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17/06/2018 Home gym. I added a much wider foot plate so I could fit the whole length of my feet on including the heels.
(All 'Home Gym' photos are taken by myself.)
Nikon D7200, cheap Russian bellows unit, 4x microscope objective, 2 SB600 flash units in CMD mode. 50 pictures combined in CombineZP
This is the plan... dark red, red & bright light orange
FYI all credit goes to Nick for this amazing design
Original here - flic.kr/p/NGTStf
What a lump!, the replacement power unit fitted for this vehicle registered NXT 353 is 3528cc. Here it is at Blackbushe on July 8th 2023.
Modified version of a photograph taken during an extended holiday in Turkey, summer of 1993. (Scanned from a transparency.)
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I 1975 arrivano finalmente in Italia per due date evento! Il 12 aprile 2016 si esibiranno davanti al pubblico milanese del Fabrique di Milano.
A distanza di tre anni dal loro ultimo concerto italiano e con migliaia di follower in più, i quattro di Manchester promettono uno show pieno di emozioni e carica rock.
I The 1975 (stilizzato come THE1975) sono un gruppo musicale indie rock britannico formatosi nel 2002 a Manchester. È composto da Matthew "Matty" Healy, Adam Hann, George Daniel e Ross MacDonald.
Nonostante la loro giovane età, (classe 1989), da subito si distinguono per i testi cupi e i temi profondi, il tutto viene poi visivamente consolidato da un rigoroso uso del black&white per video, foto e copertine di EP ed album.
Il loro stile musicale può essere definito come un crossover originale di electro, R&B e pop ’80. Non a caso il loro produttore è Mike Crossey (Foals, Arctic Monkeys).
Il 1° giugno 2015 segna un momento di svolta per il quartetto: viene infatti postata sui profili social un’immagine a colori (bianco e rosa) del tipico logo della band. La data non è stata scelta a caso, il 1° giugno è infatti il giorno della nascita della band. Il restyling significa quindi una rinascita simbolica per una band che può e vuole suonare per quante più persone possibili e continuare a fare musica.
Matthew Healy – vocals, guitar
Adam Hann – guitar, keyboards, backing vocals
George Daniel – drums, backing vocals
Ross MacDonald – bass guitar, keyboards, backing vocals
This is my entry for the Modified Machines LUGNuts build challenge. Its a 68' Pontiac GTO dragracer. This model is called "The Great One". Its not my overinflated opinion on the build, but rather...that is what they called the '68 GTO. They also called it a Goat...but...um...The Great One just sounds better. My ladyfriend Sue asked me to build her dream car and this is what she wanted. She has good taste in cars, eh?
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Il 6 aprile 2016 gli Scott Bradlee’s Postmodern Jukebox, la rivelazione swing americana già fenomeno di Youtube grazie alla cover di Miley Cyrus “We can’t stop”, saranno in concerto in Italia all’Alcatraz di Milano, per l’unica tappa italiana del tour.
Un fenomeno ormai mondiale, con 200 Milioni di visualizzazioni su Youtube e 1 Milione di iscritti al canale.
Un tour che parte nel 2015 dagli Stati Uniti passando per l’Asia ed approdando in Europa nel 2016 con oltre 80 date confermate. Immaginate canzoni di Beyoncé, Britney Spears or Taylor Swift riportate indietro di 70-80 anni…
Gli Scott Bradlee’s Postmodern Jukebox (o PMJ, come ormai vengono chiamati in tutto il mondo) sono una mini-big band swing a tutti gli effetti, ma con qualcosa in più: uniscono il perfetto stile “d’epoca” ai brani moderni di Beyoncé, Britney Spears, White Stripes o Taylor Swift rielaborandoli come se fossero arrangiati per Louis Armstrong, Ella Fitzgerald, Judy Garland o Nina Simone. I PMJ colmano il divario tra le generazioni, suonando melodie a tutti familiari con arrangiamenti che intrigano tutte le età.
