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Gwanghwamun Gate, marking the end of the walk, is the grand entrance to Gyeongbokgung Palace.
Rotary International, an organization which aims to bring together business and professional leaders in order to provide humanitarian services, encourage high ethical standards in all vocations, and to advance goodwill and peace around the world is holding their annual conference in Korea inviting members from around the world to participate. Part of the program of events held was a 3k walk for peace, with participants walking the historic city streets between Seoul plaza and Gwanghwamun Square with attendees encouraged to wear traditional attire from their own countries. The event, held on a glorious summer morning was certainly a colorful, lively affair, with a friendly, fun atmosphere shared between walkers and onlookers.
That's pretty common thing here in the US, but in Russia road construction companies never use it. This steel plate covers a pit, where a manhole or any other similar thing should be mounted or was mounted recently. It helps to avoid jams, because road is still usable and nobody has to slow down, give way, change lanes and so on.
Circular feature and thin cut, filled with bitumen (front plane) are the parts of traffic sensor system.
via Playground Markings UK bit.ly/1LQjyvC
Playground Markings in Glasgow City | Play Area Graphics #Glasgow #City bit.ly/1iOtEWV
via Playground Markings UK bit.ly/1MY2Jjm
Playground Games in Melbury Sampford | Recreational Area Markings #Playground #Markings #Games #Melbury #Sampford bit.ly/1XplCWB
via Playground Markings UK bit.ly/1H7oikt
Playground Games in Harrapool/Harrapul | Recreational Area Markings #Playground #Markings #Games #Harrapool/Harrapul bit.ly/1Oe1C1q
Markings: USAF 33rd Fighter Group, Walker AFB, New Mexico, 1948
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General Electric (Allison) J35-A-13 axial-flow turbojet, 5200-lbf
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Note unidentified centrifugal-flow jet engine on far left
DSC_0150 Anx2 1200h Q90 Ap Q10
Marking the Solstice at Castell Henllys.
"The Mari Lwyd is a wassailing folk custom found in South Wales. The tradition entails the use of an eponymous hobby horse which is made from a horse's skull mounted on a pole and carried by an individual hidden under a sackcloth."
March 2026.
Wooden Attaché Case, a very nice thrift shop find !
No brand name, no markings, no nothing.
But very nicely made and very well finished.
Maybe a DIY project ???
Inside are many of the things you would need in a Dark Room.
- a Kaiser Focus Helper for an Enlarger
- a no-name Clamp-on kind of Diffusor
- a Meopta Anaret 4.5/50 Enlarger Lens in its original box
- a Meopta Anaret 4.5/80 Enlarger Lens in its original box
- a Philips PCA 061/01 Colour Analyzer
Many of these components have a piece or pieces of Velcro Strip taped to them so they cannot move inside the Case during transport.
A separate compartment was constructed for the Power Supply of the PCA 061 !!!
So a lot of work was done to create a rather unique Attaché Case for a kind of (my guess) mobile Dark Room.
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Sony DSC-RX100M4
1/30 f/2.2
ISO 125
Zoom 9.8 mm
Downscaled to 2048 pixels width.
Markings: Indian Air Force (IAF) maritime patrol duties, mid-1960s, basic unpainted aluminum; RAF roundels and serial number KN751 added 1974 when donated by IAF and ferried to UK
en.wikipedia.org/wiki/Consolidated_B-24_Liberator
www.rafmuseum.org.uk/documents/collections/74-AF-790-Cons...
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Four Pratt & Whitney R-1830-41 Twin Wasp turbosupercharged radials, 1,200-hp each
en.wikipedia.org/wiki/Pratt_%26_Whitney_R-1830_Twin_Wasp
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Foreground: 1981 Mercedes-Benz 380SLC coupé is in Bonhams auction
_DSC6420 Anx2 Q90 V2 1.5k
via Playground Markings UK bit.ly/1MaK42L
Thermoplastic Markings in Achahoish #Thermoplastic #Playground #Markings #Achahoish bit.ly/1FPjnEo
I visited the CAF SoCal museum this past weekend. still going through the images of what I shot. The CAF is the Commemorative Air Force museum. They have a bunch of old WWII Navy & Army Air Corp/ Air Force planes...
Olympus E-PM1 + Fujian 35mm f1.7
Shot in RAW, processed with Filterstorm & Snapseed
A member of Wessex Archaeology's Finds Department identifying and marking animal bones using a fountain pen.
7:33am and very shortly after sun rise, we found this this young male lion along side of the track and woke him from his slumbers - he did what we all do first thing on waking.................... and then proceeded to rub his head in his own scent carefully avoiding those thorns near his eyes
The Albertina
The architectural history of the Palais
(Pictures you can see by clicking on the link at the end of page!)
Image: The oldest photographic view of the newly designed Palais Archduke Albrecht, 1869
"It is my will that the expansion of the inner city of Vienna with regard to a suitable connection of the same with the suburbs as soon as possible is tackled and at this on Regulirung (regulation) and beautifying of my Residence and Imperial Capital is taken into account. To this end I grant the withdrawal of the ramparts and fortifications of the inner city and the trenches around the same".
This decree of Emperor Franz Joseph I, published on 25 December 1857 in the Wiener Zeitung, formed the basis for the largest the surface concerning and architecturally most significant transformation of the Viennese cityscape. Involving several renowned domestic and foreign architects a "master plan" took form, which included the construction of a boulevard instead of the ramparts between the inner city and its radially upstream suburbs. In the 50-years during implementation phase, an impressive architectural ensemble developed, consisting of imperial and private representational buildings, public administration and cultural buildings, churches and barracks, marking the era under the term "ring-street style". Already in the first year tithe decided a senior member of the Austrian imperial family to decorate the facades of his palace according to the new design principles, and thus certified the aristocratic claim that this also "historicism" said style on the part of the imperial house was attributed.
Image: The Old Albertina after 1920
It was the palace of Archduke Albrecht (1817-1895), the Senior of the Habsburg Family Council, who as Field Marshal held the overall command over the Austro-Hungarian army. The building was incorporated into the imperial residence of the Hofburg complex, forming the south-west corner and extending eleven meters above street level on the so-called Augustinerbastei.
