Origin Roasting coffee shop in Town has the most amazing coffee.

Panhard Levassor Tonneau (1898) Engine 1500cc 6 hp Twin Cylinder

Country of origin France

2021 London to Brighton start number 10

Registration Number F 28

Body Detachable Rear Entrance Tonneau

Entrant Johnathan Proctor

Driver Johnathan Proctor

PANHARD ALBUM

www.flickr.com/photos/45676495@N05/sets/72157624447809969...

Panhard (1889-1991)

Having acquired the rights to build the Daimler engine, Panhard built their first automobile in 1891. The Daimler vee twin unit was followed by Panhards 2.4 litre vertical twin Phenix engine in 1895, by 1898 Panhard had introduced a four cylinder engine. Successful in early motor racing Panhards won the 1894 Paris-Rouen, 1896 Marseille-Paris-Marseille, 1898 Paris-Amsterdam and the 1899 Tour de France.

Panhard continued to be a successful manufacture with an impressive range of quality models up until the outbreak of WW2, after the war a complete change in policy resulted in the introduction of the small FWD flat twin Dyna range which also spawned a sportscar, the Junior. The last Panhard was the 24CT Coupe, launched in 1964. When Citroen took-over Panhard in 1967, Panhard car production was discontinued, though armoured cars bearing the Panhard name remained in production

Diolch am 90,142,752 o olygfeydd anhygoel, mae pob un yn cael ei werthfawrogi'n fawr.

Thanks for 90,142,752 amazing views, every one is greatly appreciated.

Shot 07.11.2021 near Queen Elizabeth Gate, Hyde Park In that London in the South (London-Brighton weekend). Ref. 123-289

Kipchak steppe art.

Kipchaks were a confederation of pastoralists and warriors of Turkic origin, known in Russian and Ukrainian as Polovtsy, who lived in yurts (felt tents) and came from the region of the River Irtysh. Some tribes of the confederation probably originated near the Chinese borders and, after having moved into western Siberia by the 9th century, migrated further west into the Trans-Volga. They occupied a vast, sprawling territory in the Eurasian steppe, stretching from north of the Aral Sea westward to the region north of the Black Sea (now in Ukraine and southwestern Russia) and founded a nomadic state (Desht-i Qipchaq). They invaded the territory later known as Moldavia, Wallachia, and part of Transylvania in the 11th century. From there they continued their plundering of the Byzantine Empire and the Kingdom of Hungary. In the late 11th and early 12th centuries, they became involved in various conflicts with the Byzantines, Kievan Rus, the Hungarians, and the Pechenegs, allying themselves with one or the other side at different times. In 1089, they were defeated by Ladislaus I of Hungary, again by Knyaz Vladimir Monomakh of the Rus in the 12th century. They sacked Kiev in 1203. They were finally crushed by the Mongols in 1241. During the Mongol empire, the Kipchaks constituted majority of the khanate comprising present-day Russia, Ukraine, and Kazakhstan, called the Golden Horde, the westernmost division of the Mongol empire. After the fall of the Mongol Empire, the Golden Horde rulers continued to hold Saraj until 1502. The Kuman, or western Kipchak tribes, fled to Hungary, and some of their warriors became mercenaries for the Latin crusaders and the Byzantines. Members of the Bahri dynasty, the first dynasty of Mamluks in Egypt, were Kipchaks; one of the most prominent examples was Sultan Baybars, born in Solhat, Crimea. Some Kipchaks served in the Yuan dynasty and became the Kharchins. - enWikipedia

original photo taken by Petro Vlasenko

Fu fondata nel V secolo da san Lorenzo Siro, giunto in Italia dalla Siria con la sorella Susanna ed altri monaci.

La prima abbazia fu costruita nei pressi di un tempio pagano, dedicato alla dea Vacuna, e di una villa romana in rovina. Appena costruita, distrutta dai Longobardi verso la fine del VI secolo, secondo la leggenda fu ricostruita nel 705 da Tommaso di Moriana, proveniente da Gerusalemme. Da quel momento iniziò lo sviluppo dell'abbazia che si ingrandì con nuovi fabbricati e diventò sempre più ricca per le rinnovate piantagioni di olivi e la bonifica di molte terre circostanti. Alla morte di Tommaso, divennero abati altri due monaci francesi, Auneperto di Tolosa e Lucerio di Maurienne.