Seen on Route 66 in Cuba, Missouri. I thought it interesting that someone would add an asphalt shingled gable roof, regular windows and vinyl siding to a travel trailer. There is probably a good story here, but I don't know what it is. There's just no telling what you'll see if you keep your eyes open on Route 66.
Photo collage, workman's jeans and running shoes on the terrace of a house in central Querétaro, Mexico.
My first attempt at real close up, a dead fly taken with Tamron 90mm f2.5 52B macro lens, cheap Russian bellows unit, 2 x Nikon SB600 flash units on manual 1/80 power, Nikon D7000
NEAR from Death Note
Custom Boy Dal by Sheryl Designs
Estoy haciendo la careta de Near. ^^
Ahora me toca la parte del lijado... T_T Que es muy lenta.... U_U
Best viewed Original size.
Worcester (85A) depot's Hawksworth GWR "Modified Hall" class 4-6-0 6992 "Aborfield Hall" approaches its home town and Foregate Street station with a Class B passenger train - c.1957.
Please do not share or post elsewhere without permission of the copyright holder(s).
© 2016 - 53A Models of Hull Collection. Scanned from the original 120 monochrome negative; photograph by the late James S Doubleday.
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A visit to Charlecote Park for an afternoon visit to this National Trust property in Warwickshire. Near Stratford-upon-Avon. A deer park with a country house in the middle of it.
Charlecote Park (grid reference SP263564) is a grand 16th-century country house, surrounded by its own deer park, on the banks of the River Avon near Wellesbourne, about 4 miles (6 km) east of Stratford-upon-Avon and 5.5 miles (9 km) south of Warwick, Warwickshire, England. It has been administered by the National Trust since 1946 and is open to the public. It is a Grade I listed building.
The Lucy family owned the land since 1247. Charlecote Park was built in 1558 by Sir Thomas Lucy, and Queen Elizabeth I stayed in the room that is now the drawing room. Although the general outline of the Elizabethan house remains, nowadays it is in fact mostly Victorian. Successive generations of the Lucy family had modified Charlecote Park over the centuries, but in 1823, George Hammond Lucy (High Sheriff of Warwickshire in 1831) inherited the house and set about recreating the house in its original style.
Charlecote Park covers 185 acres (75 ha), backing on to the River Avon. William Shakespeare has been alleged to have poached rabbits and deer in the park as a young man and been brought before magistrates as a result.
From 1605 to 1640 the house was organised by Sir Thomas Lucy. He had twelve children with Lady Alice Lucy who ran the house after he died. She was known for her piety and distributing alms to the poor each Christmas. Her eldest three sons inherited the house in turn and it then fell to her grandchild Sir Davenport Lucy.
In the Tudor great hall, the 1680 painting Charlecote Park by Sir Godfrey Kneller, is said to be one of the earliest depictions of a black presence in the West Midlands (excluding Roman legionnaires). The painting, of Captain Thomas Lucy, shows a black boy in the background dressed in a blue livery coat and red stockings and wearing a gleaming, metal collar around his neck. The National Trust's Charlecote brochure describes the boy as a "black page boy". In 1735 a black child called Philip Lucy was baptised at Charlecote.
The lands immediately adjoining the house were further landscaped by Capability Brown in about 1760. This resulted in Charlecote becoming a hostelry destination for notable tourists to Stratford from the late 17th to mid-18th century, including Washington Irving (1818), Sir Walter Scott (1828) and Nathaniel Hawthorn (c 1850).
Charlecote was inherited in 1823 by George Hammond Lucy (d 1845), who married Mary Elizabeth Williams of Bodelwyddan Castle, from who's extensive diaries the current "behind the scenes of Victorian Charlecote" are based upon. GH Lucy's second son Henry inherited the estate from his elder brother in 1847. After the deaths of both Mary Elizabeth and Henry in 1890, the house was rented out by Henry's eldest daughter and heiress, Ada Christina (d 1943). She had married Sir Henry Ramsay-Fairfax, (d 1944), a line of the Fairfax Baronets, who on marriage assumed the name Fairfax-Lucy.