The close proximity of the palace to the imperial residence corresponded not only with Emperor Franz Joseph I and Archduke Albert with a close familial relationship between the owner of the palace and the monarch. Even the former inhabitants were always in close relationship to the imperial family, whether by birth or marriage. An exception here again proves the rule: Don Emanuel Teles da Silva Conde Tarouca (1696-1771), for which Maria Theresa in 1744 the palace had built, was just a close friend and advisor of the monarch. Silva Tarouca underpins the rule with a second exception, because he belonged to the administrative services as Generalhofbaudirektor (general court architect) and President of the Austrian-Dutch administration, while all other him subsequent owners were highest ranking military.
In the annals of Austrian history, especially those of military history, they either went into as commander of the Imperial Army, or the Austrian, later kk Army. In chronological order, this applies to Duke Carl Alexander of Lorraine, the brother-of-law of Maria Theresa, as Imperial Marshal, her son-in-law Duke Albert of Saxe-Teschen, also field marshal, whos adopted son, Archduke Charles of Austria, the last imperial field marshal and only Generalissimo of Austria, his son Archduke Albrecht of Austria as Feldmarschalil and army Supreme commander, and most recently his nephew Archduke Friedrich of Austria, who held as field marshal from 1914 to 1916 the command of the Austro-Hungarian troops. Despite their military profession, all five generals conceived themselves as patrons of the arts and promoted large sums of money to build large collections, the construction of magnificent buildings and cultural life. Charles Alexander of Lorraine promoted as governor of the Austrian Netherlands from 1741 to 1780 the Academy of Fine Arts, the Théâtre de Ja Monnaie and the companies Bourgeois Concert and Concert Noble, he founded the Academie royale et imperial des Sciences et des Lettres, opened the Bibliotheque Royal for the population and supported artistic talents with high scholarships. World fame got his porcelain collection, which however had to be sold by Emperor Joseph II to pay off his debts. Duke Albert began in 1776 according to the concept of conte Durazzo to set up an encyclopedic collection of prints, which forms the core of the world-famous "Albertina" today.
Image : Duke Albert and Archduchess Marie Christine show in family cercle the from Italy brought along art, 1776. Frederick Henry Füger.
1816 declared to Fideikommiss and thus in future indivisible, inalienable and inseparable, the collection 1822 passed into the possession of Archduke Carl, who, like his descendants, it broadened. Under him, the collection was introduced together with the sumptuously equipped palace on the Augustinerbastei in the so-called "Carl Ludwig'schen fideicommissum in 1826, by which the building and the in it kept collection fused into an indissoluble unity. At this time had from the Palais Tarouca by structural expansion or acquisition a veritable Residenz palace evolved. Duke Albert of Saxe-Teschen was first in 1800 the third floor of the adjacent Augustinian convent wing adapted to house his collection and he had after 1802 by his Belgian architect Louis de Montoyer at the suburban side built a magnificent extension, called the wing of staterooms, it was equipped in the style of Louis XVI. Only two decades later, Archduke Carl the entire palace newly set up. According to scetches of the architect Joseph Kornhäusel the 1822-1825 retreaded premises presented themselves in the Empire style. The interior of the palace testified from now in an impressive way the high rank and the prominent position of its owner. Under Archduke Albrecht the outer appearance also should meet the requirements. He had the facade of the palace in the style of historicism orchestrated and added to the Palais front against the suburbs an offshore covered access. Inside, he limited himself, apart from the redesign of the Rococo room in the manner of the second Blondel style, to the retention of the paternal stock. Archduke Friedrich's plans for an expansion of the palace were omitted, however, because of the outbreak of the First World War so that his contribution to the state rooms, especially, consists in the layout of the Spanish apartment, which he in 1895 for his sister, the Queen of Spain Maria Christina, had set up as a permanent residence.
Picture: The "audience room" after the restoration: Picture: The "balcony room" around 1990
The era of stately representation with handing down their cultural values found its most obvious visualization inside the palace through the design and features of the staterooms. On one hand, by the use of the finest materials and the purchase of masterfully manufactured pieces of equipment, such as on the other hand by the permanent reuse of older equipment parts. This period lasted until 1919, when Archduke Friedrich was expropriated by the newly founded Republic of Austria. With the republicanization of the collection and the building first of all finished the tradition that the owner's name was synonymous with the building name:
After Palais Tarouca or tarokkisches house it was called Lorraine House, afterwards Duke Albert Palais and Palais Archduke Carl. Due to the new construction of an adjacently located administration building it received in 1865 the prefix "Upper" and was referred to as Upper Palais Archduke Albrecht and Upper Palais Archduke Frederick. For the state a special reference to the Habsburg past was certainly politically no longer opportune, which is why was decided to name the building according to the in it kept collection "Albertina".
Picture: The "Wedgwood Cabinet" after the restoration: Picture: the "Wedgwood Cabinet" in the Palais Archduke Friedrich, 1905
This name derives from the term "La Collection Albertina" which had been used by the gallery Inspector Maurice von Thausing in 1870 in the Gazette des Beaux-Arts for the former graphics collection of Duke Albert. For this reason, it was the first time since the foundation of the palace that the name of the collection had become synonymous with the room shell. Room shell, hence, because the Republic of Austria Archduke Friedrich had allowed to take along all the movable goods from the palace in his Hungarian exile: crystal chandeliers, curtains and carpets as well as sculptures, vases and clocks. Particularly stressed should be the exquisite furniture, which stems of three facilities phases: the Louis XVI furnitures of Duke Albert, which had been manufactured on the basis of fraternal relations between his wife Archduchess Marie Christine and the French Queen Marie Antoinette after 1780 in the French Hofmanufakturen, also the on behalf of Archduke Charles 1822-1825 in the Vienna Porcelain Manufactory by Joseph Danhauser produced Empire furnitures and thirdly additions of the same style of Archduke Friedrich, which this about 1900 at Portois & Ffix as well as at Friedrich Otto Schmidt had commissioned.
The "swept clean" building got due to the strained financial situation after the First World War initially only a makeshift facility. However, since until 1999 no revision of the emergency equipment took place, but differently designed, primarily the utilitarianism committed office furnitures complementarily had been added, the equipment of the former state rooms presented itself at the end of the 20th century as an inhomogeneous administrative mingle-mangle of insignificant parts, where, however, dwelt a certain quaint charm. From the magnificent state rooms had evolved depots, storage rooms, a library, a study hall and several officed.
