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Some shots from Star Citizen
Experimenting with the limited camera POV shooting and found that stepping into the craft and changing view allows for much more camera angle freedom.
ORIGIN 325a fighter
Star Citizen is an ambitious crowd funded open world space simulation project from Chris Roberts (Wing Commander, Freelancer).
Ship Pledge Packets and Arena Commander Module Passes will unlock work-in-process modules as they become available by the developers to experience the progress and provide testing to provide full-circle feedback back to development (directly between fans and developers without overseeing company middleman politics).
robertsspaceindustries.com/about-the-game
Using a SweetFx 64-bit variant to make the colors more vibrant.
forums.robertsspaceindustries.com/discussion/comment/2993...
Model: Tania d'Anconia
Photographer: Justin Bonaparte
Wilkins the Bakers origins lay in the early 1900s.
F Wilkins started out as a franchise holder for the Isaac and Co Dairy Company's bakery division and by 1911 had taken over Fippard and Sons bakery and shop at 192 Old Christchurch Rd on the corner of Glen Fern Rd [ now Pizza Express ].
By the early 1930s Wilkins had a string of local shops and a purpose built bakery at 62 Malmesbury Park Rd on the site of a former laundry.
By 1935 the business had been purchased by a Canadian businessman named W Garfield Weston who had taken over his father's bakery business and who was now expanding into Britain.
By 1937 he had acquired 15 bakery plants across the country which had been unified as 'Allied Bakeries', mass producing bread in large, modern baking factories.
Weston later founded Associated British Foods, incorporating a whole range of brands across the world and many household names in Britain including Ryvita who's main factory is in Poole.
The Wilkins factory at Malmesbury Park Rd was extended at various times over the years and by the 1970s was producing tens of thousands of loaves a day from two large production plants situated on the top floor of the main factory. The lines ran 24 hours a day, only closing for maintenance at 6am on Saturday morning before starting up again frst thing Sunday morning.
The loaves were sent via a conveyor system to the ground floor where they were sliced, bagged and despatched. Also on the ground floor was a confectionary department that produced bread rolls, doughnuts, sausage rolls, currant buns and other goods for the network of local shops that they still ran across Bournemouth, and for other customers.
They regularly produced over 2 million hot cross buns for the Easter market and also had a specialist cake decorating department that made and decorated cakes to order.
As well as producing for their own shops Wilkins also mass produced bread under various Allied Bakeries brands such as Sunblest, Allinson, Mighty White, Hi Bran, Betabake, Slimcea, Kingsmill and Hovis as well as supplying a lot of the major supermarkets.
The company employed up to 250 people at any one time across in house departments such as baking, machine operating, hygiene, drivers, maintenance engineers, mechanics, office staff and building maintenance, with many hundreds, and probably thousands, being employed over the years.
Until the early 1980s wages were still paid in cash with the money being delivered to site by an armoured van with each individual wage packet being made up in the main office block. An announcement was made over the tanoy for employees to remain inside the factory whilst the wages were being delivered. From 1983 wages began to be paid directly into employees bank accounts.
In the late 1980s the confectionary department closed along with the shops, and in 1994 it was announced that the bakery was to close down in two phases with production being transferred to large super bakeries in the London area. Production finally ceased with a second wave of redundancies in 1995.
The site remained as a distribution centre until 2007 with bread being delivered by lorry from other bakeries with the depot moving to the Ferndown Industrial Estate where it still operates.
The Malmesbury Park Rd premises were demolished in 2007 and replaced over the following 18 months by The Granary housing development that resulted in the creation of Chelsea Gardens and Wilkins Gardens.
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#NP : ♫♪ ❝ That's the price you pay
Leave behind your heartache, cast away
Just another product of today
Rather be the hunter than the prey❞ 🌺🌿💛✨ #ImagineDragons #Natural #Origins
@imaginedragons 😘
#Throwback #MeMyselfAndI #Gay #MeGay #GayMe #GayBoy #GayGuy #GayMan #GayCub #HairyChest #GuyGay #GayBear #BearGay #HairyChest #BeardedGay #HairyBoy #HairyMan #HairyGuy #GayScruff #FrenchGay #GayFrance #InstaGay #GayStagram #GaySnap #BoyGay #ManGay
The Red Panda, also called the Firefox or Lesser Panda (Latin name: Ailurus fulgens, "shining cat"), is a mostly herbivorous mammal, specialized as a bamboo feeder. It is slightly larger than a domestic cat (40 - 60 cm long, 3 - 6 kg weight).
The Red Panda is endemic to the Himalayas, ranging from Nepal in the west to China in the east. It is also found in northern India, Bhutan and northern Myanmar. There is an estimated population of fewer than 2,500 mature individuals. Their population continues to decline due to habitat fragmentation
The Western name "Red Panda" has no conclusive source. The most likely origin is from the Nepali word ponya. The Red Panda is also known as the Wah because of its distinctive cry. This name was given to it by Thomas Hardwicke, when he introduced it to Europeans in 1821. It is called a Cat Bear because it was thought to be related to a small bear and washes itself like a cat by licking its entire body. Other names include Bear Cat, Bright Panda, Common Panda, Fire Fox, Red Fox, Fox Bear, Himalayan Raccoon, Lesser Panda, Cokoloaca Pigara, Gambawarella, Nigalya Ponya, Panda Chico, Panda Éclatant, Panda Rojo, Petit Panda, Poonya, Crimson Ngo, Red Cat, Sankam, Small Panda, Thokya, Wah, Wokdonka, Woker and Ye.Recent molecular-systematic DNA research places the Red Panda into its own independent family Ailuridae. Ailuridae are in turn part of a trichotomy within the broad superfamily Musteloidea (Flynn et al., 2001) that also includes the Mephitidae (skunks) and the Procyonidae (raccoons) + Mustelidae (weasels). Unlike the Giant Panda, it is not a bear (Ursidae).
There are two extant subspecies of Red Panda: the Western Red Panda (Ailurus fulgens fulgens) that lives in the western part of its range, and the somewhat larger Styan's Red Panda (Ailurus fulgens styani) that lives in the east-northeastern part of its range. The Western Red Panda has lighter pelage, especially in the face, while the Styan's Red Panda has more dramatic facial markings. The effective population size in the Sichuan population is larger and more stable than that in the Yunnan population, implying a southward expansion from Sichuan to Yunnan.The taxonomic classification of both the Red Panda and Giant Panda has been under debate for many decades, as both species share characteristics of both bears and raccoons. However, they are only very distantly related by remote common ancestry from the Early Tertiary Period. Its common ancestor can be traced back to tens of millions of years ago with a wide distribution across Eurasia. Fossils of the Red Panda have been unearthed from China in the east to Britain (Parailurus anglicus) in the west (Hu, 1990,Ro), and most recently a handful of fossils (Pristinailurus bristoli, Miocene, considered to be a new genus and species of the Red Panda) have also been discovered in North America.
The Red Panda is quite long: 79 to 120 cm (31 to 47 in), including the tail length of 30 to 60 cm (12 to 24 in). Males weigh 4.5 to 6.2 kg (10 to 14 lb); females 3 to 4.5 kg (7 to 10 lb). The Red Panda is specialized as a bamboo feeder, with long and soft reddish-brown fur on upper parts, blackish fur on lower parts, light face with tear markings and robust cranial-dental features. The light face has white badges similar to those of a raccoon, but each individual can have distinctive markings. Its roundish head has medium-sized upright ears, a black nose, and very dark eyes: almost pitch black. Its long bushy tail with six alternating yellowish red transverse ochre rings provides balance and excellent camouflage against its habitat of moss- and lichen-covered trees. The legs are black, short with thick fur on the soles of the paws hiding scent glands and serving as thermal insulation on snow-covered or ice surfaces. The Red Panda is specialized as a bamboo feeder with strong, curved and sharp semi-retractile claws standing inward for grasping of narrow tree branches, leaves and fruit. Like the Giant Pandas (Ailuropoda melanoleuca), it has a “false thumb” that is an extension of the wrist bone.
Red Pandas are crepuscular (most active at dawn and dusk) and live in the slopes of the south of the Himalayas and the mountainous forests of the southwest of China and northeastern India, at altitudes of up to 4,800 meters, and generally do not venture below 1,800 meters. They are sedentary during the day resting in the branches of trees and in tree hollows and increase their activity only in the late afternoon and/or early evening hours. They are very heat sensitive with an optimal “well-being” temperature between 17 and 25°C, and cannot tolerate temperatures over 25°C. As a result, Red Pandas sleep during the hot noontime in the shady crowns of treetops, often lying stretched out on forked branches or rolled up in tree caves with their tail covering their face.
Red Pandas are very skillful and acrobatic animals that live predominantly in trees. They live in territories, frequently alone, and only rarely live in pairs or in groups of families. They are very quiet except for some twittering and whistling communication sounds. They search for food at night, running along the ground or through the trees with speed and agility and, after finding food, use their front paws to place the food into their mouths. Red pandas drink by plunging their paw into the water and licking their paws. Predators of Red Pandas are snow leopards (Uncia uncia), martens (Mustelidae) and humans. The species has also faced a great deal of human-induced habitat destruction.
Red Pandas begin their daily activity with a ritual washing of their fur by licking their front paws and massaging their back, stomach and sides. They also scrub their back and belly along the sides of trees or a rock. They then patrol their territory, marking it with a weak musk-smelling secretion from their anal gland and with their urine.
If a Red Panda feels threatened or senses danger, it will often try to scamper up into an inaccessible rock column or a tree. If they can no longer flee, they stand up on their hind legs, which makes them appear somewhat more daunting and allows them the possibility of using the razor-sharp claws on their front paws, which can inflict substantial wounds.
The Red Panda eats mostly bamboo and red licorice, the latter of which gives the animal its distinct color. Like the Giant Panda, it cannot digest cellulose, so it must consume a large volume of bamboo to survive. Its diet consists of about two-thirds bamboo, but they also eat berries, fruit, mushrooms, roots, acorns, lichen, grasses, and they are known to supplement their diet with young birds, fish, eggs, small rodents, and insects on occasion. In captivity they will readily eat meat. Red Pandas are excellent climbers and forage largely in trees. The Red Panda does little more than eat and sleep due to its low calorie diet.
Bamboo shoots are more easily digested than leaves and exhibit the highest digestibility in the summer and autumn, intermediate in the spring, and low in the winter. These variations correlate with the nutrient contents in the bamboo. The Red Panda poorly processes bamboo, especially the cellulose and cell wall components. This implies that microbial digestion plays only a minor role in its digestive strategy. The transit of bamboo through the red panda gut is very rapid (~2–4 hours). In order to survive on this poor-quality diet, the Red Panda has to select high-quality sections of the bamboo plant such as the tender leaves and shoots in large quantities (over 1.5 kg {3 lbs} of fresh leaves and 4 kg {9 lbs} of fresh shoots daily) that pass through the digestive tract fairly rapidly so as to maximize nutrient intake
Studies in 2008 showed that the red panda can taste artificial sweetners such as aspartame, the only known non-primate to be able to do so.
Les Marches Folkloriques de l'Entre-Sambre-et-Meuse trouvent leurs origines dans les processions de croix banales du moyen-âge. Celles-ci avaient lieu dans l'octave de la Pentecôte et étaient destinées à rendre hommage et à permettre de verser l'obole à l'abbaye suzeraine voisine dont dépendait le clergé.
L'escorte militaire qui les accompagnait avait pour but d'en rehausser l'éclat mais aussi de préserver les pèlerins contre les bandes de malfrats qui rôdaient à cette époque dans nos contrées. Ces compagnies spéciales d'archers et arbalétriers que l'on appelait "serments" furent les ancêtres des marcheurs.
C'est dans le courant du XVIII siècle qu'une crise importante frappa nos Marches car de plus en plus ces cérémonies devenaient un prétexte pour s'amuser et tourner le religieux en dérision, ce qui ne plut pas au clergé qui interdit ces manifestations.
Les coutumes reprendront en 1802 après le concordat signé entre Napoléon Ier et le Pape Pie VII. C'est à ce moment que les Marches prirent un nouvel essor et devinrent des escortes militaires.
En ce qui concerne les costumes adoptés dans nos manifestations aujourd'hui, ils sont du premier et du second empire. A ce sujet, il est certain que l'on a d'abord marché en premier empire car de nombreuses défroques de l'armée de Napoléon étaient disponibles dans nos régions. Ces uniformes se dégradant, nos Marcheurs ont adoptés les costumes militaires de l'époque qui a immédiatement suivi, c'est-à-dire les uniformes que l'on appelle du second empire.
Bien que l’aspect religieux ne semble pas prépondérant, il s’agit quand même d’une procession religieuse avec sortie de la châsse et des saints patrons, bénédictions, messe, …
The Folk Marches of Entre-Sambre-et-Meuse find their origins in the banal cross processions of the Middle Ages. These took place in the octave of Pentecost and were intended to pay homage and allow the payment of the mite to the neighboring suzerain abbey on which the clergy depended.
The military escort which accompanied them was intended to enhance its splendor but also to protect the pilgrims against the gangs of thugs who were roaming our region at that time. These special companies of archers and crossbowmen called "oaths" were the ancestors of the walkers.
It was during the 18th century that a major crisis struck our Marches because more and more these ceremonies became a pretext for having fun and making fun of religion, which did not please the clergy who banned these demonstrations.
Customs resumed in 1802 after the concordat signed between Napoleon I and Pope Pius VII. It was at this time that the Marches took on new development and became military escorts.
Regarding the costumes adopted in our demonstrations today, they are from the first and second empire. On this subject, it is certain that we first marched in the first empire because many cast-offs from Napoleon's army were available in our regions. As these uniforms deteriorated, our Walkers adopted the military costumes of the era which immediately followed, that is to say the uniforms we call the Second Empire.
Although the religious aspect does not seem predominant, it is still a religious procession with the release of the reliquary and patron saints, blessings, mass, etc.
