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The cover and part of the back of the Map of Japan, published in 1942 or 1943.
In the middle is a list of the (major?) countries of the world. It lists which countries control which other countries.
On the right is a line map of South East Asia, from the southern Japan to Burma, Singapore to the edge of Australia.
A larger line map of the Philippines as well as a map of "Oceania" (Hawaii to Australia) are included as well, but not pictured here.
Here is the map of Japan itself.
Check out more of my scanned maps, or Japan ephemera.
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DSC_4931 - OUI 9687 - Volvo B10M/VanHool T8 Alizee - Stuarts of Carluke - Glasgow, Killermont Street 28/07/14
A detail from the impressive statue The Burghers of Calais by Auguste Rodin. Standing in front of the Calais city hall, this statue shows the six leaders of Calais on their way to surrender to the English. It's an emotional piece of art, with a mix of the agony of defeat and the heroic self-sacrifice.
Return of the Vampire - The Awakening
Original Project by Sabrina Campagna Photographer & Paolo Del Giorno
Photography & Editing: Sabrina Campagna
Model: Paolo Del Giorno
Location: Olevano sul Tusciano (SA)
TOKYO – When Army Maj. Gen. James F. Pasquarette assumed command of U.S. Army Japan (USARJ) July 8, 2015, he immediately took initiative to personally meet the troops under his command as well as key leaders from his host nation partners.
Pasquarette's tour of his area of responsibility began in earnest when he and members of his staff boarded a UH-60 Blackhawk helicopter July 10 from Camp Zama, Japan. Flying hundreds of feet above the congested highways at sometimes at level with Japan's sea of skyscrapers, Pasquarette acquired a bird's eye view of the American and Japanese military installations scattered among the urban jungle.
“We overflew Sagami General Depot, Yokohama North Dock and Hardy Barracks, said Milton Jackson, garrison manager at Camp Zama. “Our new commander now has clearer picture of the facilities, equipment and watercraft managed by the Army, and he can better understand where and how these individual installations interact with one another.”
According to Jackson, the USARJ primary mission comprises the rapid deployment of troops and materiel from one theater to another. As the Army's largest logistical hub in Asia, the command must maintain a streamlined sustainment system capable of moving thousands of tons of supplies and equipment via land and sea.
“Sagami Depot has rolling stock and Yokohama North Dock has watercraft,” said Jackson. “We must overcome the challenges posed by Japan's dense population centers by developing methods that rapidly move and load stock onto our watercraft so that we may better project our presence in the Pacific. Fortunately, our Japanese allies are willing to support us if a major threat or disaster called for a sudden mass movement.”
After a brief stop at Yokota Air Base to meet with Air Force Gen. John L. Dolan, commanding general, U.S. Force Japan, Pasquarette touched down near the heart of Tokyo where members of America's staunchest allies welcomed him with the pomp and circumstance befitting a general.
“On behalf of the JGSDF (Japan Ground Self-Defense Force), welcome to Japan,” said Gen. Kiyofumi Iwata, chief of staff, JGSDF, to Pasquarette after the two commanders sat in a decorative conference room inside Japan's Ministry of Defense. “We look forward to continuing our dialog of bilateral coordination between our two countries as JGSDF pursues its transformation into a dynamic joint defense force.”
The dialog consisted of one-on-one conversations with not only Iwata but also Adm. Katsutoshi Kawano, chief of staff, Japan Self-Defense Force, and Hideshi Tokuchi, vice minister of international affairs, Japan Ministry of Defense. The four men discussed previous achievements, current operations and potential challenges facing their respective commands and presented ideas on how to strengthen interoperability among their forces through combined training exercises and expanded service member exchange programs.
“We currently have several dozen JSDF service members embedded with [U.S. military] units,” said Pasquarette. “I believe extending this program so that our Soldiers can work within the JGSDF will further enhance our partnership.”
Pasquarette also ensured his hosts that the United States Army remains committed to its allies in the Pacific despite looming force reductions and ongoing operations in Europe and the Middle East.
“The Army recently announced that it will cut the number of troops in the active component from 450,000 to about 410,000,” said Pasquarette. “This rebalance of the force has no effect on our strength and readiness in the Pacific. Our alliance is more important than ever. That's why we're keeping our best trained and best equipped Soldiers in Japan and Korea.”
After a two-hour visit that started with with a JSDF band playing “The Star-Spangled Banner” and ended with a warm exchange of plaques and handshakes, Pasquarette and his team boarded a helicopter bound for Camp Zama.
“I have worked extensively throughout the Pacific during my Army career,” said the former armor officer and chief of staff of U.S. Army Pacific. “The JSDF consists of some of the world's most capable and professional men and women in uniform. I look forward to building stronger relationships with them and become a valuable partner in its transformation."
U.S. Army photos by Sgt. John L. Carkeet IV, U.S. Army Japan
Harold Dickinson was killed in South Africa during the battle of Langverwacht Hill on 24 February 1902.
The Battle of Langverwacht Hill was the first time New Zealand forces suffered heavy loss of life in an overseas conflict. According to NZHistory.govt.nz, “In order to prevent the escape of a Boer force, the 80 men of the Seventh Contingent had positioned themselves along a ridge on Langverwacht Hill. During the night their position was attacked by more than 700 Boers; 24 New Zealanders were killed and another 40 wounded.”
The page above comes from Harold Dickinson’s personnel file. The entire file can be viewed online here: ndhadeliver.natlib.govt.nz/delivery/DeliveryManagerServle...
Archives New Zealand Reference: AABK 18805 W5515 Box 15 0001475
www.archway.archives.govt.nz/ViewFullItem.do?code=20519749
To enquire about this record please email research.archives@dia.govt.nz
Caption information from nzhistory.govt.nz/media/photo/langverwacht-hill-memorial
Ambrogio Lorenzetti, Allegory of Good Government, Effects of Good Government in the City and the Country, and Allegory and Effects of Bad Government in the City and the Country, Siena c. 1337 or 1338-40, fresco, Sala della Pace (Hall of Peace) also know as the Sala dei Nove (the Hall of the Nine), 7.7 x 14.4 meters, Palazzo Pubblico, Siena
The Texas A&M Corps of Cadets participates in game day activities prior to the football game vs. Nicholls State
(for further information please click on the link at the end of page!)
Palais Daun-Kinsky
If the Freyung once has been one of the most prestigious residential addresses in town, so for it was next to the Palais Harrach especially the Grand Palais Kinsky responsible. In its place in the middle ages were two parcels, each with a small building. The front part of the Freyung was since the 16th Century always in aristocratic in hands (Bernhard Menesis Freiherr von Schwarzeneck, Countess Furstenberg, Counts Lamberg). 1686 acquired Karl Ferdinand Count Waldstein the house of Count Lamberg. His son bought also the adjacent house in Rose Street (Rosengasse) and united both plots to one parcel. He had three granddaughters, who sold the site in 1709 to Wirich Philipp Laurenz Graf Daun. This came from an old Rhenish nobility. His ancestors were mostly working for the Elector of Trier as officers. In the battle of the Habsburgs against the Turks, Spanish and Frenchmen, he acquired great military merit. He brought it to the General Feldzeugmeister (quartermaster) and Viceroy of Naples. In 1713 he had the house at the Freyung demolished and by Johann Lukas von Hildebrandt built in its place until 1716 a palace, him serving as Vienna's city residence. Down may have been Antonio Beduzzi requested the creation of reconstruction plans, but was eventually Hildebrandt entrusted with the work. In 1719, the palace was largely completed. Daun lived there but rarely because he stayed a lot in Italy and in Austria preferred his country castles Ladendorf, Kirchstetten and Pellendorf. In 1746 acquired Johann Joseph Count von Khevenhüller the Palais from Leopold Joseph von Daun, the son of the owner, who happened to be in financial difficulty. The Reichsgraf (count of empire) was appointed in 1763 by the Empress Maria Theresa for his services to the Lord Steward and Lord Chamberlain, and raised to the hereditary imperial princes (princes of the Holy Roman Empire).
Door knocker
He sold the palace in 1764 to the Imperial Councilor President Ferdinand Bonaventura Harrach Count II. This worked as a diplomat, especially in Holland and Italy. At times of Maria Theresa, the building was inhabited by her Swiss Guards until they 1784 moved to their new quarters in Hofstallgebäude (court stable building). Ferdinand Bonaventura's daughter Rosa brought the palace in 1790 into her marriage to Josef Graf Kinsky. Whose family belonged to the Bohemian nobility. Its members appear at the beginning of the 13th Century documented. Wilhelm Freiherr von Kinsky was a colonel and friend of Wallenstein. He was murdered with this 1634 in Eger. His confiscated estates were divided among the assassins. Only two masteries (Chlumez and Bohemian Kamnitz ) remained through the timely change of front of his nephew, Johann Octavian with the family. The Kinsky but succeeded soon to rise again. They occupied again high positions in the administration and the military. 1798 the had modernized their Viennese palace by the architect Ernst Koch inside. Thus, the original Baroque interior was lost. As in 1809 the Frenchmen had occupied Vienna, a french Marshal and General were billeted in the palace. Prince Ferdinand Kinsky was a great patron of Beethoven, which he paid an annual salary of 4,000 florins for life along with two other nobles. In 1856, the Palace was refurbished in the interior by the architect Friedrich Stache. In the 19th Century lived the Princes Kinsky mostly on their Bohemian goods or in Prague. The building was therefore temporarily rented to some posh tenants. So lived here temporarily Field Marshal Radetzky and Archduke Albrecht. 1904 redecorated the French interior designer Armand Decour the piano nobile.
Staircase - second floor
With the end of World War II began a tough time for the Kinsky family. Almost all goods and industrial holdings, with the exception of the hunting lodge Rosenhof at Freistadt lay in Bohemia. By 1929, 50 % of the extensive Bohemian possessions were expropriated. There were still about 12,000 acres, a sugar factory and breweries. 1919 had to be a part of Vienna's Palais force-let. During World War II it was requisitioned by the German army. For fear of air raids the in the palace remaining objects of art were transferred to some Bohemian castles. The Palais Kinsky was not destroyed, its art treasures but remained in Bohemia. After the Second World War, the remaining Czech possessions were lost by nationalization for the family. In the Viennese palace were temporarily housed the embassies of China and Argentina. In 1986 it was sold by Franz Ulrich Prince Kinsky. After several short-term owners, the palace was acquired by the Karl Wlaschek private foundation in 1997. It was generously restored from 1998 to 2000 and adapted for offices and shops. The Grand Ballroom is often used because of its excellent acoustics as a concert hall. Since 1992, acclaimed art auctions are held at the Palais.
The Palais Kinsky is probably next to the Belvedere the most prominent secular work of the great Baroque architect and one of the best preserved baroque palaces in Vienna. Despite multiple changes of ownership and of numerous rearrangements inside the main components such as Baroque facade, vestibule, staircase, hall and gallery remained largely unchanged. The building extends between Freyung and Rosengasse. The property is only 30 meters wide, but three times longer. It was therefore not an easy task to build on it a representative palace with a grand staircase. Hildebrandt but has brilliantly overcome by putting up four floors at 24 m height, and yet preserving the proportions. He grouped the construction with two long side wings and a cross section around two consecutive large courtyards. The pomp and living rooms of the palace are mounted around the first courtyard, while the second contained carriage houses and stables. Here have yet been preserved the marble wall panels with the animal waterings made of cast iron and enamel from the late 19th century. Hildebrandt integrated various parts of the previous building into the new building. The seven-axle face side at the Freyung is divided several times. Stability is procured by the rusticated ground floor with its inserted diamond blocks. On it sit the two residential floors. They are embraced by Corinthian Riesenpilaster (giant pilasters). The mezzanine floor above it features in comparison with the underlying main floor tiny windows.
Hercules
The large windows on the main floor are particularly detailed designed. While the outer pairs of windows possess pagoda-like over roofings, those of the three windows of the central projection are round-arched. The trophies and weapons depicted in the lintel fields refer to the military profession of the owner. Vertically is the extensive looking facade accented by the slightly protruding, tri-part central risalite, the pilasters are decorated much richer than that of the side projections. In the Fantasiekapitelle (fantasy capital) of the pilasters are diamond lattices incorporated, an important component of the coat of arms of the Counts Down. The with figures and trophies decorated attica is over the central part formed as balustrade. The sculptures are believed to originate from Joseph Kracker, representing the gods Minerva, Juno, Hercules, Neptune, Diana and Constantia. Very elegant looks the plastically protruding portal. Its composition goes back to Johann Lukas von Hildebrandt. It is considered one of the most beautiful Baroque portals of Vienna. The draft was submitted in 1713 and carried out until 1715. The richly decorated wooden gate dates from the period around 1856, when it was renewed. It is outside flanked by two, obliquely placed Doric columns that match the rusticated ground floor. Sloped to the inside carry two, on pillar stumps standing atlases (also from Kracker) the entablature with the overlying structured segment gable. On it sit the stone figures of Prudence and Justice. The middle window in between is much richer decorated than the rest of the window openings on the first floor. Instead of the usual trapezoidal over roofings here it is crowned by a cartouche held by two putti. The originally thereon located coat of arms of the owner was replaced after the change of ownership by that of the Kinsky family with three boar's teeth. Above the shield hangs an chain with the Order of the Golden Fleece. Both the gusset of the archway as well as the overlying triglyph frieze are decorated with trophies.