L'abbazia crebbe in importanza e considerazione e ricevette elargizioni, privilegi, esenzioni, da parte di imperatori e papi e diventa così una vera potenza interposta fra il patrimonio di Pietro ed il Ducato di Spoleto.

Farfa era un'abbazia imperiale, svincolata dal controllo pontificio ma vicinissima alla Santa Sede, tant'è vero che il suo abate era a capo di una diocesi suburbicaria (quella attualmente confluita nella diocesi Sabina-Poggio Mirteto ne è solo una parte, visto che in origine essa seguiva l'orografia appenninica fino a lambire i territori del primo nucleo territoriale pontificio, quello che Liutprando ricavò dal "corridoio bizantino" con la donazione di Sutri). Nel momento più alto della sua potenza l'abbazia controllava 600 tra chiese e conventi, 132 castelli o piazzeforti e 6 città fortificate, per un totale di più di 300 villaggi: si diceva che l'abate facesse ombra alla potenza del papa, ma in realtà il suo potere era quello di un vero e proprio legatario imperiale incaricato della difesa del Lazio e della rappresentanza degli interessi imperiali presso la Santa Sede.

Uomini colti, degni e devoti, si succedettero alla direzione dell'abbazia, come ad esempio l'abate Sicardo, parente di Carlo Magno. Durante il regno di Carlo Magno, l'abbazia ebbe il massimo sviluppo edilizio, che ne modificò così tanto la struttura originale che solo di recente è stato possibile ricostruirla. In pochi decenni divenne uno dei centri più conosciuti e prestigiosi dell'Europa medievale; Carlo Magno stesso, poche settimane prima di essere incoronato in Campidoglio il 25 dicembre 800, visitò l'abbazia e vi sostò. Per comprendere l'importanza economica di Farfa basti pensare che nel terzo decennio del IX secolo, sotto l'abate Ingoaldo, essa possedeva una nave commerciale esentata dai dazi dei porti dell'impero carolingio.

La penetrazione dei Saraceni - dopo sette anni di resistenza delle milizie agli ordini del capitolo del monastero - indusse l'Abate Pietro I ad abbandonare Farfa; l'Abbazia fu presa e incendiata. Uno dei tre gruppi di monaci fuggiaschi, trovò riparo a Roma. Restò traccia della presenza dei monaci nell'insula francese di Roma: nei pressi della chiesa di San Luigi dei Francesi e nei luoghi che avevano ospitato le Terme di Nerone furono ritrovate - durante i lavori di restauro dei sotterranei di palazzo Madama, ad opera dell'amministrazione del Senato alla fine degli anni Ottanta del XX secolo - tracce di un cimitero appartenente al capitolo degli abati di Farfa.

Passato il pericolo il capitolo tornò a Farfa sotto la guida di Ratfredo che, divenuto Abate, nel 913 completò la chiesa. Con la decadenza dell'Impero carolingio, nel periodo degli Ottoni la fedeltà imperiale del capitolo abbaziale - che intanto aveva abbracciato la riforma cluniacense - si tradusse in filo-germanesimo, che proseguì lungo tutto il periodo della lotta per le investiture.

da wikipedia

The Ely family group portrait (1771). The painter, Angelica Kauffmann (1741-1807), was of Swiss origins. She worked in Italy before arriving in London in 1766 and became a founder member of the Royal Academy of Arts in 1768. She visited Ireland for six months in 1771—from which period the Ely group painting probably dates—and left England in 1782 for Rome, where she died in 1807. Grand, semi-official group portraiture is comparatively rare in Ireland, but Kauffman’s commissions included three such works: the Ely family group, the Townshend family group and the Tisdall family group. These works are anomalous in both Kauffman’s output and the Irish context. (National Gallery of Ireland)

In the Ely family group there are five figures, four of whom can be identified (from the left): Dolly Monroe and her sister, Frances; their uncle, Henry Loftus, earl of Ely; and their aunt, Frances Monroe, countess of Ely. The fifth, the enigmatic figure of the elegantly uniformed servant who bends subserviently and looks deferentially up to his mistress and master, is anonymous. He is not just a servant who is used literally to carry a reference to the elevation of Henry Loftus from viscount to earl; he is also a pictorial device and a revealing expression of eighteenth-century social history. He may have been a specific person whose identity has been lost, or he may be an example of a generic type often found in the portraiture of the period, especially that of the British school. Although he is on its periphery, the servant’s action is integral to the meaning of the painting.