Image: The Albertina Graphic Arts Collection and the Philipphof after the American bombing of 12 März 1945.
Image: The palace after the demolition of the entrance facade, 1948-52
Worse it hit the outer appearance of the palace, because in times of continued anti-Habsburg sentiment after the Second World War and inspired by an intolerant destruction will, it came by pickaxe to a ministerial erasure of history. In contrast to the graphic collection possessed the richly decorated facades with the conspicuous insignia of the former owner an object-immanent reference to the Habsburg past and thus exhibited the monarchial traditions and values of the era of Francis Joseph significantly. As part of the remedial measures after a bomb damage, in 1948 the aristocratic, by Archduke Albert initiated, historicist facade structuring along with all decorations was cut off, many facade figures demolished and the Hapsburg crest emblems plunged to the ground. Since in addition the old ramp also had been cancelled and the main entrance of the bastion level had been moved down to the second basement storey at street level, ended the presence of the old Archduke's palace after more than 200 years. At the reopening of the "Albertina Graphic Collection" in 1952, the former Hapsburg Palais of splendour presented itself as one of his identity robbed, formally trivial, soulless room shell, whose successful republicanization an oversized and also unproportional eagle above the new main entrance to the Augustinian road symbolized. The emocratic throw of monuments had wiped out the Hapsburg palace from the urban appeareance, whereby in the perception only existed a nondescript, nameless and ahistorical building that henceforth served the lodging and presentation of world-famous graphic collection of the Albertina. The condition was not changed by the decision to the refurbishment because there were only planned collection specific extensions, but no restoration of the palace.
Image: The palace after the Second World War with simplified facades, the rudiment of the Danubiusbrunnens (well) and the new staircase up to the Augustinerbastei
This paradigm shift corresponded to a blatant reversal of the historical circumstances, as the travel guides and travel books for kk Residence and imperial capital of Vienna dedicated itself primarily with the magnificent, aristocratic palace on the Augustinerbastei with the sumptuously fitted out reception rooms and mentioned the collection kept there - if at all - only in passing. Only with the repositioning of the Albertina in 2000 under the direction of Klaus Albrecht Schröder, the palace was within the meaning and in fulfillment of the Fideikommiss of Archduke Charles in 1826 again met with the high regard, from which could result a further inseparable bond between the magnificent mansions and the world-famous collection. In view of the knowing about politically motivated errors and omissions of the past, the facades should get back their noble, historicist designing, the staterooms regain their glamorous, prestigious appearance and culturally unique equippment be repurchased. From this presumption, eventually grew the full commitment to revise the history of redemption and the return of the stately palace in the public consciousness.
Image: The restored suburb facade of the Palais Albertina suburb
The smoothed palace facades were returned to their original condition and present themselves today - with the exception of the not anymore reconstructed Attica figures - again with the historicist decoration and layout elements that Archduke Albrecht had given after the razing of the Augustinerbastei in 1865 in order. The neoclassical interiors, today called after the former inhabitants "Habsburg Staterooms", receiving a meticulous and detailed restoration taking place at the premises of originality and authenticity, got back their venerable and sumptuous appearance. From the world wide scattered historical pieces of equipment have been bought back 70 properties or could be returned through permanent loan to its original location, by which to the visitors is made experiencable again that atmosphere in 1919 the state rooms of the last Habsburg owner Archduke Frederick had owned. The for the first time in 80 years public accessible "Habsburg State Rooms" at the Palais Albertina enable now again as eloquent testimony to our Habsburg past and as a unique cultural heritage fundamental and essential insights into the Austrian cultural history. With the relocation of the main entrance to the level of the Augustinerbastei the recollection to this so valuable Austrian Cultural Heritage formally and functionally came to completion. The vision of the restoration and recovery of the grand palace was a pillar on which the new Albertina should arise again, the other embody the four large newly built exhibition halls, which allow for the first time in the history of the Albertina, to exhibit the collection throughout its encyclopedic breadh under optimal conservation conditions.
Image: The new entrance area of the Albertina
64 meter long shed roof. Hans Hollein.
The palace presents itself now in its appearance in the historicist style of the Ringstrassenära, almost as if nothing had happened in the meantime. But will the wheel of time should not, cannot and must not be turned back, so that the double standards of the "Albertina Palace" said museum - on the one hand Habsburg grandeur palaces and other modern museum for the arts of graphics - should be symbolized by a modern character: The in 2003 by Hans Hollein designed far into the Albertina square cantilevering, elegant floating flying roof. 64 meters long, it symbolizes in the form of a dynamic wedge the accelerated urban spatial connectivity and public access to the palace. It advertises the major changes in the interior as well as the huge underground extensions of the repositioned "Albertina".
Christian Benedictine
Art historian with research interests History of Architecture, building industry of the Hapsburgs, Hofburg and Zeremonialwissenschaft (ceremonial sciences). Since 1990 he works in the architecture collection of the Albertina. Since 2000 he supervises as director of the newly founded department "Staterooms" the restoration and furnishing of the state rooms and the restoration of the facades and explores the history of the palace and its inhabitants.
Markings for the orange walking trail at Trångsundsskogens Naturreservat, Stockholm, Sweden. Kris Wood. 01/01/2017
Quoting Smithsonian National Air and Space Museum | Dornier Do 335 A-0 Pfeil (Arrow):
The Do-335 was one of a small group of aircraft marking the pinnacle of international piston-engined development. It was the fastest production piston-engined fighter ever built, attaining 846 kilometers per hour (474 mph) in level flight at a time when the official world speed record was 755 kph (469 mph). Powered by two 1800-hp engines in a unique low-drag configuration and weighing 9600 kg (21,000 lb) loaded, it was an exceptional heavy fighter. This very innovative design also featured an ejection seat, for pilot safety, and a jettisoning fin.