Banquet Hall
If someone passes the portal, so one gets into one, by strong pillars divided three-aisled gatehouse. The massive spatial impression is something mitigated by the large sculptures in the niches. They were created by Joseph Kracker. Among the somewhat restrained stucco decorations you can see the coat of arms of the owner, with its characteristic diamond motif. At this gate hall adjoins the widely embedded and more than twice as high vestibule with its domed ceiling. This transverse oval space is divided by pilasters and Doric columns. The rich stucco decoration of the ceiling provided with lunettes could come from Alberto Camesina or from his workshop. The here used motifs are again relating to the career of the client as a commander. For instance, in the lunette caps are reliefs of Roman soldiers. On the left side of the vestibule leads an anteroom to the grand staircase. It is dominated by a vault carrying Hercules, a work by Lorenzo Mattielli. As the monogram of Charles VI proves, with it the Emperor was meant to be worshiped. In two oval niches stand above the two double doors of the Treppenvorhauses (stairway hall way) busts of Caesar and Emperor Titus Flavius Vespasian. The elongated stairway occupies almost the entire length of the left wing of the first courtyard. In the stairwell are eleven statues of Roman deities in stucco niches. The relatively narrow, crossed grand stairway is considered one of the most beautiful of Vienna. It overall design might go back to Antonio Beduzzi. On the second floor stand on the from winded perforated volute forms constructed stone balustrade four groups of playing or scrapping putti. They serve in part as a lantern holders, partly just as a decoration. The statue cycle in the staircase is a work of Lorenzo Mattielli, but the cherubs are believed to stem from Joseph Kracker. This type of decoration already points to the coming Rococo. A fresco by Carlo Innocenzo Carlone adorns the ceiling. The simulated architecture painted Antonio Beduzzi. The large wall mirror of the staircase were added after 1907 .
Staircase/ceiling fresco
The somewhat playful balustrade leads to the reception rooms on the second floor. The large oval ballroom above the entrance hall is oriented towards the courtyard. Its allegorical ceiling painting stems from Carlo Innocenzo Carlone. The other frescoes are of him and Marcantonio Chiarini. The walls are covered with marble. The room was several times, most recently in 1904 changed structurally. In front of the banquet hall is the former dining room. It is now called Yellow Salon. In 1879/80 was installed in it a choir stalls from the Pressburg Cathedral by Georg Raphael Donner ( 1736) and partly completed. The also acquired confessionals were converted into boxes that are in the antechamber of the second floor today. In the chapel, designed by Hildebrandt, was until 1741 as altarpiece Francesco Solimena's "Holy Family with the Infant John the Baptist". 1778 the sacred space, however, was already desecrated. The altarpiece is already since the 18th Century in Wiener Neustadt Neuklosterkirche (church in Lower Austria). In the cross-section between the first and the second courtyard lay the paneled gallery whose spatial effect in 1856 by an attached conservatory was changed something. Its vaulted ceiling is decorated with frescoes by Carlo Innocenzo Carlone. Marcantonio Chiarini created 1716/18 the quadrature paintings. At it followed a larger hall in which Francesco Solimena's oil painting "Phaeton and Apollo" was located. It can be admired today in the National Gallery in Prague. The hall was later used as a library. Part of the state rooms 1714 was equipped with ceiling paintings by Peter Strudel. In the course of a radical redesign of the building's interior Ernest Koch has cut off all stucco ceilings of the staterooms 1798-1800 and also redesigned the walls. Since 1879 Carl Gangolf Kayser tried to restore the original spatial impression by the of Rudolf von Weyr created new Neo-Baroque stucco ceilings. Only in a few areas (vestibule, staircase, ballroom), the original substance remained. In the palace there are numerous Mamorkamine (marble fireplaces) and stoves from the 18th and 19th Century. The star parquet floors and many original door fittings date from the third quarter of the 19th Century. The facades of the first courtyard are structured by Tuscan pilasters. The arcades on the ground floor have already been closed in 1753. The with a mascaron decorated wall fountain is a work of Rudolf von Weyr. The second courtyard is kept simple. Remarkable at it rear end is the cenotaph for the current owner Karl Wlaschek.
Location/Address: 1010 Vienna, Freyung 4
Activities: The courtyards are freely accessible, the staircase usually also. A look at the state rooms is only possible if these are not just rented.
An imposing presence at the centre of the old town, the Zeitglockenturm or Clock Tower, is as much the symbol of Bern as the bear. The focal point of public transport and walking routes within the Old Town – and both the benchmark of official Bern time and the point from which all distances in the canton are measured – its squat shape, over-sized spired roof and giant, gilded clock face will imprint themselves on your memory of the city.
The tower was originally constructed partly in wood as the westernmost city gate in 1218–20, but by 1256 the city walls had moved west to the Käfigturm; the stranded tower was then converted into a prison for those prostitutes who made a living servicing the clergy. The devastating fire of 1405 razed the tower and it was rebuilt in stone with a new, squat design, a turreted staircase to one side (still used today) and a clock mechanism. The clock soon broke and stayed broken for 122 years until one Caspar Brunner designed an intricate and elegant new mechanism which has functioned since he installed it in 1530, and which is still complete with nearly all its original parts. Below the main east face of the clock is an intricate astronomical and astrological device, which, in one small diameter, displays a 24-hour clock, the twelve hours of daylight, the position of the sun in the zodiac, the day of the week, the date and the month, the phases of the moon and the elevation of the sun above the horizon throughout the year, everything kept accurate by linkage to the main clock mechanism. The external appearance of the Zytglogge as it is today dates from Baroque embellishments of 1770–71.
The main draw of the thing is generally touted to be a rather underwhelming little display of mechanical figures – a crowing cock, a parade of bears, Chronos with his hourglass and a dancing jester – which is set into motion four minutes before every hour on the clock’s east face. What’s far more interesting is to see close-up (and have explained) the actual inner workings of the mechanism as the pendulum swings and linked cogs turn gracefully. It’s possible to go inside only as part of the tourist office’s exemplary and fascinating one-hour guided tour (May–Oct daily 4.30pm; late Dec to early Jan daily 11.30am; Fr.6), which also lets you explore the rooms inside the spire and take in the romantic rooftop view.
From the Official Programme
THE NATIONAL COMMEMORATION OF THE CENTENARY OF THE GALLIPOLI CAMPAIGN AND ANZAC DAY AT THE CENOTAPH, WHITEHALL, LONDON
HOSTED BY THE GOVERNMENT OF THE UNITED KINGDOM OF GREAT BRITAIN AND NORTHERN IRELAND IN PARTNERSHIP WITH THE HIGH COMMISSIONS OF AUSTRALIA AND NEW ZEALAND IN LONDON
On 25 April 1915 Allied soldiers landed on the Gallipoli peninsula in Turkey in one of the most ambitious amphibious assaults in history.
More than 550,000 soldiers from Britain, Ireland, France, Australia, New Zealand, the Indian sub-continent, Canada and Sri Lanka waged this historic campaign, including 400,000 from Britain alone. 58,000 Allied servicemen and 87,000 from Turkey died in this campaign.
ANZAC Day was established by Australia and New Zealand as an annual day of commemoration to remember their servicemen who died in Gallipoli. The first ANZAC Day march in London took place on 25 April 1916. ANZAC Day has been commemorated in London on 25 April every year since then.
ORDER OF SERVICE
11:00 Big Ben strikes the hour
Two minutes’ silence
The Last Post Sounded by buglers from the Band of Her Majesty’s Royal Marines
Reading by Michael Toohey, age 22, descendant of Private Thomas Toohey, Royal Dublin Fusiliers, killed in action at V beach on 25 April 1915, aged 22.
The Fallen by Laurence Binyon, 4th verse, published in The Times on 21 September 1914
They shall grow not old, as we that are left grow old: age shall not weary them nor the years condemn. At the going down of the sun and in the morning, we will remember them.
All: We will remember them.
Laying of Wreaths
After Her Majesty The Queen has laid a wreath the Massed Bands will play Elegy (1915) – in memoriam Rupert Brooke – by F S Kelly (1881–1916) and Largo by G F Handel (1685–1759).
Her Majesty The Queen lays the first wreath followed by:
The Right Honourable David Cameron, Prime Minister Great Britain and Northern Ireland
Senator the Honourable George Brandis QC, Attorney General, Commonwealth of Australia
The Right Honourable David Carter MP, 29th Speaker of the New Zealand House of Representatives
A representative of the Republic of Turkey
The Right Honourable Nick Clegg, Deputy Prime Minister Great Britain and Northern Ireland
The Right Honourable Michael Fallon, Secretary of State for Defence
The Right Honourable Sajid Javid, Secretary of State for Culture, Media and Sport
The Right Honourable Hugo Swire, Minister of State, Foreign and Commonwealth Office
Helen Grant, Minister for the First World War Centenary
Dr Andrew Murrison, Prime Minister’s Special Representative for the First World War Centenary
The Right Honourable Ed Miliband, Leader of Her Majesty’s Opposition
Keith Brown MSP, Cabinet Secretary for Infrastructure, Investment and Cities, Scottish Government
The Right Honourable Carwyn Jones, First Minister, Welsh Government
A representative of the Northern Ireland Executive
Lieutenant General Sir Gerry Berragan KBE CB, Adjutant General
Air Marshal Dick Garwood CB CBE DFC, Director General Defence Safety Authority
Vice Admiral Sir Philip Jones KCB, Fleet Commander and Deputy Chief of Naval Staff
Lieutenant General John Caligari AO DSC, Chief Capability Development Group, Australian Defence Force
Brigadier Antony Hayward ONZ, Head New Zealand Defence Staff, New Zealand High Commission
Colonel Ömer Özkan, Air Attaché, Embassy of Turkey
A representative of the People’s Republic of Bangladesh
Steven Vandeput, Minister of Defence of Belgium
His Excellency Gordon Campbell, High Commissioner for Canada
A representative of the Republic of France
A representative of the Federal Republic of Germany
His Excellency Dr Ranjan Mathai, High Commissioner for the Republic of India
His Excellency Daniel Mulhall, Ambassador of Ireland to the United Kingdom
His Excellency The Honourable Joseph Muscat, Prime Minister of the Republic of Malta
A representative of the Federal Democratic Republic of Nepal
His Excellency Muhammad Nawaz Sharif, Prime Minister of the Islamic Republic of Pakistan
His Excellency The Honourable Peter O’Neill CMG MP, Prime Minister of the Independent State of Papua New Guinea
His Excellency Mr Obed Mlaba, High Commissioner for the Republic of South Africa
A representative of the Democratic Socialist Republic of Sri Lanka
Sonata Tupou, Acting High Commissioner for the Kingdom of Tonga
The Honourable Bronwyn Bishop MP, Speaker to the Australian House of Representatives
Bill Muirhead AM, Agent-General for South Australia
Ken Smith, Trade Commissioner for Europe and Agent General for UK at Trade & Investment Queensland
Kevin Skipworth CVO, Agent-General for Western Australia
Ian Matterson, Representative of the Premier of Tasmania
Mathew Erbs, on behalf of the Agent-General for Victoria
Gary Dunn, Deputy Commonwealth Secretary General
General The Lord Richards of Herstmonceux GCB CBE DSO, Deputy Grand President, British Commonwealth Ex-Servicemen’s League
Vice Admiral Peter Wilkinson CB CVO, National President, the Royal British Legion
Right Honourable The Viscount Slim OBE DL, Returned and Services League of Australia
Colonel Andrew Martin ONZM, Royal New Zealand Returned and Services Association
Lindsay Birrell, CEO, London Legacy
Captain Christopher Fagan DL, Chairman, The Gallipoli Association
The Honourable Mrs Ros Kelly AO, Commissioner, Commonwealth War Graves Commission
Sue Pillar, Director of Volunteer Support, Soldiers’ And Sailors’ Families Association (SSAFA)
Captain Jim Conybeare, Master, The Honourable Company of Master Mariners
Lyn Hopkins, Director General, The Victoria League for Commonwealth Friendship
Sir Anthony Figgis KCVO CMG, Chairman, Royal Overseas League
Reveille sounded by buglers from the Band of Her Majesty’s Royal Marines
THE PRAYERS
Prayer by The Venerable Ian Wheatley QHC, Royal Navy Chaplain of the Fleet
God our Father, we come together today to honour all those who gave themselves with great courage in service and sacrifice for their country in the Gallipoli Campaign. We pray that their example may continue to inspire us to strive for the common good, that we may build up the harmony and freedom for which they fought and died.
Help us O Lord, to lift our eyes above the torment of this broken world, and strengthen our resolve to work for peace and justice, and for the relief of want and suffering. As we honour the past, may we put our faith in your future; for you are the source of life and hope, now and forever. Amen.
Hymn led by the Choirs of Chelmsford Cathedral and accompanied by the Massed Bands
I Vow To Thee My Country
All:
I vow to thee, my country, all earthly things above,
Entire and whole and perfect, the service of my love;
The love that asks no question, the love that stands the test,
That lays upon the altar the dearest and the best;
The love that never falters, the love that pays the price,
The love that makes undaunted the final sacrifice.
I heard my country calling, away across the sea,
Across the waste of waters, she calls and calls to me.
Her sword is girded at her side, her helmet on her head,
And around her feet are lying the dying and the dead;
I hear the noise of battle, the thunder of her guns;
I haste to thee, my mother, a son among thy sons.
And there’s another country, I’ve heard of long ago,
Most dear to them that love her, most great to them that know;
We may not count her armies, we may not see her King;
Her fortress is a faithful heart, her pride is suffering;
And soul by soul and silently her shining bounds increase,
And her ways are ways of gentleness, and all her paths are peace.
Prayer read by Grace van Gageldonk (14 years old) from Australia
God of compassion and mercy, we remember with thanksgiving and sorrow, those whose lives in world wars and conflicts past and present, have been
given and taken away.
Enfold in your love, all who in bereavement, disability and pain, continue to suffer the consequences of fighting and terror; and guide and protect all those who support and sustain them. Amen.
National anthem Advance Australia Fair
Led by the Choirs of Chelmsford Cathedral and accompanied by the Massed Bands
Australians all let us rejoice,
For we are young and free;
We’ve golden soil and wealth for toil,
Our home is girt by sea;
Our land abounds in nature’s gifts
Of beauty rich and rare;
In history’s page, let every stage
Advance Australia Fair.
In joyful strains then let us sing,
‘Advance Australia Fair’.