Whether slavery was legal or not in Britain and Ireland remained a grey area despite various court cases. People of the class depicted by Kauffman, who were nominally servants, were openly bought and sold in both countries and so must be classed as slaves. Such sales are listed in the small ads of contemporary newspapers. For example, the Cork Journal of 15 March 1762 advertised:

‘To be sold for account of D.F. a black negro boy aged about 14 years, remarkably free from vice and a very handy willing servant’.

Other ads listed purchasers’ specific requirements, as in Williamson’s Liverpool Advertiser of 29 April 1756:

‘Wanted immediately, a black boy. He must be of a deep black complexion, and a lively, humane disposition, with good features, and not above 15, nor under 12 years of age.’

According to the beliefs of the time, the darker an individual’s colour the more exotic they were deemed to be, and therefore the more expensive. The dark skin and facial features of the Elys’ servant seem to be African or West Indian but may be read as those of subcontinental India. Precise geographical origin did not always matter; what did matter was that the origin was remote and mysterious. Kauffman’s inclusion of a black figure, the only one to be seen in her extensive output, raises a number of questions to do with the black figure in art and in society.

Black servants could be an allusion in portraits to overseas trading interests, as is seen in William Hogarth’s Wollaston family. A black figure could also be a pictorial contrast to rows of white faces. Black servants, especially boys, were often treated as prized possessions and fashionable accessories, simultaneously useful and decorative, domestic but exotic, who were decked out in elaborate livery or uniforms. They were valued aesthetically for their exoticism and usually protected and treated well so as to safeguard their financial value, although on reaching adulthood males were sometimes thrown out and returned to slavery in the West Indies. They were human commodities in an age that indulged its appetites for the colours, tastes and textures of the world beyond Europe, the expanding world of imperial possession.

Origins haul part 2: Plantscription anti-aging serum; VitaZing moisturizer; GingZing eye cream; Starting Over moisturizer; Multi-Grain makeup

He aqui la hipotesis mas solida sobre el origen de ficciorama, aunque no esta comprobado, pero, el hallazgo de una parte de su nave en Tunguska (circa 1918) hace factible el argumento de la RKA (agencia espacial y de aviacion rusa)

The Chennakeshava Temple, (Kannada: ಶ್ರೀ ಚೆನ್ನಕೇಶವ ದೇವಸ್ಥಾನ) originally called Vijayanarayana Temple (Kannada: ವಿಜಯನಾರಾಯಣ ದೇವಸ್ಥಾನ), was built on the banks of the Yagachi River in Belur, by the Hoysala Empire King Vishnuvardhana. Belur, which was an early Hoysala capital is in the Hassan district of Karnataka state, India. It is 40 km from Hassan city and 220 km from Bangalore. Chennakesava (lit, "handsome Kesava") is a form of the Hindu god Vishnu. Belur is well known for its marvelous temples built during the rule of the Hoysala dynasty, making it and nearby Halebidu favored tourist destinations in Karnataka state. These temple complexes have been proposed to be listed under UNESCO World Heritage Sites.