The unconventional layout of the Do-335 -- one engine "pulling" in the nose and another "pushing" in the tail - was patented by Claudius Dornier in 1937. The configuration provided the power of two engines, but with reduced drag and better maneuverability. The German Aviation Ministry (RLM) was interested in the design, but initially wanted Dornier only to produce bombers. By 1942, Dornier was still continuing design work and the war situation was worsening. The Luftwaffe now needed a multi-purpose fighter, and the prototype Do-335V-1 ("V" indicating "versuchs" or "experimental") flew in fighter form in September, 1943 - six years after its conception. Orders were immediately placed for 14 prototypes, 10 A-0 preproduction aircraft, 11 production A-1 single-seaters, and 3 A-10 and A-12 two-seat trainers.
The aircraft was quite large for a single-seat fighter, with a cruciform tail and a tricycle landing gear. The two massive liquid-cooled Daimler-Benz DB-603 engines were used in four different versions, each displacing 44.5 liters (2670 cu in) and weighing 910 kg (2006 lb). The engine produced 1750 hp from 12 cylinders in an inverted V layout using fuel injection and an 8.3:1 compression ratio. The rear three-bladed propeller and dorsal fin were jettisoned by explosive bolts in an emergency, to allow the pilot to bail out safely using a pneumatic ejection seat. The seat, inclined 13 degrees to the rear, was ejected with a force of 20 times gravity. The ventral fin could be jettisoned for a belly landing.
Unlike a normal twin-engined aircraft, with wing-mounted engines, loss of an engine on the Do-335 did not cause a handling problem. Even with one engine out, speed was a respectable 621 kph (348 mph). Because of its appearance, pilots dubbed it the "Ant eater" ("Ameisenbar"), although they described its performance as exceptional, particularly in acceleration and turning radius. The Do-335 was very docile in flight and had no dangerous spin characteristics. Many Do-335 prototypes were built, as the Reich strained desperately to provide day and night fighters and fast reconnaissance aircraft to the failing war effort. One of the many RLM production plans, issued in December 1943, called for the production of 310 Do-335s by late 1945. Initial production was at the Dornier Manuel plant, but this factory was bombed heavily in March-April, 1944, and the Do-335 tooling was destroyed.
Ten Do-335A-0 preproduction aircraft were then produced at Dornier's Oberpfaffenhofen plant in July-October 1944, by which time the Allied bombing campaign was delaying arrivals of engines, propellers, radios, and structural subcomponents. This had a serious effect, because the Do-335 was not a simple aircraft: installation of the electronics alone took 60 hours of assembly, and the electrical parts list was 112 pages long. Production of Daimler-Benz engines, for example, was switched to factories set up in underground salt mines and gypsum mines, but high humidity caused corrosion problems and production dropped 40 percent. Although several preproduction aircraft were issued to combat conversion units some 10 months before the war ended, no Do-335s actually entered combat. Deliveries began to the 1st Experimental Squadron of the Commander-in-Chief of the Luftwaffe ( I/Versuchsverband Ob.d.L.) in late July 1944 for operational trials.
The first of the Do-335A-1 production version left the Dornier line at Friedrichshafen early in 1945, one of only four produced in 1945. It was armed with one 30 mm MK-103 cannon (70 rounds were carried) firing through the propeller hub and two 15 mm MG-151/15 cannon (200 rounds per gun) firing from the top of the forward engine. Even with the fighter situation as desperate as it was, these aircraft were still equipped to carry 500 kg (1100 lb) of bombs internally. Further operational testing, including use of air-to-ground guided missiles, began in Spring 1945 with Trials Unit (Erprobungskommando) 335.
The Do-335A-6 was to be a two-seat night fighter version with the advanced FFO FuG-217J Neptun radar having triple "trident"-like antennas (hence the name "Neptun") on the fuselage and wings, but only a prototype was completed. A total of 37 prototypes, 10 A-0s, 11 A-1s and 2 A-12 trainers were built, although nearly 85 additional aircraft were in assembly when U.S. troops overran the Friedrichshafen factory in late April, 1945. The Vienna-Swechat plant of the Ernst Heinkel AG was also scheduled to build the Do-335 beginning in February, 1945, but production never started.
The NASM aircraft is the second Do-335A-0, designated A-02, with construction number (werke nummer) 240102 and factory registration VG+PH. It was built at Dornier's Rechlin-Oberpfaffenhofen, Germany, plant on April 16, 1945. It was captured by Allied forces at the plant on April 22, 1945. After checkout, it was flown from a grass runway at Oberweisenfeld, near Munich, to Cherbourg, France. During this flight, the Do-335 easily outclimbed and outdistanced two escorting P-51s, beating them to Cherbourg by 45 minutes. Under the U.S. Army Air Force's "Project Sea Horse," two Do-335s were shipped to the United States aboard the Royal Navy ship HMS "Reaper" together with other captured German aircraft, for detailed evaluation. This aircraft was assigned to the U.S. Navy, which tested it at the Test and Evaluation Center, Patuxent River Naval Air Station, Maryland. The other aircraft, with registration FE-1012 (later T2-1012), went to the USAAF at Freeman Field, Indiana, where it was tested in early 1946. Its subsequent fate is unknown, and this is the only Do-335 known to exist.
Following Navy flight tests in 1945-48, the aircraft was donated to the Smithsonian's National Air Museum in 1961 but was stored at NAS Norfolk until 1974. It was then returned to Oberpfaffenhofen, Germany, where the Dornier company restored it to original condition in 1975. The return trip to Germany required an exemption under U.S. laws concerning the export of munitions. The Dornier craftsmen doing the restoration - many of whom had worked on the original aircraft -- were astonished to find that the explosive charges fitted to blow off the tail fin and rear propeller in an emergency were still in the aircraft and active, 30 years after their original installation! The Do-335 was put on static display at the May 1-9, 1976, Hannover Airshow, and then loaned to the Deutsches Museum in Munich, where it was on prominent display until returned to Silver Hill, MD, for storage in 1986.
Country of Origin:
Germany
Physical Description:
Twin engine, pusher / puller, fighter / bomber; grey/green, green; late World War II development.
Markings; 20th Tactical Fighter Wing, 77th Tactical Fighter Squadron, RAF Upper Heyford, United Kingdom, 1992
I discovered these markings on the wall of an underpass that had been flooded. Numerous snails were present on the concrete walls and, presumably, made the snail trails seen here.
