughts roam and regulate. We move in new ways. Wave Lengths will explore the lived experiences of swimmers. What they think in the water, what that space feels like and its significance in their lives. Centennial pool members will be invited to explore their understanding of swimming in conversation with artists Veronica Simmonds and Katie McKay. These interviews will be audio recorded as well as photographed. Veronica Simmonds will edit each audio interview into a 4 minute piece which will be accompanied by Katie McKay’s images of the interviewee and the pool space. There will be four interviews in total making a 14 minute audio slideshow, looped and projected onto the side wall of Centennial Pool at 1970 Gottingen Street.

JXM_1793

Severance Inspired - Full Length: Outfit inspired by Helly R, shot with blue gel on Godox AD200 against white backdrop. Godox V1 left and right.

Length 249m Beam 43m Gross Tonnage 64133 tons seen leaving Liverpool

This is my true story. Mr. X (Me) and Miss Y (my wife) fell in love when they were in college. She was beautiful, very fair, thin but with curvy body. Her hair were of shoulder length and she had beautiful black eyes. They used to talk on phone for hours and hours, making plans for their future life. He wanted the time to fly quickly so that he can make love to her. It was very difficult to wait, specially when he thought of how beautiful she was. At last, day of their marriage came and she arrived at his home. After some time, she was taken to their wedding room, which was beautifully decorated. Room was full of flowers and bed was full of rose petals. Very soon, everyone left, and they were alone in the room. She was sitting on the bed, wearing her bridal dress, looking down and felling very shy as she could hear him locking the door and then sitting on the bed next to her. He sat on the bed, she was looking down. He gently removed her dupata, which was covering her head, and held her face in his hand. “You are very beautiful”, he said. He kissed her on her forehead, then cheeks and then on her lips. Her lips parted under his pressure. His tongue entered her mouth for the first time, and he just could not believe how sweet it was. He searched for her tongue and sucked at it. Her smell made him crazy. They kept kissing until they were out of breath. He was in no hurry and wanted to enjoy every moment of the night. She was in her room, and her whole body was waiting for him to touch and explore her pleasures. He helped her in removing her jewellary and then she went to the washroom as she wanted to remove her makeup and wear something easy. He also quickly took shower in the other washroom and wore a t shirt with shorts. She was still in the washroom when he returned. He put a Kenny G’s disk in the player to make the environment more romantic. His cock stiffened by just thinking about the coming moments. He turned towards the door when she appeared from the washroom. Wow, he was stunned, standing there, just staring at her. She was looking very sexy in her sleeveless, skin colour, silk nighty. She had just taken shower, as her body was still wet and drops of water were shining on her body. He could see her black bra underneath the thin cloth of her nighty. She got nervous by his gaze, and asked,” What happened? Do I look all right?” he smilled and said,” Oh my God, I cant believe my eyes, you are looking so sexy. I am so lucky to have you”. He hugged her and started kissing again, this time more intensely. He could feel her wet body which drove him crazy. His cock jumped up with excitement. She felt it pinching her belly as if trying to find its way towards her pussy. It felt so big and hard, she got worried how will it go inside her. He brought her towards the bed and made her lie down. He quickly removed his shirt and lied next to her. Room was lit with just a dim bulb, making it look very erotic with music playing in the background. He, felt the warmth of her body against him and kissed her again. His lips moved towards her neck with hands also exploring her breast. He lightly touched her right breast, feeling it with his hand then pressed it. It felt very soft like jelly. “Ahh”, she whispered. He licked her neck from her ear lob to the neck line. She felt an unknown enjoyment emanating from deep inside her body, which felt wonderful. He could not wait to see her beautiful round breast and nipples. He pulled her nighty up and removed it, leaving her lying on the bed in her black bra and panty. He took her in his arms, and she felt his rough chest rubbing against her soft breast. He had a very smart and muscular chest with hair on it. She touched his back and then moved her hands on his hairy chest which felt solid. He was getting mad by her beautiful body. Black bra was looking awesome on her glowing white skin. He tried to remove her bra by using his hand on her back, but failed. “You need some experience to do it with one hand”, she laughed and unhooked it for him. He could not wait any more, and removed her bra. “Wow, look at you. What a pair.”, He said, still looking down at her boobs, which were so beautiful. They were round, not very big but firm. She had light brown nipples which looked like small sunflowers. He first kissed her right nipple and then hesitantly sucked at it. “hmmmmm, stop”, she said. He knew, she was enjoying it but just trying to resist him, because of her shyness. He eyes were closed and pleasure was evident from her face. He didn’t stop and kept working hard on both the breasts, one by one. He kissed, licked and sucked both her cock with out stopping for a long time. It was beyond his control to stop it. He, moved his left hand, down toward her panty. He moved it inside. He was taken by surprised as it was all wet down their. It was his first experience of touching a women's cunt. She had shaved it and it seemed like a pool of jelly which was very slippery and sticky. He found her opening and inserted a finger in there. “AAhhhhhhhhh”, she cried with pleasure. He pulled her panty down and kept rubbing her pussy with his hand paying special attention to her cunt and at the same time kept sucking her nipples. She was trembling with excitement as she could feel a wave building inside her. She could not understand what was happening but could feel something building inside her. “Ohhh, ahhhh, hmmmmm”, She cried with pleasure as she exploded. He body bent upwards as she came. He could feel her body tremble when she had her orgasm. He waited till her breathing slowed down, and then kissed her. Now it was his turn to enjoy the bliss of her body. He removed his shorts also. His cock was hard like a rod, and some pre cum was oozing out of it. He opened her legs and lied on top of her. “honey, just relax but hold me tightly. I will stop if it pains alot”, he told her. He felt her pussy with his hand, and placed head of his cock on her entrance. She was drenching with her fluids. He just rubbed his cock on it, so that it becomes moist. He pushed it forward, and after some efforts, hit the right spot. He felt her pussy opened on her cock as it forced entry. He felt her body tightened as she cried with some pain. He felt her stiffen a bit beneath him as he pressed slightly forward. In a few seconds, the whole head popped inside. She moaned beneath him. She had her hands on his hips, ready to push back if she felt too much pain, but she only felt incredible fullness at this point.