HISTORY

The temple was commissioned by King Vishnuvardhana in 1117 AD. Scholars are divided about the reasons for the construction of the temple. The military successes of Vishnuvardhana is considered a probable reason. Some scholars believe Vishnuvardhana commissioned the temple to surpass his overlord, King Vikramaditya VI of the Western Chalukya Empire (who ruled from Basavakalyan), after his initial military victories against the Chalukyas. According to another theory, Vishnuvardhana was celebrating his famous victory against the Chola dynasty of Tamil country in the battle of Talakad (1116 AD), which resulted in the annexation of Gangavadi (modern southern Karnataka) by the Hoysalas. Another theory points to Vishnuvardhana's conversion from Jainism to Vaishnavism (a sect of Hinduism) after coming under the influence of saint Ramanujacharya, considering this is a predominantly Vaishnava temple in sculptural iconography. The Hoysalas employed many noted architects and artisans who developed a new architectural tradition, which art critic Adam Hardy called the Karnata Dravida tradition. In all 118 inscriptions have been recovered from the temple complex, covering the period 1117 AD to the 18th century, giving historians details of the artists employed, grants made to the temple and renovations committed during later times.

TEMPLE COMPLEX

The main entrance to the complex is crowned by a Rayagopura (superstructure over entrance) built during the days of the Vijayanagar empire. Within the complex, the Chennakesava temple is at the centre, facing east, and is flanked by the Kappe Channigraya temple on its right, and a small Sowmyanayaki (form of the goddess Lakshmi) temple set slightly back. On its left, also set slightly back is the Ranganayaki (Andal) temple. Two main sthambha (pillar) exist here. The pillar facing the main temple, the Garuda (eagle) sthambha was erected in the Vijayanagar period while the pillar on the right, the Deepa sthambha (pillar with lamp) dates from the Hoysala period. This is the first great Hoysala temple, though according to the art critic and historian Settar, the artistic idiom and signature is still Western Chalukyan. Hence, the over-decoration which is seen in later Hoysala temples (including the Hoysaleswara temple at Halebidu and the Keshava temple at Somanathapura) is not visible here. According to Settar, during later years, the Hoysala art took an inclination towards craftsmanship, with a weakness for minutia. The Chennakesava temple has three entrances and their doorways have decorated sculptures called dvarapalaka (doorkeepers) on either side. While the Kappe Channigraya temple is smaller than the Chennakesava temple, it is architecturally significant, though it lacks any sculptural features. The Kappe Chennigraya temple became a dvikuta (two shrined temple) with the later addition of a shrine to its original plan. The original shrine has a star-shaped plan while the additional shrine is a simple square. The image inside is also that of Kesava ( a form of the god Krishna) and was commissioned by Shantala Devi, the noted queen of King Vishnuvardhana.

TEMPLE PLAN

The building material used in the Chennakesava temple is chloritic schist, more commonly known as (soapstone) or potstone, and is essentially a simple Hoysala plan built with extraordinary detail. What differentiates this temple from other Hoysala temples of the same plan is the unusually large size of the basic parts of the temple. The temple is a ekakuta vimana design (single shrine) of 10.5 m by 10.5 m size. A large vestibule connects the shrine to the mandapa (hall) which is one of the main attractions of the temple. The mandapa has 60 "bays" (compartments). The superstructure (tower or Sikhara) on top of the vimana has been lost over time. The temple is built on a jagati (platform for circumabulation). There is one flight of steps leading to the jagati and another flight of steps to the mantapa. The jagati provides the devotee the opportunity to do a pradakshina (circumambulation) around the temple before entering it. The jagati carefully follows the staggered square design of the mantapa and the star shape of the shrine. The mantapa here was originally an open one. A visitor would have been able to see the ornate pillars of the open mantapa from the platform. According to art critic Gerard Foekema, the mantapa is perhaps the most magnificent one in all of medieval India. The open mantapa was converted into a closed one after about fifty years, during the Hoysala rule. This was done by erecting walls with pierced window screens. The window screens are on top of 2 m high walls. There are twenty eight such windows, with star-shaped perforations and bands of foliage, figures and mythological subjects. On one such screen, King Vishnuvardhana and his queen Shanatala Devi are depicted. Another icon depicts the king in a standing posture.