From this point onwards, the family began selling off parts of the outlying estate to fund their extensive lifestyle, and post-World War II in 1946, Sir Montgomerie Fairfax-Lucy, who had inherited the residual estate from his mother Ada, presented Charlecote to the National Trust in-lieu of death duties. Sir Montgomerie was succeeded in 1965 by his brother, Sir Brian, whose wife, Lady Alice, researched the history of Charlecote, and assisted the National Trust with the restoration of the house.
Charlecote Park House is a Grade I Listed Building
Listing Text
CHARLECOTE
SP2556 CHARLECOTE PARK
1901-1/10/19 Charlecote Park
06/02/52
(Formerly Listed as:
Charlecote Park House)
GV I
Formerly known as: Charlecote Hall.
Country house. Begun 1558; extended C19. Partly restored and
extended, including east range, 1829-34 by CS Smith;
north-east wing rebuilt and south wing extended 1847-67 by
John Gibson. For George and Mary Elizabeth Lucy.
MATERIALS: brick, that remaining from original building has
diapering in vitrified headers, but much has been replaced in
C19; ashlar dressings; tile roof with brick stacks with
octagonal ashlar shafts and caps.
PLAN: U-plan facing east, with later west range and south
wing.
EXTERIOR: east entrance front of 2 storeys with attic;
3-window range with long gabled projecting wings. Ashlar
plinth, continuous drip courses and coped gables with finials,
sections of strapwork balustrading between gables; quoins.
2-storey ashlar porch has round-headed entrance with flanking
pairs of Ionic pilasters and entablature, round-headed
entrance has panelled jambs, impost course and arch with lion
mask to key and 2 voussoirs, strapwork spandrels and stained
glass to fanlight over paired 4-panel doors; first floor has
Arms of Elizabeth I below projecting ovolo-moulded
cross-mullion window, with flanking pairs of Composite
detached columns; top balustrade with symmetrical balusters
supports Catherine wheel and heraldic beasts holding spears;
original diapered brick to returns.
3-light mullioned and transomed window to each floor to left,
that to first floor with strapwork apron. Large canted bay
window to right of 1:3:1 transomed lights with pierced
rosettes to parapet modelled on that to gatehouse (qv) and
flanked by cross-mullioned windows, all with moulded reveals
and small-paned sashes; C19 gables have 3-light
ovolo-mullioned windows with leaded glazing.
Wings similar, with 2 gables to 5-window inner returns,
ovolo-moulded cross-mullioned windows. Wing to south has much
diaper brickwork and stair window with strapwork apron.
East gable ends have 2-storey canted bay windows dated 1852 to
strapwork panels with Lucy Arms between 1:3:1-light transomed
windows; 3-light attic windows, that to north has patch of
reconstructed diaper brickwork to left.
Octagonal stair turrets to outer angles with 2-light windows,
top entablatures and ogival caps with wind vanes, that to
south mostly original, that to north with round-headed
entrance with enriched key block over studded plank door.
North side has turret to each end, that to west is wholly C19;
3 gables with external stacks with clustered shafts between;
cross-mullioned windows and 3-light transomed stair window on
strapwork apron; 2-light single-chamfered mullioned windows to
turrets.
Single-storey east range of blue brick has 2 bay windows with
octagonal pinnacles with pepper-pot finials and arcaded
balustrades over 1:4:1-light transomed windows; central panel
with Lucy Arms in strapwork setting has date 1833; coped
parapet with 3 gables with lights; returns similar with
3-light transomed windows.
Range behind has 3 renewed central gables and 2 lateral stacks
each with 6 shafts; gable to each end, that to south over
Tudor-arched verandah with arcaded balustrade to central arch
and above, entrance behind arch to left with half-glazed door,
blocked arch to right; first floor with cross-mullioned window
and blocked window, turret to right is wholly C19. South
return has cross-mullioned window to each floor and external
stack with clustered shafts.