He pushed forward a bit more and forced the walls of her cunt to stretch and accept another bit of the intruder. He stopped and allowed her seconds to adjust to the new feeling and pressure. She was tight. Her pussy squeezed his cock, almost to the point of pain. After giving her a few moments, he pushed forward again. This time he didn't go far before reaching her barrier. She groaned loudly beneath him when his cock stretched her hymen. He stopped and looked at her for guidance. Her eyes were closed but opened after several seconds. She had a strained look that worried him. "Take me, my love," she said to him.

He pulled back until just the head remained inside and then shoved forward. His cock rammed forward, hit her barrier, paused momentarily, before tearing ahead. She arched her back and cried an agonizing groan. He stopped moving, even breathing, to make sure She was okay. She settled back down to the bed and looked at him. The pain in her face was obvious. She nodded okay to him and he pushed forward a bit more. The last of her hymen gave way and She cried out one more time. He waited again but soon she urged him on.

He pushed slowly forward into her completely uncharted waters. Her pussy still resisted, fighting every inch with its tightness. The intruder was too powerful and slowly her cunt stretched to accept its monstrous visitor. It took several more seconds for him to work his whole cock in. She bucked again as he first hit her cervix, and then moved deeper. She whimpered her pain and she pulled back a little. He waited there to allow her time to adjust to the fullness and pain.

She was amazed. She still had pain from her torn hymen but the incredible fullness shocked her. It felt like an alien monster had invaded her body through her pussy. He threatened to push her insides out of the way as he sought to go deeper. She wasn't sure she'd ever feel comfortable, and probably never pleasure, with his's huge phallus inside her. He, patiently waited above her, watching her face with keen interest. 'God, she is tight,' he thought. 'I hope I'm not hurting her to much.'

"Hey, you okay?" he asked.

"Yes, my darling, keep doing it" she said. He could feel her body sweating which felt very sexy against his skin and he enjoyed her moist body. He started making slow, long thrusts and Her cries changed into soft moans indicating her pleasure. Her pussy was very tight around his cock and its sensation took him to some other world. His movements changed into fast strokes, as he also came closer to his own orgasm. He licked her neck and her nipples as his cock plundered her pussy. He rammed into her with little regard for the fact she was a virgin minutes earlier. His cock was in control now; his mind was a frenzy of sexual bliss. He'd cum soon and there was no way he wanted to stop it.

Fortunately he did not need to worry if she would make it because she was already there. For a while now, she had been meeting his thrusts and pushed up into them. Her brain had never known this kind of pleasure. The exquisite feels radiating from her cunt had reached her brain and pushed it to overload. She bucked up against him one last time and froze stiff. Rockets burst in her head as her orgasm rocked her like an atomic bomb.

He continued to pump into her even as she clenched her pussy muscles tightly. The feelings were beyond anything she had ever felt before. Time seemed to stand still as her climax bore through her. She barely came down when his consistent thrusts drove her right over the edge again as she felt his seed explode into her cock. “Ohhhhhhhhhhhhh, Ahhhhhhh, I love youuuuuuu”, he cried as he exploded inside her.It seemed to scald the walls of her pussy and burn right through to her brain.

She clung onto his hips with a white knuckled death grip, wanting him to never stop pumping her or her orgasm to end. But somehow, after the last of his cum flooded her cunt and he slowed down, she started to come back to reality. It took a bit for them both to recover and breathe more normally. She felt his pull back and his long penis slide from her pussy. It was immediately followed by a flood of fluid that ran down the crack of her ass onto the bed. He slid over next to her on the bed and looked at her. She turned her head to look at him. His hand came up to caress her left breast and nipple.

“Are you alright?” he asked as he saw her cleaning herself. She had some blood on her pussy. “yea, I m ok”, she replied as she went to washroom to take shower again. They had a wonderful wedding night as they made love three times that night, making it a memorable experience.

Wow, what an awesome little Macro lens. Nikon's new 40mm f/2.8 Macro lens is a STELLAR piece of glass. It's 35mm equivalent focal length is 60mm on DX(which is a really useful focal length). This lens is capable of 1:1 magnification @ a close focus distance of about 6 inches. Nikon has a long history of making very SHARP Macro lenses and this little beast is no departure. I compared it to the venerable AF-S Micro-Nikkor 105mm f/2.8G VR lens and at 1:1, i couldn't tell the difference. Sharpness when stopped down is criminal and contrast is amazing. Just have a look at the sample images!

Please feel free to view these images at full-resolution. This lens can't be fully appreciated unless you view at 100%.

Sticking to tradition, we were one of the first people to get a copy of the new Nikon AF-S Micro-Nikkor 40mm f/2.8G Macro lens. The same thing happened with the Nikon AF-S Nikkor 50mm f/1.8G Prime a few months back. We were very lucky to be able to be one of the first to get copies of these new lenses.