Prayer read by Kathryn Cooper (11 years old) from New Zealand
God of hope, the source of peace and the refuge of all in distress, we remember those you have gathered from the storm of war into the everlasting peace of your presence; may that same peace calm our fears, bring reconciliation and justice to all peoples, and establish lasting harmony among the nations.
We pray for all members of the armed forces who strive for peace and fight for justice today; bless and keep their families and friends at home awaiting their return. Help us, who today remember the cost of war, to work for a better tomorrow, and bring us all, in the end, to the peace of your presence; through Jesus Christ our Lord. Amen.
National anthem God Defend New Zealand
Led by the Choirs of Chelmsford Cathedral and accompanied by the Massed Bands
E Ihowā _Atua,
O ngā _iwi mātou rā
Āta whakarangona;
Me aroha noa
Kia hua ko te pai;
Kia tau tō _atawhai;
Manaakitia mai
Aotearoa
God of Nations at Thy feet,
in the bonds of love we meet,
hear our voices, we entreat,
God defend our free land.
Guard Pacific’s triple star
from the shafts of strife and war,
make her praises heard afar,
God defend New Zealand.
Reading Atatürk’s message to bereaved pilgrims, 1934, read by Ecenur Bilgiç (14 years old) from Turkey
Those heroes that shed their blood and lost their lives…
You are now lying in the soil of a friendly country. Therefore rest in peace.
There is no difference between the Johnnies and the Mehmets to us where they lie side by side here in this country of ours…
You, the mothers, who sent their sons from faraway countries, wipe away your tears; your sons are now lying in our bosom and are in peace, after having lost their lives on this land they have become our sons as well.
National anthem İstiklal Marşı (The Independence March)
Led by Burak Gülşen from Turkey, accompanied by the Massed Bands
Korkma, sönmez bu şafaklarda yüzen al sancak;
Sönmeden yurdumun üstünde tüten en son ocak.
O benim milletimin yıldızıdır, parlayacak;
O benimdir, o benim milletimindir ancak.
Çatma, kurban olayım, çehreni ey nazlı hilal!
Kahraman ırkıma bir gül! Ne bu şiddet, bu celal?
Sana olmaz dökülen kanlarımız sonra helal…
Hakkıdır, Hakk’a tapan, milletimin istiklal!
Fear not! For the crimson flag that flies at this dawn, shall not fade,
As long as the last fiery hearth that is ablaze in my country endures.
For that is the star of my nation, which will forever shine;
It is mine; and solely that of my valiant nation.
Frown not, I beseech you, oh thou coy crescent!
Come smile upon my heroic race! Why this rage, this fury?
The blood we shed for you shall not be blessed otherwise;
For independence is the absolute right of my God-worshipping nation.
Remembering Gallipoli a commemoration created by Michael McDermott
Music composed by Michael McDermott
Reading by James McDermott (17 years old) from the United Kingdom
The Attack at Dawn (May, 1915) by Leon Maxwell Gellert (1892–1977)
‘At every cost,’ they said, ‘it must be done.’
They told us in the early afternoon.
We sit and wait the coming of the sun
We sit in groups, — grey groups that watch the moon.
We stretch our legs and murmur half in sleep
And touch the tips of bayonets and yarn.
Our hands are cold. They strangely grope and creep,
Tugging at ends of straps. We wait the dawn!
Some men come stumbling past in single file.
And scrape the trench’s side and scatter sand.
They trip and curse and go. Perhaps we smile.
We wait the dawn! … The dawn is close at hand!
A gentle rustling runs along the line.
‘At every cost,’ they said, ‘it must be done.’
A hundred eyes are staring for the sign.
It’s coming! Look! … Our God’s own laughing sun!
Closing prayers by The Venerable Ian Wheatley QHC, Royal Navy Chaplain of the Fleet
Eternal God,
from whom all thoughts of truth and peace proceed;
Kindle, we pray, in the hearts of all, the true love of peace
and guide with your pure and peaceable wisdom
those who take counsel for the nations of the world,
that in tranquillity your kingdom may go forward,
and all people may spend their days in security, freedom and peace;
through Jesus Christ our Lord. Amen.
Merciful God
we offer to you the fears in us
that have not yet been cast out by love:
may we accept the hope you have
placed in the hearts of all people,
and live lives of justice, courage and mercy;
through Jesus Christ our Lord. Amen.
The Lord’s Prayer
All:
Our Father, who art in heaven,
hallowed be thy name;
thy kingdom come, thy will be done;
on earth as it is in heaven.
Give is this day our daily bread.
And forgive is our trespasses,
And forgive us our trespasses,
as we forgive those that trespass against us.
And lead is not into temptation;
but deliver us from evil.
For thine is the kingdom,
the power and the glory,
fro ver and ever. Amen.
The Blessing
God grant to the living grace, to the departed rest,
to the Church, the Queen, the Commonwealth and all people,
unity, peace and concord,
and to us and all God’s servants, life everlasting;
and the blessing of God almighty,
the Father, the Son and the Holy Spirit,
be among you and remain with you always. Amen.
National anthem God Save the Queen
Led by the Choirs of Chelmsford Cathedral and accompanied by the Massed Bands
God save our gracious Queen,
Long live our noble Queen.
God save the Queen!
Send her victorious,
Happy and glorious,
Long to reign over us;
God save the Queen!
They Are At Rest by Sir Edward Elgar (1857–1934), sung by the Choirs of Chelmsford Cathedral (unaccompanied)
THE MARCH PAST
Contingents from:
The Royal Navy
HMS QUEEN ELIZABETH
The Fleet Air Arm
The Submarine Service
Hybrid (HMS OCEAN, HMS ALBION,
Britannia Royal Naval College)
The Royal Marines
Maritime Reserves (Royal Navy
and Royal Marines Reserves)
Representatives from the Armed Forces of other countries who fought at Gallipoli
invited to join the March Past:
Australia
New Zealand
Canada
Turkey
India
Germany
Ireland
France
Bangladesh
Pakistan
South Africa
Papua New Guinea
Tonga
The Gallipoli Association
Naval Services Associations
The Royal Naval Association
The Royal Marines Association
Army Units and their Associations
The Royal Regiment of Artillery
The Royal Corps of Engineers
The Royal Regiment of Scotland
The Princess of Wales’ Royal Regiment
The Duke of Lancaster’s Regiment
The Royal Regiment of Fusiliers
The Royal Anglian Regiment
The Yorkshire Regiment
The Mercian Regiment
The Royal Welsh
The Royal Irish Regiment
The Royal Gurkha Rifles
The Rifles
The Royal Logistics Corps
The Royal Army Medical Corps
The Royal Army Veterinary Corps
The Royal Yeomanry
The Royal Wessex Yeomanry
The Scottish and North Irish Yeomanry
The London Regiment
Court & City Yeomanry Association
In-Pensioners of the Royal Hospital Chelsea
The Turkish Air Force Band plays Marche Mustafa Kemal Atatürk by Fazıl Çağlayan
Followed by: Descendants of those whose ancestors were involved in the Gallipoli campaign and others who march past the Cenotaph every year to commemorate Anzac Day.
This beautiful shrine is dedicated to those who served in the Great War, WWI. Inside the Sanctuary inscribed on a marble stone are the words, "Greater love hath no man". On November 11th at 11:00am the sun highlights the word "Love".
Nikon D800 Photoshoot of Twin Sister Bikini Swimsuit Model Goddesses
Twin sister goddesses!
Shot with my new, rather expensive B&W CP (circular polarizer)--the B+W XS-Pro Kaesemann Circular Polarizer with Multi-Resistant Nano Coating ! I love the finish it gives! Nothing in post compares! :)
Finished in Lightroom 4!
Nikon D800 Photographs of two beautiful blonde swimsuit bikini model twin sisters shot with the brand new Nikon D800 and Nikon 70-200mm f/2.8G ED VR II AF-S Nikkor Zoom Lens.
Captured in both RAW and JPEG.
Check out the amazing detail in the full resolution photos! I was running out of CF & SD cards fast, as the files are huge!
Classic California Hero's Journey Mythology Goddesses! Tall, pretty, thin, fit, with pretty blue eyes and long straw-blonde hair, blowing on the sea breeze.
Modeling the brand new black Gold 45 Revolver & Braveheart Sword Hero's Journey Mythology Gold'N'Virtue bikinis!
On El Matador Beach in Malibu!
Enjoy the epic beauty of the mythological hero's journey, in great detail via the Nikon D800! :)
The full resolutions RAWs and JPEGs are amazing!
Enjoy!
May the goddesses inspire you along your artistic hero's journey!
Name: Gakona
Title: Toa of Water
Alignment: Lawful Good
Location: Ga-Magna, The Swamps of Division
Weapons: Spear of Iridescence
Lore: Gakona never thought she would be a Toa - she always suspected that duty would fall to her fellow Matoran Hagtal, the commander of Ga-Magna's small army. However, all this would change when, whilst diving in the lagoons of the Swamps of Division for relics of previous wars, she came across an ancient shipment of protodermis, from when the lagoon used to be a deep ocean separating Ga-Magna completely from the rest of the island. The shipment was old, and much of the protodermis had already dissipated into the waters of the lagoon. However, when she breached one of the only sealed containers remaining, the protodermis engulfed her, coursing energy through her body. It was only when she stumbled back into Ga-Magna's main town that she realised what had happened to her, as she collapsed before her fellow Matoran, and for the first time saw her reflection in the water's edge. Her duty as Toa filled a gap long empty, after the first Bohrok strike drove the previous Toa of Water to insanity. She quickly sought new forms of combat better suited for her new body, learning a variety of techniques and skills from Frizzak in the mountains of Ko-Magna. For when a well placed knee would not be enough, she took up Ga-Magna's ancient Spear of Iridescence, capable of generation illusions within a small region of the user. Lightning fast in water, and with a witty temperament to match, Gakona is one of the more humble Toa in Strata Magna - but although she is young, her power is not to be underestimated.
Aircraft: 1:200 Scale Boeing 737
Unit: Southwest Airlines - "Maryland One"
Company: Gemini Jets
Website: One Mile High Photography
Facebook: www.facebook.com/OneMileHighPhotography
Grave site of E.E. Cummings, one of the foremost American poets of the 20th century. This modest stone marks his grave at Forest Hills Cemetery in the Jamaica Plain section of Boston, MA. I noted the three polished stones at the bottom of the grave marker already sitting there when I came upon the site, obviously left by someone. After some poking around on the Internet I suspect their significance is related to a couple of lines from his poem 'maggie and milly and molly and may':
"may came home with a smooth round stone
as small as a world and as large as alone."
If you're interested, you can find the entire poem here: www.poets.org/viewmedia.php/prmMID/15406
www.foresthillstrust.org/about.html
.
View of that iconic Sydney Harbour Bridge in a large sphere - part of number of sculptures in the new Barangaroo Park. The Sphere is called Horizon by Lucy Humphrey (2013). For more information : www.barangaroo.sydney/whats-on/sculpture/
Some of you may have noticed that, unfortunately, owing to the fact that a certain person who sells truck photos on eBay commercially has been lifting my images from this album and selling them I have had to remove 2300 photos that didn't have a watermark. I have now run around 1700 through Lightroom and added a watermark with the intention of bulk uploading them again. Rather than watermark the existing (hidden) files in Flickr one at a time it will be easier to do it this way. I definitely won’t be adding individual tags with the make and model of each vehicle I will just add generic transport tags. Each photo is named after the vehicle and reg in any case. For anyone new to these images there is a chapter and verse explanation below. It is staggering how many times I get asked questions that a quick scan would answer or just as likely I can’t possibly answer – I didn’t take them, but, just to clarify-I do own the copyright- and I do pursue copyright theft.
This is a collection of scanned prints from a collection of photographs taken by the late Jim Taylor A number of years ago I was offered a large number of photographs taken by Jim Taylor, a transport photographer based in Huddersfield. The collection, 30,000 prints, 20,000 negatives – and copyright! – had been offered to me and one of the national transport magazines previously by a friend of Jim's, on behalf of Jim's wife. I initially turned them down, already having over 30,000 of my own prints filed away and taking space up. Several months later the prints were still for sale – at what was, apparently, the going rate. It was a lot of money and I deliberated for quite a while before deciding to buy them. I did however buy them directly from Jim’s wife and she delivered them personally – just to quash the occasional rumour from people who can’t mind their own business. Although some prints were sold elsewhere, particularly the popular big fleet stuff, I should have the negatives, unfortunately they came to me in a random mix, 1200 to a box, without any sort of indexing and as such it would be impossible to match negatives to prints, or, to even find a print of any particular vehicle. I have only ever looked at a handful myself unless I am scanning them. The prints are generally in excellent condition and I initially stored them in a bedroom without ever looking at any of them. In 2006 I built an extension and they had to be well protected from dust and moved a few times. Ultimately my former 6x7 box room office has become their (and my own work’s) permanent home.
I hope to avoid posting images that Jim had not taken his self, however should I inadvertently infringe another photographers copyright, please inform me by email and I will resolve the issue immediately. There are copyright issues with some of the photographs that were sold to me. A Flickr member from Scotland drew my attention to some of his own work amongst the first uploads of Jim’s work. I had a quick look through some of the 30 boxes of prints and decided that for the time being the safest thing for me to do was withdraw the majority of the earlier uploaded scans and deal with the problem – which I did. whilst the vast majority of the prints are Jims, there is a problem defining copyright of some of them, this is something that the seller did not make clear at the time. I am reasonably confident that I have since been successful in identifying Jims own work. His early work consists of many thousands of lustre 6x4 prints which are difficult to scan well, later work is almost entirely 7x5 glossy, much easier to scan. Not all of the prints are pin sharp but I can generally print successfully to A4 from a scan.
You may notice photographs being duplicated in this Album, unfortunately there are multiple copies of many prints (for swapping) and as I have to have a system of archiving and backing up I can only guess - using memory - if I have scanned a print before. The bigger fleets have so many similar vehicles and registration numbers that it is impossible to get it right all of the time. It is easier to scan and process a print than check my files - on three different PC’s - for duplicates. There has not been, nor will there ever be, any intention to knowingly breach anyone else's copyright. I have presented the Jim Taylor collection as exactly that-The Jim Taylor Collection- his work not mine, my own work is quite obviously mine.