South-west wing of 2 storeys; west side is a 7-window range;
recessed block to north end has window to each floor, the next
4 windows between octagonal pinnacles; gabled end breaks
forward under gable with turret to angle; rosette balustrade;
stacks have diagonal brick shafts, gable has lozenge with Lucy
Arms impaling Williams Arms (for Mary Elizabeth Lucy).
Cross-mullioned windows, but 2 southern ground-floor windows
are 3-light and transomed.
South end 4-window range between turrets has cross-mullioned
windows, but each end of first floor has bracketed oriel with
strapwork apron with Lucy/Williams Arms in lozenge and dated
1866, rosette balustrade with to each end a gable with 2-light
single-chamfered mullioned window with label, and 3 similar
windows to each turret, one to each floor.
East side has 3-window range with recessed range to right.
South end has Tudor-arched entrance and 3-light transomed
window, cross-mullioned window and 3-light transomed window to
first floor and gable with lozenge to south end; gable to
full-height kitchen to north has octagonal pinnacles flanking
4-light transomed window and gable above with square panel
with Lucy/Williams Arms to shield; recessed part to north has
loggia with entrance and flanking windows, to left a
single-storey re-entrant block with cross-mullioned windows;
first floor has 5 small sashed windows. South side of
south-east wing has varied brickwork with mullioned and
transomed windows, 2 external stacks and 2 gables with 3-light
windows.
INTERIOR: great hall remodelled by Willement with wood-grained
plaster ceiling with 4-centred ribs and Tudor rose bosses;
armorial glass attributed to Eiffler, restored and extended by
Willement; wainscoting and panelled doors; ashlar fireplace
with paired reeded pilasters and strapwork to entablature, and
fire-dogs; white and pink marble floor, Italian, 1845.
Dining room and library in west wing have rich wood panelling
by JM Willcox of Warwick and strapwork cornices, and strapwork
ceilings with pendants; wallpaper by Willement; dining room
has richly carved buffet, 1858, by Willcox and simple coloured
marble fireplace, the latter with bookshelves and fireplace
with paired pilasters and motto to frieze of fireplace, paired
columns and strapwork frieze to overmantel with armorial
bearings; painted arabesques to shutter backs.
Main staircase, c1700, but probably extensively reconstructed
in C19, open-well with cut string, 3 twisted balusters to a
tread, carved tread ends and ramped handrail;
bolection-moulded panelling in 2 heights, the upper panels and
panelled ceiling probably C19.
Morning room to south of hall has Willement decoration: white
marble Tudor-arched fireplace with cusped panels; plaster
ceiling with bands.
Ebony bedroom, originally billiard room, and drawing room to
north-east wing have 1856 scheme with cornices and
Jacobean-style plaster ceilings; white marble C18-style
fireplaces, that to Ebony Bedroom with Italian inserts with
Lucy crest. Drawing room has gilded and painted cornice and
ceiling, and large pier glasses.
Rooms to first floor originally guest bedrooms: doors with
egg-and-dart and eared architraves; C18-style fireplaces, that
to end room, originally Ebony Bedroom, has wood Rococo-style
fireplace with Chinoiserie panel; 1950s stair to attic.
South-east wing has c1700 stair, probably altered in C19, with
symmetrical balusters with acanthus, closed string; first
floor has wall and ceiling paintings: land and sea battle
scenes painted on canvas, male and female grisaille busts.
First floor has to west the Green Room, with Willement
wallpaper and simple Tudor-arched fireplace with
wallpaper-covered chimney board; adjacent room has marble
fireplace.
Death Room and its dressing room to east end have wallpaper of
gold motifs on white, painted 6-panel doors and architraves,
papier-mache ceilings; bedroom has fireplace with marble
architrave. Adjacent room has bolection-moulded panelling with
c1700 Dutch embossed leather. Stair to attic has c1700
balusters with club-form on acorn. Attics over great hall and
north-east and south-east wings have lime-ash floors and
servants' rooms, each with small annex and corner fireplace;
some bells.