Looks a bit like the back of a circuit board or tapestry.
Spent a fair chunk of the day hand drawing on the road markings of this one section of road. After a lot of trial and error I settled on lanes just shy of 8 studs wide each, with 3 stud wide pedestrian crossings at intersections. Now that I have a system in place each road section should get finished quicker, and I'll be able to unpack more of my city vehicles to put on display.
I also put down the foundation for a bank in the center of the pic, this is more of a test for greebles like traffic lights and garbage cans right now though. The interior will be along the lines of a vignette since the building's compressed onto a 16x16 baseplate, but I should still be able to get a lot of details in.
Comments, criticism and questions are welcome, and keep an eye out for more.
Sep' 14, 2017 Nevatim AFB, Israel
Two IAF officers attaching the IAF roundel on F-35i AS-7 (Adir 909) upon arrival (by IDF PR)
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(c) Dr Stanislav Shmelev
Devil's den is an incredible ancient megalithic monument located not too far from Avebury circle. Some researchers think that it was marking a site of an ancient spring. It is part of a unique collection of prehistoric monuments in the ancient Kingdom of Wessex (currently the Wiltshire County).
Stonehenge is a prehistoric monument in Wiltshire, England, two miles (3 km) west of Amesbury. It consists of a ring of standing stones, each around 13 feet (4.0 m) high, seven feet (2.1 m) wide, and weighing around 25 tons. The stones are set within earthworks in the middle of the most dense complex of Neolithic and Bronze Age monuments in England, including several hundred tumuli (burial mounds).
Archaeologists believe it was constructed from 3000 BC to 2000 BC. The surrounding circular earth bank and ditch, which constitute the earliest phase of the monument, have been dated to about 3100 BC. Radiocarbon dating suggests that the first bluestones were raised between 2400 and 2200 BC, although they may have been at the site as early as 3000 BC.
One of the most famous landmarks in the United Kingdom, Stonehenge is regarded as a British cultural icon.[6] It has been a legally protected Scheduled Ancient Monument since 1882, when legislation to protect historic monuments was first successfully introduced in Britain. The site and its surroundings were added to UNESCO's list of World Heritage Sites in 1986. Stonehenge is owned by the Crown and managed by English Heritage; the surrounding land is owned by the National Trust.
I am absolutely delighted to let you know that my new album, 'ECOSYSTEMS' has just been published: stanislav.photography/ecosystems
It has been presented at the Club of Rome 50th Anniversary meeting, the United Nations COP24 conference on climate change, a large exhibition held at the Mathematical Institute of Oxford University and the Environment Europe Oxford Spring School in Ecological Economics and now at the United Nations World Urban Forum 2020. There are only 450 copies left so you will have to be quick: stanislav.photography/ecosystems
You are most welcome to explore my new website: stanislav.photography/ and a totally new blog: environmenteurope.wordpress.com/
#Neowise #Comet #Komet #Comete #комета #stars #sky #blue #galaxy #Solar #system #8600 years
#EnvironmentEurope #EcologicalEconomics #ECOSYSTEMS #sustainability #GreenEconomy #renewables #CircularEconomy #Anthropocene #ESG #cities #resources #values #governance #greenfinance #sustainablefinance #climate #climatechange #stonehenge #stone #monument #anceient #history #avebury #climateemergency #renewableenergy #planetaryboundaries #democracy #energy #accounting #tax #ecology #art #environment #SustainableDevelopment #contemporary #photography #nature #biodiversity #conservation #coronavirus #nature #protection #jungle #forest #palm #tree #Japan #Europe #USA #South #America #Colombia #Brazil #France #Denmark #Russia #Kazakhstan #Germany #Austria #Singapore #Albania #Italy #landscape #new #artwork #collect #follow #like #share #film #medium #format #Hasselblad #Nikon #CarlZeiss #lens #photography
Marking the boundary between the parishes of St Peter Mancroft and St Giles, on the wall of the COACH & HORSES, Bethel St.
16-08204 Boeing Chinook CH-47F at MCAS Kaneohe airshow in Hawaii held during August 2025.
The other side does not have the animal head markings.
My friend Nick Marking in his natural surrounding at Blooming Hill Vineyard.
Taken with Canon 200mm F2.8 L USM lens
If the bumper markings are accurate, this truck served in the Advanced Section Communications Zone
European Theater of Operations, U.S. Army- ASCZ
I'm no expert though, and don't have an AR-850-5 manual handy. Judging from the door, it might be just someone's idea of a little joke, no pun intended.
1:87 Johnny Lightning:
GMC CCKW 2 -1/2 Ton
6x6 Cargo Truck
The Greatest Generation
2018 Release 2A
Olympus OM-D E-M5 Mark II
Olympus M.14-42mm F3.5-5.6 II R
For more info about the dioramas, check out the FAQ: 1stPix FAQ
via Playground Markings UK bit.ly/1FX7lTH
"Higher doses of hydrocortisone not linked to neurodevelopmental impairments in low birth weight..."
via Playground Markings UK bit.ly/1X0rDsJ
Hampshire Tennis Court – Non Slip Acrylic Coating - YouTube bit.ly/1MDvZvC
via Playground Markings UK bit.ly/25IvU62
Key Stage 2 Play Area Design in Llangunllo #KS2 #Play #Surface #Designs #Llangunllo bit.ly/1RVTGEu
A sign marking where Mathematician George Boole lived and is said to have founded a School. At 3 Pottergate, in Lincoln, Lincolnshire.
Although he was recognised as a genius in his own lifetime, it was not until almost a century later that the far-reaching implications of Boole’s work would become apparent. An American electronics engineer named Claude Shannon realised Boole’s logic could be applied in producing electrical circuits: a discovery that started the digital revolution. Today even the most advanced computers and smart devices still depend on Boolean logic.
Boole, the son of John Boole Sr, a shoemaker and Mary Ann Joyce, was born on November 2nd 1815, at 34 Silver Street, Lincoln - his home no longer exists but was near the former The Constitution Club.
He was christened at St Swithins Church and attended the church in his early life; the minister there encouraged him in his mathematics, lending him a book on differential calculus. A plaque stands in Boole's memory on the site where the church stood when he attended, further along St Swithins Square than the current church building.