Citroën : Origins since 1919
Salon Rétromobile 2019
Paris Expo - Porte de Versailles
Paris - France
February 2019
3840x1600
InGame Photomode
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The origin of the name of "Jeep is from the cartoon of the 1930's, Popeye the Sailor, which featured a character named Eugene the Jeep, one yellow pet like a dog with supernatural powers, and American soldiers attributed these powers to the Jeep.
During World War II, this version is accompanied by a less imaginative, which attributes the name to the initials GP, General Purpose, under which the U.S. Army organized the competition to provide themselves with a small four-wheeled utility vehicle.
The reason why these versions are confused and debate is ultimately the way it is written: It is said that the Jeep name pronunciation is reduced to the acronym G. P, namely Yi Pi .
However, as the character of Popeye the Sailor Jeep used the name as you type the name of the brand, and also this nice character communicated only through the repetition of "jeep jeep", finally I usually attribute the origin of name.
Jeep survived Willys Motors, AMC, RENAULT and DaimlerChrysler (Ownership Jeep):
1944–1953: Willys-Overland
1953–1964: Kaiser-Jeep (calling themselves "Willys Motors")
1964–1970: Kaiser-Jeep
1970–1987: AMC (Renault controlling production)
1987–1998: Chrysler
1998–2007: DaimlerChrysler AG
2007–2009: Chrysler LLC
2009–present: Chrysler Group LLC (FIAT controlling production)
The Alcantara is a river in Sicily. It has its source on the south side of Monti Nebrodi and its mouth in the Ionian Sea at Capo Schiso in Giardini-Naxos. The river is 52 km long.The name Alcantara is of Arabic origin (al Qanţara - the Bridge) and refers to a bridge from Roman times found by the Arabs.Thucydides called it Akesines Potamos while its Latin names were "Assinus or Assinos" and "Onobala".Cantera was another hydronym adopted by Normans.The Alcantara has its source at an altitude of 1250m in the municipality of Floresta. On its way to the sea, past the north of Mount Etna, it flows through the municipalities of Randazzo, Mojo Alcantara, Francavilla di Sicilia, Motta Camastra, Castiglione di Sicilia, Graniti, Gaggi, Calatabiano, Taormina and Giardini-Naxos.
Several thousand years ago, the river bed was blocked by a lava flow from Mount Etna. As the lava was cooled much more quickly by the water than it would have done otherwise, it crystallised in the form of columns. Over the next millennia, the river naturally eroded a channel through these columns, resulting in impressive gorges and ravines such as the "Gole dell'Alcantara".
L'Alcantara è un fiume della Sicilia orientale lungo 52 chilometri, tributario del Mar Ionio. Il suo bacino idrico si estende per circa 573 km² nelle province di Messina e di Catania.L'Alcantara anticamente era chiamato dai Greci Akesines e dai Romani Onobola. Il nome attuale deriva dal termine di origine araba Al qantar (il ponte).Nasce dai Nebrodi a circa 1.400 m dalla Serra Baratta in Provincia di Messina. Dirigendosi impetuoso verso sud entra in Provincia di Catania giungendo in breve nella parte Nord della cittadina di Randazzo: qui muta bruscamente direzione grazie alla "spinta" del suo principale affluente di destra: il fiume Flascio. Rimpinguato notevolmente nella portata dall'affluente l'Alcantara si dirige verso est compiendo praticamente un angolo retto (è da precisare che sulle carte il fiume principale parebbe essere addirittura il Flascio e non l'Alcantara tanto è netto l'angolo di confluenza). Da qui il fiume prende a scorrere tra il massiccio di origine vulcanica del monte Etna a sud e i contrafforti meridionali dei monti Nebrodi e Peloritani a nord, fungendo sino alla foce da confine tra le province di Messina e Catania. Dal comune di Moio Alcantara in poi il fiume inizia a scorrere per lo più incassato, lambendo i centri di Francavilla di Sicilia e Castiglione di Sicilia. Presso Motta Camastra in località Fondaco Motta, dopo aver ricevuto da sinistra il torrente Zavianni, il fiume si inforra in uno spettacolare tratto ingolato costituito da lave basaltiche delle colate dell'Etna, le cosiddette Gole dell'Alcantara, meta assai celebre e frequentata ogni anno da migliaia di turisti. Da Gaggi fino verso Calatabiano il fiume amplia l'alveo per tornare a restringersi in prossimità della foce, nel territorio di Giardini-Naxos, dove solcano le campate del famoso ponte di origine araba Al qantar (il ponte), dal quale derivò il nome di questo meraviglioso corso d'acqua. La foce avviene nel Mar Ionio e precisamente in loc. San MarcoIl letto dell'Alcantara, sotto il profilo vulcanologico, ha visto in epoche preistoriche e protostoriche, il passaggio a più riprese di colate laviche che ne hanno ostruito e modificato il percorso. Il corso d'acqua ha così creato localmente delle caratteristiche forre con pareti alte diverse decine di metri, caratterizzate da strutture a colonne subverticali detta a canna d'organo o leggermente arcuate ad arpa e a ventaglio o disposte orizzontalmente a catasta di legna o, infine, disposte caoticamente e fratturate. Nel comune di Motta Camastra, sul versante Messinese, si trova l'unica grotta di scorrimento vulcanico: difficile da raggiungere ma splendida da ammirare viene chiamata Grotta dei Cento cavalli a testimoniare le sue enormi dimensioni.L'Alcantara è uno dei principali fiumi siciliani per portata media d'acqua in quanto seconda solo a quella del Simeto con circa 9 m³/s. Ove però si considerasse la regolarità di regime delle portate il fiume è sicuramente il primo della regione in quanto assai più regolare rispetto al Simeto. Ciò grazie alla collocazione dell'alto bacino che si estende in una delle aree più piovose della Sicilia unitamente all'approvvigionamento dato dai nevai dell'Etna e al carsismo dei terreni di origine lavica del medio bacino, spiega la sua cospicua portata annua e la presenza di acque anche nel periodo estivo. Non mancano in ogni caso piene eccezionali dovute a piogge insistenti, come avvenuto recentemente nel dicembre 2003, durante le quali l'Alcantara può mostrare un'impressionante irruenza soprattutto nel tratto ingolato.
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Maki Ohkojima (b. 1987) - Our origins - our terrestrial origins (2024). Fresco created on site in connexion with the temporary exhibition "La grande expédition" at Le Centquatre-Paris cultural centre, Paris, November 2024 - March 2025.
Top experts convey their astronomical knowledge to novices, intermediate students and advanced practitioners, and elaborate on what humankind now knows about the universe. Jerry T. Bonell (US) of the NASA Goddard Space Flight Center explain the “hot universe” that is brimming with high-energy insights. Scientists of the European Southern Observatory in Chile, on the other hand, introduce us to the “cold universe”. The visible portion of the cosmos is explained by Dietmar Hager (AT), an astrophotographer who’s certainly the right man for this job.
credit: rubra
I'm pretty sure those little hand mirrors started it all......
Model: Jessica Manuel
HMUA: Jessica Manuel
Outfit: Connie Chung & Jessica Manuel
Location: Union Station Depot
KARR (Knight Automated Roving Robot) is the name of a fictional, automated, prototype vehicle featured as a major antagonist in two episodes of the television series Knight Rider and was part of a multi-episode story arc in the 2008 revived series.
Origin and background
KARR is the prototype version of KITT, originally designed by Wilton Knight and built by his company Knight Industries. Upon completion of the vehicle, KARR's CPU was installed and activated. However, a programming error made the computer unstable and potentially dangerous. The project was put on hold and KARR was placed in storage until a solution could be found.
Unlike KITT, whose primary directive is to protect human life, KARR was programmed for self-preservation, making him a ruthless and unpredictable threat. He does not appear as streetwise as KITT, being very naive and inexperienced and having a childlike perception of the world. This has occasionally allowed people to take advantage of his remarkable capabilities for their own gain; however, due to his ruthless nature he sometimes uses people's weaknesses and greed as a way to manipulate them for his own goals. Despite this, he does ultimately consider himself superior (always referring to KITT as "the inferior production line model") as well as unstoppable, and due to his programming the villains don't usually get very far. KARR demonstrates a complete lack of respect or loyalty - on one occasion ejecting his passenger to reduce weight and increase his chances of escape.
KARR first appeared in the Season One episode "Trust Doesn't Rust" aired on NBC on November 19, 1982, where he seemingly met his demise at the end. However, he was so popular with viewers that he was brought back again in the Season Three episode "K.I.T.T. vs. K.A.R.R.", aired on NBC on November 4, 1984 (marking him as one of the very few villains in the original series to make a return appearance).
Appearances in the original series
"Trust Doesn't Rust" - Season 1, Episode 9
Once KITT was constructed, it was presumed that his prototype KARR had been deactivated and dismantled. However, the latter did not occur and KARR was placed in storage and forgotten following the death of Wilton Knight. When two thieves, Tony (Michael MacRae) and The Rev (William Sanderson), break into the warehouse where KARR is "sleeping", they unwittingly reactivate him, and he escapes.
When the two thieves realize how useful the vehicle could be, they use KARR to go on a crime spree, whilst Michael and KITT frantically try to catch up with KARR and stop him before anyone is seriously hurt. Bonnie devises a high-powered laser, the only known way to stop KARR, which must be fired from KITT directly into KARR's scanner. However, when KARR needs maintenance, Tony kidnaps Bonnie before the laser can fully be calibrated. Although Michael rescues Bonnie, she is unable to get a clear shot at KARR with the laser and he escapes.
KARR's only weakness is his primary directive of self-preservation and Michael uses this to his advantage. When KARR threatens to destroy KITT in a head-on collision, Michael plays chicken with him, on a hunch that KARR will veer out of KITT's path in order to protect himself. KARR indeed swerves out of the way, but unable to stop in time, he drives off a cliff and seemingly explodes in the ocean (using footage of the climactic scene from the 1977 film The Car, footage that was also used for KITT on a couple of other occasions). KARR was voiced by well known Canadian voice actor, Peter Cullen.
Trust Doesn't Rust was also printed in book form, written by Roger Hill and Glen A. Larson, following the story and general script of the original television episode, expanding some areas of the plot and adding several extra secondary characters.
"K.I.T.T. vs. K.A.R.R." - Season 3, Episode 6
KARR was only believed to have been destroyed. He was damaged and ended up buried in the sand on the beach below the cliffs. When the tide had gone out, a young couple, John and Mandy, stumble upon the partially buried car, dig him out, and reactivate him. This time, KARR is furious and has only one clear motive: revenge against Michael and KITT.
KARR is still damaged after the last encounter with KITT and forces John to serve as his driver, and also to carry out some cosmetic modifications to his paintwork. In a ravine, KARR challenges Michael and KITT to a final showdown. After releasing the young couple, KARR fires a stolen laser and damages KITT. However, Michael and KITT destroy KARR's laser by reflecting the beam back to the emitter. Damaged, KARR prepares for another attack. KITT and KARR both turbo boost and collide in mid-air. KARR is blown to pieces, but Michael and KITT survive the impact. At the end of the episode, however, KARR's motherboard — i.e. KARR himself — can be seen lying undamaged on the ground amongst the wreckage, its LED's still blinking - suggesting to the viewer that KARR is still "alive."
Production changes[edit]
Originally, KARR appeared identical to KITT, with a red light scan bar, and the only physical difference was a greenish-yellow LED voice modulator on his dash (for the first half of the first season, KITT's voice modulator is a red square that blinks on and off as he talks; KARR's voice modulator is the prototype to the one seen on KITT from the mid first season onwards, after it was received well by viewers). When KARR returns in "K.I.T.T. vs. K.A.R.R.", KARR's scan bar is now amber.
KARR later gets a two-tone paint job incorporating a silver lower body into his familiar all-black finish. KARR's scanner originally made a low droning noise, but in the comeback episode it sounds similar to KITT's but with a slight reverb audio effect added to it. The sound of KARR's engine, originally sounding rough and "fierce", here sounds similar to KITT's, again effected by a reverb. In "Trust Doesn't Rust," KARR had no license plates. In KARR's second appearance, he had a California license plate that read "KARR". Despite various other changes, KARR's dashboard remains correct with continuity - he still has the earlier version of the dash as previously seen on KITT, whereas by the time of 'KITT Vs KARR', Bonnie had updated KITT's dash and various functions at the start of the third season.
KARR's personality is also somewhat different in the comeback episode. His childlike perceptions are diminished into a more devious personality, completely cold and bent on revenge. His self-preservation directive is no longer in play when KARR is close to exploding after receiving severe damage; he willingly turbo-jumps into a mid-air collision with KITT hoping that his own destruction would also spell his counterpart's. Even KARR's modus operandi is different; serviceful enough in the first episode, he aims to actually make use of other persons, anyone, to serve his own needs. One explanation of this change could be as a result of the damage he received after falling over the cliff at the end of "Trust Doesn't Rust", which further malfunctioned his programming. Indeed, KITT himself is seen to malfunction and suffer change of personality as a result of damage in several other episodes.
In "Trust Doesn't Rust" and the 2008 series, the voice of KARR was provided by voice actor Peter Cullen, better known as the voice of Optimus Prime in the Transformers cartoon series, and whom had a previous working relationship with series creator Glen A. Larson after voicing several Cylon characters in the original Battlestar Galactica. In "K.I.T.T. vs K.A.R.R.", KARR was voiced by Paul Frees, best known as the voice of Boris Badenov in the popular series The Rocky and Bullwinkle Show and as the voice of Ludwig Von Drake in the popular anthology series, Walt Disney's Wonderful World of Color. As with William Daniels, the voice of KITT, who was never credited on-screen, Frees was uncredited on-screen for his role, leading Cullen to sometimes be mistakenly credited as providing KARR's voice in "K.I.T.T. vs K.A.R.R." Peter Cullen reprised his role as the voice of KARR in the 2009 Knight Rider episode, "Knight to King's Pawn."
[Text from Wikipedia]
en.wikipedia.org/wiki/KARR_%28Knight_Rider%29
As corny as Knight Rider seems now, this show well and truley captured the imagination of my 11-year old self. Many of the 'futuristic' technologies incorporated into K.I.T.T. are now becoming commonplace.