South wing has kitchen with high ceiling and 2
segmental-arched recesses for C19 ranges; Tudor-arched recess
with latticed chamber for smoked meats over door.
Servants' hall has dark marble bolection-moulded fireplace and
cornice; scullery has bread oven, small range, pump and former
south window retaining glass.
First floor has to south end a pair of rooms added for Mary
Elizabeth Lucy in her widowhood; bedroom to east with deep
coved cornice and Adam-style fireplace, sitting room to west
similar, with gold on white wallpaper, white marble fireplace
with painted glass armorial panels and 1830s-40s carpet; door
to spiral timber turret staircase.
Nursery has fireplace with faceted panels and C19 Delft tiles;
probably 1920s wallpaper.
Other rooms with similar fireplaces and coloured glazed tiles.
While dating back to the C16, the house is one of the best
examples of the early C19 Elizabethan Revival style. Property
of National Trust.
(The Buildings of England: Pevsner, N & Wedgwood, A:
Warwickshire: Harmondsworth: 1966-: 227-9; The National Trust
Guide to Charlecote Park: 1991-; Wainwright C: The Romantic
Interior).
Listing NGR: SP2590656425
This text is from the original listing, and may not necessarily reflect the current setting of the building.
From the garden that is the Parterre.
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Tini sta per tornare in Italia. La cantante ha annunciato a sorpresa che mercoledì 12 Ottobre sarà a Milano per firmare le copie del suo disco Tini (Martina Stoessel), durante il quale si esibirà in alcuni brani in acustico e presenterà il Got Me Started Tour, il suo primo tour solista.
Dopo il trionfo di “Violetta” Tini ha debuttato con il suo primo album da solista “Tini (Martina Stoessel)”, un doppio album che contiene i nuovi brani inediti di Martina, tra cui il singolo “Great Escape”, oltre alle canzoni del film “Tini – La Nuova Vita di Violetta”.
L’attrice, cantante, ballerina e modella argentina Martina Stoessel ha esordito sul piccolo schermo a soli dieci anni. Dopo aver studiato canto, pianoforte e danza, ha raggiunto il successo in tutto il mondo come protagonista di Violetta, in onda dal 2012 al 2015: ha recitato in tutte e tre le stagioni della serie Tv, partecipando a due tour di concerti e vincendo due Kids’ Choice Awards come Miglior attrice emergente in Argentina e in Colombia.
Nel 2013 Martina ha eseguito la versione spagnola e la versione italiana del brano Let It Go/All’Alba Sorgerò, presente nei titoli di coda del film "Frozen – Il Regno di Ghiaccio" e ha doppiato il personaggio di Carrie nell’edizione italiana di "Monsters University". #Violetta è stato un successo mondiale con milioni di album venduti e tour completamente sold out.
Date: 2021-08-17
Sentinel-2 L2A + modified Highlight Optimized Natural Color Script
Author: Monja Šebela
Contains modified Copernicus Sentinel data [2022], processed by Sentinel Hub
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Gli Years & Years, giovane trio dalle sonorità pop, electro e dance proveniente da Londra, dopo aver calcato i palchi dei maggiori festival europei, arrivano, in concerto in Italia per la prima volta. L’appuntamento imperdibile è fissato per il 10 marzo 2016 al Fabrique di Milano.
Il trio riesce a catturare l’attenzione di tutti sin da subito. A gennaio 2015, Katy Perry twitta una loro canzone e li rende istantaneamente famosi sui social network. Da quel momento inizia il regno degli Years & Years che spopolano in tutte le radio del mondo con la loro King. Il singolo viene certificato platino in Italia, registrando più di 105 milioni di visualizzazioni su YouTube e anticipando l’uscita di Communion, album di debutto degli Years & Years.