He had a primary school education, and received lessons from his father, but had little further formal and academic teaching. William Brooke, a bookseller in Lincoln, may have helped him with Latin, which he may also have learned at the school of Thomas Bainbridge. He was self-taught in modern languages.
Boole opened his own school in 1834 very close to St Swithins Church, on Free School Lane when he was just aged 19. Also nearby was Lincoln Mechanics Institute of which Boole's father was a founding member and where Boole lectured - in the old Grammar School, the Greyfriars.
Boole later founded a school on Pottergate near Lincoln Cathedral which is also where his home is said to have been. It was at this school that Boole conducted his last teaching in Lincoln and where he won the Gold Medal from the Royal Society, in 1844. A plaque is found at 3 Pottergate in Boole's memory.
Boole was keen to further his skills in higher mathematics and, with limited opportunities in Lincoln, took up a professorship at Queen's College Cork, Ireland, moving there in 1849. It was in Cork that he met his wife and started a family, eventually having five daughters. Boole ended his days here on December 8th 1864, dying prematurely aged only 49.
Friends of Boole still in Lincoln raised funds to create a memorial for the mathematician in Lincoln Cathedral: The Teaching Window. The stained glass window, found in the fourth window of the north wall of the cathedral, depicts the calling of Samuel, his favourite Bible passage, at the request of his widow.
Information mostly gained from www.visitlincoln.com/about-lincoln/history-heritage/boole/
The Holsten Gate ("Holstein Tor", later "Holstentor") is a city gate marking off the western boundary of the old center of the Hanseatic city of Lübeck. This Brick Gothic construction is one of the relics of Lübeck’s medieval city fortifications and the only remaining city gate, except for the Citadel Gate ("Burgtor"). Because its two round towers and arched entrance are so well known it is regarded today as a symbol of this German city, and together with the old city centre (Altstadt) of Lübeck it has been a UNESCO World Heritage Site since 1987.
APPEARIANCE
The Holsten Gate is composed of a south tower, a north tower and a central building. It has four floors, except for the ground floor of the central block, where the gate’s passageway is located. The side facing west (away from the city) is called the “field side”, the side facing the city the “city side”. The two towers and the central block appear as one construction when viewed from the city side. On the field side, the three units can be clearly differentiated. Here the two towers form semicircles which at their widest point extend 3.5 metres beyond the central block. The towers have conical roofs; the central block has a pediment.
PASSAGEWAY & INSCRIPTIONS
The passageway once had two gates on the field side, which have not survived. A portcullis installed in 1934 does not correspond to the original security installations. Instead, there was once a so-called "pipe organ" at this location, with individual bars which could be lowered separately rather than together as a set. Thus it was possible to first lower all but one or two rods, leaving a small gap for their own men to slip through later. There is an inscription over the passageway on both the city side and the field side.
On the city side it reads, “SPQL” and is framed by the years 1477 and 1871, the former being the supposed date of construction (the correct date is, however, now known to be 1478), the latter being the date of the gate’s restoration and the founding of the German Reich. This inscription was modeled on the Roman “SPQR” (Latin populusque Senatus Romanus - the Senate and People of Rome) and stands for Senatus populusque Lubecensis. It was, however, affixed only in 1871. There was previously no inscription at this location. It would also have been pointless, since the view of the lower parts of the Holsten Gate from the city side was obscured by high walls.
There is another inscription on the field side. The text is “concordia domi foris pax” (“harmony within, peace without”). This inscription is also from 1871 and is a shortened form of the text which had previously been on the (not preserved) foregate: “Concordia domi et pax foris sane res est omnium pulcherrima” (“Harmony within and peace without are indeed the greatest good of all”; see “Outer Holsten Gate” below).
FORTIFICATIONS ON THE FIELD SIDE
Functionally, the field and the city side have very different designs. While the city side is richly decorated with windows, this would be inappropriate on the field side considering the possibility of, combat situations. On the field side there are accordingly only a few small windows. In addition, the walls are interspersed with embrasures. Also, the wall thickness on the field side is greater than on the city side: 3.5 metres compared to less than 1 metre. The reasoning during construction may have been to be able to quickly destroy the gate from the city side in an emergency, so that it would not fall into enemy hands as a bulwark.
The loopholes and the openings of the gun chambers are directed toward the field side. In each tower there were three gun chambers each on the ground, first and second floors. Those on the ground floor have not been preserved. Since the building has subsided over the centuries, they are now 50 centimetres below ground level, and even below the new flooring. On the first upper storey there are, in addition to the aforementioned chambers, two slits for small guns which were above and between the three chambers. There are also small openings on the third upper storey with forward- and downward-directed slits for firing small arms.
The central block has no loopholes. The windows above the passage were also designed for dousing invaders with pitch or boiling water.
ORNAMENTATION
The most striking nonfunctional embellishments are two so-called terra-cotta stripes which encircle the building. These consist of individual tiles, most of which are square with sides of 55 centimetres. Each tile bears one of three different ornaments: either an arrangement of four heraldic lilies, a symmetrical lattice, or a representation of four thistle leaves. There is no apparent order to these recurring symbols, but each group of eight tiles is always followed by a tile with a different design. It has the form of a heraldic shield and bears either the Lübeck heraldic eagle or a stylized tree. These shields are flanked by two male figures who function as bearers of a coat of arms.
The terra-cotta stripes were repaired during restoration work between 1865 and 1870. Only three of the original tiles are preserved as museum specimens. The new tiles approximate the former design, although liberties were taken during the restoration. For example, the design of the heraldic eagle motif is by no means a reflection of the original.
The pediment was also not faithfully restored, but this is not the fault of the restorers, since in the 19th century it had long been gone and its original appearance was unknown. An old view on an altarpiece in the Lübeck fortress monastery shows a Holsten Gate with five pediment towers. But since this picture shows the Holsten Gate in the middle of a fantasy landscape of mountains and forests the credibility of the representation is disputed. Today, three towers crown the pediment, but they are visible only from the city side.