This miniland-scale Lego Pontiac 1982 Firebird Trans Am 'K.A.R.R.' (Knight Rider TV Series - 1984) has been created for Flickr LUGNuts' 91st Build Challenge, - "Anger Management", - all about cars with some link to being angry.
Butuh relaksasi, capek penat sepanjang hari → bawa sabun kopi ke kamar mandi, beeeeeeught langsung nyuuuusssss, Gw gak suka kopi kak, Ganti kopi pake cendana, wangi cendana tuuh wangi nya para kembang desa jaman baheula alami gak pake jampi2 Aaah cendana, ngingetin gw sama Suzana, ngeri kak Aaah loe mah suka gitu orang nya, Suzana tuuh sukaan nya melati lain cendana, tauuuuk, Ahaaa,thats its melati kaaaaak, top banget gw suka tuuh sama wangi nya Tapi Gw kan laki kak, masa iyah pakai sabun melati kalau mau relaksasi, aaah girly banget gitu looh kesan nya, apa kata dunia kalau badan gw ke endus wangi melati, Hmmmm, kayah nya emang nasib loo bro, loe mesti pakai OatSusuMadu, aroma nya gak tajem, buat ngusir bau badan keringet loe lumayan laah, coba in giih, Yang bener ajaah bro, Gw nih perjaka ting ting, bini ajaah belum gape, mau ngasih madu, kesan nya gahar betul gw Stok Sabun Gw tinggal satu ini aja bro, loe mau pake atau loe mau diemin, suka suka loe daah, ini yang paling wahid, cleopatra demen kayag nya, namanya Sabun Castile loe pasti suka kaaaan, loe gak perlu sibuk sama aroma nya, cewek nya popeye kayag nya juga suka, Haaaaah,
The company had its origins in the Tradeston area of Glasgow before moving to Govan Old Shipyard in 1858. It moved to the site at the former Fairfield Farm in 1868, and changed its name in 1886 from Randolph, Elder & Co. to Fairfield Shipbuilding & Engineering Co. to reflect its location. It became the largest and most successful of all the Clyde shipyards, before the decline of shipbuilding in the 1960s led to its absorption into Upper Clyde Shipbuilders.
The instability of the shipbuilding industry at this time led to a number of further transformations before the yard was transferred from Kvaerner Govan to BAE Systems in 1999. Although the crane was a grade-A listed structure, the company was given permission to dismantle it as it was seen as a barrier to development. It was taken down in 2007 to allow for the construction of new infrastructure to help the yard keep up with modern shipbuilding improvements and techniques, aiding the construction of modules for the Queen Elizabeth Class aircraft carriers.
The Ruins of Dunure Castle, Ayrshire - Built in the 13th Century, on the Carrick coast, this is the point of origin for the Scottish Kennedy Clan
Manuscript title: Lectionary of St. Gall (or more exactly: Epistolary of St. Gall)
Origin: St. Gallen (Switzerland)
Image source: Genève, Bibliothèque de Genève, Ms. lat. 37a, p. 30v – Lectionary of St. Gall (or more exactly: Epistolary of St. Gall) (www.e-codices.unifr.ch/en/bge/lat0037a/30v)
"Bua-ha-ha-ha!!!!"
I think this would be a killer Hardy Boys cover.
My girlfriend gave it the caption, "he's making me a unicorn."
Origin: Singapore Changi
Flight: QF38
Time: 7 hours approx.
The airport was pretty busy this morning, the plane was sitting there for over 20 minutes waiting to go into the gate area.
The Czech Moravian Brethren of Bethel (and German Lutherans).
Moravia is a province of the Czech Republic (around Prague) which was formerly part of Bohemia. The origins of the Brethren go back to John Huss a Catholic heretic, who in 1415 was burned at the stake by the Catholic Church. Heretic followers of Huss formed a breakaway group from the Catholic Church in 1467 including some forerunners of the Moravian Brethren. Luther created the big break from the Catholic Church in Germany in 1517. Eventually during the Counter Reformation and the Thirty Years War (1618-48), a new group of Moravian Brethren moved to Saxony in 1722 to the town of Herrnhut. A new spiritual awakening and the founding of a Moravian Church occurred in 1727 led by Count Zinzendorf (1700-1760). In 1735 many Moravians went to America and founded the church there in Georgia, Pennsylvania and North Carolina. About 825,000 people worldwide are members of the Moravian Brethren (Unitas Fratrum). They base everything on the Bible and bishops are elected from the most spiritual members. They pursue missionary work, especially in Africa, and the largest concentration of Moravians today is in Tanzania! They allow members lots of freedom and members can be members of other churches, such as the Lutheran or Presbyterian Churches with which they maintain close links. The Moravian Church is part of the Lutheran World Federation. In Australia Moravians settled in the Wimmera as well as at Bethel near Tarlee. Bethel is a German word meaning “place of God.” The Moravians formed “utopian like” communities with communal lands etc.
Moravian Brethren are perhaps best known for their system of houses or “choirs” whereby they maintained separate seating in church for women, men, and single sisters and widows who were separated from the rest of the community. Virgins and single women were usually required to live in one large house together so that their spiritual needs could be dealt with separately. When a girl turned sixteen she was obliged to always wear some pink, usually a scarf or shawl but for church she might wear a pink blouse. Married women would always wear a rich red scarf or shawl. This practice of separating men and women carried over to the cemetery as well, with women being buried on one side and men on the other. You can see this today in the old part of the Bethel cemetery.
In 1854 a pastor by the name of Schondorf was sent out by the parent church at Herrnhut in Bohemia to establish a traditional Moravian Christian commune. Schondorf bought up 1,912 acres near Tarlee. A church and school were built and families allocated land which they thought they were buying. There was a Band Hall, for music performances. All went well for the first twenty years until families discovered they were not buying land, they were only renting it. The community wrote to the mother church in Herrnhut asking for a new priest. A few of the community stayed loyal to Schondorf and they moved with him and built another church and community nearby in 1876. A legal battle began over land ownership. The community committee took Schondorf to court but they lost the case. The community rift was then permanent. A new Moravian Brethren pastor Jacobi, also arrived in 1876. Pastor Jacobi continued until 1891, when he died. (Schondorf had died in 1877 a broken man after the legal battles.) Herrnhut then sent out another man, Pastor Buch, but just a few years (1895) later the Lutherans had built a large church at Bethel in the middle of the community. Most of the remaining Moravian Brethren began to attend the Lutheran Church. Pastor Buch was recalled to Bohemia in 1906 so the community severed their connection with Herrnhut and joined the Lutheran Synod. Many of the Moravians were not happy with the new arrangement as the Lutheran pastor (Benman) progressively brought in the practices of the Lutherans including robes, fees for weddings and funerals etc. Not far away from Bethel other Lutherans and Wends ( now called Sorbs) built another Lutheran Church only a kilometre or so away at Steinthal. The Moravians continued in SA with an offshoot community at South Kilkerran on Yorke Peninsula. The ruins of Schondorf’s second house, church and graveyard can be seen from the Bethel Lutheran Church. The Moravian church and large school has now been demolished. The Lutheran manse was built in 1908. The Moravian burials are numbered chronologically, with men and women separated. Below is Schondorf’s second house at Bethel.
cross section: lateral root origin
magnification: 400x
Berkshire Community College Bioscience Image Library
In angiosperms and gymnosperms lateral roots usually form when a few mature cells of the root pericycle become meristematic. The primordial cell mass matures into a growing tip that grows through the cortex, ultimately piercing the epidermis
Technical Questions:bioimagesoer@gmail.com
Peças simples, sóbrias, fluídas e essencialmente confortáveis, mas sem abrir mão de tecidos refinados, qualidade no acabamento e construção sofisticada. Um visual totalmente casual chique. Campanhas sexys, originais e polêmicas onde modelos mostram seus corpos em poses sensuais e provocativas. A marca CALVIN KLEIN se transformou em sinônimo de chique, casual, sensual e provocante, conquistando um lugar de destaque no panteão do universo fashion.
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A história
O estilista Calvin Richard Klein nasceu no dia 19 de novembro de 1942 no tradicional bairro do Bronx em Nova York e desde criança sempre foi apaixonado por moda, acompanhando sua mãe nas compras de roupas. Ainda menino, aprendeu sozinho a desenhar e a costurar. Seu autodidatismo lhe rendeu bolsas de estudo na New York High School of Art and Design (escola secundária especializada em arte) e no Fashion Institute of Technology, conhecido como FIT, uma das maiores instituições de ensino superior de moda dos Estados Unidos, na qual se formou em 1962. Depois de trabalhar como aprendiz em uma loja de casacos, ele e seu amigo de infância, Barry Schwartz, com apenas US$ 10 mil de capital, lançaram sua primeira coleção masculina e feminina de paletós, casacos e capas em 1968. Surgia assim a marca CALVIN KLEIN na cidade de Nova York. Inicialmente a nova grife vendia suas criações em pequenas quantidades para lojas de departamento.
A combinação do talento de designer de Klein e a grande percepção administrativa para os negócios de Schwartz, logo chamaram a atenção do mundo glamoroso da moda. O primeiro grande sucesso surgiu quase imediatamente, ao chamar a atenção do presidente da loja de departamento Bonwit Teller, que impressionado com o estilo minimalista do jovem designer, proporcionou-lhe uma enorme encomenda no valor de US$ 50.000, uma quantia bastante significativa para a época, principalmente se considerar que Calvin Klein ainda era um ilustre desconhecido. Isto ocorreu quando o executivo viu o jovem estilista empurrando uma arara de roupas pelo corredor e, fascinado, fechou o negócio.
O estilista, que seria apelidado de “O Conquistador” pelo jornal Women’s Wear Daily e considerado uma das 25 personalidades mais influentes na América pela revista Time, começava a conquistar a todos com seu estilo sportwear minimalista. O maior reconhecimento viria em 1973, quando o estilista entrou para a história do mundo da moda ao receber o prestigiado prêmio Coty Award, o qual viria a receber novamente em 1974 e 1975. Pouco depois, lançava uma coleção de roupas esportivas femininas, seguida de outras coleções voltadas para o mesmo público, como as famosas lingeries. As linhas clássicas e suaves começaram a aparecer em coleções sportswear, com japonas, suéteres de gola rolê e calças estreitas. Em 1977 o sucesso da marca era traduzido em um faturamento superior a US$ 30 milhões. Neste momento a marca iniciou o licenciamento para estampar a CALVIN KLEIN em sapatos, lenços, cintos e até óculos.
No final dessa década o nome CALVIN KLEIN começou a ser reconhecido no mundo todo, especialmente depois do lançamento de sua coleção de calças jeans por preços acessíveis, estrelada por uma campanha comercial em que a jovem e bela Brooks Shields era a personagem. Em apenas uma semana o sucesso era evidente: 200.000 pares de calças comercializadas. Calvin foi o primeiro estilista a colocar o jeans na passarela, provocando os mais conservadores. Mesmo assim foi seguido pelos demais estilistas da época e o jeans definitivamente conquistou espaço na sociedade. Nesta época, com a sobriedade como sua marca registrada caminhou para uma criação mais sofisticada, utilizando tecidos como a seda, o crepe, linhos e lãs, para criar roupas de linha alongada, de ombros estruturados, sempre respeitando os conceitos de harmonia de proporções.
Na década de 80 a grife resolveu diversificar seus produtos com o lançamento de coleções de roupas íntimas e perfumes que fariam enorme sucesso junto ao público, e seriam responsáveis pelo enorme crescimento do faturamento. Outra tendência internacional dos anos 90 seguida à risca por Calvin Klein foi a criação de uma marca alternativa, a cK CALVIN KLEIN, que representa uma versão jovem, urbana e colorida das linhas de roupas masculinas, femininas e de acessórios da marca. Nesta década marca possuía 6 lojas nos Estados Unidos, e outras espalhadas em vários países como Espanha, Japão, França, Suíça e Cingapura.
Em fevereiro de 2003, seguindo a tendência das grandes casas de moda e dos produtos de luxo internacionais, Calvin Klein vendeu a marca para o grupo norte-americano Philips-Van Heusen (PVH), maior fabricante de camisas e gravatas do mundo, por US$ 438 milhões em dinheiro, além de US$ 30 milhões em ações e participação nas vendas até 2018, mas continuou trabalhando como consultor de criação. Meses depois, contratou o brasileiro Francisco Costa e o italiano Ítalo Zucchelli para desenhar, respectivamente, as coleções femininas e masculinas. Embora pouco conhecido no Brasil e no mundo, o mineiro Francisco Costa, já tinha no currículo passagens pelas maisons Oscar de la Renta e Gucci antes de assumir o desafio. Sua coleção de estréia, em setembro, acumulou elogios da imprensa internacional. Em agosto de 2004, enquanto Costa preparava mais uma elogiada participação na semana de moda de Nova Iorque, Calvin Klein circulava tranqüilamente de bermudão e sandálias Havaianas pela praia de Ipanema, entre uma das muitas vindas recentes ao Brasil, especialmente ao Rio de Janeiro. Recentemente, em 2010, a marca assinou um contrato exclusivo com Lara Stone, uma das modelos número 1 do mundo, fazendo da exuberante moça a nova cara da coleção Calvin Klein, ck Calvin Klein e Calvin Klein Jeans para a temporada de outono.
A linha do tempo
1974
● Criação da Calvin Klein Acessories, divisão responsável por criar e produzir malas, cintos e lenços.
1978
● Lançamento do Calvin (primeiro perfume masculino da marca), além de uma completa linha de cosméticos, especialmente para o cuidado da pele.
1982
● Lançamento da coleção de roupas íntimas. Foi a primeira vez na história da moda que roupas íntimas masculinas foram consideradas itens da alta costura. As cuecas CALVIN KLEIN tinham desenho único, levando o nome da grife gravado no elástico da cintura. Pela primeira vez, as boas e velhas cuecas, até então apenas funcionais e confeccionadas sem a menor preocupação estética, foram elevadas ao posto de objetos de desejo tanto pelo design quanto pela provocação das campanhas publicitárias.