Il trio vince anche il prestigioso BBC Sound 2015 (vinto lo scorso anno da Sam Smith e negli anni precedenti da Mika, Adele e Ellie Goulding) e viene nominato ai Brit Awards.
La loro musica può essere descritta come un cocktail ben riuscito di elettro-pop e house che ricorda gli anni Novanta. Ritmi scritti per il dancefloor in contrasto con testi malinconici che parlano di storie d’amore finite male. Al tutto si aggiunge uno stile impeccabile ed un linguaggio attuale sui social network. Insomma la miscela perfetta per il successo mondiale.
Olly Alexander (voce e piano), Mikey Goldsworthy (basso) e Emre Turkmen (synths, beats) formano gli Years & Years nel 2010. Da poco trasferitosi dall’Australia, Goldworthy conosce Turkmen online grazie ad annuncio. Dopo poco tempo, Alexander si unisce alla band diventando la voce principale del gruppo.
Federal Flag Code - Public Law 94-344
JOINT RESOLUTION
To amend the joint resolution entitled "Joint resolution to codify and emphasize existing rules and customs pertaining to the display and use of the flag of the United States of America."
Resolved by the Senate and House of Representatives of the United States of America in Congress assembled, That the joint resolution entitled "Joint resolution to codify and emphasize existing rules and customs pertaining to the display and use of the flag of the United States of America", as amended (36 U.S.C. 171-178), is amended —
SEC. 1. That the following codification of existing rules and customs pertaining to the display and use of the flag of the United States of America be, and is hereby, established for the use of such civilians or civilian groups or organizations as may not be required to conform with regulations promulgated by one or more executive departments of the Government of the United States. The flag of the United States for the purpose of this chapter shall be defined according to title 4, United States Code, Chapter I, section I and section 2 and Executive Order 10834 issued pursuant thereto.
SEC. 2
(a) It is the universal custom to display the flag only from sunrise to sunset on buildings and on stationary flagstaffs in the open. However, when a patriotic effect is desired, the flag may be displayed twenty-four hours a day if properly illuminated during the hours of darkness.
(b) The flag should be hoisted briskly and lowered ceremoniously.
(c) The flag should not be displayed on days when the weather is inclement, except when an all weather flag is displayed.
(d) The flag should be displayed on all days, especially on New Year's Day, January 1; Inauguration Day, January 20; Lincoln's Birthday, February- 12; Washington's Birthday, third Monday in February; Easter Sunday (variable); Mother's Day, second Sunday in May; Armed Forces Day, third Saturday in May; Memorial Day (half-staff until noon), the last Monday in May; Flag Day, June 14; Independence Day, July 4; Labor Day, first Monday in September; Constitution Day, September 17; Columbus Day, second Monday in October; Navy Day, October 27; Veterans Day, November 11; Thanksgiving Day, fourth Thursday in November; Christmas Day, December 25; and such other days as may be proclaimed by the President of the United States; The birthdays of States (date of admission); and on State holidays.
(e) The flag should be displayed daily on or near the main administration building of every public institution.
(f) The flag should be displayed in or near every polling place on election days.
(g) The flag should be displayed during school days in or near every schoolhouse.
SEC. 3. That the flag, when carried in a procession with another flag or flags, should be either on the marching right; that is, the flag's own right, or, if there is a line of other flags, in front of the center of that line.
(a) The flag should not be displayed on a float in a parade except from a staff, or as provided in subsection (j).
(b) The flag should not be draped over the hood, top, sides, or back of a vehicle or of a railroad train or a boat. When the flag is displayed on a motor car, the staff should be fixed firmly to the chassis or clamped to the right fender.
(c) No other flag or pennant should be placed above or, if on the same level, to the right of the flag of the United States of America, except during church services conducted by naval chaplains at sea, when the church pennant may be flown above the flag during church services for the personnel of the Navy. (See Public Law 107, page 4)
(d) The flag of the United States of America, when it is displayed with another flag against a wall from crossed staffs, should be on the right, the flag's own right, and its staff should be in front of the staff of the other flag.