SHRINE

The vimana (shrine) is at the back of the mantapa. Each side of the vimana measures 10.5 m and has five vertical sections. Each vertical section comprises a large double storeyed niche in the centre and two heavy pillar-like sections on either side. The two pillar-like sections adjoining the niche are rotated about their vertical axis to produce a star-shaped plan for the shrine. The pillar-like section and the niche bear many ornate sculptures, belonging to an earlier style. There are some sixty large sculptures of deities from both Vaishnava and Shaiva faiths. From the shape of the vimana it has been inferred that the tower above it would have been of the Bhumija style when it existed and not the regular star shaped tower that followed the shape of the vimana. The Bhumija towers, which are intact on the miniature shrines at the entrance of the hall are actually a type of nagara (North Indian) tower, being curvilinear in shape. This shape of tower is quite uncommon in pure dravidian architecture. The shrine has a life size (about 6 ft) image of Keshava (a form of Vishnu) with four hands. Each hand holds an attribute; the discus (chakra), the mace (gadha), the lotus-flower (padma) and the conch (Shanka), in clockwise direction. The entrance to the shrine is flanked by life size sculptures of door guardians (dvarapalaka).

PILLARS & SCULPTURES

The pillars inside the hall are an attraction and the most popular one is the Narasimha pillar which at one time could have revolved on its ball bearings. According to the historian Kamath, there is a rich diversity about the pillar styles here. While all the forty eight pillars are unique and the many ceiling sections are well decorated, nothing surpasses the finish of the four central pillars and the ceiling they support. These pillars may have been hand chiseled while the others were lathe turned. All of these four pillars bear madanikas (Salabhanjika–celestial damsels). There are 42 of them in the temple complex, one each on the four central pillars inside the hall and the remaining 38 are outside, between the eaves on the outer walls of the hall. They are also called shilabalika and represent the ideal female form. They are depicted in various forms, such as dancers, musicians and drummers, and are rarely erotic in nature. Some madanikas that usually are popular with tourists are the Darpana Sundari (lit,"beauty with mirror"), "The lady with the parrot", "The huntress" and Bhasma mohini. Other interesting sculptures inside the mantapa are Sthamba buttalika (pillar with an image in frieze) which is more in the Chola style indicating that the Hoysalas may have employed Chola craftsman along with locals. These images have less decor than regular Hoysala sculptures, the mohini pillar being an example.

At the base of the outer walls are friezes of charging elephants (six hundred and fifty of them) which symbolize stability and strength, above which are lions which symbolize courage, and further up are horses which symbolize speed. Above the horses are panels with floral designs signifying beauty above which are sculptures with depictions from the Hindu epics, the Ramayana and the Mahabharata. According to Kamath, this style of articulation is called horizontal treatment with friezes. Hoysala artisans preferred to be discreet about eroticism, mingling miniature erotic sculptures in not so conspicuous places such as recesses and niches. Sculptures depict daily life in a broad sense.

The doorways to the mantapa have on both sides an image of "Sala" slaying a lion. Historian Kamath claims this is a tiger. Though Sala is known to be the founder of the Hoysala empire in popular legend, there is no support for this theory from scholars such as D.M. Durrett, B.R. Joshi and Hayavadhana Rao. Normally this image is placed on the sukanasi (tower over the vestibule) adjoining the main tower. Legend has it that Sala killed the lion (or tiger) which was about to pounce on a meditating saint who sought Sala's help. Some historians speculate that the legend may have gained importance after King Vishnuvardhana's victory over the Chola dynasty in the battle of Talakad, the tiger being the royal emblem of the Cholas.

Other important sculptures here are the Narasimha (a form of Vishnu) image in the south western corner, Gajasurasamhara (Hindu god Shiva slaying demon in form of elephant) on the western side, the winged Garuda, a consort of the god Vishnu standing facing the temple, dancing Kali (a form of Durga), a seated Ganesha (son of Shiva), a boy with an umbrella and a king (the Vamana Avatar or incarnation of Vishnu), Ravana shaking Mount Kailash, Durga slaying demon Mahishasura, standing Brahma, Varaha (avatar of Vishnu), Shiva dancing on demon (Andhakasura), Bhairava (avatar of Shiva), Pandava prince Arjuna shooting a fish seeing its reflection, and the Sun god Surya. The sculptural style of the wall images bear similarities with wall sculptures in contemporary temples of northern Karnataka and adjacent Maharashtra.