1985
● Lançamento do perfume Obssession, com uma polêmica campanha publicitária carregada de conteúdo homossexual, sob o comando do fotógrafo Bruce Weber. Vários jornais americanos se recusaram a publicar o anúncio, mesmo assim o perfume, que custava US$ 170, se transformaria num estrondoso sucesso. A campanha custou impressionantes US$ 17 milhões.
1988
● Lançamento do perfume feminino Eternity com suas essências florais. Alinha também contava com uma linha de creme para o corpo com a mesma essência do perfume. A versão masculina seria lançada no ano seguinte.
1989
● Inauguração da primeira loja, localizada no subúrbio de Dallas, que vendia a linha tradicional, esportiva, roupas íntimas, acessórios, calçados, cosméticos e perfumes.
1991
● Lançamento da linha de óculos, valorizando o conforto com design simples, sutilmente sexy e moderno.
● Lançamento do perfume feminino Escape.
1995
● Lançamento, sob licença, de uma coleção para casa composta toalhas de banho, toalhas de mesa, entre outros itens.
1993
● Primeira grife de alta costura a lançar um perfume unissex com a introdução do CK Oneseguido da campanha publicitária “Be Good. Be Bad. Just Be”.
● Lançamento do perfume Escape na versão masculina.
1998
● Lançamento da coleção de óculos Classic Edition, série de armações de receituário inspirada em design de óculos antigos. Basicamente de metal, linhas arredondadas e no estilo flutuante, tinha um delicado trabalho na ponte tal qual peças do passado.
2004
● Lançamento do perfume CK One Summer.
2005
● Lançamento dos perfumes Obsession Night e Euphoria.
2007
● Lançamento do perfume CK IN2U. A embalagem do perfume era feita de plástico com vidro, imitando um iPod.
● Lançamento da CALVIN KLEIN GOLF, uma completa linha de roupas e acessórios para golfe.
2008
● Lançamento do perfume masculino Euphoria Intense.
● Lançamento da CALVIN KLEIN BEAUTY, primeira linha de maquiagem da marca. Uma das novidades é que cada item vinha enriquecido com cosméticos exclusivos que traziam os mais modernos conceitos de cores e texturas. Eram mais de 200 opções, tudo com um design inovador e cores ousadas.
2009
● Lançamento do perfume masculino cK Free.
2010
● Lançamento do perfume feminino Beauty.
● Lançamento da CALVIN KLEIN X ELEMENTS, nova coleção que traz cuecas nos modelos slip, boxer e samba-canção, em cores que representam os quatro elementos da natureza: ar, terra, fogo e água. Os modelos que participaram do lançamento da nova linha são: os atores Kellan Lutz (terra) e Mehcad Brooks (fogo), o jogador de futebol Hidetoshi Nakata (ar) e o tenista Fernando Verdasco (água).
1st Special Commando Regiment in Lubliniec
The origin of the unit dates back to 1957, when the reconnaissance company, based in the barracks of 16th Assault Squadron, was founded in Krakow. Over the years, the unit changed its location (Dziwnów on Wolin Island) and the nature of organization (the company was transformed to the 1st Assault Battalion). In 1986, it was moved to Lubliniec in Upper Silesia. On 8 October, 1993 a Chief of General Headquarters of Polish Army issued a decree on the formation of a new unit: 1st Special Regiment. The unit reached operational readiness in 1994 and on 23rd November, 1995 the President, at the request of Minister of National Defense, has granted the new unit a banner.
The unit is a continuation of tradition of the following formations:
•1st Polish independent Special Battalion
•National Army Battalion PARASOL
•Independent Company COMMANDO
In addition, being a part of the Regiment, Noncommissioned Officer and Junior Special Operations Specialists School cultivates the heritage of the National Army Battalion ZOŚKA.
Today's 1st Special Commando Regiment from Lubliniec, directly subordinated to a Commander of Special Forces, is intended for conducting special operations in the country and beyond its borders in conditions of peace, crisis and war.
The regiment specializes in the following areas of activity:
1.Special reconnaissance;
2.Direct operations, especially subversive warfare;
3. Military support;
4.Unconventional actions.
1. PSK (1st Special Commando Regiment), took part in the following trainings involving soldiers from other countries - NATO members:
•07.1995 - taking part in "DWA ORŁY" exercise, (30 soldiers) along with 10th SFG company `C '- exercise area - Wędrzyn
•1998 - joint exercises under the code name " SZTYLET I i II” (250 soldiers)
•during April and August with groups 1 / 10 SFG, soldiers of 75th “Rangers” regiment, the GROM unit - exercise area - south western Poland;
•08.1999 - "ARTIST ULAN" exercise with 21st SAS regiment (300 soldiers) exercise area - Bieszczady, Kraków, Rudniki
•01.2000 - joint exercises of KGS (50 soldiers) with 10th SFG group – exercise area - Lubliniec
•01.2000 – participation of KGS (8 soldiers) in a training in mountains with the German 200th long distance recon company
•08.2000 - joint exercises of KGS (48 soldiers) with 10th SFG group, training area - Lubliniec
•04.2001 - joint exercises of KGS (50 soldiers) with 10th SFG group, training area - Lubliniec
•03.2002 - participation in an international training "Strong Resolve" (130 soldiers) - Słupsk;
•Autumn 2006 - international training "SHAMROCK KEY" - Lithuania
At present, the unit is in constant contact with 10th SFG of U.S. Army based in Germany, German 200th long distance recon company, Royal Noncommissioned Officer School from Netherlands and with soldiers from Multinational Corps in Szczecin.
Assassin's Creed Origins is an action-adventure video game developed by Ubisoft Montreal and published by Ubisoft. It is the tenth major installment in the Assassin's Creed series and the successor to 2015's Assassin's Creed Syndicate. It was released worldwide for Microsoft Windows, PlayStation 4, and Xbox One on October 27, 2017. The game is set in Ancient Egypt during the Ptolemaic period and recounts the secret fictional history of real-world events. The story explores the origins of the centuries-long conflict between the Brotherhood of Assassins, who fight for peace by promoting liberty and The Order of the Ancients—forerunners to the Templar Order—who desire peace through the forceful imposition of order. Origins received positive reviews from critics, who praised the story, voice acting, immersive world of Egypt and visuals, while criticizing some of the pacing and technical issues. Despite this, some critics called it the best installment of the series since 2013's Assassin's Creed IV: Black Flag.
Retablo de los Reyes
Retablo de los Reyes o Altar de los Reyes, es un retablo de gran valor artístico y estético, que se ubica en la Catedral Metropolitana de la Ciudad de México. Indistintamente se le identifica como altar o retablo debido a que, como el resto de los demás existentes en el majestuoso templo, estaba destinado a servir para el culto oficiándose misas en él.
Su autor fue Jerónimo de Balbás y su construcción transcurrió de 1718 a 1725. Se ubica en el ábside, al fondo de la catedral, espacio denominado como Capilla de los Reyes, aunque no posee reja alguna que delimite y cierre dicho espacio a la manera de una capilla como todo el resto.
Tal es la calidad, riqueza y grandeza de esta obra, que se considera una de las más bellas obras de arte creadas bajo el estilo barroco churrigueresco en todo el continente Americano
Se puede considerar un monumento dentro de otro monumento que es la misma Catedral Metropolitana, debido a que es la obra cumbre del estilo artístico en el que fue concebido, el barroco churrigueresco o barroco estípite, también denominado "barroco mexicano", estilo arquitectónico originado y desarrollado plenamente en la Nueva España, donde alcanzó su máximo auge en su empleo en la decoración y ornamentación de edificios civiles y religiosos.
Durante el virreinato, se tenía la costumbre de dedicar la capilla mayor de cualquier catedral española al rey gobernante, adjudicándosele la mayor importancia y riqueza artística. La catedral de la capital novohispana no fue la excepción, y por esa razón se encargó y llevó a cabo su construcción, a cargo de uno de los más reconocidos artistas de la época.
Es obra maestra del escultor español Jerónimo de Balbás, autor también del Altar del Perdón de esta misma catedral, y del Altar Mayor de la parroquia del Sagrario en la Catedral de Sevilla, España. Está hecho de madera de cedro blanco tallada, y revestido de lámina u hoja de oro, lo cual le otorga mayor majestuosidad. Su construcción transcurrió de 1718 a 1725, pero fue dorado hasta el año de 1735 y estrenado en 1737.
Como dato curioso con respecto a este retablo, desde el año 1824 hasta 1925, fue allí donde reposaron los restos de algunos próceres de la Independencia de México tales como Don Miguel Hidalgo y Costilla, Ignacio Allende, Juan Aldama, entre otros; hasta el año en que fueron trasladados a la Columna de la Independencia.
La Catedral Metropolitana de la Ciudad de México es el gran templo católico ubicado en la Plaza de la Constitución, en el centro histórico de la Ciudad de México. Las medidas aproximadas de este templo son 59 metros de ancho por 110 de largo y una altura de 60 metros hasta la cúpula. Es también una de las principales obras del arte mexicano, y se considera entre las más sobresalientes de todo el arte hispanoamericano. Construida con cantera gris, cuenta con cinco naves y 16 capillas laterales. Está dedicada a la Asunción de la Virgen María y es la iglesia principal de la Arquidiócesis Primada de México.
Historia de una construcción
En el tiempo de la ciudad de Tenochtitlán el área en donde se encuentra la actual catedral estuvo ocupada por un pequeño templo dedicado a Xipe[1] o quizá por el templo de Quetzalcóatl, un templo dedicado al sol y otras edificaciones menores.[2]
Tres años después de concluida la conquista, Hernán Cortés mandó construir una iglesia en el lugar aprovechando material de los templos aztecas. Esta iglesia fue convertida en catedral por Carlos V y el papa Clemente VII según la bula del 9 de septiembre de 1530 y nombrada metropolitana por Paulo III en 1547.[3] Pronto quedó clara su insuficiencia y por mandato de Felipe II se derribó en 1552. Los trabajos de construcción de la nueva no comenzaron sino hasta 1571 cuando el virrey Martín Enríquez de Almansa y el arzobispo Pedro Moya de Contreras colocaron la primera piedra de su sucesora, la actual catedral...
La suma del costo de la obra hasta la dedicación de 1657 fue de 1.759.000 pesos. Dicho costo fue cubierto en buena parte por los reyes Felipe II, Felipe III, Felipe IV y Carlos II.[3]
Luego, hubo un concurso para designar al arquitecto que terminaría la fachada. El proyecto ganador de dicho concurso fue el neoclásico presentado por el veracruzano José Damián Ortiz de Castro, que se antepuso a los de José Joaquín de Torres (barroco) e Isidro Vicente de Balbás. Ortiz de Castro procedería a terminar las torres, parte de la cúpula y obras al interior. La muerte de Ortiz de Castro dejaría las obras en suspenso un breve tiempo. En 1793 el arquitecto valenciano Manuel Tolsá recibe el encargo de finalizar las obras de construcción de la Catedral, que no concluyen sino hasta 1813.
Sucesos de la Catedral
A lo largo del tiempo la catedral ha perdido parte de su acervo artístico. Se tiene constancia de algunas de las obras perdidas: lámparas de plata de gran tamaño, candelabros, blandones y figuras del mismo metal, la custodia de Borda (88 marcos de peso en oro; con 10 perlas, cubierta al frente por 5872 diamantes y al dorso por 2653 esmeraldas, 544 rubíes y 28 zafiros), un pectoral de oro con reliquias, otro con topacios y brillantes y con anillos de accesorio, alfombras, cojines, colgaduras y muchos tesoros más de características similares.[5]
Fe, Esperanza y Caridad. Esculturas de Tolsá
La fachada se observan tres relieves en mármol blanco. El central representa la Asunción de la Virgen María. El que se tiene del lado izquierdo muestra la entrega de las llaves del Cielo a San Pedro; el que se tiene a mano derecha, la Barca de la Iglesia. Sobre el reloj se encuentran tres figuras representativas de las virtudes teologales: la Fe, la Esperanza y la Caridad. La Fe sostiene una cruz, la Esperanza un ancla y la Caridad sujeta a dos niños. El reloj y las esculturas se deben a Tolsá, así como las balaustradas y florones que coronan todo el conjunto.
El altar del Perdón
El retablo es obra de Jerónimo de Balbás (1735). A principios de 1967 hubo un incendio en la catedral que dañó el altar. Gracias a la restauración practicada se puede admirar el día de hoy una gran obra de arte colonial. Se llama así porque ahí piden perdón los fieles.Esta es una de las obras más grandes del autor tiene un estilo churrigueresco el cual es muy detallado, todo el acabado de esta obra esta cubierto con hoja de oro.
El coro
La sillería del coro está fabricada en una excelente talla de tapincerán. Tiene dos niveles de sitiales: el alto para canónigos y el bajo para seíses y sochantres. En la parte superior, tiene figuras talladas en medio relieve, de obispos y santos.
La sillería del coro es fruto del arte de Juan de Rojas (1695). También fue dañada en el incendio de 1967.
Al centro del coro, entre la la reja y la sillería, está un fascistol de caoba, adornado con figuras de marfil, una de las cuales, es un crucifijo que corona toda la obra. Se usa para sostener los libros de canto, y está conformado por tres cuerpos.
La portada del coro y la crujía (el corredor cerrado que va desde es coro hasta presbiterio) fueron hechas con el diseño del pintor Nicolás Rodríguez Juárez bajo la supervisión del sangley Quiauló. La bella reja del coro es de tumbaga y calain, y fueron estrenadas en 1730. Se fabricó en la ciudad de Macao, China,y sustituyó a una anterior esculpida en maderas.
Cúpula
Se terminó con adaptaciones al proyecto de Ortiz de Castro. En el interior también se representó la Asunción de la Virgen (Rafael Ximeno y Planes, 1810). La cúpula que existe hoy en día, es obra de Manuel Tolsá, y de tambor octogonal, levantada al centro del crucero, sobre cuatro columnas y rematada por una linternilla. Las actuales ventanas son de Matias Goeritz. En el incendio de 1967, ocasionado por un corto circuito en el Altar del Perdón la pintura de la Asunción se consumió.