(e) The flag of the United States of America should be at the center and at the highest point of the group when a number of flags of States or localities or pennants of societies are grouped and displayed from staffs.
(f) When flags of states, cities, or localities, or pennants of societies are flown on the same halyard with the flag of the United States, the latter should always be at the peak. When the flags are flown from adjacent staffs, the flag of the United States should be hoisted first and lowered last. No such flag or pennant may be placed above the flag of the United States or to the United States Flag's right.
(g) When flags of two or more nations are displayed, they are to be flown from separate staffs of the same height. The flags should be of approximately equal size. International usage forbids the display of the flag of one nation above that of another nation in time of peace.
(h) When the flag of the United States is displayed from a staff projecting horizontally or at an angle from the window sill, balcony, or front of a building, the union of the flag should be placed at the peak of the staff unless the flag is at half staff. When the flag is suspended over a sidewalk from a rope extending from a house to a pole at the edge of the sidewalk, the flag should be hoisted out, union first, from the building.
(i) When displayed either horizontally or vertically against a wall, the union should be uppermost and to the flag's own right, that is, to the observer's left. When displayed in a window, the flag should be displayed in the same way, with the union or blue field to the left of the observer in the street.
(j) When the flag is displayed over the middle of the street, it should be suspended vertically with the union to the north in an east and west street or to the east in a north and south street.
(k) When used on a speaker's platform, the flag, if displayed flat, should be displayed above and behind the speaker. When displayed from a staff in a church or public auditorium, the flag of the United States of America should hold the position of superior prominence, in advance of the audience, and in the position of honor at the clergyman's or speaker's right as he faces the audience. Any other flag so displayed should be placed on the left of the clergyman or speaker or to the right of the audience.
(l) The flag should form a distinctive feature of the ceremony of unveiling a statue or monument, but it should never be used as the covering for the statue or monument.
(m) The flag, when flown at half-staff, should be first hoisted to the peak for an instant and then lowered to the half-staff position. The flag should be again raised to the peak before it is lowered for the day. On Memorial Day the flag should be displayed at half-staff until noon only, then raised to the top of the staff. By order of the President, the flag shall be flown at half-staff upon the death of principal figures of the United States Government and the Governor of a State, territory, or possession, as a mark of respect to their memory. In the event of the death of other officials or foreign dignitaries, the flag is to be displayed at half-staff according to Presidential instructions or orders, or in accordance with recognized customs or practices not inconsistent with law. In the event of the death of a present or former official of the government of any State, territory, or possession of the United States, the Governor of that State, territory, or possession may proclaim that the National flag shall be flown at half-staff. The flag shall be flown at half-staff thirty days from the death of the President or a former President; ten days from the day of death of the Vice President, the Chief Justice or a retired Chief Justice of the United States, or the Speaker of the House of Representatives; from the day of death until interment of an Associate Justice of the Supreme Court, a Secretary of an executive or military department, a former Vice President, or the Governor of a State, territory, or possession; and on the day of death and the following day for a Member of Congress. As used in this subsection -
(1) the term 'half-staff' means the position of the flag when it is one-half the distance between the top and bottom of the staff;
(2) the term 'executive or military department' means any agency listed under sections 101 and 102 of title 5, United States Code; and
(3) the term Member of Congress' means a Senator, a Representative, a Delegate, or the Resident Commissioner from Puerto Rico.
(n) When the flag is used to cover a casket, it should be so placed that the union is at the° head and over the left shoulder. The flag should not be lowered into the grave or allowed to touch the ground.
(o) When the flag is suspended across a corridor or lobby in a building with only one main entrance, it should be suspended vertically with the union of the flag to the observer's left upon entering. If the building has more than one main entrance, the flag should be suspended vertically near the center of the corridor or lobby with the union to the north, when entrances are to the east and west or to the east when entrances are to the north and south. If there are entrances in more than two directions, the union should be to the east.