Unfortunately, many truck spotters have swapped and traded their work without copyright marking it as theirs. These people never anticipated the ease with which images would be shared online in the future. I would guess that having swapped and traded photos for many years that it is almost impossible to control their future use. Anyone wanting to control the future use of their work would have been well advised to copyright mark their work (as many did) and would be well advised not to post them on photo sharing sites without a watermark as the whole point of these sites is to share the image, it is very easy for those that wish, to lift any image, despite security settings, indeed, Flickr itself, warns you that this is the case. It was this abuse and theft of my material that led me to watermark all of my later uploads. I may yet withdraw non-watermarked photos, I haven’t decided yet. (I did in the end)
To anyone reading the above it will be quite obvious that I can’t provide information regarding specific photos or potential future uploads – I didn’t take them! There are many vehicles that were well known to me as Jim only lived down the road from me (although I didn’t know him), however scanning, titling, tagging and uploading is laborious and time consuming enough, I do however provide a fair amount of information with my own transport (and other) photos. I am aware that there are requests from other Flickr users that are unanswered, I stumble across them months or years after they were posted, this isn’t deliberate. Some weekends one or two “enthusiasts” can add many hundreds of photos as favourites, this pushes requests that are in the comments section ten or twenty pages out of sight and I miss them. I also have notifications switched off, I receive around 50 emails a day through work and I don’t want even more from Flickr. Other requests, like many other things, I just plain forget – no excuses! Uploads of Jim’s photos will be infrequent as it is a boring pastime and I would much rather work on my own output.
Dates: ca. 1900
Maker: T. H. McAllistar
Place: USA: New York
Donor: Gift of the Estate of Gerard Dallas Jencks
Photographer Credit: Scottish Rite Masonic Museum & Library
For more information on Magic Lanterns, check out our blog!
Canon 5D Mark II photos of Beautiful Blonde Swimsuit Bikini Model Goddess!
She was tall, thin, fit, and very pretty with long, blonde hair and blue eyes! From Sweden!
The Canon EOS 5D Mark II + EF 24-105/4L IS USM was my workhorse until I got the Nikon D800 & D800E with the 70-200 mm 2.8 VR2 zoom.
Canon, Nikon, you can't go wrong with the pretty 45surf model goddesses! (Though the D800 is my new love.)
May the goddess inspire ye along a hero's journey of yer own making, and the path of yer own taking.
Was a classic socal autumn morning with a bright, blue, sunny sky! Hope the photos make you feel like you were there! :)
Shanklin is a popular seaside resort and civil parish on the Isle of Wight, England, located on Sandown Bay. Shanklin is the southernmost of three settlements which occupy the bay, and is close to Lake and Sandown. The sandy beach, its Old Village and a wooded ravine, Shanklin Chine, are its main attractions. The esplanade along the beach is occupied by hotels and restaurants for the most part, and is one of the most tourist-oriented parts of the town. The other is the Old Village, at the top of Shanklin Chine.
Just a bit of warm colour before I have to leave for a third Bird Count today, south of the city, in High River. A friend is picking me up in an hour's time, at 6:45 a.m. and we will meet the other few people in our group down at High River. Fortunately, this Count involves a lot of driving, with stops here and there. I'm still in agony after the other two Counts on Saturday and Sunday, lol. Next one will be on Saturday 22nd.
This is a photograph from the East of Ireland Marathon Series Marathon which was held in Longwood Village, Co. Meath, Ireland on Saturday 25th January 2014 at 09:00. There were 75 participants in the marathon which completed 8 loops of a 5KM route (and a additional 2KM) with Longwood GAA club acting as Race Headquarters, Start, Finish, and refreshments area. The weather turned particularly nasty for about an hour and the participants were lashed with gale-force winds, severe hailstones, and then rain. However this didn't stop everyone enjoying the day. Thanks to the folks at Longwood GAA who provided excellent hospitality and facilities for all participants. There was a great atmosphere at the race and everyone enjoyed another trip to the countryside for an EOIM.
Despite the weather there were a few PBs and fast inidividual times. The course is a nice fast flat 5KM loop. It is used every year as the Longwood GAA 5KM Road Race (see links below). The marathon loop followed the reverse of the race route for safety reasons as the roads were fully opened for the EOIM event. There is a total elevation gain of 20ft and an elevation loss of 23ft. The sources of elevation gain are only very small rises on the road and aren't really noticeable. Part of the route includes a kilometer on a boreen which is nicely sheltered and with good road surface. The road surface is excellent for the entire route. There were some puddles and mud on the boreen section of the route due to agricultural traffic.
Thanks must be extended to the Longwood GAA club and committee for the use of their fine facilities which allowed participants to have some refreshments afterwards and hot showers and changing rooms were also available.
This is the second East of Ireland Marathon Series race which has been held outside Dublin. The previous race which was held outside Dublin was held in Stapelstown, Co. Kildare in September 2013. (See links to pictures on Flickr from that race). Whilst Longwood is a rural venue it is easily accessible from all parts of Ireland due to it's close proximity to the N4 and the M4 Motorways.
We have an extensive set of photographs from today's event on the following Flickr Photoset Page: http://www.flickr.com/photos/peterm7/sets/72157640099311556/
Tell me more about the East of Ireland Marathon Series
This race event was part of the East of Ireland Marathon Series. The East Of Ireland Marathon Series aims to make marathons affordable and convienient for the runners of Ireland. The series organisers aim to promote marathon running and to make the process as stress free and enjoyable as possible. All courses are measured to full AAI standards and have a minimum of 10 Entrants. The marathons are self sufficent to a degree although there are limited supplies of water available on the day of the race. There will be no extra frills like chip timing and finish gantrys. However all finishing times are accurately and officially recorded and each marathon counts as an official marathon. Overall, this approach to marathon organisation helps to keep the price down and allows these races to be run in as an economically affordable manner as possible. The East of Ireland Marathon series is all inclusive and welcomes runners who are new to marathon running as well as experienced veterans. So if you are thinking of your 1st marathon, your 10th marathon, or your 100th the East of Ireland Marathon Series will provide a very friendly and low-cost environment for to become part of Ireland's marathon running community.
Viewing this on a smartphone device?
If you would like to see a larger version of this photograph and if you are viewing this Flickr set on a smartphone: scroll down to the bottom of this description under the photograph and click the "View info about this photo..." link. You will be brought to a new page and you should click the link "View All Sizes".
Some useful Internet links
East of Ireland Marathons Facebook Group Page: www.facebook.com/groups/130592073780072/ (you will need a Facebook account to view this)
East of Ireland Marathons Website: www.eastofirelandmarathons.com/
Race Website with Route Description: www.peterm7.com/longwood/
Garmin GPS Trace of the Marathon Route (main loop) connect.garmin.com/activity/401171615
East of Ireland Marathon Series - Stapelstown, Co. Kildare - September 2013: www.flickr.com/photos/peterm7/sets/72157635665725976/
We use Creative Commons Licensing
We use the Creative Commons Attribution-ShareAlike License for all our photographs here in this photograph set. What does this mean in reality?
The explaination is very simple.
Attribution- anyone using our photographs gives us an appropriate credit for it. This ensures that people aren't taking our photographs and passing them off as their own.
ShareAlike – anyone can use these photographs, and make changes if they like, or incorporate them into a bigger project, but they must make those changes available back to the community under the same terms.
Creative Commons aims to encourage creative sharing. See some examples of Creative Commons photographs on Flickr: www.flickr.com/creativecommons/
Can I use these photographs directly from Flickr on my social media account(s)?
Yes - of course you can! Flickr provides several ways to share this and other photographs in this Flickr set. You can share to: email, Facebook, Pinterest, Twitter, Tumblr, LiveJournal, and Wordpress and Blogger blog sites. Your mobile, tablet, or desktop device will also offer you several different options for sharing this photo page on your social media outlets.
We take these photographs as a hobby and as a contribution to the running community in Ireland. Our only "cost" is our request that if you are using these images: (1) on social media sites such as Facebook, Tumblr, Pinterest, Twitter,LinkedIn, Google+, etc or (2) other websites, blogs, web multimedia, commercial/promotional material that you must provide a link back to our Flickr page to attribute us.
This also extends the use of these images for Facebook profile pictures. In these cases please make a separate wall or blog post with a link to our Flickr page. If you do not know how this should be done for Facebook or other social media please email us and we will be happy to help suggest how to link to us.
How can I get full resolution, print-quality, copies of these photographs?
If you just need these photographs for online usage then they can be used directly once you respect their Creative Commons license and provide a link back to our Flickr set if you use them. For offline usage and printing all of the photographs posted here on this Flickr set are available free, at no cost, at full image resolution.
Please email petermooney78 AT gmail DOT com with the links to the photographs you would like to obtain a full resolution copy of. We also ask race organisers, media, etc to ask for permission before use of our images for flyers, posters, etc. We reserve the right to refuse a request.
In summary please remember when requesting photographs from us - If you are using the photographs online all we ask is for you to provide a link back to our Flickr set or Flickr pages. You will find the link above clearly outlined in the description text which accompanies this photograph. Taking these photographs and preparing them for online posting does take a significant effort and time. We are not posting photographs to Flickr for commercial reasons. If you really like what we do please spread the link around your social media, send us an email, leave a comment beside the photographs, send us a Flickr email, etc. If you are using the photographs in newspapers or magazines we ask that you mention where the original photograph came from.
I would like to contribute something for your photograph(s)?
Many people offer payment for our photographs. As stated above we do not charge for these photographs. We take these photographs as our contribution to the running community in Ireland. If you feel that the photograph(s) you request are good enough that you would consider paying for their purchase from other photographic providers or in other circumstances we would suggest that you can provide a donation to any of the great charities in Ireland who do work for Cancer Care or Cancer Research in Ireland.
I ran in the race - but my photograph doesn't appear here in your Flickr set! What gives?
As mentioned above we take these photographs as a hobby and as a voluntary contribution to the running community in Ireland. Very often we have actually ran in the same race and then switched to photographer mode after we finished the race. Consequently, we feel that we have no obligations to capture a photograph of every participant in the race. However, we do try our very best to capture as many participants as possible. But this is sometimes not possible for a variety of reasons:
►You were hidden behind another participant as you passed our camera
►Weather or lighting conditions meant that we had some photographs with blurry content which we did not upload to our Flickr set
►There were too many people - some races attract thousands of participants and as amateur photographs we cannot hope to capture photographs of everyone
►We simply missed you - sorry about that - we did our best!
You can email us petermooney78 AT gmail DOT com to enquire if we have a photograph of you which didn't make the final Flickr selection for the race. But we cannot promise that there will be photograph there. As alternatives we advise you to contact the race organisers to enquire if there were (1) other photographs taking photographs at the race event or if (2) there were professional commercial sports photographers taking photographs which might have some photographs of you available for purchase. You might find some links for further information above.
Don't like your photograph here?
That's OK! We understand!
If, for any reason, you are not happy or comfortable with your picture appearing here in this photoset on Flickr then please email us at petermooney78 AT gmail DOT com and we will remove it as soon as possible. We give careful consideration to each photograph before uploading.
I want to tell people about these great photographs!
Great! Thank you! The best link to spread the word around is probably http://www.flickr.com/peterm7/sets
This is a photograph from the East of Ireland Marathon Series Marathon which was held in Longwood Village, Co. Meath, Ireland on Saturday 25th January 2014 at 09:00. There were 75 participants in the marathon which completed 8 loops of a 5KM route (and a additional 2KM) with Longwood GAA club acting as Race Headquarters, Start, Finish, and refreshments area. The weather turned particularly nasty for about an hour and the participants were lashed with gale-force winds, severe hailstones, and then rain. However this didn't stop everyone enjoying the day. Thanks to the folks at Longwood GAA who provided excellent hospitality and facilities for all participants. There was a great atmosphere at the race and everyone enjoyed another trip to the countryside for an EOIM.
Despite the weather there were a few PBs and fast inidividual times. The course is a nice fast flat 5KM loop. It is used every year as the Longwood GAA 5KM Road Race (see links below). The marathon loop followed the reverse of the race route for safety reasons as the roads were fully opened for the EOIM event. There is a total elevation gain of 20ft and an elevation loss of 23ft. The sources of elevation gain are only very small rises on the road and aren't really noticeable. Part of the route includes a kilometer on a boreen which is nicely sheltered and with good road surface. The road surface is excellent for the entire route. There were some puddles and mud on the boreen section of the route due to agricultural traffic.
Thanks must be extended to the Longwood GAA club and committee for the use of their fine facilities which allowed participants to have some refreshments afterwards and hot showers and changing rooms were also available.
This is the second East of Ireland Marathon Series race which has been held outside Dublin. The previous race which was held outside Dublin was held in Stapelstown, Co. Kildare in September 2013. (See links to pictures on Flickr from that race). Whilst Longwood is a rural venue it is easily accessible from all parts of Ireland due to it's close proximity to the N4 and the M4 Motorways.
We have an extensive set of photographs from today's event on the following Flickr Photoset Page: http://www.flickr.com/photos/peterm7/sets/72157640099311556/
Tell me more about the East of Ireland Marathon Series
This race event was part of the East of Ireland Marathon Series. The East Of Ireland Marathon Series aims to make marathons affordable and convienient for the runners of Ireland. The series organisers aim to promote marathon running and to make the process as stress free and enjoyable as possible. All courses are measured to full AAI standards and have a minimum of 10 Entrants. The marathons are self sufficent to a degree although there are limited supplies of water available on the day of the race. There will be no extra frills like chip timing and finish gantrys. However all finishing times are accurately and officially recorded and each marathon counts as an official marathon. Overall, this approach to marathon organisation helps to keep the price down and allows these races to be run in as an economically affordable manner as possible. The East of Ireland Marathon series is all inclusive and welcomes runners who are new to marathon running as well as experienced veterans. So if you are thinking of your 1st marathon, your 10th marathon, or your 100th the East of Ireland Marathon Series will provide a very friendly and low-cost environment for to become part of Ireland's marathon running community.