Nave central de la Catedral Metropolitana, con vista del Altar de los Reyes al fondo.
Altar de los Reyes
El Altar de los Reyes, se encuentra en el ábside del templo, detrás del Altar Mayor. Es obra del insigne Jerónimo de Balbás, autor del Altar del Perdón de esta misma catedral, y del Altar Mayor de la Catedral de Sevilla, entre otras.
Este bello altar, que se puede considerar un monumento dentro de otro monumento, es la obra cumbre del estilo churrigueresco mexicano o barroco estípite, y se considera la obra maestra de su destacado autor. Mide 25 metros de altura, 13 de ancho, y 7 metros de fondo; se eleva al fondo de Catedral ocupando el ábside.
Es una talla formada por tres calles verticales, dos laterales y una al centro, adornada con los cuadros La Asunción de la Vírgen, y La Adoración de los Reyes, del pintor Juan Rodríguez Juárez. Éste último, es el que da nombre al altar, además de una serie de esculturas de bulto de reyes y reinas canonizados (santificados), que posan a lo largo y ancho del altar.
Fue realizado en maderas preciosas policromados, en una exuberante composición de pilastras y columnas, follaje, guirnaldas y querubines. El conjunto está estofado, revestido con hoja o lámina de oro, lo cual le confiere majestuosidad a la obra. Está cerrado por una doble bóveda, y en lo más alto del conjunto, se haya una representación de Dios Padre, presidiendo el magno conjunto.
Las capillas laterales
Capilla de Nuestra Señora de las Angustias de Granada
Capilla de San Isidro
Capilla de la Inmaculada Concepción
Capilla de Nuestra Señora de Guadalupe
Capilla de Nuestra Señora La Antigua
Está consagrada a la advocación mariana del mismo nombre, y en el retablo principal, neoclásico, obra de Juan de Rojas (1718), hay una copia de la imagen de la Virgen de la Antigua cuyo original se encuentra en la Catedral de Sevilla. Esta imagen de influencia bizantina era muy venerada por la población española de la ciudad de México durante el período colonial.
Bajo la imagen de la virgen hay una magnífica escultura sevillana del Niño Jesús, original de la primera mitad del siglo XVII y atribuida a Juan Martínez Montañés. Es conocida popularmente como El niño cautivo, debido a que permaneció en Argel junto a Francisco Sandoval de Zapata, racionero de la catedral, quien fue hecho prisionero por piratas del norte de África en 1622, cuando llevaba la escultura hacia México.
Capilla de San Pedro
La capilla de San Pedro custodia otros dos retablos. El primero y principal está dedicado a honrar la vida del santo apóstol y fue edificado hacia 1670. En él se observan ya los lineamientos del barroco temprano en los que aún se observan elementos manieristas como los relieves de lacería, las ménsulas y los pinjantes. El retablo está formado por tres cuerpos, el último de los cuales se integra al espacio arquitectónico dejando al centro el vano de la ventana. El retablo se merece una mención especial por su decoración general en la que sobresalen los variados motivos vegetales e inanimados propios del barroco. En cuanto a las pinturas de este retablo, no se ha podido saber a ciencia cierta quiénes fueron los autores, se trata de obras cuto tema es la vida de San Pedro, y en un pasaje se recuerda el martirio del apóstol que pidió ser crucificado de cabeza “por no ser digno de morir como su maestro”.
Capilla del Santo Cristo y de las Reliquias
Se contruyó entre 1610 y 1615 dedicada al Santo Cristo de los Conquistadores. También recibe el nombre de Capilla de reliquias por las reliquias insignes guardadas en los retablos barrocos. Según algunos historiadores la imagen de Cristo crucificado conocida como el "Santo Cristo de los Conquistadores" (S. XVI O XVII) fue un regalo de Carlos V, otros sostienen que se trata de una obra realizada en estas tierras, lo cierto es que ya en la primera catedral recibía gran veneración.
Las pinturas y esculturas escenifican momentos de la pasión de Cristo uniendo a este tema la pasión o tormento de los santos y santas màrtires. La escultura del "Santo Entierro" es utilizado todos los años en la procesión del Viernes Santo. El retablo de la derecha tiene al centro una Virgen de Guadalupe, de José de Ibarra, ante la que se juró a Santa María de Guadalupe como la Patrona General y Universal de todos los reinos de la Nueva España el 4 de diciembre de 1746, y que conserva una reliquia del ayate de Juan Diego Cuauhtlatoatzin. Las reliquias de esta capilla se exponen anualmente el día de todos los santos y el día de los fieles difuntos (1 y 2 de noviembre). De acuerdo a la tradición, en esta capilla se custodian reliquias de, entre otros, San Vicente de Zaragoza, San Gelasio, San Vital de Milán y un pedazo de la Vera Cruz.
Capilla de San Felipe de Jesús
Aquí se encuentran los restos de Agustín de Iturbide. Asimismo, aquí se conserva el corazón de Anastasio Bustamante.
Capilla de Nuestra Señora de la Soledad
La capilla dedicada a la Virgen de la Soledad fue abierta al culto en la segunda mitad del siglo XVII. Ella protege a los albañiles y obreros que participaron en la construcción de la catedral. El retablo principal está formado por dos cuerpos y un remate, en él se aprecian las columnas salomónicas de capitel corintio que separan las entrecalles. Es una virgen de la Soledad copia de una imagen española. El retablo puede ser ubicado en la década de 1670-1680 gracias a las pinturas con el tema de la Pasión de Cristo hechas por el pintor Pedro Ramírez.
Capilla de San José
Su retablo principal es barroco, procedente de la antigua Iglesia de Nuestra Señora de Montserrat y tiene en el centro la imagen de San José con el Niño, rodeado de santos, entre los que destaca Santa Brígida de Suecia. El retablo lateral es una composición de pinturas barrocas, que consiste en El triunfo de la Fe, La transfiguración, La circuncisión y La asunción.
Hay un antiguo Ecce homo sedente, llamado popularmente el Señor del cacao. Es una escultura mexicana de caña de maíz procedente de la primera catedral, y muy venerada por los indígenas durante la colonia, quienes a falta de monedas depositaban como ofrenda semillas de cacao, que en época prehispánica se consideraban valiosas piezas de cambio. En la actualidad es común que los niños depositen ofrendas en forma de caramelos.
Capilla de San Cosme y San Damián
Entre los retablos que decoran el interior de la Catedral Metropolitana, el principal está dedicado a honrar a los santos tutelares de la capilla, consta de dos cuerpos, el remate y tres entrecalles. Es uno de los retablos catedralicios del siglo XVII en los que se puede afirmar que tiene un acento manierista y como prueba de ellos están las columnas clasicistas estriadas. El retablo fue concebido para albergar pinturas, las cuales exaltan la vida de los santos médicos Cosme y Damián y se deben al pintor Sebastián López Dávalos. Este pintor también fue uno de los artistas que corroboraron el
Capilla de los Ángeles
Sirve de basamento a lo torre occidental, y fue concluida entre 1653 y 1660. Esta primera capilla fue destruida por un incendio en 1711, por lo que fue inmediatamente sustituida por la actual, finalizada en 1713. Cuenta con unos fastuosos retablos barrocos con esculturas estofadas y policromadas, obras de Manuel de Nava, que representan a los siete arcángeles.
La sacristía
En el interior de la sacristía se puede admirar enormes cuadros de los pintores novohispanos Cristóbal de Villalpando y Juan Correa. Los títulos de los cuadros son: El Triunfo De La Iglesia, La aparición de San Miguel (Villalpando), El Tránsito De La Virgen y La Entrada De Cristo A Jerusalén (Correa). Asimismo, hay una pintura atribuida al pintor español Bartolomé Esteban Murillo.
Las criptas
Cripta de los Arzobispos, con el monumento a Fray Juan de Zumárraga en primer plano. En la parte inferior del altar se aprecia una piedra prehispánica.
Cripta de los Arzobispos, con el monumento a Fray Juan de Zumárraga en primer plano. En la parte inferior del altar se aprecia una piedra prehispánica.
La catedral cuenta con criptas para los fieles que deseen adquirir, aunque actualmente se encuentra todavía en proceso de reparación y por lo tanto para ingresar, es necesario ser poseedor o visitante de un nicho en específico.
Debajo del Altar de los Reyes se encuentra la cripta principal que alberga los restos de los arzobispos que han sido titulares de la Arquidiócesis, desde Fray Juan de Zumárraga hasta el Cardenal Ernesto Corripio y Ahumada, cuyos restos fueron depositados en abril de 2008. En el centro de la cripta de los Arzobispos hay un cenotafio con la figura de Zumárraga y todos los demás arzobispos están colocados en nichos en las paredes. Debajo del monumento de Zumárraga hay una escultura azteca que representa una calavera. Otra escultura prehispánica geométrica fue incorporada en la parte inferior del altar.
Los campanarios
Las torres de la Catedral tienen una altura entre 64 y 67 metros. Cada una está rematada en forma de campana (Ortiz de Castro, 1788). La campana puede ser tomada como un símbolo de la comunicación entre Dios y el hombre. Entre las dos cuentan con espacio suficiente para albergar 56 campanas, aunque al día de hoy son treinta las que han sido colocadas. La mayor de ellas tiene el nombre de Santa María de Guadalupe y pesa alrededor de trece toneladas. La más antigua, Santa María de la Asunción (también conocida como Doña María), es de 1578. La más nueva es del año 2002 y fue colocada con motivo de la canonización de Juan Diego. Fue bendecida por el papa Juan Pablo II. Dentro de la parte superior de cada torre hay escaleras de madera de forma elipsoidal, de las cuales hay muy pocos ejemplos en el mundo. Estas escaleras helicoidales u ovaladas son, como se decia líneas arriba poco utilizadas pues el deterioro ocasionado por el tiempo y es evidente, por lo cual solo son usadas por los campaneros, entre los que destacan Rafael Parra Castañeda Campanero Mayor, o algunos voluntarios como Alejandro Campos Lamas, Decano de la Pastoral de Campaneros o Angel Miguel Donaciano Guía oficial del sitio. Empero, el enorme desgaste de escaleras y zonas del campanario se ha agudizado por la extensiva vista de turistas a un sitio no hecho para ello, por lo cual se recomienda no realizar la visita que se considera de alto riesgo.
El sagrario
De estilo barroco de estípite en su fachada y neoclásico al interior.
Su materia es de cantera gris y tezontle. Tiene dos portadas, una al sur y otra al oriente. Es de planta de cruz latina, y es la parroquia de la Catedral Metropolitana, anexa a ésta.
Sus portadas son de estilo barroco churrigueresco, con pilastras estípite y de forma triangular, obra singular de la arquitectura colonial.
Italien / Lombardei - Lago di Como
seen from Rifugio Menaggio on the way to Monte Grona. In the background you can see Monte Legnone (2,609 m).
gesehen vom Rifugio Menaggio auf dem Weg zum Monte Grona. Im Hintergrund sieht man den Monte Legnone (2.609 m).
Lake Como (Italian: Lago di Como [ˈlaːɡo di ˈkɔːmo], locally [ˈkoːmo]; Western Lombard: Lagh de Còmm [ˈlɑː‿dːe ˈkɔm],[a] Cómm [ˈkom] or Cùmm [ˈkum]), also known as Lario (Italian: [ˈlaːrjo]; after the Latin: Larius Lacus), is a lake of glacial origin in Lombardy, Italy.
It has an area of 146 square kilometres (56 sq mi), making it the third-largest lake in Italy, after Lake Garda and Lake Maggiore. At over 400 metres (1,300 ft) deep, it is the fifth deepest lake in Europe and the deepest outside Norway; the bottom of the lake is 227 metres (745 ft) below sea level. One notable characteristic is its distinctive "Y" shape.
Lake Como has been a popular retreat for aristocrats and wealthy people since Roman times, and a very popular tourist attraction with many artistic and cultural gems. It has many villas and palaces such as Villa Olmo, Villa Serbelloni, and Villa Carlotta. Many famous people have owned homes on the shores of Lake Como, including George Clooney, Madonna, and Donatella Versace.
In 2014, The Huffington Post described it as the most beautiful lake in the world for its microclimate and environment with prestigious villas and villages.
Etymology
The lake's official name is Lario (derived from the Latin Larius), but it is rarely used informally, while it is still used in formal language; it is also found in the toponym of some villages along the lake such as Pognana Lario and Mandello del Lario; Italians usually call it Lago di Como.
Geography
The lake is shaped much like an inverted letter "Y". The northern branch begins at the town of Colico, while the towns of Como and Lecco sit at the ends of the southwestern and southeastern branches respectively. The small towns of Bellagio, Menaggio and Varenna are situated at the intersection of the three branches of the lake: a boat service operates a triangular route between them.
Lake Como is fed primarily by the Adda, which enters the lake near Colico and flows out at Lecco. This geological conformation makes the southwestern branch a dead end, and so Como, unlike Lecco, is sometimes flooded.
The mountainous pre-alpine territory between the two southern arms of the lake (between Como, Bellagio, and Lecco) is known as the Larian Triangle, or Triangolo lariano. The source of the river Lambro is here. At the centre of the triangle, the town of Canzo is the seat of the Comunità Montana del Triangolo lariano, an association of the 31 municipalities that represent the 71,000 inhabitants of the area.
History
At the beginning of the first millennium B.C. during the Iron Age, the Comum oppidum was born and the civilization of Como developed, inserted in the broader Golasecca culture. In 196 B.C. the army of the consul Claudius Marcellus defeats the Celts tribe of the Comenses and conquered the city. Comum was then strengthened and rebuilt after a raid by Rhaetian and repopulated with 3,000 settlers in 77 BC. Finally, after having reclaimed the marshy area, in 59 B.C. it was re-founded with the name of Novum Comun in its current location on the lake shore at the behest of Gaius Julius Caesar. Pliny the Younger, in one of his Epistulae, describes the lake and its surrounding area as providing plentiful opportunities for fishing and hunting. According to the Notitia Dignitatum, at least since the 4th century, a Praefectus commanding a Roman military fleet was present on the lake.