Exif:

Nikon D7000

AF-S Micro-Nikkor 40mm f/2.8G Macro lens

ISO-2000

f/16

1/60th sec

hand-held

Strobist:

Nikon SB-900 Speedlight (Off-camera), triggered by D7000 in Wireless Commander Mode

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Full length VIDEO on YouTube:

Auld Lang Syne by Lea Michele (New Year's Eve -Motion Picture)

www.youtube.com/watch?v=1yrEKGCHsqA

A special THANK YOU to flickr members who shared their photo.

Photographer’s Name ~ Flickr Name ~ Photo Caption

(in order of appearance in video)

Maiken Vestergard – MaikenVL – 82/366 - Music night

www.flickr.com/photos/maikenvl/8028018022/

Kenneth Barker – kenny barker – Almost There

www.flickr.com/photos/kenny_barker/10994105496/

Margot Komine – Margot - Dark Days...are not over yet

www.flickr.com/photos/maruchan313/5574363744/

Ron Doke – Rdoke – 56 Years

www.flickr.com/photos/cobalt220/6159710662/

Yulia Trunina – yuliatrunina - Christmas New Year decor

www.flickr.com/photos/108041380@N03/11611530075/

Website: Food Photo by Yulia Trunina

www.foodphoto.biz/

Juline – JulineB - Auld Lang Syne

www.flickr.com/photos/julineb/2821118570/

Carmen Ortiz – Baking is my Zen – One Silent Night by Jaci Velasquez

www.flickr.com/photos/bakingismyzen/6517936025/

Yoann JEZEQUEL - Zeeyolq Photography – happy new year 2014

www.flickr.com/photos/zeeyolqpictures/11560068776/

Carmen Ortiz – Baking is my Zen – Me and my guitar

www.flickr.com/photos/bakingismyzen/4347161209/

Josine and Harry Frankhuisen – Frankhuisen Photography – The Piano Player

www.flickr.com/photos/frajh/8395642432/

Gina Blank - gina.blank - We'll Take a Cup of Kindness Yet...

www.flickr.com/photos/gina_blank/11594728615/

Bernarda/Gloria Gospic/Simunic - zakonslike - have a cup of kindness

www.flickr.com/photos/zakonslike/4224589656/

Jeff Johnston – Non Paratus - Arcadian Slope

www.flickr.com/photos/73417912@N00/9559173858/

Christopher Porter – Canadian Veggie - Winter Walk in the Park

www.flickr.com/photos/canadianveggie/11630177683/

Ginny Griffin - Auld Lang Syne

www.flickr.com/photos/ggriffin1288/4227290464/

Anthony Beyga - Anthony Beyga - Happy New Year Everyone :) (Explore)

www.flickr.com/photos/anthonybeyga/8331078942/

Carmen Ortiz – Baking is my Zen – New Year's Eve (Auld Lang Syne)

www.flickr.com/photos/bakingismyzen/11665382916/

Andy Pitt – Super70 Photography – auld lang syne

www.flickr.com/photos/23434444@N08/5312625865/

Anne Adema – ademaann1 - violinist

www.flickr.com/photos/99144369@N03/11069591303/

l4ts - Violinist

www.flickr.com/photos/35884794@N04/8407165906/

Carmen Ortiz – Baking is my Zen – Summertime

www.flickr.com/photos/bakingismyzen/5927395680/

Ron Doke – Rdoke - Morning Sun

www.flickr.com/photos/cobalt220/4607781590/

Melfoody - Starry Starry Night

www.flickr.com/photos/melfoody/9326170868/

Kaye E - batang_igat - Auld Lang Syne

www.flickr.com/photos/batang_igat/6606315827/

Aaron_ - Riz_Aaroni - New Years Hat

www.flickr.com/photos/rizaaroni/2307601437/

Anthony Quintano - New Waterford Crystal Installed On The New Year's Eve Ball

www.flickr.com/photos/quintanomedia/11590441285/

Flickr Set –Anthony Quintano - New Waterford Crystal Installation On The New Year's Eve Ball

www.flickr.com/photos/quintanomedia/sets/72157639090930144/

Website: Anthony Quintano

anthonyquintano.com/

Blog: Anthony Quintano

anthonyquintano.com/2013/12/27/times-square-new-years-eve...

Christi - ChristiNYCa - Times Square: Confetti Wishing Wall 2013

www.flickr.com/photos/christinyca/8306372530/

Christi - ChristiNYCa - Times Square: Confetti Wishing Wall 2013 (closeup)

www.flickr.com/photos/christinyca/8306374794/

S R – R I V A – (Sandro Riva) happy new year 2014

www.flickr.com/photos/sandroriva/2485427817/

Aina - **Aina** - HAPPY NEW YEAR

www.flickr.com/photos/23179744@N03/4229298056/

Len Janes - Len Janes Photography - Bird of Peace "Happy New Year" 2014

www.flickr.com/photos/amazing-capture/5311610017/

Carmen Ortiz – Baking is my Zen – Bubbly…

www.flickr.com/photos/bakingismyzen/5313832150/

Watch Vallavan (1989) Tamil Full Length Movie Online | Mammootty, Parvathy | P. G. Viswambharan Vallavan tamil full movie starring Mammootty, Parvathy, Sukumaran, Babu Antony and others. Directed and produced by P. G. Viswambharan. Hi Thaliva TV Viewers, a entertainment channel you can watch latest Tamil Movies, latest Tamil songs, latest Official trailers, and all genre like funny & comedy scenes, romantic scenes, love scenes, action scenes And More. For more Updates Subscribe to us: goo.gl/JXT9cg

by Meyer-Optik Görlitz Domiplan 50mm F2.8 (Zebra Model)

75.0mm ( 35mm equivalent focal length )

by KOWA PROMINAR 8.5mm F2.8

17.0mm ( 35mm equivalent focal length )

Thanks to the Nailbourne project, I now understand how the communities and landscape fots in along its length, though that a bubbling noisy stream can just vanish then appear miles away is very difficult to get your head round. The Nailbourne only fully flows in very wet years, but when it does, the beds that are dry now can be several feet deep.