Viewing this on a smartphone device?
If you would like to see a larger version of this photograph and if you are viewing this Flickr set on a smartphone: scroll down to the bottom of this description under the photograph and click the "View info about this photo..." link. You will be brought to a new page and you should click the link "View All Sizes".
Some useful Internet links
East of Ireland Marathons Facebook Group Page: www.facebook.com/groups/130592073780072/ (you will need a Facebook account to view this)
East of Ireland Marathons Website: www.eastofirelandmarathons.com/
Race Website with Route Description: www.peterm7.com/longwood/
Garmin GPS Trace of the Marathon Route (main loop) connect.garmin.com/activity/401171615
East of Ireland Marathon Series - Stapelstown, Co. Kildare - September 2013: www.flickr.com/photos/peterm7/sets/72157635665725976/
We use Creative Commons Licensing
We use the Creative Commons Attribution-ShareAlike License for all our photographs here in this photograph set. What does this mean in reality?
The explaination is very simple.
Attribution- anyone using our photographs gives us an appropriate credit for it. This ensures that people aren't taking our photographs and passing them off as their own.
ShareAlike – anyone can use these photographs, and make changes if they like, or incorporate them into a bigger project, but they must make those changes available back to the community under the same terms.
Creative Commons aims to encourage creative sharing. See some examples of Creative Commons photographs on Flickr: www.flickr.com/creativecommons/
Can I use these photographs directly from Flickr on my social media account(s)?
Yes - of course you can! Flickr provides several ways to share this and other photographs in this Flickr set. You can share to: email, Facebook, Pinterest, Twitter, Tumblr, LiveJournal, and Wordpress and Blogger blog sites. Your mobile, tablet, or desktop device will also offer you several different options for sharing this photo page on your social media outlets.
We take these photographs as a hobby and as a contribution to the running community in Ireland. Our only "cost" is our request that if you are using these images: (1) on social media sites such as Facebook, Tumblr, Pinterest, Twitter,LinkedIn, Google+, etc or (2) other websites, blogs, web multimedia, commercial/promotional material that you must provide a link back to our Flickr page to attribute us.
This also extends the use of these images for Facebook profile pictures. In these cases please make a separate wall or blog post with a link to our Flickr page. If you do not know how this should be done for Facebook or other social media please email us and we will be happy to help suggest how to link to us.
How can I get full resolution, print-quality, copies of these photographs?
If you just need these photographs for online usage then they can be used directly once you respect their Creative Commons license and provide a link back to our Flickr set if you use them. For offline usage and printing all of the photographs posted here on this Flickr set are available free, at no cost, at full image resolution.
Please email petermooney78 AT gmail DOT com with the links to the photographs you would like to obtain a full resolution copy of. We also ask race organisers, media, etc to ask for permission before use of our images for flyers, posters, etc. We reserve the right to refuse a request.
In summary please remember when requesting photographs from us - If you are using the photographs online all we ask is for you to provide a link back to our Flickr set or Flickr pages. You will find the link above clearly outlined in the description text which accompanies this photograph. Taking these photographs and preparing them for online posting does take a significant effort and time. We are not posting photographs to Flickr for commercial reasons. If you really like what we do please spread the link around your social media, send us an email, leave a comment beside the photographs, send us a Flickr email, etc. If you are using the photographs in newspapers or magazines we ask that you mention where the original photograph came from.
I would like to contribute something for your photograph(s)?
Many people offer payment for our photographs. As stated above we do not charge for these photographs. We take these photographs as our contribution to the running community in Ireland. If you feel that the photograph(s) you request are good enough that you would consider paying for their purchase from other photographic providers or in other circumstances we would suggest that you can provide a donation to any of the great charities in Ireland who do work for Cancer Care or Cancer Research in Ireland.
I ran in the race - but my photograph doesn't appear here in your Flickr set! What gives?
As mentioned above we take these photographs as a hobby and as a voluntary contribution to the running community in Ireland. Very often we have actually ran in the same race and then switched to photographer mode after we finished the race. Consequently, we feel that we have no obligations to capture a photograph of every participant in the race. However, we do try our very best to capture as many participants as possible. But this is sometimes not possible for a variety of reasons:
►You were hidden behind another participant as you passed our camera
►Weather or lighting conditions meant that we had some photographs with blurry content which we did not upload to our Flickr set
►There were too many people - some races attract thousands of participants and as amateur photographs we cannot hope to capture photographs of everyone
►We simply missed you - sorry about that - we did our best!
You can email us petermooney78 AT gmail DOT com to enquire if we have a photograph of you which didn't make the final Flickr selection for the race. But we cannot promise that there will be photograph there. As alternatives we advise you to contact the race organisers to enquire if there were (1) other photographs taking photographs at the race event or if (2) there were professional commercial sports photographers taking photographs which might have some photographs of you available for purchase. You might find some links for further information above.
Don't like your photograph here?
That's OK! We understand!
If, for any reason, you are not happy or comfortable with your picture appearing here in this photoset on Flickr then please email us at petermooney78 AT gmail DOT com and we will remove it as soon as possible. We give careful consideration to each photograph before uploading.
I want to tell people about these great photographs!
Great! Thank you! The best link to spread the word around is probably http://www.flickr.com/peterm7/sets
This is a photograph from the East of Ireland Marathon Series Marathon which was held in Longwood Village, Co. Meath, Ireland on Saturday 25th January 2014 at 09:00. There were 75 participants in the marathon which completed 8 loops of a 5KM route (and a additional 2KM) with Longwood GAA club acting as Race Headquarters, Start, Finish, and refreshments area. The weather turned particularly nasty for about an hour and the participants were lashed with gale-force winds, severe hailstones, and then rain. However this didn't stop everyone enjoying the day. Thanks to the folks at Longwood GAA who provided excellent hospitality and facilities for all participants. There was a great atmosphere at the race and everyone enjoyed another trip to the countryside for an EOIM.
Despite the weather there were a few PBs and fast inidividual times. The course is a nice fast flat 5KM loop. It is used every year as the Longwood GAA 5KM Road Race (see links below). The marathon loop followed the reverse of the race route for safety reasons as the roads were fully opened for the EOIM event. There is a total elevation gain of 20ft and an elevation loss of 23ft. The sources of elevation gain are only very small rises on the road and aren't really noticeable. Part of the route includes a kilometer on a boreen which is nicely sheltered and with good road surface. The road surface is excellent for the entire route. There were some puddles and mud on the boreen section of the route due to agricultural traffic.
Thanks must be extended to the Longwood GAA club and committee for the use of their fine facilities which allowed participants to have some refreshments afterwards and hot showers and changing rooms were also available.
This is the second East of Ireland Marathon Series race which has been held outside Dublin. The previous race which was held outside Dublin was held in Stapelstown, Co. Kildare in September 2013. (See links to pictures on Flickr from that race). Whilst Longwood is a rural venue it is easily accessible from all parts of Ireland due to it's close proximity to the N4 and the M4 Motorways.
We have an extensive set of photographs from today's event on the following Flickr Photoset Page: http://www.flickr.com/photos/peterm7/sets/72157640099311556/
Tell me more about the East of Ireland Marathon Series
This race event was part of the East of Ireland Marathon Series. The East Of Ireland Marathon Series aims to make marathons affordable and convienient for the runners of Ireland. The series organisers aim to promote marathon running and to make the process as stress free and enjoyable as possible. All courses are measured to full AAI standards and have a minimum of 10 Entrants. The marathons are self sufficent to a degree although there are limited supplies of water available on the day of the race. There will be no extra frills like chip timing and finish gantrys. However all finishing times are accurately and officially recorded and each marathon counts as an official marathon. Overall, this approach to marathon organisation helps to keep the price down and allows these races to be run in as an economically affordable manner as possible. The East of Ireland Marathon series is all inclusive and welcomes runners who are new to marathon running as well as experienced veterans. So if you are thinking of your 1st marathon, your 10th marathon, or your 100th the East of Ireland Marathon Series will provide a very friendly and low-cost environment for to become part of Ireland's marathon running community.
Viewing this on a smartphone device?
If you would like to see a larger version of this photograph and if you are viewing this Flickr set on a smartphone: scroll down to the bottom of this description under the photograph and click the "View info about this photo..." link. You will be brought to a new page and you should click the link "View All Sizes".
Some useful Internet links
East of Ireland Marathons Facebook Group Page: www.facebook.com/groups/130592073780072/ (you will need a Facebook account to view this)
East of Ireland Marathons Website: www.eastofirelandmarathons.com/
Race Website with Route Description: www.peterm7.com/longwood/
Garmin GPS Trace of the Marathon Route (main loop) connect.garmin.com/activity/401171615
East of Ireland Marathon Series - Stapelstown, Co. Kildare - September 2013: www.flickr.com/photos/peterm7/sets/72157635665725976/
We use Creative Commons Licensing
We use the Creative Commons Attribution-ShareAlike License for all our photographs here in this photograph set. What does this mean in reality?
The explaination is very simple.
Attribution- anyone using our photographs gives us an appropriate credit for it. This ensures that people aren't taking our photographs and passing them off as their own.
ShareAlike – anyone can use these photographs, and make changes if they like, or incorporate them into a bigger project, but they must make those changes available back to the community under the same terms.
Creative Commons aims to encourage creative sharing. See some examples of Creative Commons photographs on Flickr: www.flickr.com/creativecommons/
Can I use these photographs directly from Flickr on my social media account(s)?
Yes - of course you can! Flickr provides several ways to share this and other photographs in this Flickr set. You can share to: email, Facebook, Pinterest, Twitter, Tumblr, LiveJournal, and Wordpress and Blogger blog sites. Your mobile, tablet, or desktop device will also offer you several different options for sharing this photo page on your social media outlets.
We take these photographs as a hobby and as a contribution to the running community in Ireland. Our only "cost" is our request that if you are using these images: (1) on social media sites such as Facebook, Tumblr, Pinterest, Twitter,LinkedIn, Google+, etc or (2) other websites, blogs, web multimedia, commercial/promotional material that you must provide a link back to our Flickr page to attribute us.
This also extends the use of these images for Facebook profile pictures. In these cases please make a separate wall or blog post with a link to our Flickr page. If you do not know how this should be done for Facebook or other social media please email us and we will be happy to help suggest how to link to us.
How can I get full resolution, print-quality, copies of these photographs?
If you just need these photographs for online usage then they can be used directly once you respect their Creative Commons license and provide a link back to our Flickr set if you use them. For offline usage and printing all of the photographs posted here on this Flickr set are available free, at no cost, at full image resolution.
Please email petermooney78 AT gmail DOT com with the links to the photographs you would like to obtain a full resolution copy of. We also ask race organisers, media, etc to ask for permission before use of our images for flyers, posters, etc. We reserve the right to refuse a request.
In summary please remember when requesting photographs from us - If you are using the photographs online all we ask is for you to provide a link back to our Flickr set or Flickr pages. You will find the link above clearly outlined in the description text which accompanies this photograph. Taking these photographs and preparing them for online posting does take a significant effort and time. We are not posting photographs to Flickr for commercial reasons. If you really like what we do please spread the link around your social media, send us an email, leave a comment beside the photographs, send us a Flickr email, etc. If you are using the photographs in newspapers or magazines we ask that you mention where the original photograph came from.
I would like to contribute something for your photograph(s)?
Many people offer payment for our photographs. As stated above we do not charge for these photographs. We take these photographs as our contribution to the running community in Ireland. If you feel that the photograph(s) you request are good enough that you would consider paying for their purchase from other photographic providers or in other circumstances we would suggest that you can provide a donation to any of the great charities in Ireland who do work for Cancer Care or Cancer Research in Ireland.
I ran in the race - but my photograph doesn't appear here in your Flickr set! What gives?
As mentioned above we take these photographs as a hobby and as a voluntary contribution to the running community in Ireland. Very often we have actually ran in the same race and then switched to photographer mode after we finished the race. Consequently, we feel that we have no obligations to capture a photograph of every participant in the race. However, we do try our very best to capture as many participants as possible. But this is sometimes not possible for a variety of reasons:
►You were hidden behind another participant as you passed our camera
►Weather or lighting conditions meant that we had some photographs with blurry content which we did not upload to our Flickr set
►There were too many people - some races attract thousands of participants and as amateur photographs we cannot hope to capture photographs of everyone
►We simply missed you - sorry about that - we did our best!
You can email us petermooney78 AT gmail DOT com to enquire if we have a photograph of you which didn't make the final Flickr selection for the race. But we cannot promise that there will be photograph there. As alternatives we advise you to contact the race organisers to enquire if there were (1) other photographs taking photographs at the race event or if (2) there were professional commercial sports photographers taking photographs which might have some photographs of you available for purchase. You might find some links for further information above.
Don't like your photograph here?
That's OK! We understand!
If, for any reason, you are not happy or comfortable with your picture appearing here in this photoset on Flickr then please email us at petermooney78 AT gmail DOT com and we will remove it as soon as possible. We give careful consideration to each photograph before uploading.
I want to tell people about these great photographs!
Great! Thank you! The best link to spread the word around is probably http://www.flickr.com/peterm7/sets
This is a photograph from the East of Ireland Marathon Series Marathon which was held in Longwood Village, Co. Meath, Ireland on Saturday 25th January 2014 at 09:00. There were 75 participants in the marathon which completed 8 loops of a 5KM route (and a additional 2KM) with Longwood GAA club acting as Race Headquarters, Start, Finish, and refreshments area. The weather turned particularly nasty for about an hour and the participants were lashed with gale-force winds, severe hailstones, and then rain. However this didn't stop everyone enjoying the day. Thanks to the folks at Longwood GAA who provided excellent hospitality and facilities for all participants. There was a great atmosphere at the race and everyone enjoyed another trip to the countryside for an EOIM.