During the Middle Ages and the Renaissance, the waters of the lake were the scene of military clashes, such as in the 12th century during the war of Milan against Como, which saw the Como fleet in action against the ships of the Milanese and their allies or between 1525 and 1532 due to the Musso war unleashed by Gian Giacomo Medici.
On 28 April 1945, deposed Italian dictator Benito Mussolini was executed in the lakeside village of Giulino, about 180 metres (590 ft) from the waterfront.
Tourism
As a tourist destination, Lake Como is popular for its landscapes, wildlife, and spas. It is a venue for sailing, windsurfing, and kitesurfing.
Although generally considered safe, bathers aiming to find relief from the heat and swimming enthusiasts alike should exercise caution, as a prevailing regulation prohibits diving and swimming both in the city of Como and in the various small villages along the lake. Exceptions are found only in privately managed lidos or designated public beaches where explicit signage permits swimming activities. This prohibition stems from the danger posed by the lake's waters that swiftly transition from shallow to deep near the shoreline and from unpredictable aquatic conditions, which have led to numerous incidents, including drowning cases attributed to sudden thermal shock.
Transportation
Lake Como is served by a public transport system connecting the various villages on the lake. A motorized service began in 1826 when a steamship with sails, the Lario, was launched by the newly established Società privilegiata per l'impresa dei battelli a vapore nel Regno Lombardo Veneto. Since 1952 the fleet has been managed by a government organisation named Gestione Commissariale Governativa and later Gestione Governativa Navigazione Laghi, which is also responsible for transport services on Lake Maggiore and Lake Garda.
There exist three primary services:
Motorship services along the western branch and north towards Colico and back to Como, with additional shuttles to the mid-lake area;
Fast services that broadly follow the same route but with fewer stops; the service, which is more expensive, is operated by hydrofoils;
Ferries able to carry passengers and cars across the popular tourist destinations Menaggio, Bellagio,Varenna and Cadenabbia.
Economy
Lake Como attracts visitors from around the world and as a consequence the economy of the towns surrounding Lake Como is predominantly dependent on tourism and related activities. The tourism sector stimulates local businesses, including hospitality, restaurants and retail, while also fostering the growth of ancillary services such as transportation, cultural tours and recreational activities. This reliance on tourism has led to significant investments in infrastructure and amenities to accommodate and enhance the visitor experience, making it a vital component of the regional economy.
In literature and the arts
Letitia Elizabeth Landon's poem The Lake of Como was published in Fisher's Drawing Room Scrap Book, in 1837. It illustrates a painting by Samuel Prout, engraved by William Miller.
In 1818 Percy Bysshe Shelley wrote to Thomas Love Peacock: "This lake exceeds anything I ever beheld in beauty, except the arbutus islands of Killarney. It is long and narrow, and has the appearance of a mighty river winding among the mountains and the forests."
(Wikipedia)
Monte Grona is a mountain of Lombardy, Italy. It has an elevation of 1,736 metres and belongs to the province of Como.
SOIUSA classification
According to the SOIUSA (International Standardized Mountain Subdivision of the Alps) the mountain can be classified in the following way:
main part = Western Alps
major sector = North Western Alps
section = Lugano Prealps
subsection = Prealpi Comasche
supergroup = Catena Gino-Camoghè-Fiorina
group = Gruppo del Gino
code = I/B-11.I-A.1
(Wikipedia)
Der Comer See (Schweizer Schreibweise Comersee, italienisch Lago di Como oder Lario, lombardisch Lagh de Comm; lateinisch Lacus Larius) ist einer der oberitalienischen Seen. Er liegt vollständig in der Region Lombardei.
Charakteristisch sind die zahlreichen am Ufer liegenden kleinen Dörfer, von denen viele ihren eigenen Charakter bis heute erhalten haben. Viele der Villen (u. a. Villa Carlotta, Villa d’Este) stammen aus dem 15. Jahrhundert, als die Bewohner der Region durch die Seidenraupenzucht und die dadurch entstandene Seidenindustrie zu Reichtum gelangten. Während der Zeit Napoleons erbaute der Vizepräsident der italienischen Republik (1802–1805) Francesco Melzi d’Eril die Villa Melzi.
Durch das mediterrane Klima gedeihen viele subtropische Pflanzen wie z. B. Palmen, Zitrusfrüchte, Zypressen und Olivenbäume.
Geografie
Der Comer See, von den Einheimischen auch Lario genannt, ist 146 km² groß, 51 km lang und maximal 4,2 km breit. Damit ist er nach dem Gardasee und dem Lago Maggiore, gemessen an der Wasserfläche, der drittgrößte See Italiens. Mit einer durch seine charakteristische Form bedingten Uferlinie von 170 km übertrifft er die beiden vorgenannten Seen in diesem Punkt. Seine maximale Tiefe – vor Nesso – beträgt 425 m; damit ist er der tiefste See Europas außerhalb Norwegens.
Der Comer See wird von der Adda durchflossen. Er liegt in einem Zungenbecken des ehemaligen Addagletschers, das sich vor der Alta Brianza in die Arme von Como und Lecco teilt, und hat so die Form eines (umgekehrten) Y. Die Adda mündet bei Colico in den nördlichen Teil des Sees und verlässt ihn bei Lecco; der südwestliche Arm, an dem Como liegt, hat keinen anderen Abfluss.
Die einzige Insel im Comer See ist die etwa 7,5 ha große Isola Comacina. Sie war bereits in der Antike besiedelt, nach Zerstörung der Siedlungen im 12. Jahrhundert durch Truppen Comos aber lange unbewohnt.
Tourismus
Der Comer See ist ein Touristenziel mit zahlreichen Kurorten, Parks und Golfplätzen. Auf seiner Westseite liegt der Sacro Monte di Ossuccio, der 2003 in die Liste der Weltkulturerbe der UNESCO aufgenommen wurde. Die umliegenden Berge bieten Wander- und Klettermöglichkeiten. Durch das milde Klima gibt es eine reiche Vegetation. Jährlich im Frühjahr findet das Oldtimerevent Concorso d’Eleganza Villa d’Este statt.
Prominente wie George Clooney besitzen ein Feriendomizil am Comer See. Dieser dient immer wieder als Filmkulisse, beispielsweise wurde hier für Star Wars: Episode II, Casino Royale oder Ocean’s 12 gedreht.
Der deutsche Bundeskanzler Konrad Adenauer (1876–1967) verbrachte dort auf seinem Anwesen in Cadenabbia viel Zeit. Nach der Niederlegung seines Amtes, kurz vor seinem Tod, schrieb er dort einen großen Teil seiner Memoiren. Die 1899 erbaute Villa La Collina mit ihrem Park wird seit 1977 als internationale Tagungsstätte von der Konrad-Adenauer-Stiftung genutzt.
Schifffahrt
Täglich fahren mehrere Boote zwischen Como und Colico, des Weiteren gibt es verschiedene Routen zwischen Como und Lecco oder Menaggio und Como bzw. Lecco. Es existiert eine Fährverbindung zwischen Lierna, Varenna, Menaggio und Bellagio.
Wassersport
Zwischen Bellagio und Colico herrscht ein reges Treiben von Wassersportlern, da dort zuverlässige Windverhältnisse herrschen.
Laut Berichten aus dem Jahr 2010 lässt die Wasserqualität an gewissen Stellen (durch fehlende Kläranlagen) zu wünschen übrig.
Windverhältnisse
Außer im Winter weht im oberen Teil des Comer Sees praktisch täglich ein thermischer Wind, die Breva. Am Morgen beginnt der Wind etwa ab 10 Uhr mit 1 bis 3 Bft und frischt am Nachmittag auf 3 bis 6 Bft auf. Juni bis September sind die besten Monate zum Wind- und Kitesurfen. Im Oktober lässt die Breva nach, um dann bis Anfang Februar ganz einzuschlafen.
Der Südwind Breva hat seinen Gegenpart im nördlichen Fallwind Tivano, der bei großem Luftdruckunterschied zwischen der nördlichen und der südlichen Seite der Alpen entsteht. Der Tivano weht bereits am frühen Morgen und ist oft stärker als die Breva, am stärksten in der Region von Lecco. Im Süden des Sees, im Larian-Dreieck, dem Gebiet zwischen den beiden Seearmen, bietet auch er gute Voraussetzungen zum Wind- und Kitesurfen.
(Wikipedia)
Der Monte Grona ist ein 1736 m s.l.m. hoher Berg in den südlichen Alpen (Tambogruppe bzw. Luganer Voralpen) zwischen dem Luganersee und dem Comer See in der Lombardei in Italien.
Routen zum Gipfel
Talort ist Breglia nördlich von Menaggio. Ein Bergweg beginnt an den Monti di Breglia (996 m). Er führt zunächst zu einer Schutzhütte (Rifugio Menaggio, 1.380 m). Von dort aus führen neben dem Normalanstieg noch zwei weitere Bergwege zum Gipfel: Ein direkter Steilanstieg („Direttissima“) und ein Aussichtsweg („Sentiero Panoramico“). Der vierte Weg auf den Gipfel ist ein Klettersteig („Ferrata del Centenario CAO“).
(Wikipedia)
Der Aufstieg zum Monte Grona gehört zum Pflichtprogramm eines Comer See-Aufenthalts. Auch die Bewohner der Gemeinde Menaggio besteigen zu Saisonbeginn, veranstaltet vom hiesigen Alpenverein, den Gipfel. Auf dem Weg nach oben gehört der Besuch des Rifugio Menaggio dazu.
Der Monte Grona hat eine Bomben-Hütte
Der Hüttenwirt bereitet bis auf einen kurzen Zeitraum von Januar bis Februar das ganze Jahr über einfache lokale Speisen und Getränke zu. Der Monte Grona ist 1 736 m hoch und bietet vom Gipfel einen Rundumblick über die gesamte Region bis zum Luganer See. Der Aufstieg beginnt in Breglia oder dem Parkplatz kurz oberhalb des Ortes, nach 2h ist der Gipfel erreicht.
Das Rifugio Menaggio, bis weit über den Comer See hinaus bekannt, wurde 1952 als Schutzhütte für Bergsteiger geplant und gebaut. 1960 folgte die feierliche Eröffnung und 1970 wurde die Schutzhütte dann zu ihrer heutigen Form erweitert. Die Hütte ist weitgehend autonom, bezieht das Wasser aus einer nahe gelegenen Quelle, Strom liefert die Sonne mit Hilfe einer Photovoltaik-Anlage.
Die Lebensmittelversorgung wird über eine Lastenseilbahn von einem Forstweg (ca. 150 m unterhalb der Hütte) organisiert. Das Rifugio verfügt über zwanzig Schlafmöglichkeiten, eine Küche, zwei Aufenthaltsräume und ein Bad mit Warmwasser.
Tourbeschreibung: Die äußerst attraktive Bergwanderung beginnt man sinnvollerweise oberhalb von Breglia an einem Parkplatz. Die Anfahrt dorthin ist im Gegensatz zu anderen Bergen eher angenehm, mehr als 10 min. sollte sie nicht dauern. Wer viel Power hat, parkt natürlich in Breglia selbst bei der Kirche, ca. 30 m. vom Platz beginnt der Wanderweg. Er führt allerdings anfangs immer wieder ein bisschen an der Straße entlang, sodass viele den oberen Startpunkt wählen. Vom (Berg-)Parkplatz aus geht es dann in ca. 1h durch zunächst niedrigen Wald, später auf offener Strecke zum Rifugio Menaggio auf 1 383 m. Höhe.
Die Strecke ist durchgehend ausgeschildert und eigentlich nicht zu verfehlen. Am Rifugio angekommen, erfrischt man sich mit Wasser aus dem Brunnen oder in der Berghütte. Neben Getränken gibt es auch kleinere einfache Speisen: Polenta mit Fleisch, Käse oder Würstchen und Spaghetti mit verschiedenen Soßen. Viel grüne Fläche in der Sonne und im Schatten lädt zum Verweilen ein, die Sicht ist grandios.
Der weitere Weg auf den Monte Grona führt rechts an der Hütte vorbei. Nach wenigen Schritten geht es ab zum nahe gelegenen Klettersteig (Ferrata), der aber nur für geübte Kletterer empfohlen wird. Folgen Sie lieber der Hauptstrecke, die sich nach einigen Metern erneut teilt: Sie haben nun die Wahl zwischen der sog. ‚Diretissima‘ und dem ‚Via normale‘. Letzterer ist 10 min. länger.
Beide Strecken liegen wunderschön im Gelände, am besten man begeht beide, eine beim Aufstieg, eine beim Abstieg. Der Via normale führt über viele enge und teils extrem ausgewaschene Pfade inmitten faszinierender Natur bis zum Sattel zwischen Monte Grona und Monte Santa Amata, einem kleineren Nachbarberg, in dessen Verlauf der Monte Bregagno schon zu sehen ist. Folgen Sie dem Weg zum Monte Grona links, auf dem Schild werden 30 min. ausgewiesen, und entdecken Sie die schönsten Seiten der Comenser Bergwelten.
Bald erreicht man über schmale teils auch felsige Strecken den Gipfel mit einer Traumaussicht in alle Himmelsrichtungen. Für die letzten zehn Meter ist zur Sicherheit noch ein Seil gespannt, das man aber eigentlich nicht benötigt. Im Westen der Luganer See, dahinter die Bergkette des Monte Rosa, dem höchsten Berg der Schweiz, gegenüber der Monte Legnone, mit 2 609 m., der höchste Berg am Lago di Como.
Im Süden die hohen Vertreter der Grigne-Gruppe von Lecco, unterhalb der Ort Menaggio. Für 2 h Anstrengung erhält man an diesem Berg eine ganze Menge hochalpiner Eindrücke. Zurück am Rifugio genießt man am besten die Abendstimmung bei einer Tasse Cappuccino. Ausklang: In Menaggio gibt es direkt an der Piazza Garibaldi (auch Tourist-Office) eine Gelateria mit gutem Eis und einige Cafés.