But downstream of Littlebourne, where the Nailbourne becomes the Little Stour, it is wider, about six feet wide, clogged with reeds and weeds, but also was used to power to large mills. They both stand, one between Littlebourne and Wickhambreaux, and the other in Wickhambreaux itself, though is now just a house But is a large white clapboard building, with a large wheel.

These days, the village looks very prosperous, all grand houses or cottage conversions.

From here, the Little Stour makes its way over the marshes which centuries ago was the Wantsum Channel, so Wickhambreaux was almost a seaside town.

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

The interior of this very pretty church is dominated by nineteenth-century work. The whole of the chancel and baptistry is lined with dark brown encaustic tiles, hiding a straightforward fourteenth-century church. The east window is an early example of American Art Nouveau in England, and dominates the entire building. It was designed by Baron Arild Rosenkrantz in 1896. Above the window are stencilled paintings of angels ascending, which can also be seen in the nave, whilst the roof there has a charming star-spangled sky. At the south-west corner is a vestry - screened off by an eighteenth-century screen which may have formed part of the refitting of the chancel paid for by Mary Young. Her monument in the chancel records that 'infirm from her youth she protracted life to the 68th year of her age'. She left £100 for wainscotting and ornamenting the chancel. The interior viewed from the east gives an unusual appearance as the aisles flank the tower (see also Sandhurst).

www.kentchurches.info/church.asp?p=Wickhambreaux

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

WICKHAM BREAUS

LIES adjoining to Littleborne north-eastward, being usally called Wickham Brook. It is likewise called Wickham by Wingham, to distinguish it from the two other parishes of the same name in this county. In Domesday it is written Wicheham, a name derived from its situation near the banks of the river, which runs close to it. There is only one borough in it, viz. the borough of Wickham, which comprehends the whole parish.

Wickham is a low, flat, and unpleasant situation, and lying so near the marshes cannot but be unhealthy, the land throughout it is in general good and sertile, especially near the village, where the fields are very large and level ground. The village, in number about twenty houses, stands at the south-east boundary of the parish, built round a green, over which the road leads to Ickham, having the church and court-lodge on one side, and the parsonage, a handsome brick house, on the other. At the further end of the green, the Lesser Stour crosses the road, and turns a corn-mill belonging to the manor, beyond it is only one house, called the Stone-house, being built of squared stones and slints in chequers, and by the arched windows and door-ways seems of some antiquity. The parish stretches a good distance northward, as far as Groveferry, the house of which is within it, and the greater Stour river, over a level of about 500 acres of marsh land, which extend from the river into a sinus, with a ridge of upland on each side, to within a quarter of a mile of the village. North eastward from which is the Saperton, formerly the property of the Beakes's, who resided here as early as king Henry the VIIIth.'s reign; it was sold by them to the Furneses, whence it came by marriage, with Copthall, in this parish, to the St. John's, viscounts Bolingbroke, who have lately sold it, but one of the family of Beake, many of whom lie buried in this church, now occupies it. A little beyond this is Newnham, once accounted a manor, formerly belonging to the Ropers, lords Teynham, afterwards to the Bartholomews, then to Joseph Brooke, esq. of Rochester, and now to his devisee the Rev. John Kenward Shaw Brooke, of Town-Malling.—Hence among the marshes is the hamlet of Grove, through which the road leads across them to the right over the lesser Stour, to Wingham, Ash, and the eastern parts of Kent, and to the left by Grove-ferry over the Greater Stour, to the northern part of the country and the Isle of Thanet. There is no other wood in the parish excepting Trendley park. There is no fair.

At the time of taking the survey of Domesday, in the year 1080, this place was part of those possessions with which that king had enriched his half-brother Odo, the great bishop of Baieux. Accordingly it is thus entered in that record, under the general title of his lands:

In Donamesford hundred, the bishop himself holds in demesne Wicheham. It was taxed at four sulings. The arable land is eleven carucates. In demesne there are two carucates, and thirty-six villeins, with thirty-two cottagers having nine carucates. There is a church, and one priest who gives forty shillings per annum. There is one park, and two mills of fifty shillings, and two saltpits of thirtytwo pence, and three fisheries of four shillings, and thirtytwo acres of meadow. Pasture for three hundred sheep and for thirty-one beasts. Wood for the pannage of eighty bogs. In the time of king Edward the Confessor it was worth twenty-five pounds, when he received it twenty pounds, now thirty pounds. There belong to this manor in Canterbury three plats of land paying six shillings and eight pence. Alured Biga held it of king Edward. Moreover there belongs to this manor half a suling of free land, which Sired held of Alured Biga, and Goisfrid, son of Badland, now holds it of the bishop of Baieux, and it is and was worth separately sixty shillings.