SEC. 4. That no disrespect should be shown to the flag the United States of America; the flag should not be dipped to any person or thing. Regimental colors, State flags, and organization or institutional flags are to be dipped as a mark of honor.
(a) The flag should never be displayed with the union down, except as a signal of dire distress in instances of extreme danger to life or property.
(b) The flag should never touch anything beneath it, such as the ground, the floor, water,
(c) The flag should never be carried flat or horizontally, but always aloft and free.
(d) The flag should never be used as wearing apparel, bedding, or drapery. It should never be festooned, drawn back, nor up, in folds, but always allowed to fall free. Bunting of blue, white, and red, always arranged with the blue above, the white in the middle, and the red below, should be used for covering a speaker's desk, draping the front of the platform, and for decoration in general.
(e) The flag should never be fastened, displayed, used, or stored in such a manner as to permit it to be easily torn, soiled, or damaged in any way.
(f) The flag should never be used as a covering for a ceiling.
(g) The flag should never have placed upon it, nor on any part of it, nor attached to it any mark, insignia, letter, word, figure, design, picture, or drawing of any nature.
(h) The flag should never be used as a receptacle for receiving, holding, carrying or delivering anything.
(i) The flag should never be used for advertising purposes in any manner whatsoever. It should not be embroidered on such articles as cushions or handkerchiefs and the like, printed or otherwise impressed on paper napkins or boxes or anything that is designed for temporary use and discard. Advertising signs should not be fastened to a staff or halyard from which the flag is flown.
(j) No part of the flag should ever be used as a costume or athletic uniform. However, a flag patch may be affixed to the uniform of military personnel, firemen, policemen, and members of patriotic organizations. The flag represents a living country and is itself considered a living thing. Therefore, the lapel flag pin being a replica, should be worn on the left lapel near the heart.
(k) The Flag, when it is in such condition that it is no longer a fitting emblem for display, should be destroyed in a dignified way, preferably by burning.
SEC. 5. During the ceremony of hoisting or lowering the flag or when the flag is passing in a parade or in review, all persons present except those in uniform should face the flag and stand at attention with the right hand over the heart. Those present in uniform should render the military salute. When not in uniform, men should remove their headdress with their right hand and hold it at the left shoulder, the hand being over the heart. Aliens should stand at attention. The salute to the flag in a moving column should be rendered at the moment the flag passes.
SEC. 6. During rendition of the national anthem when the flag is displayed, all present except those in uniform should stand at attention facing the flag with the right hand over the heart. Men not in uniform should remove their headdress with their right hand and hold it at the left shoulder, the hand being over the heart. Persons in uniform should render the military salute at the first note of the anthem and retain this position until the last note. When the flag is not displayed, those present should face toward the music and act in the same manner they would if the flag were displayed there.
SEC. 7. The Pledge of Allegiance to the Flag, "I pledge allegiance to the Flag of the United States of America, and to the Republic for which it stands, one Nation under God, indivisible, with liberty and justice for all", should be rendered by standing at attention facing the flag with the right hand over the heart. When not in uniform men should remove their headdress with their right hand and hold it at the left shoulder, the hand being over the heart. Persons in uniform should remain silent, face the flag and render the military salute.
SEC. 8. Any rule or custom pertaining to the display of the flag of the United States of America, set forth herein, may be altered, modified, or repealed, or additional rules with respect thereto may be prescribed, by the Commander-in-Chief of the Armed Forces of the United States, whenever he deems it to be appropriate or desirable; and any such alteration or additional rule shall be set forth in proclamation.
Note - "Half-staff" is further amplified per MCO P10520.3_, Marine Corps Flag Manual as: "The middle point of the hoist of the flag at half-mast should, in the cases of an unguyed mast of one piece, be halfway between the peak and foot of the mast or, in the case of a mast with a yard or guys, halfway between the peak and the yard or point of attachment of the guys. Local conditions, such as the liability of fouling the flag may, however, dictate other positions, a graceful one being with the top of the flag the depth of the hoist below the peak."