Tourvarianten 1. Kurz nach dem oberen Parkplatz führt bei der Abzweigung ein weiterer Weg unterhalb zum Rifugio (ausgeschildert). Der Weg ist zunächst etwas flacher und breiter, verjüngt sich aber später ebenfalls. Man erreicht das Rifugio im Gegensatz zur anderen Strecke von unten. 2. Während des Aufstiegs zum Monte Grona gibt es eine gut beschilderte Abzweigung zum Monte Bregagno, mit 2 143 m. ein stattlicher Berg der Region.
Man steigt zunächst diagonal zum Berg an, überquert dann, schon auf dem Bergkamm laufend, den kleinen Bruder des Bregagno und erreicht nach weiteren 1,5 h auf weichem Wiesenuntergrund den grünen Gipfel. Von hier führt auch ein Abstieg zur Via Monti Lariani (VML), an der Kreuzung liegt die Kirche San Bernardo, die zum Bergdorf Labbio gehört.
Dort befindet sich das Agriturismo Labbio, in dem man übernachten kann (www.agriturismolabbio.it). Allen anderen bleibt nur der beschwerliche Abstieg über unzählige Serpentinen nach Musso oder der Weitermarsch auf dem VML nach Dongo. 3. Auf halber Strecke zum Monte Bregagno liegt das Kirchlein Sant‘Amate, das von vielen als (Zwischen-)Ziel gewählt wird.
(comersee-info.de)
Miller was born in 1891 in Yorkville, Manhattan to parents of German origin. Not long after his birth, the family moved to 662 Driggs Avenue in Williamsburg where Henry spent the earliest years of his life. The house is still there between Metropolitan Avenue and N. 1st Street, a three story tenement building that stands alone, surrounded on both sides by empty lots, looking somewhat forlorn. Miller shared three small rooms with his family in an oppressive atmosphere. His mother was a strict, domineering woman and his father, who worked as a tailor, was withdrawn, so to avoid the heavy air at home Miller escaped into the streets which were full of "accident and incident, drama, movement." In Black Spring, he paints a picture of these streets: the little burlesque house called the Bum, the saloons with swinging doors through which drifted "wild shrill laughter" or "the incense of gorgeous unknown bodies," the shanties, the ferries plowing back and forth across the waters of the East River, the bridge "against the sky like a harp," the war vessels lying "like sea monsters" in the Navy Yard, or the boys of the 14th Ward whose names ring out in his memory like the "names of gold coins...Rob Ramsay, Harry Martin, Johnny Dunne...."
Miller's experience of his childhood environment was physical, primal, as deeply ingrained in his being as the stains he described on the hands of the ironworkers—something he could not simply wash away. The scenes that passed before his childish eyes were forceful because they were new and unknown, and the fact that they were not scenes from an idyllic childhood but rather rough, working class dramas probably made Miller's childhood memories that much more forceful. Perhaps what Miller later attempted in his writing—the frank and graphic descriptions of sex, the emotional nudity—was an attempt to recapture that particular internal violence of his own first childish impressions. As a writer, Miller did not recoil from the harshness of the streets, the dirt, the coarseness, rather he embraced it, sought it out and found in it vitality and beauty. Years later, when he wrote about Williamsburg, he described his feelings this way:
"...the little neighborhood in Brooklyn which meant so much to me and from which I had been torn away too soon. I get a very definite feeling of it every time I see an Italian painting without perspective; if it is a picture of a funeral procession, for example, it is exactly the sort of experience which I knew as a child, one of intense immediacy. If it is a picture of the open street, the women sitting in the window are sitting on the street and not above it and away from it. Everything that happens is known immediately by everybody, just as among primitive people. Murder is in the air, chance rules." (Tropic of Capricorn)
Miller left Williamsburg in 1901 at the age of 10 when his family moved to Decatur Street in Bushwick. He returned occasionally to visit relatives still living in the neighborhood and as a teen attended Eastern District High School at Grand Street and Bushwick Avenue. Eventually Miller left Brooklyn for good, moving to Paris and later Big Sur, but he took with him visceral memories of the streets of Williamsburg that shaped the tone of his writing.
winter woodland walk in sherwood forest . The origins of Sherwood Forest and Sherwood Forest National Nature Reserve
Sherwood Country Park lies just north of Edwinstowe, two miles from Ollerton and 17 miles north of Nottingham on the A614 Nottingham-Doncaster road. The park is within an area which originally bore a Viking name “birch lund”, now known as Birklands.
Early history
Evidence of flint tools shows some use of the Sherwood area by prehistoric hunter-gatherers. During the late Iron Age and Roman periods, human habitation and farming was more common. By the 9th century, farming communities were making a greater impact on the Sherwood landscape. Most of these communities still exist today. Names ending in ‘by’ like Thoresby, are Scandinavian in origin, ‘thorpe’ as in Gleadthorpe are Danish, and ‘feld’ (field) as in Mansfield, are Roman.
The royal hunting forest
The name ‘Sherwood’ was first recorded in 958AD when it was called Sciryuda, meaning ‘the woodland belonging to the shire’. It became a Royal hunting forest after the Norman invasion of 1066, and was popular with many Norman kings, particularly King John and Edward I. The ruins of King John’s hunting lodge can still be seen near the Nottinghamshire village of Kings Clipstone.
‘Forest’ was a legal term, and meant an area subject to special Royal laws designed to protect the valuable resources of timber and game (Vert and Venison) within its boundaries. These laws were strictly and severely imposed by agisters, foresters, verderers (wardens) and rangers, who were all were employed by the Crown.
In the 1200s, popularly thought to be the time of Robin Hood, Sherwood covered about 100,000 acres, which was a fifth of the entire county of Nottinghamshire. The main London to York road, the Great North Way, ran straight through Sherwood, and travellers were often at the mercy of robbers living outside of the law. Hence the name ‘outlaw’.
The medieval landscape
Medieval Sherwood was not - as many imagine - a continuous swathe of dense virgin forest. It comprised birch and oak woodland, interspersed with large areas of open sandy heath and rough grassland. Sherwood also contained three Royal deer parks, near Nottingham Castle, Bestwood and Pittance (Clipstone) Park.
Medieval woodland was by no means wild. It was a productive resource, carefully managed. Landowners got the most value from their woodland by using techniques such as ‘coppicing’ and ‘pollarding’ to produce poles and laths for building. ‘Underwood’ (twigs, brushwood etc) was collected and sold for domestic fuel, and the woodland supported several industries, such as charcoal burning and the stripping of oak bark to use in tanning leather. The autumn crop of acorns produced in oak woodland was used to feed pigs. Cattle, sheep and deer grazed ‘wood pasture’.
In the 12th and 13th centuries, various Christian monastic orders had established large estates within Sherwood Forest, on land granted to them by the Crown. Among the abbeys founded during this period were Rufford, Thurgarton and Newstead. Established forest communities grew larger, and new ones were created, some often marked by the name ‘woodhouse’, such as Mansfield Woodhouse. Markets also appeared, as at Mansfield and Market Warsop.
After Henry VIII closed all the English abbeys in 1536 (The Dissolution), former monastic land was granted or sold into private ownership, and much of this land was gradually converted into country house estates. But for some time, within the depths of the forest, life for the peasant classes continued as it always had.
Stuart and later Sherwood
King James I loved to hunt in Sherwood, but his son, the ill-fated Charles I was the last king to the use it as a hunting forest. Charles was executed as a result of the English Civil Wars. During this time of unrest, the forest suffered from a lack of proper management. During the late 1600s, King Charles II revived as best he could the game reserves and general management of Sherwood.
By the 18th century, large areas of Crown land in Sherwood had been sold or gifted to nobles and court favourites. These private landlords created the fine country estates of Thoresby, Rufford, Welbeck, Wollaton and Newstead. Because of the titled aristocrats who owned them, these estates became collectively known as the ‘Dukeries’. They saw great profit made in Sherwood from the grazing of animals, agriculture and the growth and selling of timber for buildings, furniture, and the ships of the British navy. Birch was used as domestic fuel, and even oak bark was used in the leather tanning industry. By 1830, the areas of Bilhaugh and Birklands near Edwinstowe, the last of the Crown’s land in Sherwood, had been sold.
Victorian Sherwood and The Major Oak
During Victorian times, Sherwood became a tourist attraction, with interest in the ancient ‘greenwood’ fuelled by romantic novels set in medieval times, such as Walter Scotts’ Ivanhoe.
The main areas visited centred around the Major Oak, one of many hundreds of old Sherwood oaks. Its earliest recorded name was the Cockpen Tree in the mid 1800’s, as the sport of cock fighting once took place there. In 1790, Major Hayman Rooke, a noted archaeologist, included the tree in his popular book about the ancient oaks of Sherwood. Since then, The Major(‘s) Oak has become its new name. Due to its national importance, conservation measures to the tree have been carried out continually since 1908. Today, this world famous oak, at least 800 years old, weighs an estimated 23 tons, its trunk circumference is 33 feet (10m) and its branches spread to over 92 feet (28m).
Refreshment seller, Major Oak 1900's
Industrialisation and the Second World War
The industrialisation of the 19th and 20th centuries bought a major impact on Sherwood. Coal mining, new coal towns and villages, the coming of the canals, railways, factories, roads, farming, grazing, ship building and industrial use, Victorian tourism, private ownership, conversion to country estate deer parks: all these impacted on the Sherwood landscape. During two world wars, areas of the forest were requisitioned for military camps, ammunition stores and training areas, and the national need for softwood timber changed the Nottinghamshire landscape with the introduction of extensive conifer plantations.
Sherwood in the 20th century
By the 1950s, Birklands was part of the Thoresby estate owned by the Manvers family, and woodland management had ceased there, because the area had become uneconomic to maintain. Now undisturbed by commercial forestry, the ecology of this mature native woodland flourished. A landmark since Victorian times, the Major Oak and its surrounding woodland continued to be popular with a growing number of tourists interested in the Robin Hood legend. The growth of car ownership made it easier for visitors from further afield to access the forest.
Birklands was designated as a Site of Special Scientific Interest (SSSI ) in 1954; this area being selected as the part of old Sherwood Forest still best maintaining its historical character and wildlife interest.
The creation of Sherwood Forest Country Park
An area of about 37 acres had been reserved for public access between the nearby B6034 Edwinstowe road and the Major Oak. This became the nucleus of a new Country Park, when we decided to lease 87 acres from Thoresby Estates in 1969, and designate the area under the 1968 Countryside Act. An additional agreement was made, so as the Ministry of Defence vacated parts of Birklands, we would take them over and annexe it to the existing Country Park.
During the next few years we managed and developed the site providing footpaths, car parking facilities, a park ranger service, and a new Visitor Centre which opened in May 1976. By 1978, the extra land incorporated into the park gave a total area of 448 acres.
The Country Park was included as a Grade 1 site for its ancient woodland and heathland in a Nature Conservation Review in 1977, and re-notified as an SSSI under the 1981 Wildlife and Countryside Act.
In 2002, Sherwood was also designated as a National Nature Reserve (NNR), the only one in Nottinghamshire. This was because it had over 1000 ancient oaks, and a unique mix of old wood and heathland, providing shelter to some of Europe’s rarest invertebrates. Sherwood is now being considered as a Special Area of Conservation (SAC) under European law.
Sherwood today
Today, Sherwood Country Park is a heritage site of international significance, with annual visitor figures of around 500,000. We work with many conservation and ‘green’ agencies such as English Nature, the Countryside Commission and the Nature Conservation Council, committed to its management aims of “sustainable development of its natural resources, heritage and scientific interest, and the enjoyment and education of its visitors”.
Some background:
The origin of Rescue Labors dates back to 1998, when both the Tokyo fire and police departments were called out for a high risk job when a fire broke out at the Tower City skyscraper under construction in Tama.
As the fire fighters dealt with the fire, the police's AV-98 Ingrams carried out a rescue of the personnel and dignitaries trapped high in the tower. The impressive potential of the Labors in this scenario led city officials to publish a tender for a dedicated fire-fighting Labor.
In 1999, a design competition was held, with three contenders. These were the ARV-99 Rescue Labor by Shinohara Industries (based on the AV-98 Ingram chassis of the police Labor), the CRL-98 “Pyro-Buster”, produced by Hishii Heavy Industries, and the SEE (Schaft Enterprise Europe) Type-8FF Rescue Labor.
The latter was a civil adaptation of the military Type-8 “Brocken” labor for the German Bundesheer (Army Forces). All designs offered sophisticated solutions and equipment for the fire-fighting job: Because the Rescue Labor works in high heat environments, the units were designed to be fire and heatproof to protect the pilot. To fulfill its main role of extinguishing fires, the Rescue Labors were to be equipped with a pair of water cannons, one on the forearm and one on its shoulders, fed by an internal tank and/or by an external source.
Additionally, the competition’s rescue Labors were to deal with hazardous chemical situations. A respective protection system had to be provided, too, as well as precise manipulator fingers for delicate handling.
Detecting life under harsh conditions, in any weather and at day and night, necessitated a complex sensor suite, including a telescopic camera boom.
Schaft Enterprise Europe’s Type-8FF was the most impressive design, standing more than 10 metres tall. It was also the most powerful – but also the most bulky type, since it was originally developed for more spacious European cities.
Beyond the standard requirements the “Florian”, how the Labor was unofficially dubbed (after the Christian patron saint of firefighters), offered a huge array of extra equipment, including an extendable hydraulic crusher, an extra CO2 tank, a high performance water pump (the Type-8FF could be operated as a water manifold when it was not directly involved in rescue duties), a powerful searchlight array and a winch.
Two prototypes were delivered to Japan and took part in the evaluation process, which encompassed both clinical trials as well as field tests that would prove the concepts and uncover strengths and weaknesses of the three designs.
In December 1999 the ARV-99 was chosen as primary Rescue Labor for the Tokyo Fire Department – and the rejection of SEE’s Type-8FF was even more bitter as the CRL-98 was ordered into production, too – only as a supportive vehicle, but it was also promoted to private/industrial fire-fighting units in the Tokyo region.
The “Florian” did not enter production for Japan, since it was deemed to be too large for the Japanese urban environment – but it was developed further for the European market, eventually entering rescue services in Germany, France and Great Britain.