Four years afterwards the bishop was disgraced, and all his possessions were consiscated to the crown, of which this manor appears afterwards to have been held by the Cliffords. Walter, son of Walter de Clifford, possessed it in the reign of king John, and with Agnes de Cundy, his wife, was a good benefactor to St. Augustine's abbey, and that of St. Radigund. (fn. 1) By the marriage of Margaret, daughter and heir of Walter Clifford, with John de Brewse, it passed into that name, and William de Brewse, or de Braiosa, as they were written in Latin, was possessed of it in the 42d year of king Henry III. His descendant William de Brewse, lord of the honour of Brembre, in Sussex, and of Gower, in Wales, as he stiled himself, whose ancestor came into England with the Conqueror, who gave him the castle of Brember, and whose descendant afterwards, by the marriage with Bertha, daughter and one of the coheirs of Milo, earl of Hereford, became possessed of the castles of Brecknock and Gower likewife, and bore for his arms, Azure, a lion rampant, between twelve cross-croslets, or; though I find by the pedigrees of this family, that his ancestors bore Azure, three bars vaire, argent, and gules. He was several times summoned to parliament in king Edward I.'s reign, as was his son of the same name, both in that and Edward II.'s reign, and died possessed of this manor in the 19th year of the latter. Very soon after which it appears, with the church appendant to it, to have come into the possession of Edmund of Woodstock, earl of Kent, half brother to king Edward II. (fn. 2) After which it descended to his brother John Plantagenet, likewife earl of Kent, it being then held of the king in sergeantry. He died anno 26 Edward III. upon which Joane his sister, commonly called the Fair Maid of Kent, wife of Sir Thomas Holand, became his heir, who in her right not only possessed this manor, but became earl of Kent likewise. She afterwards married Edward the black prince, and died in the 9th year of king Richard II. being succeeded in this manor then held in capite, by Thomas Holand, earl of Kent, her son by her first husband, whose two sons, Thomas and Edward, both earls of Kent, and the former created Duke of Surry, in turn succeeded to it, and the latter dying anno 9 Henry IV. his five sisters became his coheirs, and on a partition made between them, Edmund, earl of March, son of Eleanor, late countess of March, the eldest of them became entitled to this manor in his mother's right, being the last earl of March of this family, for he died s. p. in the 3d year of king Henry VI. being then possessed of it. The year after which, Joane, wife of Sir John Gray, appears by the escheat rolls to have been entitled to it; not long after which it became the property of the family of Tibetot, or Tiptoft, as they were usually called, in whom it continued down to John Tiptost, earl of Worcester, who was attainted and beheaded in 1471, anno 10 Edward IV. king Henry being then restored to the crown. He lest an infant son Edward, who, though he was afterwards restored in blood by king Edward IV. yet I do not find that he was ever reinstated in the possession of this manor, which remained in the crown till the reign of king Henry VIII. who granted it, with the advowson of the church, to Sir Matthew Browne, of Beechworth-castle, who in the 22d year of it, passed it away to Lucy, widow of his uncle Sir Anthony Browne, standard-bearer of England, whose grandson Anthony was, anno I and 2 of Philip and Mary, created viscount Montague, and died possessed of this manor anno 34 Elizabeth, and by his will devised it to his eldest son by his second wife, Sir George Browne, who was of Wickham Breaus, and his grandson Sir George Browne, K. B. leaving two daughters his coheirs, Winifrid, married to Basil Brooks, esq. of Salop, and Eleanor, to Henry Farmer, esq. of Oxfordshire, they joined in the sale of it, at the latter end of Charles II.'s reign, to Sir H. Palmer, bart. of Wingham, who died possessed of it in 1706, s. p. and by his will devised it to his nephew Sir Thomas Palmer, bart. who died in 1723, and by his will gave it to his natural son Herbert Palmer, esq. who married Bethia, one of the daughters of Sir Thomas D'Aeth, bart. of Knowlton, who died in 1760, s. p., having devised this manor, with the advowson of the church appendant, to his widow. She afterwards married John Cosnan, esq. who in her right became possessed of it, and died in 1778, s. p. leaving her furviving, upon which she again became entitled to the possession of it, and continued owner of it till her death in 1797, on which it came to her nephew Sir Narborough D'Aeth, bart. of Knowlton, the present owner of it. A court leet and court baron is held for this manor.

Trendley park, now accounted a manor of itself, is situated at the north-west boundary of this parish, being entirely separated from the rest of it by that of Littleborne intervening. It was part of the possessions of Odo, bishop of Baieux, and is noticed in the survey of Domesday, in the description of the manor of Wickham above recited, in which it is mentioned as being then a park; and it should seem that at least part of it was then accounted as appurtenant to that manor; though in the description of the manor of Littleborne, in the same survey, which then belonged to the abbey of St. Augustine, it appears that the bishop had lands belonging to that manor too lying within his park here. Of this manor the bishop of Baieux has in his park as much land as is worth sixty shillings, says the record. In part of the recompence for which, the bishop seems to have given the abbot the manor of Garwinton, in Littleborne, and other land within the manor of Leeds, as may be seen by the entries of both these manors in the same record. Soon after which there was another exchange of land made between the bishop and archbishop Lanfranc, for some which lay within his park of Wikeham. What is remarkable in this instrument is, that it is given in two languages, in Saxon and Latin, but neither is a translation of the other, for both are originals, as was a frequent custom of that time. Appendant to it is the bishop's seal in wax, representing him on one side on horseback, with his sword and spurs, as an earl, and on the other habited as a bishop, with his pastoral staff; being perhaps the only seal of Odo at this time extant. (fn. 3) By all which it appears, that this park is much more antient than that of Woodstock, which has been accounted the first inclosed park in England. How long it continued an inclosed park, I have no where found; but in the beginning of king Henry VI.'s reign it was not so, as appears by the escheat-rolls of the 3d year of it, after the death of Edmund, earl of March, at which time there were two hundred acres of wood in it. He was lord of the manor of Wickham, and Trendley park was chiefly at that time certainly appurtenant to it, and continued so whilst in the possession of the same owners, which it did most probably till the attainder of John Tiptost, earl of Worcester, in the 10th year of king Edward IV. when they both came into the hands of the crown, and though king Henry VIII. afterwards granted the manor of Wickham to Sir Matthew Browne, yet I do not find that Trendley park was granted with it. From which time it has had separate owners. For some time it has been the property of the family of Denne, who continue at this time the owners of it. It lies in an unpleasant, lonely part of the parish, facing Westbere, and consists of three hundred acres of woodland, and a house called the Park-house. There is a high road through the middle of it from Stodmarsh to Canterbury market, which in king Edward II.'s reign, was attempted to be shut up, but the sheriff, with the posse comitatus, was ordered to open it again, as being an antient and allowed high road.