Despite the weather there were a few PBs and fast inidividual times. The course is a nice fast flat 5KM loop. It is used every year as the Longwood GAA 5KM Road Race (see links below). The marathon loop followed the reverse of the race route for safety reasons as the roads were fully opened for the EOIM event. There is a total elevation gain of 20ft and an elevation loss of 23ft. The sources of elevation gain are only very small rises on the road and aren't really noticeable. Part of the route includes a kilometer on a boreen which is nicely sheltered and with good road surface. The road surface is excellent for the entire route. There were some puddles and mud on the boreen section of the route due to agricultural traffic.
Thanks must be extended to the Longwood GAA club and committee for the use of their fine facilities which allowed participants to have some refreshments afterwards and hot showers and changing rooms were also available.
This is the second East of Ireland Marathon Series race which has been held outside Dublin. The previous race which was held outside Dublin was held in Stapelstown, Co. Kildare in September 2013. (See links to pictures on Flickr from that race). Whilst Longwood is a rural venue it is easily accessible from all parts of Ireland due to it's close proximity to the N4 and the M4 Motorways.
We have an extensive set of photographs from today's event on the following Flickr Photoset Page: http://www.flickr.com/photos/peterm7/sets/72157640099311556/
Tell me more about the East of Ireland Marathon Series
This race event was part of the East of Ireland Marathon Series. The East Of Ireland Marathon Series aims to make marathons affordable and convienient for the runners of Ireland. The series organisers aim to promote marathon running and to make the process as stress free and enjoyable as possible. All courses are measured to full AAI standards and have a minimum of 10 Entrants. The marathons are self sufficent to a degree although there are limited supplies of water available on the day of the race. There will be no extra frills like chip timing and finish gantrys. However all finishing times are accurately and officially recorded and each marathon counts as an official marathon. Overall, this approach to marathon organisation helps to keep the price down and allows these races to be run in as an economically affordable manner as possible. The East of Ireland Marathon series is all inclusive and welcomes runners who are new to marathon running as well as experienced veterans. So if you are thinking of your 1st marathon, your 10th marathon, or your 100th the East of Ireland Marathon Series will provide a very friendly and low-cost environment for to become part of Ireland's marathon running community.
Viewing this on a smartphone device?
If you would like to see a larger version of this photograph and if you are viewing this Flickr set on a smartphone: scroll down to the bottom of this description under the photograph and click the "View info about this photo..." link. You will be brought to a new page and you should click the link "View All Sizes".
Some useful Internet links
East of Ireland Marathons Facebook Group Page: www.facebook.com/groups/130592073780072/ (you will need a Facebook account to view this)
East of Ireland Marathons Website: www.eastofirelandmarathons.com/
Race Website with Route Description: www.peterm7.com/longwood/
Garmin GPS Trace of the Marathon Route (main loop) connect.garmin.com/activity/401171615
East of Ireland Marathon Series - Stapelstown, Co. Kildare - September 2013: www.flickr.com/photos/peterm7/sets/72157635665725976/
We use Creative Commons Licensing
We use the Creative Commons Attribution-ShareAlike License for all our photographs here in this photograph set. What does this mean in reality?
The explaination is very simple.
Attribution- anyone using our photographs gives us an appropriate credit for it. This ensures that people aren't taking our photographs and passing them off as their own.
ShareAlike – anyone can use these photographs, and make changes if they like, or incorporate them into a bigger project, but they must make those changes available back to the community under the same terms.
Creative Commons aims to encourage creative sharing. See some examples of Creative Commons photographs on Flickr: www.flickr.com/creativecommons/
Can I use these photographs directly from Flickr on my social media account(s)?
Yes - of course you can! Flickr provides several ways to share this and other photographs in this Flickr set. You can share to: email, Facebook, Pinterest, Twitter, Tumblr, LiveJournal, and Wordpress and Blogger blog sites. Your mobile, tablet, or desktop device will also offer you several different options for sharing this photo page on your social media outlets.
We take these photographs as a hobby and as a contribution to the running community in Ireland. Our only "cost" is our request that if you are using these images: (1) on social media sites such as Facebook, Tumblr, Pinterest, Twitter,LinkedIn, Google+, etc or (2) other websites, blogs, web multimedia, commercial/promotional material that you must provide a link back to our Flickr page to attribute us.
This also extends the use of these images for Facebook profile pictures. In these cases please make a separate wall or blog post with a link to our Flickr page. If you do not know how this should be done for Facebook or other social media please email us and we will be happy to help suggest how to link to us.
How can I get full resolution, print-quality, copies of these photographs?
If you just need these photographs for online usage then they can be used directly once you respect their Creative Commons license and provide a link back to our Flickr set if you use them. For offline usage and printing all of the photographs posted here on this Flickr set are available free, at no cost, at full image resolution.
Please email petermooney78 AT gmail DOT com with the links to the photographs you would like to obtain a full resolution copy of. We also ask race organisers, media, etc to ask for permission before use of our images for flyers, posters, etc. We reserve the right to refuse a request.
In summary please remember when requesting photographs from us - If you are using the photographs online all we ask is for you to provide a link back to our Flickr set or Flickr pages. You will find the link above clearly outlined in the description text which accompanies this photograph. Taking these photographs and preparing them for online posting does take a significant effort and time. We are not posting photographs to Flickr for commercial reasons. If you really like what we do please spread the link around your social media, send us an email, leave a comment beside the photographs, send us a Flickr email, etc. If you are using the photographs in newspapers or magazines we ask that you mention where the original photograph came from.
I would like to contribute something for your photograph(s)?
Many people offer payment for our photographs. As stated above we do not charge for these photographs. We take these photographs as our contribution to the running community in Ireland. If you feel that the photograph(s) you request are good enough that you would consider paying for their purchase from other photographic providers or in other circumstances we would suggest that you can provide a donation to any of the great charities in Ireland who do work for Cancer Care or Cancer Research in Ireland.
I ran in the race - but my photograph doesn't appear here in your Flickr set! What gives?
As mentioned above we take these photographs as a hobby and as a voluntary contribution to the running community in Ireland. Very often we have actually ran in the same race and then switched to photographer mode after we finished the race. Consequently, we feel that we have no obligations to capture a photograph of every participant in the race. However, we do try our very best to capture as many participants as possible. But this is sometimes not possible for a variety of reasons:
►You were hidden behind another participant as you passed our camera
►Weather or lighting conditions meant that we had some photographs with blurry content which we did not upload to our Flickr set
►There were too many people - some races attract thousands of participants and as amateur photographs we cannot hope to capture photographs of everyone
►We simply missed you - sorry about that - we did our best!
You can email us petermooney78 AT gmail DOT com to enquire if we have a photograph of you which didn't make the final Flickr selection for the race. But we cannot promise that there will be photograph there. As alternatives we advise you to contact the race organisers to enquire if there were (1) other photographs taking photographs at the race event or if (2) there were professional commercial sports photographers taking photographs which might have some photographs of you available for purchase. You might find some links for further information above.
Don't like your photograph here?
That's OK! We understand!
If, for any reason, you are not happy or comfortable with your picture appearing here in this photoset on Flickr then please email us at petermooney78 AT gmail DOT com and we will remove it as soon as possible. We give careful consideration to each photograph before uploading.
I want to tell people about these great photographs!
Great! Thank you! The best link to spread the word around is probably http://www.flickr.com/peterm7/sets
The premises were also known as the Wolverton Hostpial and later the Lefevre Community Hospital from 1950.
Date of original: c1908.
Taken during various visits to the Temple of Heaven in China's capital city, Beijing.
Some info on the Temple of Heaven from Wikipedia:-
The Temple of Heaven, literally the Altar of Heaven (simplified Chinese: 天坛; traditional Chinese: 天壇; pinyin: Tiāntán; Manchu: Abkai mukdehun) is a complex of religious buildings situated in the southeastern part of central Beijing. The complex was visited by the Emperors of the Ming and Qing dynasties for annual ceremonies of prayer to Heaven for good harvest. It has been regarded as a Taoist temple, although Chinese Heaven worship, especially by the reigning monarch of the day, pre-dates Taoism.
The temple complex was constructed from 1406 to 1420 during the reign of the Yongle Emperor, who was also responsible for the construction of the Forbidden City in Beijing. The complex was extended and renamed Temple of Heaven during the reign of the Jiajing Emperor in the 16th century. The Jiajing Emperor also built three other prominent temples in Beijing, the Temple of Sun (日壇) in the east, the Temple of Earth (地壇) in the north, and the Temple of Moon (月壇) in the west . The Temple of Heaven was renovated in the 18th century under the Qianlong Emperor. Due to the deterioration of state budget, this became the last large-scale renovation of the temple complex in the imperial time.
The temple was occupied by the Anglo-French Alliance during the Second Opium War. In 1900, during the Boxer Rebellion, the Eight Nation Alliance occupied the temple complex and turned it into the force's temporary command in Beijing, which lasted for one year. The occupation desecrated the temple and resulted in serious damage to the building complex and the garden. Robberies of temple artifacts by the Alliance were also reported. With the downfall of the Qing, the temple complex was left unmanaged. The neglect of the temple complex led to the collapse of several halls in the following years.
In 1914, Yuan Shikai, then President of the Republic of China, performed a Ming prayer ceremony at the temple, as part of an effort to have himself declared Emperor of China. In 1918 the temple was turned into a park and for the first time open to the public.
The Temple of Heaven was inscribed as a UNESCO World Heritage Site in 1998 and was described as "a masterpiece of architecture and landscape design which simply and graphically illustrates a cosmogony of great importance for the evolution of one of the world’s great civilizations..." as the "symbolic layout and design of the Temple of Heaven had a profound influence on architecture and planning in the Far East over many centuries."
The surroundings of the Temple of Heaven are now a very popular park for exercising.
The Temple grounds cover 2.73 km² of parkland and comprises three main groups of constructions, all built according to strict philosophical requirements:
The Hall of Prayer for Good Harvests (祈年殿) is a magnificent triple-gabled circular building, 36 meters in diameter and 38 meters tall, built on three levels of marble stone base, where the Emperor prayed for good harvests. The building is completely wooden, with no nails. The original building was burned down by a fire caused by lightning in 1889. The current building was re-built several years after the incident.
The Imperial Vault of Heaven (皇穹宇) is a single-gabled circular building, built on a single level of marble stone base. It is located south of the Hall of Prayer for Good Harvests and resembles it, but is smaller. It is surrounded by a smooth circular wall, the Echo Wall, that can transmit sounds over large distances. The Imperial Vault is connected to the Hall of Prayer by the Vermilion Steps Bridge, a 360 meter long raised walkway that slowly ascends from the Vault to the Hall of Prayer.
The Circular Mound Altar (圜丘坛) is the altar proper, located south of the Imperial Vault of Heaven. It is an empty circular platform on three levels of marble stones, each decorated by lavishly carved dragons. The numbers of various elements of the Altar, including its balusters and steps, are either the sacred number nine or its nonuples. The center of the altar is a round slate called the Heart of Heaven(天心石) or the Supreme Yang(太阳石), where the Emperor prayed for favorable weather. Thanks to the design of the altar, the sound of the prayer will be reflected by the guardrail, creating significant resonance, which was supposed to help the prayer communicate with the Heaven. The Altar was built in 1530 by the Jiajing Emperor and rebuilt in 1740.
In ancient China, the Emperor of China was regarded as the Son of Heaven, who administered earthly matters on behalf of, and representing, heavenly authority. To be seen to be showing respect to the source of his authority, in the form of sacrifices to heaven, was extremely important. The temple was built for these ceremonies, mostly comprising prayers for good harvests.
Twice a year the Emperor and all his retinue would move from the Forbidden city through Beijing to encamp within the complex, wearing special robes and abstaining from eating meat. No ordinary Chinese was allowed to view this procession or the following ceremony. In the temple complex the Emperor would personally pray to Heaven for good harvests. The highpoint of the ceremony at the winter solstice was performed by the Emperor on the Earthly Mount. The ceremony had to be perfectly completed; it was widely held that the smallest of mistakes would constitute a bad omen for the whole nation in the coming year.
Earth was represented by a square and Heaven by a circle; several features of the temple complex symbolize the connection of Heaven and Earth, of circle and square. The whole temple complex is surrounded by two cordons of walls; the outer wall has a taller, semi-circular northern end, representing Heaven, and a shorter, rectangular southern end, representing the Earth. Both the Hall of Prayer for Good Harvests and the Circular Mound Altar are round, each standing on a square yard, again representing Heaven and Earth.
The number nine represents the Emperor and is evident in the design of the Circular Mound Altar: a single round marmor plate is surrounded by a ring of nine plates, then a ring of 18 plates, and so on for a total of nine surrounding rings, the outermost having 9×9 plates.
The Hall of Prayer for Good Harvests has four inner, twelve middle and twelve outer pillars, representing the four seasons, twelve months and twelve traditional Chinese hours respectively. Combined together, the twelve middle and twelve outer pillars represent the traditional solar term.
All the buildings within the Temple have special dark blue roof tiles, representing the Heaven.
The Seven-Star Stone Group, east of the Hall of Prayer for Good Harvest, represents the seven peaks of Taishan Mountain, a place of Heaven worship in classical China.
And more info here - en.wikipedia.org/wiki/Temple_of_heaven
The nonfiction section of the library is divided by subject and is cataloged using the Dewey Decimal System.