A final, rather disturbing note is that it is uncertain where the two Type-8FF prototypes ended up. SEE took them back into custody after completion of the competition process in early 2000, but there has been no official record or documentation that the vehicles actually left Japan. Rumor has it that they are still on private SEE ground in the Tokyo region.
Technical Data:
Code name: Type-8FF "Florian"
Unit type: fire emergency labor prototype
Manufacturer: SEE (Schaft Enterprises Europe)
Operator: SEJ (Schaft Enterprises Japan), proposed to the Tokyo Fire Department
Rollout: April 1999 AD
Number built: 2
Accommodation: pilot only, in heat- and ABC-insulated cockpit in front torso
Dimensions:
Overall height 10,50 meters
Overall width 5.40 meters
Minimum revolving radius: 6.0 meters
Weight:
Standard 7.05 metric tons
Full 8.81 metric tons
Armor materials:
none
Powerplant:
unknown
Maximum weight lifting capacity:
4.00 metric tons
Equipment and design features:
Visual and acoustic sensors, range unknown
Highly articulated manipulator hands
White and IR searchlights
2x water cannon, mounted on shoulders and on right forearm
Extendable hydraulic crusher on left forewarm
Auxillary CO2 tank, mounted on backpack
Autonomous water turbo pump for in- and external operation
Winch (2.00 metric tons)
Fixed or optional armaments:
none
This model is a thorough conversion of a 1:60 "SEE Type-7 Brocken" IP kit from Bandai, and it is part of a Group Build at whatifmodelers.com under the theme "De-/Militarize it" (which still runs until the end of August 2015).
The mecha belongs into the Patlabor anime TV series. Anime is certainly not everyone's business, but it has a lot to offer.
The charm of the Patlabor universe is that these vehicles exist (these are no robots, except for rare cases there's a pilot inside) in everyday life. When the series was conceived in the 80ies it was a near-future setting in the nineties - SF, but VERY down to earth and "realistic".
The 'Labors', how these more or less humanoid vehicles are called, are special duty heavy machinery, e. g. for construction, loading, hazmat handling. They are also employed by the police (hence the title of the series, Patlabor, which circles around a police unit which fights labor crime) and by the military.
The Brocken is one of the dedicated military designs. It actually comes from Germany, hence probably the plate mail armor design. I am not certain if its name, Brocken, is the German word for hulk, or the mountain close to the inner German border in FRG/GDR times, because the Brocken was designed to patrol and protect this border - the Cold War was still part of the series' script!
There are actually firefighting Labors in the TV series, and the background story is built around the two types I am aware of. And in order to de-militarize the Brocken and change its look so far that the kit appears like a different vehicle, a lot of things had to be modified.
The head is completely new and supposed to remind of typical firefighter helmets. The cockpit section (in the breast) was changed, too, as well as the knee sections and different hands. Parts from other mecha kits (e. g. from a 1:72 Battroid VF-1 , a 1:100 Gerwalk VF-1, a 1:100 Destroid Phalanx, a 1:144 Gundam Zaku and even from an NGE EVA) were intergrated, but a lot of details were scratched.
For instance, the head with its sensor booms and the complex shape consists of ~30 pieces and putty, and the flashlights were completely scratched from clear sprue, styrene sheet and parts of PET toothbrush head protectors!
Having a dedicated duty, a lot of special equipment had to be integrated - in a fashion that it looks plausible and as an integral part, not just an add-on. Therefore, several light installations were added, two water cannons (one on the shoulder, one on the right forearm), a scratched winch, plus several protection bars all around the hull.
A CO2 tank was added on the back, plus a turbo pump installation that would drive the two water cannons and allow external water supply. An extandable hydraulic crusher on the right forearm was added, too, when knocking on the door simply does not meet the situation. Integrating the stuff into the hull meant much body work, and all the devices were meant to appear plausible and functional.
The paint scheme was simple: an all-red livery, inspired by typical German fire engines which wear RAL 3000 as official color. With some shading this eventually turned into a rather orange hue, but the Florian still looks like a fire fighting vehicle.
The yellow trim for a more international look was created with decals from several HO scale firefighting vehicle aftermarket sheets. Finally, after a black ink wash and some dry-painting, the kit received a coating with semi-matt acrylic varnish, and some pigment dust around the legs.
Wilkins the Bakers origins lay in the early 1900s.
F Wilkins started out as a franchise holder for the Isaac and Co Dairy Company's bakery division and by 1911 had taken over Fippard and Sons bakery and shop at 192 Old Christchurch Rd on the corner of Glen Fern Rd [ now Pizza Express ].
By the early 1930s Wilkins had a string of local shops and a purpose built bakery at 62 Malmesbury Park Rd on the site of a former laundry.
By 1935 the business had been purchased by a Canadian businessman named W Garfield Weston who had taken over his father's bakery business and who was now expanding into Britain.
By 1937 he had acquired 15 bakery plants across the country which had been unified as 'Allied Bakeries', mass producing bread in large, modern baking factories.
Weston later founded Associated British Foods, incorporating a whole range of brands across the world and many household names in Britain including Ryvita who's main factory is in Poole.
The Wilkins factory at Malmesbury Park Rd was extended at various times over the years and by the 1970s was producing tens of thousands of loaves a day from two large production plants situated on the top floor of the main factory. The lines ran 24 hours a day, only closing for maintenance at 6am on Saturday morning before starting up again frst thing Sunday morning.
The loaves were sent via a conveyor system to the ground floor where they were sliced, bagged and despatched. Also on the ground floor was a confectionary department that produced bread rolls, doughnuts, sausage rolls, currant buns and other goods for the network of local shops that they still ran across Bournemouth, and for other customers.
They regularly produced over 2 million hot cross buns for the Easter market and also had a specialist cake decorating department that made and decorated cakes to order.
As well as producing for their own shops Wilkins also mass produced bread under various Allied Bakeries brands such as Sunblest, Allinson, Mighty White, Hi Bran, Betabake, Slimcea, Kingsmill and Hovis as well as supplying a lot of the major supermarkets.
The company employed up to 250 people at any one time across in house departments such as baking, machine operating, hygiene, drivers, maintenance engineers, mechanics, office staff and building maintenance, with many hundreds, and probably thousands, being employed over the years.
Until the early 1980s wages were still paid in cash with the money being delivered to site by an armoured van with each individual wage packet being made up in the main office block. An announcement was made over the tanoy for employees to remain inside the factory whilst the wages were being delivered. From 1983 wages began to be paid directly into employees bank accounts.
In the late 1980s the confectionary department closed along with the shops, and in 1994 it was announced that the bakery was to close down in two phases with production being transferred to large super bakeries in the London area. Production finally ceased with a second wave of redundancies in 1995.
The site remained as a distribution centre until 2007 with bread being delivered by lorry from other bakeries with the depot moving to the Ferndown Industrial Estate where it still operates.
The Malmesbury Park Rd premises were demolished in 2007 and replaced over the following 18 months by The Granary housing development that resulted in the creation of Chelsea Gardens and Wilkins Gardens.
Image 29 of 99.
In the Press Site auditorium of NASA's Kennedy Space Center in Florida, NASA and industry leaders speak to media at a post-launch news conference following the liftoff of NASA’s Origins, Spectral Interpretation, Resource Identification, Security-Regolith Explorer, or OSIRIS-REx spacecraft. From left are: Jim Green, NASA Planetary Division director; Dante Lauretta, OSIRIS-REx principal investigator at the University of Arizona, Tucson; and Scott Messer, program manager for NASA Missions at United Launch Alliance in Centennial, Colorado. OSIRIS-REx lifted off atop an Atlas V rocket from Space Launch Complex 41 at Cape Canaveral Air Force Station at 7:05 p.m. EDT.
Photo credit: NASA/Kim Shiflett
Today one of the largest and most influential airlines in the world, Southwest Airlines has humble origins: it was formed as Air Southwest by Herb Kelleher in 1967 to provide service between Houston and Dallas. By keeping his airline entirely within Texas, this allowed Kelleher to avoid heavy Federal taxes. After fighting off a legal challenge by Braniff and Continental, the airline began revenue service in 1971, but not before Kelleher changed the name to Southwest Airlines. It began with four Boeing 737s, which remains the airline's only operating type (albeit much advanced versions) to this day.
Because of gate space and costs, Southwest's operations in Dallas were from the old airport, Love Field, rather than Dallas-Ft. Worth International. Kelleher deliberately copied the business model of Pacific Southwest Airlines (PSA): PSA used quick turnaround times to maximize profit, customer incentives, and dressing their stewardesses in trendy short skirts and boots; his intention was to turn Southwest into Texas' version of PSA, and it generally worked.
After a few tough early years, which included fighting Congress for the ability to operate interstate flights from Love Field, Southwest began to thrive, albeit slowly. Its capital increased to the point that it could buy out MuseAir and Morris Air, two rivals; the latter gave Southwest access to California and the Pacific Northwest. Southwest gained a reputation for employee satisfaction, as the airline's shares were mostly held by employees. It also gained a reputation for cutting corners, leading to several million dollars in fines. Nonetheless, Southwest's business model began to attract attention: with a fleet much smaller than the big American airlines such as Delta and United, Southwest was turning a considerable profit. This only increased when Southwest became one of the first airlines to get a website and allow for online booking, in 1994.
Because of its limited flight network, aircraft utilization, and popularity, Southwest was one of the few airlines that weathered the post-9/11 airline downturn well. It also embarked on an aggressive advertising campaign, provided free snacks and no baggage fees, and encouraged its employees to "have fun," leading to a great deal of online exposure--pilots would make Star Wars references, while flight attendants would rap the safety briefing. This reputation as a "fun" airline only added to Southwest's appeal, as well as its status as one of the safest airlines in the world.
Today, Southwest is the largest low-cost airline in the world and one of the largest in the United States; its business model has been followed with great success elsewhere, such as European carriers Easyjet and Ryanair. Its market share and route network extended even further with its acquisition of AirTran in 2014.
By far the most famous of Southwest's special liveries, "Shamu One" debuted in May 1988, and immediately drew rave reviews for its inventiveness and eye-catching lines. The famous killer whale's profile stretched the length of the plane and was even repeated on the engine covers. Southwest went a step further: passengers flying on Shamu One were given commemorative pins, inflatable Shamu One airplanes, and shirts, while the crew wore special uniforms.
It proved to be a huge success for both Southwest and its partner in promotion, Sea World of Texas. So popular was Shamu One that four other Southwest 737s would wear the livery, as Shamus Two through Five. In 2014, however, after controversy over Sea World's treatment of animals, Southwest decided to end its partnership and repainted the Shamus, ending one of the most famous aircraft liveries to ever fly.
This model depicts Shamu One, N334SW, in Southwest's older "Desert Gold" scheme. N334SW was painted as Shamu throughout most of its service, and never flew with any other airline. It was withdrawn from service sometime in the early 21st Century, and scrapped by 2014.
El Valle de Ordesa es uno de los valles más espectaculares y únicos de toda Europa, este valle originó la creación del Parque nacional de Ordesa el 16 de agosto de 1918. Años más tarde, en 1982, sería ampliado para crear el Parque nacional de Ordesa y Monte Perdido incluyendo el macizo de Monte Perdido, el Cañón de Añisclo, las Gargantas de Escuaín y la cabecera del Valle de Pineta.
En sentido amplio, el Valle de Ordesa incluye una amplia zona de pequeños valles y barrancos, altiplanicies y picos (muchos de más de 3000 m de altura), cuyos límites serían al Norte la cresta Monte Perdido-Mondarruego, que sirve de frontera con Francia en gran parte, al Sur la cresta Sierra Custodia-Acuta y al Oeste la confluencia con la cabecera del Valle del Ara o valle de Bujaruelo. Todo este conjunto conforma una cuenca fluvial, que a través de valles secundarios y cascadas, desemboca en el <bValle de Ordesa</bpropiamente dicho, por cuyo fondo discurre el río Arazas.
En las zonas altas destaca una parte de la cresta Norte, desde el Monte Perdido (3355 m) hasta los Gabietos (3034 m), toda una sucesión de picos de más de 3000 m y en la que se abre una impresionante grieta, la Brecha de Rolando, paso "natural" entre Francia y España y que según la leyenda fue abierta por un golpe de la espada de Rolando (cómo si no explicar tal fenómeno de la naturaleza). Un poco al Sur de la Brecha se encuentra la Gruta de Casteret, cuyo interior está en gran parte helado, con columnas y cascadas de hielo.Actualmente esta cerrada al publico, y para entrar necesitas permiso del parque.
La vertiente Norte va descendiendo en una sucesión de circos y valles glaciares, con cascadas impresionantes, entre las que destaca el Circo y cascada de Cotatuero, en cuya travesía se encuentran las famosas clavijas de Cotatuero, unas simples barras metálicas clavadas en una pared vertical de paso obligado y no aptas para personas que sufran de vértigo.
El Valle de Ordesa propiamente dicho es un espectacular valle glaciar, con una marcada forma de "U", situado al Suroeste del Macizo del Monte Perdido, por cuyo fondo el río Arazas va descendiendo en una sucesión de bellas cascadas. Desde la que inicia el valle, en el Circo de Soaso, conocida como la Cola de Caballo y que se abre en un abanico blanco que se desliza roca abajo, pasando por las Gradas de Soaso, una sucesión de múltiples cascadas escalonadas, hasta las cascadas del Estrecho y la Cueva, enormes saltos de agua que han labrado toboganes zigzageantes en la roca caliza.
En las paredes verticales del valle, producidas por la diferente dureza de las capas rocosas puestas al descubierto por la acción del antiguo glaciar, se abren varias Fajas, pequeñas cornisas horizontales que permiten recorrer el valle en altura por vertiginosas y estrechas sendas. De ellas destacan la Senda de Cazadores, que llega a tener 600 m de desnivel respecto al fondo y que permite recorrer a vista de pájaro prácticamente todo el valle por su vertiente Sur, y la Faja de las Flores,1 más alta y vertiginosa en la vertiente Norte.