INTERIOR
Both tower interiors have the same design. The ground floor and first upper story have the highest ceilings, while the floors above are much lower. Two narrow spiral staircases wind their way upwards, in each case between the central building and the adjacent tower. On each floor corridors connect the rooms of the central block with tower rooms at the same level. The ceiling of the north tower’s second floor has been removed, so that today the second and third upper storeys there share a common space. This change dates from 1934 and does not reflect the original situation.
The gun chambers are in front of the loopholes. Today there are guns in the chambers of the second floor, but they are not originals and were placed there at a late date. Above the gun chambers are hooks from which chains were suspended and attached to the cannon to cushion the recoil after firing. The higher gun chambers of the first upper storey could only be accessed with ladders.
HISTORY
The rich and wealthy Hanseatic city of Lübeck felt the need in the course of the centuries to protect itself from outside threats with ever stronger walls and fortifications. Three gates gave access to the city: the Citadel Gate in the north, Mill Gate in the south, and the Holsten Gate in the west. To the east, the city was protected by the dammed Wakenitz River. Here, the less martial Hüxter Gate led out of the city.
These city gates were initially simple gates which were repeatedly strengthened over time so that they eventually all had an outer, middle and inner gate. Today, only fragments remain of these ancient city gates. The gate now known as the Citadel Gate is the former Interior Citadel Gate; the Middle and Outer Citadel Gates no longer exist. All three Mill Gates have completely disappeared. The gate now known as the Holsten Gate is the former Middle Holsten Gate; there was also an (older) Inner Holsten Gate, an Outer Holsten Gate, and even a fourth gate, known as the Second Outer Holsten Gate. So the history of the Holsten Gate is actually the history of four consecutive gates, although only one of them is left.
The names of the individual gates changed as a matter of course as their components emerged and disappeared. The Middle Holsten Gate was once the Outer Holsten Gate before the gates on either side were constructed. Still today there is a great deal of confusion about the names as one studies the historical record. The four gates and their history are described below.
INNER HOLSTEN GATE
The oldest Holsten Gate guarded the nearby banks of the Trave River. One had to leave the city through this gate in order to get to the Holsten Bridge, which crossed the river. It is not known when a gate was erected here for the first time. The Holsten Bridge was first mentioned in a 1216 deed signed by the king of Denmark. It is likely that already at that time there was a gate and a city wall along the Trave River. The designations “Holsten Bridge” (and “Holsten Gate”) are simply a consequence of the fact that the city’s western exit was in the direction of Holstein.
Historical records indicate that the Holsten Bridge and Holsten Gate were renewed in 1376. There is good evidence for the appearance of the gate erected at that time in a woodcut of a view of the city of Lübeck produced by Elias Diebel. Although this is a city view from the eastern, Wakenitz side of the old inner city hill, the artist has folded out essential parts of the gate’s west side, so that they too become visible. It was a rectangular tower with a wooden gallery on the upper part.
At an unknown date in the 17th century, the Inner Holsten Gate was replaced by a smaller, simple half-timbered gate - possibly because no point was seen in having a strong inner gate in light of the strong outer fortifications which had been erected in the meantime. The Inner Holsten Tor was connected to the dwelling of the tollkeeper, who guarded the access to the city at this location.
The half-timbered gate was replaced by a simple iron gate in 1794, which in turn was demolished in 1828, together with the tollkeeper’s house and the city wall along the Trave River.
It is likely that there was a gate also on the opposite bank of the Trave at an early date. But nothing is known of its appearance. If it existed, it was torn down before or after the construction of the Middle Holsten Gate.
MIDDLE HOLSTEN GATE
In the 15th century the entire gate construction was considered to be inadequate. The proliferation of firearms and canon made stronger fortifications necessary. It was decided to build another gate - the Outer Holsten Gate, later known as the Middle Holsten Gate and today only as the Holsten Gate. Funding was secured by a legacy of the councilman John Broling amounting to 4,000 Lübeck marks. In 1464 the city’s architect, Hinrich Helmstede, began construction, which was completed in 1478. It was erected on a seven-metre high hill raised for the purpose. Already during the construction period this foundation proved to be unstable. The south tower sagged because of the marshy ground and already during ongoing constructions attempts were made to compensate for its inclination.
OUTER HOLSTENN GATE
The exterior Holsten Gate was also known as the Renaissance Gate, the Foregate or the Crooked Gate. It was constructed in the 16th century when a wall was built west of the Middle Holsten Gate into which a gate was inserted. The outer Holsten Gate was completed in 1585. The new gate obstructed the view of the Middle Holsten Gate since its eastern exit was located only 20 metres from that construction. A walled area known as the Zwinger was created between the two gates.
Its foregate was small compared with the approximately one hundred years older Middle Holsten Gate, but much more richly decorated on the field side. The city side was by contrast left plain. The Outer Holsten Gate was the first gate to bear an inscription. It read, "Pulchra res est pax foris et concordia domi – MDLXXXV" ("It is wonderful to have peace without and harmony within - 1585") and was placed on the city side. It was later moved to the field side and slightly modified ("Concordia domi et foris pax sane res est omnium pulcherrima", "harmony within and peace without are the greatest good of all"). Connected to the gate was the home of the Wall Master, who was responsible for the maintenance of the fortifications.
The builder of the Renaissance gate was probably the city architect Hermann von Rode, who designed the front following Dutch prototypes. For example, the Nieuwe Oosterpoort in Hoorn is directly comparable. This gate existed for about 250 years and was in the end sacrificed to the railway; it was demolished in 1853 to make room for the first Lübeck train station and tracks. Today, this station no longer exists either; the present station is located about 500 metres to the west.
SECOND OUTER HOLSTEN GATE
At the beginning of the 17th century new city walls were built in front of the city moat, under the supervision of military engineer Johhann von Brüssel. As part of this construction a fourth Holsten Gate was built in 1621. It was completely integranted into the high walls and topped by an octagonal tower. The archways bore the inscriptions “Si Deus pro nobis, quis contra nos” ( "If God be for us, who can be against us?" on the city side and “sub alis altissimi ( "Under the protection of the Most High" on the field side. This gate was the last of the four Holsten Gates to be constructed and the first to disappear, namely in 1808.