Charities.

Andrew Holness, of Seton, in Ickham, by will in 1554, gave to the poor 2s. in money and bread, to be distributed yearly; the churchwardens to take so much yearly out of his lands in Ickham and Wickham, except his house and garden at Seton, in case his executors did not give the same yearly.

Henry Sloyden, of Wickham Breaus, by will in 1568, gave for the use of the poor and Littleborne, in equal portions, a piece of land containing six acres and a half in the latter parish, called Church-close, which is distributed twice a year by the respective minister and churchwardens, and is of the annual produce of 4l.

John Smith, rector of this parish, by deed in 1656, gave a school-room, and a house and garden for a schoolmaster, in this parish, for teaching the children of it. The master to be chosen from one of his relations in preference, if any such could be found, is vested in the rector and churchwardens of this parish.

Sir Henry Palmer, of Bekesborne, by his will in 1611, gave the sum of 10s. to each of the several parishes of Wickham, Stodmarsh, Littleborne, and five others therein mentioned, to be paid into the hands of the minister and churchwardens yearly, out of his manor and lands of Well-court, at Michaelmas, towards the relief of the poor of each of them.

Thomas Belke, D. D. rector of this parish, by will in 1712, gave 501. for the putting out of five poor children of this parish apprentices.

There are about thirty poor constantly relieved, and casually seventy.

This parish is within the ecclesiastical jurisdiction of the diocese of Canterbury, and deanry of Bridge.

¶The church, which is dedicated to St. Andrew, consists of three isles and one chancel, having at the west end a square tower, in which hang six bells. The church is not large, but is handsome and neat. In the middle isle are several memorials for the Beakes, of Saperton. In the south isle for the Larkins, who lived at Grove, in this parish. In the east window are remains of good painted glass, viz. the arms of Edward the black price and of Mortimer, quartered with Burgh, and a representation of Herod's daughter beheading John the Baptist. In the chancel, on the pavement, is the figure of a priest in brass, and inscription, for Henry Welde, rector, obt. 1420. A gravestone, and monument for Alexander Young, B D. rector of this parish, who rebuilt this parsonage-house, and repaired that of Eastchurch, of which he was vicar likewife, at the expence of 2000l. obt. March 21, 1755. A memorial for John Smith, rector, obt. Oct. 28, 1658. In the church-yard are many headstones, and a tombstone for the family of Beake. In the windows of this church there were formerly many different shields of arms, long since demolished.

This church was always an appendage to the manor, and continues so at this time, Sir Narborough D' Aeth, bart. owner of the manor of Wickham, being the present patron of it.

There was antiently both a rectory and vicarage in this church, which continued till the year 1322, when on a vacancy of the latter, Richard de Newcastle, the rector, petitioned archbishop Walter Reynolds, that they might be consolidated, which was granted, and they have continued in that state to the present time. (fn. 4)

This rectory is valued in the king's books at 29l. 12s. 6d. and the yearly tenths at 2l. 19s. 3d. In 1588 it was valued at 250l. communicants one hundred and sixty-three. In 1640 the same. There are eighteen acres of glebe-land.

The marsh-lands in this parish, within Wickham and Preston valleys, pay a modus of two-pence an acre, and those within Newnham 1½d. only, in lieu of all tithes.

www.british-history.ac.uk/survey-kent/vol9/pp158-166

Another shot of Natasha, this time a full length in front of the National Gallery of Victoria.

Beading Decorate Bodice A-line Mini-length Strapless 2013 Prom Dress

Item ID #:DR1HNPD117

File name: 12_02_000017

Call number: PN2067.L49 1900zx

Title: A woman standing in a pink floor-length dress in three quarters profile.

Creator/Contributor: Codognato, Plinio (artist)

Created/Published: [Italy]

Date created: 1900 - 1999 (questionable)

Physical description: 1 drawing mounted on board : watercolor ; 33 x 15 cm.

Genre: Costume design drawings

Subjects: Operas & operettas; Costumes

Notes: Title supplied by cataloger.; Colored original costume designs by Plinio Codognato for the characters in ""Lezione d'amore"".

Collection: Brown Collection

Location: Boston Public Library, Music Department

Rights: No known restrictions.

Full length portrait of The Mutant (Darrin Reed), designed and built by Cortney Skinner.

Full-length version for Silkstone and Collector/Pivotal bodies (doesn't fit M2M or playline Fashionista) Dress is made from Cream Cotton with metallic gold vines. She looks stunning!

www.ebay.com/itm/162778563917?ssPageName=STRK:MESELX:IT&a...

Description

Length: 36mm

A large, active, deep red damselfly with black legs and a bronze-black top to the thorax which has broad red or yellow stripes. The female exists in several colour forms varying in the amount of red and black on the abdomen from nearly all black in f. melanotum to mainly red in f. fulvipes. The pterostigma is black. This is one of the earliest species to appear each spring.