000 GENERALITIES
000 Computers, Loch Ness, Bigfoot, UFOs, Aliens
020 Libraries
030 Encyclopedias & World Record Books
060 Museums
070 Newspapers
100 PHILOSOPHY
130 Ghosts, Witches & the Supernatural
150 Optical Illusions, Feelings
170 Emotions, Values, Animal Rights
200 RELIGION
220 Bible Stories
290 Mythology, World Religions
300 SOCIAL SCIENCES
300 Social Issues - immigration, racism, World Cultures
310 Almanacs
320 Government
330 Money, Working
340 Court System, Famous Trials
350 Armed Forces – Army, Navy, Air Force, etc.
360 Drugs, Environmental Issues, Titanic, Police, Firefighters
370 Schools
380 Transportation,
390 Holidays, Folktales, Fairy Tales
400 LANGUAGES
410 Sign Language
420 Dictionaries, Grammar
430 German Language
440 French Language
450 Italian Language
460 Spanish Language
490 Hieroglyphics, Japanese Language
500 SCIENCE AND MATH
500 Science Experiments, Science Sets,
510 Mathematics
520 Stars, planets, astronomy, space
530 Physical Science - force & motion, electricity,
magnetism, light
540 Chemistry, Atoms & Molecules, Rocks and Minerals
550 Volcanoes, Earthquakes, Weather, Hurricanes, Tornadoes
560 Dinosaurs, Prehistoric Animals, Fossils
570 Forests, Rain Forests, Deserts, Mountains, Oceans, Evolution
580 Plants, Flowers & Trees
590 Animals & Insects
592 Worms, Invertebrates
593 Corals, Sea Invertebrates
594 Seashells, Snails, Octopus
595 Insects, Spiders
597 Fish, Frogs, Toads, Reptiles, Amphibians, Snakes
598 Birds
599 Mammals of the Land and Ocean, Whales
600 PEOPLE USING SCIENCE and TECHNOLOGY
600 Inventions
610 Human body, Health
620 Rockets, Trains, Cars, Trucks
630 Farming, Farm Animals, Cats, Dogs, Pets, Horses
640 Cookbooks, Sewing
650 Secret Codes
660 How Food is made
670 Paper Making
680 Woodworking
690 Building
700 ARTS and RECREATION
710 Art Appreciation, History of Art
720 Houses, Buildings
730 Origami, Paper Crafts
740 Drawing, Crafts,
750 Painting
760 Printing
770 Photography
780 Music
790 Sports, Games, Magic, I Spy, Camping, Fishing, Racing, Hunting
800 LITERATURE
810 Poetry, Plays, Jokes & Riddles
820 Shakespeare
860 Poetry in Spanish
890 Japanese Poetry, Haiku
900 GEOGRAPHY AND HISTORY
910 Explorers, Atlases
920 Flags, People (Biography)
930 Archeology, Ancient Civilizations
940 Knights, Castles, World War I & II, European Countries
950 Asian & Middle Eastern Countries
960 African Countries
970 North & Central American Countries, Native American Tribes, American History, States
980 South American Countries
990 Pacific Islands, Australia, Hawaii, Arctic, Antarctica
Sergeant Robert A. Kelley, of the 118th Engineer Sapper Companyr receives the Purple Heart for wounds sustained in combat in Iraq. Specialist Juan Moreno, of Detachment 1, 624th Engineer Company and Specialist David Israel Luviano, 807th Medical Support Commandl take the oath of citizenship June 14.
Force Of Nature
We long to taste forbidden fruit
I turn away but everywhere I look is you
Searching for the passion I found through you
A force of nature
A hurricane with just a word
A waterfall with all of the hurt
This love is
This love is a force of nature...
Emmelie De Forrest
iSweep Panorama (4000 x 1077) of Creswell Crags, North Nottinghamshire, on the Nottinghamshire, Derbyshire border.
Creswell Crags is a gorge flanked by a pair of opposing limestone cliffs that have been eroded by millions of years of water flow into a series of caves and fissures that have been utilised and inhabited by hominids for 50,000 years - since the Paleolithic (Old Stone Age).
There is evidence of cave dwelling, carvings, paintings and much more.
The sculpture of Mother Mary on the building has roots and leaves as part of her design. College is under the direction of the Sisters of Providence of Saint Mary of the Woods in Indiana.
Captain Charles Fitzgerald, born Kilkee 1791 (the son of a country gentleman of the old Irish school. (Fathers name Robert) was Governor of Gambia 1844 to 1847 also Governor of Western Australia from 1848 to 1855. He is buried at Killfearagh graveyard on the Carrighaholt Rd. Outside of Kilkee. (Protestant side)
Captain Charles Fitzgerald spent his retirement years in Kilkee and was noted in the press for attendance at meetings in support of establishing the West Clare Railway.
In 1857 Captain FitzGerald was appointed C.B., and retired to his home, Geraldine House. Geraldine place. Kilkee, where he died aged 96 on 29 December 1887.
Twice married: first on the 5/5/1837 to Lucy (died 18 NOV 1843), youngest daughter of Dr Austin, and second in 1848 to Eleanora Caroline, (ELVES ELONORA CAROLINE ARABELLA) known as Ellen, eldest daughter of Charles Carey Elwes, of Billing Hall and sister of Valentine Dudley Henry Cary-Elwes Esq. The Elwes were a prominent Northamptonshire family. (The actor Cary Elwes is a descendent of Valentine Cary-Elwes)
ELEANOR CAROLINE ARABELLA FITZGERALD DIED EARLY 1890 AGED 62.
Captain Charles Fitzgerald had two children, neither married.
I recently found a book signed by Eleanora FitzGerald (nee Elwes) from Geraldine House Kilkee. The name of the book was The Modern housewife by Alexis Soyer dated 1849.
Captain Charles’s father was Robert Fitzgerald who died in Kilkee in 1806 aged 63. Robert is buried in Kiltinnaun Bansha near Kilkee (I think his wife was Lucy who died in 1836 at Kilkee house Kilrush)
Roberts father was Edmund Fitzgerald of Abbeyfeale, county Limerick who married Margaret Keane(Her father was Charles Keane of Kildimo: son of "Robert of Ross/near Kilkee)
Captain Charles Fitzgerald’s ancestors can be traced back to Ballymaloe Imokilly Cloyne County cork in the 15 Cent. He was a distant relative of the Duke of Leinster.
Capt Charles had two brothers Robert Fitzgerald Esq. of Kilkee and George Fitzgerald of Kilkee. Robert Fitzgerald's grandson Henry Boyd Fitzgerald was last recorded living in Brighton Square Dublin in 1919. I found very little evidence recorded of Roberts other grandsons James Charles and William of Castleblaney.
Capt Charles fitzgerald's Sister Alicia married a Frank Leyden of liverpool in 1841.
This article was first published in hardcopy in Australian Dictionary of Biography, Volume 1, (MUP), 1966
Charles FitzGerald (1791-1887), governor, was the son of Robert FitzGerald of Kilkee, County Clare, Ireland, and a cadet of the ducal house of Leinster. He entered the navy in March 1809, passed his examination in 1815, and was first commissioned in March 1826. He served for a time as a lieutenant in the coastguard, and in 1833-36 commanded first the Cruiser and then theBelvidera on the North American and West Indian Stations. In 1838 he was sent in command of the Buzzard to the west coast of Africa to help suppress the slave trade, and served there with distinction. He was invalided home in 1840, promoted commander, and placed on half pay.
In 1844 FitzGerald was appointed lieutenant-governor of the British settlements on the Gambia. It was a comparatively quiet post, and the only significant event during his administration was an imbroglio in the higher public service, during which the governor suspended his chief justice,(Sir) Richard Graves MacDonnell, who later succeeded him as governor, and still later served as governor of South Australia. FitzGerald returned to England in 1847 and in July was appointed governor of Western Australia in succession to Lieutenant-Colonel Andrew Clarke. However, FitzGerald insisted on taking the leave accruing to him from his Gambia appointment, and thus did not arrive in Western Australia until 12 August 1848. He was then 57, and twice married: first in 1837 to Lucy, youngest daughter of Dr Austin, and second in 1848 to Eleanora Caroline, daughter of Charles Elwes, of Great Billing, Northamptonshire.
On arrival in the colony FitzGerald found the local Treasury almost empty and a general despondency hanging over the pastoralists and farmers, nearly all of whom were thoroughly dissatisfied with the high price of crown land, the lack of labour and the interim administration of Colonel Frederick Irwin and his colonial secretary, George Moore. There were fewer than 5000 people in the whole colony. Neither workmen nor capitalists had been attracted to it for many years, and the colonists had already petitioned for convicts to be sent from Britain. FitzGerald was instructed to inquire whether the colonists would accept a small number of well-behaved convicts from Pentonville; after confirming that they would be welcome, he informed Earl Grey in London, who quickly instigated an Order in Council in May 1849 to convert Western Australia into a penal colony. The British government promised to send out as many free immigrants as convicts.
The first two ships carrying convicts arrived at Fremantle in 1850, and thereafter the colony received about three shiploads of felons a year, though their arrival was very irregular and no advance notice of either dates or numbers was given to the colonial authorities. The result was an alternation of surfeits and deficits in the supply of labour. By the end of 1855, the year in which FitzGerald retired, 3668 convicts had arrived in Western Australia, nearly half of them already holding tickets-of-leave entitling them to seek private employment and to be paid wages; if employers were not prepared to take them, they were employed by the government on public works at below-market wages. During these five years FitzGerald was not responsible for the day-to-day administration of the convict system, which was in the competent hands of Captain E. Y. W. Henderson, R.E., and his subordinate officers. However, inasmuch as FitzGerald was responsible for general policy, he had some control over the methods used to employ and to discipline the men, and he acquired the reputation of being at once autocratic, kind-hearted and humane. With more interest in the quick and efficient dispersal of convicts throughout the colony's rural districts than in the construction of a plethora of cheap public works, he adopted a country depot system to help private employers to engage the men. The remaining convicts were employed in building the Fremantle gaol and on other ancillary works. Although the labour supply for public works was never high, FitzGerald was able to claim credit for several notable improvements, especially the new roads from Perth to Fremantle, Guildford and Albany; he also used Aboriginal prisoners on the Perth-Albany project. Other notable improvements around Perth included the draining of several swamps and the erection of the first buildings specifically for use as a hospital and government schools.
During FitzGerald's administration the population of Western Australia nearly trebled, reaching 12,000, of whom about 3000 were convicts under sentence. Although the British government honoured its promise to send out assisted free immigrants, the colonists were not especially pleased with the quality of the English paupers and single Irish girls who were dispatched to counter an alarming decrease in the proportion of women in the colony. Furthermore, most free migrants to the Australian colonies had by-passed Albany and other western ports on their way to the Victorian and New South Wales goldfields. However, there had been little serious crime among the convicts, while the free immigrants had been readily absorbed into the community and the Irish girls showed no reluctance to marry the ex-convicts.
At the same time the economy of the colony benefited greatly from the increased imperial expenditure and the rising population. The fertile lands north of the Moore River in the vicinity of Champion Bay were settled by pastoralists taking advantage of the increased local market for meat and agricultural produce. After his arrival FitzGerald had strongly supported exploration of this district; on a tour of inspection in 1848 he was speared in the leg by Aboriginals and was fortunate to escape with his life. Wool production also improved in the early 1850s, pearl fishing began at Shark Bay, and a little lead was mined at Geraldine on the Murchison north of Geraldton, both place-names commemorating the governor. On the whole, therefore, the colony had recovered from its twenty years of economic depression, and the changing temper of the settlers, as well as the improvements in trade and commerce, confirmed the permanency of the colony.
FitzGerald's autocratic quarter-deck manner did not endear him to the leading settlers, who had been soured by long years of stagnation and were bent on gaining the greatest possible representation and power in the Legislative Council, as well as the quickest possible benefit from convict labour. They had always found Downing Street control of their public finances and land policy extremely galling, and orders from London were not at all palatable when coming from a salty ship's captain, who had been turned into a sort of schoolmaster, and who was more acquainted with giving orders than with receiving advice, especially from a highly critical and frequently intemperate local press.
FitzGerald appeased the opposition a little by appointing non-officials to the Council but by the very nature of the colony he had to remain an autocratic dispenser of his employer's policies. He was also a little unfortunate in his subordinates. With the important post of colonial secretary filled by three different men during his administration, FitzGerald had to intrude into too many petty affairs of government. Nor was he well served in the matter of government finance, which was also unfortunate because he had little business acumen. Any judgment on his abilities as an administrator and on his rather modest and unostentatious achievements must also be tempered by the fact that he governed the most insignificant Australian colony at the time of its greatest depression, and when its acceptance of convict labour was totally at variance with the policies of the other colonies. The critics of Western Australia were legion.
While FitzGerald performed with credit and social aplomb the many minor duties of his office, his young and attractive wife conducted a vigorous social programme revolving around Government House. She excelled at the opening of charity bazaars. She superintended an Anglican Sunday school, and she helped to organize a school for immigrant children. Her stay in Western Australia was probably the highlight of her life. Early in 1854 her husband was informed that his term of office was drawing to a close; in November his successor was appointed, and the FitzGeralds left Western Australia in July 1855.
Captain FitzGerald was probably thankful to be relieved of responsibility for governing a colony which daily became more penal, because he had always maintained that although the immediate economic effects of convict transportation were beneficial, its continuance would keep out the men and capital who alone could make it prosper. Such, indeed, was the tenor of his evidence to a select committee of the House of Lords, which in June 1856 examined him on his administration. In 1857 Captain FitzGerald was appointed C.B., and retired to his home, Geraldine House, Kilkee, where he died on 29 December 1887.
Children in the Igorot village of Amganad Ifugao, a stone's throw away from the world famous Banaue Rice Terraces. In the foreground are harvests from the rice terraces.
Camera: Canon F1
Image scanned from a color album print and post processed to b/w.
This Hubble image features a massive cluster of brightly glowing galaxies, first identified as Abell 3192. Like all galaxy clusters, this one is suffused with hot gas that emits powerful X-rays, and it is enveloped in a halo of invisible dark matter. All this unseen material – not to mention the many galaxies visible in this image – comprises such a huge amount of mass that the galaxy cluster noticeably curves spacetime around it, making it into a gravitational lens. Smaller galaxies behind the cluster appear distorted into long, warped arcs around the cluster’s edges.