DEMOLITION & RESTAURATION IN 19TH CENTURY
In the course of industrialization, the fortifications were considered to be only annoying obstacles. In 1808 the second outer Holsten Gate was demolished, in 1828 the inner Holsten Gate, and in 1853 the outer Holsten Gate. It was then considered to be only as a matter of time before the Middle Holsten Gate, the only remaining of the four gates, would be torn down. Indeed, in 1855, Lübeck citizens petitioned the Senate to finally demolish the remaining gate, since it hindered the extension of the railway facilities. This petition had 683 signatures.
However, there was at that time also growing resistance to the destruction of old buildings. Thus August Reichensperger wrote in 1852, “Even Lübeck, once the proud head of the Hanseatic League, does not seem able to endure the reflection of its former glory. It maims, crops and covers up so assiduously that “modern Enlightenment” will soon have nothing to be ashamed of any more”.[2] When King Frederick William IV of Prussia heard of this, he sent Prussia’s then-curator of historic monuments, Ferdinand von Quast, to salvage whatever could be saved.[3]
Controversy over the demolition went on for a long time. A decision was made only in 1863 when the Lübeck citizens decided by a majority of just one vote not to demolish the building but to instead extensively restore it. Meanwhile, the gate was in very bad condition, since every year it had sunk a few centimetres further into the ground. The lowest loopholes were already 50 centimetres below ground, and the inclination of the entire gate was beginning to be dangerous. This drastically altered the statics of the building, so that its collapse was feared. The Holsten Gate was thoroughly restored, with work continuing into 1871.
Afterwards there was a change in the relationship of the Lübeck population to the Holsten Gate. It was no longer perceived as a troublesome ruin, but as a symbol of a proud past. In 1925, the German Association of Cities made the Holstentor its symbol. As early as 1901, the marzipan manufacturer Niederegger used the Holsten gate in its company trademark. Other Lübeck companies did the same.
RESTAURATION IN 1934/36
Since the towers continued to slant and their collapse could still not be ruled out, a second restoration became necessary. This occurred in the years 1933-34, during which the Holsten Gate was stabilized so that it finally stood firm. In this final restoration, reinforced concrete anchors were used to secure the towers, which were girded by iron rings. Changes were, however, also made which did not correspond with the original character of the gate, including the above-mentioned merging of north tower floors. The Nazis turned the Holsten Gate into a museum. It was called the Hall of Honor and Glory, and was supposed to represent Lübeck and German history from the perspective of Nazi ideology.
In the second half of the 20th century minor repairs were made to the Holsten Gate which are no longer in line with current standards for architectural conservation.
RESTAURATION 2008/06
From March 2005 to December 2006, the Holsten Gate was again restored. The restoration was estimated to cost around one million euros, with 498,000 euros (the originally planned cost) being provided by the German Foundation for Monument Protection and the Possehl Foundation. The remaining costs were primarily covered through donations from individuals, companies and academic institutions. A swastika dating from 1934 was cut out and taken away by unknown parties a few days after the scaffolding was installed for the repairs. It was considered to be the last swastika still remaining on a public building in Germany and was supposed to be concealed with metal sheeting as part of the restoration work. A plate with the date 2006 was put up where the stolen swastika had been to commemorate the completion of restoration work.
On 2 December 2006, the Holstentor reopened to the public as part of a light show created by the artist Michael Batz. For safety reasons the gate had been obscured during restoration by a high resolution depiction of the gate before work had begun, printed on scaffolding tarpaulins.
THE HOLSTEN GATE TODAY
In 1950 the Holsten Gate again served as a museum, this time for municipal history. Relics from historic Lübeck were presented, the development of medieval Lübeck was shown using models and pictures, and models of the ships of the Hanseatic League and the flagship “Eagle of Lübeck” were exhibited. The features of this museum were also not historically accurate. For example, the museum also included a torture chamber with a dungeon, a rack and other torture devices. But the Holsten Gate had never contained anything like that.
The two monumental iron statues of reclining lions placed in an area in front of the Holsten Gate designed by Harry Maasz date from 1823 and are unsigned They are attributed to Christian Daniel Rauch and may possibly have been made with the collaboration of a member of Rauch’s workshop, Th. Kalide (1801-1863). One lion is asleep, the other is awake and attentively regards the other. They were originally placed in front of the house built in 1840 by the Lübeck merchant and art collector John Daniel Jacobj (1798-1847) at Große Petersgrube 18. In 1873 they were placed in front of the Hotel Stadt Hamburg am Klingenberg until its destruction in 1942 during World War II, and only later in front of the Holsten Gate. They are complemented by a bronze statue on the other side of the street, the Striding Antilope, by the sculptor Fritz Behn.
The Holsten Gate Museum was modernized in 2002. Not only was the torture chamber removed; all rooms were redesigned according tor a new concept that involved the integration of image and sound documentation. As of 2006, the museum has been managed by the Cultural Foundation of the Hanseatic City of Lübeck.
SURROUNDINGS
The Holsten Gate is located in the Lübeck city wall complex on the main access road connecting the main railway station with the suburb of St. Lorenz and crossing the Puppen Bridge. The Holsten Gate Square (“Holstentorplatz”) is enclosed on one side by a branch of the Deutsche Bundesbank; with new construction extending the original Reichsbank building to the rear. On the other side there is the brick expressionist Holsten Gate Hall (“Holstentorhalle”) between the historic salt warehouses and the DGB’s House of Trade Unions (“Gewerkschaftshaus”). This building was altered with funds from the Possehl Foundation to create a rehearsal and teaching facility for Lübeck’s University of Music (“Musikhochschule Lübeck”) was rebuilt. Another pedestrian bridge over the Upper Trave River was completed in spring 2007 to provide a connection the university’s main building complex in the old city centre.
MISCELLANEOUS
ON CURRENCIES & POSTAGE STAMPS
The Holsten Gate appears on the 50 DM bank notes produced from 1960 to 1991 and on the German two-euro coin issued in 2006.
In 1948 it appeared on the four highest denominations (DM 1, DM 2, DM 3 and DM 5) of the first long-term series of postage stamps in German mark currency, which featured buildings. In 2000 it appeared on the 5 DM and 10 DM postage stamp of another series, "Places of Interest".
WIKIPEDIA
via Playground Markings UK bit.ly/1Q1dJ5l
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