Habitat

Can be found in almost any freshwater habitat but rarely on fast-flowing rivers or streams.

The Cadillac V-16 (sometimes known as the Cadillac Sixteen) was Cadillac's top-of-the-line car from its January 1930 launch until production ceased in 1940 as the war in Europe killed sales. All were finished to custom order, and the car was built in very small numbers; only 4076 cars were constructed in the eleven years the model was offered. The majority of these were built in the single year of 1930, before the Great Depression really took hold. This was the first V16 powered car to reach production status in the United States.

Genesis:

In 1926, Cadillac began the development of a new, "multi-cylinder" car. A customer requirement was seen for a car powered by an engine simultaneously more powerful and smoother than any hitherto available. Development proceeded in great secrecy over the next few years; a number of prototype cars were built and tested as the new engine was developed, while at the same time Cadillac chief Larry Fisher and GM's stylist Harley Earl toured Europe in search of inspiration from Europe's finest coachbuilders. Unlike many builders of luxury cars, who sold bare chassis to be clothed by outside coachbuilding firms, General Motors had purchased the coachbuilders Fleetwood Metal Body and Fisher Body to keep all the business in-house. Bare Cadillac chassis could be purchased if a buyer insisted, but the intention was that few would need to do so. One Cadillac dealer in England, namely Lendrum & Hartman, ordered at least two such chassis in even rarer right hand drive (RHD) configuration and had Van den Plas (Belgium) build first an elegant limousine-landaulet (engine #702297), then a sports sedan with unusual cycle fenders and retractable step plates in lieu of running boards (engine #702298, which was successfully shown in various Concours d'Elegance events in Europe before being bought by the young Nawab of Bahawalpur); both these cars have survived. A third RHD chassis was ordered by the Indian Maharaja of Orccha (Bhopal) and sent to Farina in Italy, in July 1931, for a boat tail body (engine between #703136 and #703152).

It was not until after the stock market crash of 1929 that Cadillac announced to the world the availability of the costliest Cadillac yet, the new V-16. The new vehicle was first displayed at New York's automobile show on January 4, 1930.

Statistics:

1930–1937:

Generation 1 (Series 452 and 90)

Overview:

Model years 1930–1937

Body and chassis

Platform Series 90: D-body

Related Cadillac Series 370/85

Cadillac Series 355

Cadillac Series 75

Powertrain

Engine 452 cu in (7.4 L) Cadillac V16

Dimensions

Wheelbase 1930–31: 148.0 in (3,759 mm)

1932–33: 143.0 in (3,632 mm) and 149.0 in (3,785 mm)

1934–37: 154.0 in (3,912 mm)

Length 1930–31: 222.5 in (5,652 mm)

1932–33: 216.0 in (5,486 mm) and 222.0 in (5,639 mm)

1934–35: 240.0 in (6,096 mm)

1936–37: 238.0 in (6,045 mm)

Width 1931: 73.6 in (1,869 mm)

1932–35: 77.0 in (1,956 mm)

1936–37: 74.4 in (1,890 mm)

Height 1931: 72.5 in (1,842 mm)

1932–33: 71.5 in (1,816 mm)

1934–37: 69.5 in (1,765 mm)

Curb weight 5,300–6,600 lb (2,400–3,000 kg)

The new car attracted rave reviews from the press and huge public attention. Cadillac started production of the new car immediately. January production averaged a couple of cars per day, but was then ramped up to twenty-two cars per day. By April, 1,000 units had been built, and by June, 2,000 cars. These could be ordered with a wide variety of bodywork. The Fleetwood catalog for the 1930 V-16 included 10 basic body styles; there was also an envelope containing some 30 additional designer's drawings. Research by the Cadillac-La Salle Club, Inc. puts at 70 the number of different job/style numbers built by Fisher and Fleetwood on the sixteen chassis.

Beginning in June 1930, five new V-16s participated in a promotional tour of major European cities including Paris, Antwerp, Brussels, Amsterdam, Utrecht, Copenhagen, Stockholm, Berlin, Cologne, Dresden, Frankfurt, Hamburg, Munich, Nuremberg, Vienna (where they won prizes), Berne, Geneva, Lausanne, Zürich, Madrid, San Sebastian, La Baule and Angers. On the return journey from Spain, the V16 caravan stopped also in the town of Cadillac, in south-western France, although that city bears no relationship to the marque, other than its name.

After the peak in V-16 orders in mid-1930, production fell precipitously. During October 1930, only 54 cars were built. The lowest figures for the 452/452A cars of 1930–31 were August 1931 (seven units) and November 1931 (six units). Minimum production continued throughout the rest of the decade with a mere 50 units being built both in 1935 and in 1937. 1940 was only marginally better with a total of 51 units. Not surprisingly, Cadillac later estimated that they lost money on every single V-16 they sold.

Production of the original V-16 continued under various model names through 1937. The body was redesigned in 1933 as the model 452C. Innovations included Fisher no draft individually controlled ventilation (I.C.V. or vent windows).

For 1934, the body was redesigned again and denoted as 452D, and as 452E in 1935. The V-16 now featured the Fisher Turret Top all-steel roof, though the cars were still built by Fleetwood. This same basic design would remain virtually unchanged through 1937. With a wheelbase of 154.0 inches (3,912 mm) and a curb weight of up to 6,600 pounds (3,000 kg) these are perhaps the largest standard production cars ever produced in the United States. Combined production for the 1934 and 1935 model years was 150. It was redesignated the Series 90 in 1936 as Cadillac reorganized their model names. Fifty-two units were sold that year, with nearly half ordered as limousines. Hydraulic brakes were added for 1937, the last year of production. Fifty vehicles were produced.