The galaxy cluster is in the constellation Eridanus, but the question of its distance from Earth is a more complicated one. Abell 3192 was originally documented in the 1989 update of the Abell catalog of galaxy clusters that was first published in 1958. At that time, Abell 3192 was thought to comprise a single cluster of galaxies, concentrated at a single distance. However, further research revealed something surprising: the cluster’s mass seemed to be densest at two distinct points rather than one.
It was subsequently shown that the original Abell cluster is actually comprised of two independent galaxy clusters – a foreground group around 2.3 billion light-years from Earth, and another group at the greater distance of about 5.4 billion light-years from our planet. The more distant galaxy cluster, included in the Massive Cluster Survey as MCS J0358.8-2955, is central in this image. The two galaxy groups are thought to have masses equivalent to around 30 trillion and 120 trillion times the mass of the Sun, respectively. Both of the two largest galaxies at the center of this image are part of MCS J0358.8-2955; the smaller galaxies you see here, however, are a mixture of the two groups within Abell 3192.
Text credit: European Space Agency
Image credit: ESA/Hubble & NASA, G. Smith, H. Ebeling, D. Coe
For more information: science.nasa.gov/missions/hubble/hubble-views-a-double-cl...
To view more of my images, taken Chartwell, please click "here" !
Chartwell was the principal adult home of Sir Winston Churchill. Churchill and his wife Clementine bought the property, located two miles south of Westerham, Kent, England, in 1922. Extensive renovations simplifying and modernising the home were undertaken directly, completely transforming it when complete. When it became clear to the Churchills in 1946 that they could not afford to run the property, a consortium of wealthy businessmen organised by Lord Camrose purchased the estate. The arrangement was that for payment of nominal rent both Sir Winston and Lady Churchill would have the right to live there until they both died, at which point the property would be presented to the National Trust. When Sir Winston died in 1965, Clementine decided to present Chartwell to the National Trust immediately. The site had been built upon at least as early as the 16th century, when the estate had been called 'Well Street'. Henry VIII is reputed to have stayed in the house during his courtship of Anne Boleyn at nearby Hever Castle. The original farmhouse was significantly enlarged and modified during the 19th century. It became, according to the National Trust, an example of 'Victorian architecture at its least attractive, a ponderous red-brick country mansion of tile-hung gables and poky oriel windows'. The estate derives its name from the well to the north of the house called 'Chart Well'. 'Chart' is an Old English word for rough ground. The highest point of the estate is approximately 650 feet above sea level, and the house commands a spectacular view across the Weald of Kent. This view 'possessed Churchill' and was certainly an important factor in persuading him to buy a house of 'no great architectural merit'. Churchill employed architect Philip Tilden to modernise and extend the house. Tilden worked between 1922 and 1924, simplifying and modernising, as well as allowing more light into the house through large casement windows. He worked in the gently vernacular architecture tradition that is familiar in the early houses of Edwin Lutyens, a style stripped of literal Tudor Revival historicising details but retaining multiple gables with stepped gable ends, and windows in strips set in expanses of warm pink brick hung with climbers. Tilden's work completely transformed the house. Similarly to many early 20th century refurbishments of old estates, the immediate grounds, which fall away behind the house, were shaped into overlapping rectilinear terraces and garden plats, in lawn and mixed herbaceous gardens in the Lutyens-Jekyll manner, linked by steps descending to lakes that Churchill created by a series of small dams, the water garden where he fed his fish, Lady Churchill's Rose garden and the Golden Rose Walk, a Golden Wedding anniversary gift from their children. The garden areas provided inspiration for Churchill's paintings, many of which are on display in the house's garden studio.
In 1938, Churchill was pressed to offer Chartwell for sale for financial reasons, at which time the house was advertised as containing 5 reception rooms, 19 bed and dressing rooms, 8 bathrooms, set in 80 acres with three cottages on the estate and a heated and floodlit swimming pool. He withdrew after industrialist Sir Henry Strakosch agreed to take over his share portfolio (which had suffered heavily from losses on Wall Street) for three years and pay off heavy debts. During the Second World War, the house was mostly unused. Its relatively exposed position, in a county so near across the English Channel to German occupied France, meant it was potentially vulnerable to a German airstrike or commando raid. The Churchills instead spent their weekends at Ditchley, Oxfordshire until security improvements were completed at the prime minister's official country residence, Chequers, in Buckinghamshire. The house has been preserved as it would have looked when Churchill owned it. Rooms are carefully decorated with memorabilia and gifts, the original furniture and books, as well as honours and medals that Churchill received. The house is Grade I listed for historical reasons. The gardens are listed Grade II.
The property is currently under the administration of the National Trust. Chartwell was bought by a group of Churchill's friends in 1946, with the Churchills paying a nominal rent, but was not open to the public until it was presented to the nation in 1966, one year after Churchill's death.
HRH Queen Elizabeth II in Valletta Malta Europe 1992. His Excelency President Emeritus of Malta Vincent Tabone behind. Looks very pleased.
Biography of Vincent Tabone born 30 March 1913 in Victoria, Gozo is a Maltese political figure. During World War II Tabone served as a Regimental Medical Officer and general duty officer with the Royal Malta Artillery, and later as trainee ophthalmic specialist stationed at the Military Hospital, Mtarfa. In the early days of the War, he narrowly escaped with his life when a bomb fell in St.Elmo fort and demolished a substantial part of the army barracks in which he was posted. In 1946, he obtained a diploma in Ophthalmology from the University of Oxford, followed by a diploma in Ophthalmic Medicine and Surgery from the Royal College of Surgeons of England. He was a clinical assistant at Moorfields Eye Hospital in London.
In 1948, Tabone was entrusted with the supervision of a campaign to treat trachoma using sulfonamide tablets and drops. Through his efforts, the disease was virtually eliminated from the Island of Gozo. He helped launch similar campaigns in Taiwan, Indonesia and Iraq under the auspices of the World Health Organization, and subsequently served as a member and consultant of the WHO's International Panel of Trachoma Experts.
He served on the Council of the University of Malta, and between 1957 and 1960 he was a faculty member of the Board of Medicine, and a lecturer in Clinical Ophthalmology in the Department of Surgery. He helped found the Medical Association of Malta in 1954 and is at present its Honorary President. Dr. Tabone was nominated to the Nationalist Party Executive Committee in 1961, served as the party's Secretary General from 1962 to 1972, and as Deputy Leader from 24 June 1972 to 9 January 1977. He was first elected to Parliament in 1966, and subsequently served as a Member of Parliament for the Sliema, St. Julian's, Msida, and Gzira areas for 23 years. During his long political career, he also served as the Minister of Labour, Employment and Welfare between 1966 and 1971, and as Minister of Foreign Affairs between 1987 and 1989. As Minister of Labour, Employment and Welfare, Tabone was responsible for the emigration portfolio, at a time when emigration from Malta to the Dominions of the British Empire and to the United States was at an all time high.
In 1968, Tabone brought a motion before the United Nations calling for an action plan in regard to the World's ageing population. In 1988, he brought a further motion before the U.N., calling for the World's climate to be declared the common heritage of mankind. He was the fourth President of Malta.
The face of Metro-North's first numbered West-of-Hudson locomotive is lit up nicely by some nice storm light minutes after a passing thunderstorm ripped through.
MNCW GP40FH-2 4900
This is our cycling trip performed on the 9th of January 2013 where we cycled from Grand Baie, located in the north of Mauritius to the eastern village Trou d'Eau Douce. On our way to Trou d'Eau Douce we cycled more through inland villages such as Sottise, Forbach, Cottage, L'esperance Trebuchet, Riviere du Rempart, Centre de Flacq, Schoenfeld, Quatre Cocos, Palmar and Trou d'Eau Douce. On our way back we cycled along the coast going through villages such as Belle Mare, Bradeau, Roches Noires and then back inland using the Goodlands bypass road to get back to Grand Baie. I was amazed to see the inland beauty of many villages. One of my favorites is Palmar reminding me of Rodrigues island setting and also that stretch of road through Constance La Gaiete which then ends in Trou d'Eau Douce. When I saw those places i was saying to myself, living in such places of such beauty is one of many reasons why many actually never leave their villages to go and stay elsewhere! Also I wish to express that I found it the best way to see various places on a bicycle instead than in using a car - if you want to take your time, stop anywhere, take a shot, thats way more practical. No need to look for a parking! We had a great time exploring these places, we were for 12 hours on the road and did 87 Kilometres. The Mine Frire lunch and sea view at Trou d'Eau Douce at Chez Tino restaurant was awesome and gave us the energy required to cycle back home. Houses at Trou d'Eau Douce have such a magnificent view over the lagoon looking on Ile aux Cerfs! A stop at Belle Mare was relaxing. Enjoy our photo story where we take you through our journey of discovering the paradise tropical island Mauritius! -on a side note you'll also see that right in the beginning of our trip one of our friends had a flat tire which we got fixed in the cottage suburb - helpful people everywhere to give you indications. If you want to do such a cycling trip i recommend that you bring along suncream, lots of water! You will also find lots of La Boutique (small shops) where you can buy drinks. An Energade as spare power drink can do some good.
Gyrfalcon ~ Casper ~ from the Arctic region
23rd Annual Florida Renaissance Festival
Winter 2015 ~ Deerfield Beach, Florida U.S.A.
note: focus off-a-touch (moving very fast) ... still like it.
note: transmitter attached to leg (to help find) in case
Casper decides to take a little 25 mile excursion into
the Florida Everglades... Ray lost two birds last year...
(five more photos of this beautiful falcon in the comments)
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The gyrfalcon is the largest of the falcon species. It breeds on Arctic coasts and the islands of North America, Europe, and Asia. It is mainly a resident there also, but some gyrfalcons disperse more widely after the breeding season, or in winter. Individual vagrancy can take birds for long distances. The gyrfalcon is dispersed throughout much of the Northern Hemisphere, with populations in Northern America, Greenland, and Northern Europe. Its plumage varies with location, with birds being colored from all-white to dark brown. For centuries, gyrfalcon has been a precious hunting bird, highly valued among the Vikings. It is the national symbol of Iceland.
The first part of its name comes from Old High German for "vulture", referring to its size compared to other falcons; or from the Latin meaning for "circle" or "curved path" from the species' circling as it searches for prey, distinct from the hunting of other falcons in its range. It is an extremely fast flying raptor in excess of 130 mph.
FYI: It is today the official bird of Canada's Northwest Territories. The white falcon in the crest of the Icelandic Republic's coat of arms is a variety of Gyrfalcon. The white phase gyrfalcon is the official mascot of the United States Air Force Academy
Check out my 2015 Renaissance Festival album if you have time:
www.flickr.com/photos/pelicanpetesphotos/sets/72157651123...
Photograph taken at an altitude of Eighty six metres, at 10:39am on Thursday April 20th 2017, off Via Del Governatorato beneath the dome of St Peter's Basilica, (basilica papale di san pietro in vaticano), Rome, Italy.
Architects Donato Bramante, Michelangelo, Carlo Moderno and Gian Lorenzo Bernini are credited as the chief designers over a period of history from 1506 to 1626. This view was taken on the highest point that you are allowed to scale, following a seven euro fee and a choice of either 564 steps within the dome, or an escalator and 321 steps to reach this point.
The dome of St. Peter's rises to a total height of 136.57 metres (448.1 ft) from the floor, and is the tallest dome in the world. With an internal diameter of 41.47 metres (136.1 ft), it is regarded as the greatest dome of Christendom. The Dome was redesigned several times, perhaps most famously by Michelangelo in 1547, and upon his death in 1564 by his assistant Jacopo Barozzi Da Vignola.
Giacomo Della Porta and Domenico Fontana brought the dome to completion in 1590 during the last year of reign of Sixtus V.
Around the inside of the dome in letters two meters tall is written:
TV ES PETRVS ET SVPER HANC PETRAM AEDIFICABO ECCLESIAM MEAM. TIBI DABO CLAVES REGNI CAELORVM
(... you are Peter, and on this rock I will build my church. ... I will give you the keys of the kingdom of heaven .... Vulgate, Matthew 16:18-19).
Beneath the lantern is the inscription:
S. PETRI GLORIAE SIXTVS PP. V. A. M. D. XC. PONTIF. V.
(To the glory of St Peter; Sixtus V, pope, in the year 1590, the fifth of his pontificate.)
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Nikon D7200 19mm 1/100s f/13.0 iso100 RAW (14Bit)Size L (6000 x 4000), Hand held with Nikkor VR Vibration Reduction enabled. Auto focus AF-C with 3D-tracking enabled. Manual exposure. Matrix metering. Auto white balance.Auto Active D-lighting.
Nikkor AF-S 10-24mm f/3.5-4.5G ED. Phot-R 77mm UV filter.Nikon MB-D15 Battery grip pack. Nikon EN-EL battery (2). Hoodman H-EYEN22S soft rubber eyecup. Matin quick release neckstrap. My Memory 32GB Class 10 SDHC. Lowepro Flipside 400 AW camera bag. Nikon GP-1 GPS module.
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LATITUDE: N 41d 54m 6.95s
LONGITUDE: E 12d 27m 14.54s
ALTITUDE: 86.0m
RAW (TIFF) FILE SIZE: 69.00MB
PROCESSED (JPeg) SIZE: 22.49MB
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PROCESSING POWER:
Nikon D7200 Firmware versions A 1.10 C 1.02 (9/3/17) L 2.015 (Lens distortion control version 2)
HP 110-352na Desktop PC with AMD Quad-Core A6-5200 APU 64Bit processor. Radeon HD8400 graphics. 8 GB DDR3 Memory with 1TB SATA storage. 64-bit Windows 10. Verbatim USB 2.0 1TB desktop hard drive. WD My Passport Ultra 1tb USB3 Portable hard drive. Nikon ViewNX-1 64bit (Version 1.2.4 24/11/2016). Adobe photoshop Elements 8 Version 8.0 64bit.