ARTISTS

The Hoysala artists, unlike other medieval artists, preferred to sign their work in the form of inscriptions. In doing so, they sometimes revealed details about themselves, their families, guilds and place of origin. Stone inscriptions and copper plate inscriptions provide more information about them. Ruvari Mallitamma was a prolific artist to whom more than 40 sculptures are attributed. Dasoja and his son Chavana who were from Balligavi in modern Shimoga district made important contributions. Chavana is credited with the work on five madanikas and Dasoja accomplished four of them. Malliyanna and Nagoja created birds and animals in their sculptures. Artists such as Chikkahampa and Malloja are credited with some of the sculptures in the mantapa.

WIKIPEDIA

Miss Malaika UK The Beauty of African Origin Contest London

metro / U-Bahn Marienplatz, München 2007 / 9635 // On Black

Signature Origin - Endstuffe, Amplifier ,

by Frans de Wit.

Zellaton,

The origins of Sutton and Sons date back to 1998, when Danny Sutton opened a fishmongers (formerly ’The Fishery') on Stoke Newington high street. Things must have worked out rather well as, in 2010, Danny and his wife Hana decided to open a fish and chip restaurant just up the road. As you can probably imagine, this is no ordinary fish and chip shop and, although they're much beloved for their traditional takeaway, this place is more a (small) fish restaurant that puts some emphasis on takeaway fish and chips and traditional British food. After all, when was the last time you saw a chippie doing an offer on half a dozen oysters and a bottle of prosecco? Or an actual wine menu at a chippie? Yes indeed! I don't get a ‘traditional' fish and chips but the portion sizes appear immense - if what the blonde guy next to me is anything to go by.

Sutton & Son’s non piscine offerings include traditional english fare like steak and kidney pie, and the atmosphere is very much that of your local chip shop, though I guess with a few ‘contemporary’ touches. That said, there are the obvious nods to the traditional chippie such as tiled walls and a glass counter where you can admire freshly battered fish under those oddly coloured heat lamps that keep the food warm. Whilst Danny oversees the running of the business, Hana produces a range of desserts and pickles for the restaurant. There's a chalkboard which shows (presumably) what she has created on the day. Her cheesecake is wonderful - though I’ve not tried any of the others.

It's not just the desserts that change regularly. Asides from the regular a-la carte, there’s the 'Catch of the Day' - which, as far as I can tell, the stuff they got in earlier in the day from the fishmonger side of the business. What we get was representative of a good fish restaurant - unpretentious and good quality seafood, prepared simply. I luck out with the lobster sub, which is both orgasmic and legendary (which is, I suppose, what you want from a lobster sub). Another thing worth mentioning is that they have an amazing recipe for chips. As you probably know, a lot of the time, when a fishmonger fries you a wedge of potato, the result can be quite…limp and oily. Not so here - the chips are just delicious - crispy and lightly salted. And, lest we forget: deep fried Mars Bars are also a thing, and also on the menu.

If you’re interested in putting these guys to the test for yourself, there’s now two more Sutton & Sons restaurants - one in Islington, and one in Shoreditch’s Boxpark (which I assume is more temporary). I’ll sum this up with the thoughts of ‘Chris b’, a TripAdvisor commentator: “...there has been such a decline in fish and chip shops, and many today are kebab and chicken places with perhaps an old bit of fried fish lying about. But not so here.”.

What: Damaged 1940s dress. (A Doris Dodson Original!)

Origin: Long ago thrifting extravaganza. How long kept: My college friend, S/PDX comes to mind, and it has been a mighty long time since we would have last thrifted together. Late 80s?

Usage: See Confession.

Why kept: Mostly, Storage Boxes are Evil, and Out of Sight, Out of Mind (the reason that Storage Boxes Are Evil).

Destination: Down the trash chute...sopping wet.

Confession: Earlier, I got rid of an oddly stinky clothing item, blaming the stink on vintage dry-cleaning fluid.

The smell seemed to stick to a few things in the Evil Storage Box, but be readily washed out of the washable items, and to air out of others.

This was one of the things I had saved. Frankly, I had forgotten that I had held onto it, until I found it in my closet today. It still stank.