[Text taken from Wikipedia]

1930 452A V16 Rollston Convertible-Coupe

Even today a vehicle is regularly judged by the number of pistons propelling it, but this was even more so in the formative years. A major restriction in those years was the strength of the crankshaft in long multi-cylinder engines. The V-engine with two banks of cylinders was a major step forward and by the mid 1920s several companies had a V12 in their line-up. Towards the end of the decade three American companies (Cadillac, Marmon and Peerless) were busy developing an even more glamorous V16 engine, but it proved more difficult than first imagined and one of them never even materialized.

Cadillac's engineers were the first to get the V16 engine ready and in January 1930 the wraps were taken off the Cadillac 452 V16. With the help of a former Marmon designer, the sixteen cylinder engine was constructed using two blocks of the new Buick eight cylinder engine. The two blocks were mounted on a common crankcase at a 45 degree angle. A single camshaft mounted inside the V operated the valves by pushrods. As the type indication suggests, the engine displaced 452 cubic inches or just over 7.4 litres and produced 175 bhp and had torque in abundance.

The huge engine was installed in a simple ladder frame, almost identical to the one used in the V8 engined Model 51. Suspension was equally conventional and by live axles and semi-elliptic leaf springs on both ends. Stopping power for the heavy machine was provided by servo assisted drum brakes on all four wheels. Unlike many of the competitors in the high-end market, Cadillac predominantly offered complete cars rather than rolling chassis to be bodied by custom coachbuilders. Many of the 'standard' bodies were constructed by Fleetwood and Fischer, which had just become part of General Motors.

Despite being the most expensive Cadillac ever, the V16 proved a hit in the first months of 1930. Over 2000 cars were ordered in the first seven months of that year, but then sales dropped dramatically and it would take another ten years to double that number. This was most likely caused by the looming depression and the introduction of a V12-engined Cadillac in the second half of 1930. Marmon's more advanced answer was ready in 1931, but it proved to be too late. Cadillac continued to develop the V16 with a completely new engine introduced in 1938 as the biggest change.

In its various forms the Cadillac V16 remained in production until 1941, but apart from the first seven months it was a failure; a very glorious one. Today it's considered as one of the finest American cars of its era and a welcome guest at concours d'elegance all over the world. All of them were constructed to custom order and it is estimated that over 70 different body variants were constructed by Fleetwood and Fischer alone. The V16's prominent position in Cadillac's history was underlined by the aptly named 'Sixteen Concept' built to celebrate the company's 100th anniversary in 2003.

The one-off Rollston Convertible Coupe pictured above is one of the most striking of all Cadillac V16s. Most of them were fitted with stately four door coachwork. The three-tone paintwork and the steeply raked windshield do a very good job at masking the size of the 148 inch wheelbase. The unique V16 Cadillac is today part of an impressive collection and is pictured above at the 2008 Pebble Beach Concours d'Elegance where there was a special V16 class. Had it not been entered as display only, it would have had a good chance at winning the class and perhaps even best of show honours.

[Text taken from 'Conceptcarz.com']

www.ultimatecarpage.com/car/3825/Cadillac-452-A-V16-Rolls...

This Lego miniland-scale 1930 Cadillac 452A V16 Convertible-Coupe has been created for Flickr LUGNuts' 88th Build Challenge, - "Let's go Break Some records", - for vehicles that set the bar (high or low) for any number of vehicles statistics or records. Or as the very first.

The 1930 Cadillac 452 V16 Chassis was home to many custom bodies by renown design houses, along with standard bodies from Fleetwood (laterly part of General Motors). The Coupe-Convertible shown here from the Rollston Coachbuilders. Key though, was the 452 CID V16 engine - the first production V16 in the world, beating luxury rival Marmon by over a year.

There will be better times then these.

Near Staxton, North Yorkshire

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Kaftan, sandals and ankle-length suggest an ethnic look but this isnt what I had had in mind.

modernbridalshop.stores.yahoo.net/21monchmomod19.html

Dress shown in Sapphire/Teal.

Two-piece soft tulle over taffeta dress set, softly curved strapless A-line dress, directionally pleated bodice features hand-crafted flower accent at ruched Empire waistband, gathered tulle overlay skirt, matching bolero jacket with unique hand-crafted detail and three-quarter length sleeves. Matching shawl and removable straps included.

Paper napkin test fit of MyOwnLittleWorld's "The Little Dress" pattern in the Lati Yellow SP size on Realfee. I'd say it's a bit short, but otherwise a good fit.

FYI: The bottom lined area is just my drawn example of how long it would be with the ruffle added.

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

05/13/2011 - Elisabetta Gregoraci - Barcelona Bridal Week 2011 - Day 4 - Fuentecapala Fashion Show - Runway - Barcelona - Barcelona, Spain - Keywords: Elisabetta Gregoraci as a model walks the runway at a presentation of the new bridal collection by Raimon Bundo, 3/4 length shot, grey pants, gray pants, grey jacket, gray jacket, white vest, white tie, white shirt, long wavy brown hair, brunette, Restrictions: **WORLDWIDE SYNDICATION RIGHTS EXCEPT SPAIN - NO SYNDICATION IN SPAIN** Orientation: Portrait Face Count: 1 - False - Photo Credit: Solarpix / PR Photos - Contact (1-866-551-7827) - Portrait Face Count: 1