Confession, part deux: How do I describe the scent? It was kind of like lighter fluid gone bad...and I mean gone bad like lighter fluid you might find, slightly congealing, in a bucket in a dark corner of Stephen King's basement.

Confession, continued: I had never really inspected this dress all that closely. It was a sundress, with straps that buttoned to the bodice. The zipper was broken beyond repair, and it actually looked like it had both been mended and taken in, sloppily. There were splotty rust stains on the bodice.

Thinking that I could make a cute pillow with the unstained fabric, and harvest the lace for another purpose, I set about washing the dress by hand.

One of the straps had a stain I had never noticed. It made me question whether the "rust stains" actually happened when the last owner of the dress had been badly injured in a knife fight.

Son of confession: Laundry is my favorite home art. And I'm known for my stain removal prowess. I put this in a washtub and washed a ton of dry cleaning fluid out of the dress.

I soaked it with an enzyme tablet.

I washed it again and rinsed it copiously.

It smelled so terrible that I decided I couldn't even wash it with my laundry. (Those enzyme tablets not only work on almost anything that isn't supernatural, but they leave a very strong scent of "American Laundry Detergent" behind. No such luck.)

It would have to go to textile recycling on Monday. I hung it up to dry, started a load of laundry, and went to the grocery store.

When I came home, about 40 minutes later, I walked into my apartment and was hit by the lighter fluid smell.

Confession, part V: Green cred be damned. In a New York second, this thing was in a (recycled) plastic bag and down the trash chute.

30 minutes later, having sprayed the tub the dress was hanging over with essential oils in water; having boiled some water with cinnamon and almond extract added, I can't tell whether the scent is gone or not.

Like a ghost.

The origin of the Café Prückel lies in the time when the Ring Road was created. At the former Stubentor (gate), a particularly splendid Gründerzeit building was built on the ground floor of which the former European cycling champion Lurion founded a café of the same name, Café Lurion. The huge eatery was Makart-style (in reference to artist Hans Markart) equipped with precious materials, rich stucco decoration and other decorative elements. The café had special features such as technical novelties and attracted a wide audience.

From 1905 the coffee house was already called Prückel, presumably it had been taken over by the café owner Wenzel Prückel (1838-1917), the first operator of Café Central. After World War II, the magnificent features in the front part were unfortunately removed and refurbished in the style of the 50s. A loss on the one hand, an attractive feature on the other hand, because to this day all tables, chairs, lamps and benches are original and unchanged. Weather permitting, the Café Prückel offers a large Schanigarten (Schanigarten: "Schanigarten" is the Austro-Bavarian term for tables and chairs set up on the sidewalk in front of eating and drinking places, Linguee) with probably one of the oldest sun blinds in Vienna. The very popular and always well-attended eatery offers an excellent menu and is known for its excellent pastries.

The Prückel is a place where people like to linger and watch people. The audience ranges from older people to young and young at heart ones, students, members of the alternative scene, literary figures, intellectuals to the "nerd". The service is fast and friendly. Absolutely must be tasted: poppy seed cake.

Criticism of the Prückel: Negative headlines made the Prückel as in spring 2005 two lesbian women were expelled from the local because they kissed. This rightly caused media outrage and protests. In January 2015, another incident of this kind occurred, to be read here. The opinion of Planet-Vienna is that one has to wonder a little bit about how something like this can still happen in the enlightened western world in the 21st century. From the previous recommendation for the Café Prückel Planet Vienna meanwhile is refraining. Old-fashioned coffee house tradition in honor - but where it smells of homophobia and oppression, one should not go.

Der Ursprung des Café Prückel liegt in der Zeit, als die Ringstrasse angelegt wurde. Beim ehemaligen Stubentor entstand ein besonders prachtvoller Gründerzeitbau, in dessen Parterre der damalige Radrenneuropameister Lurion ein gleichnamiges Kaffeehaus gründete, das Café Lurion. Das riesige Lokal war im Makart-Stil ausgestattet mit wertvollen Materialien, reicher Stuckdekoration und anderen Zierelementen. Das Café wartete mit Besonderheiten wie technischen Neuheiten auf und lockte daher ein breites Publikum an.

Ab 1905 hiess das Kaffeehaus bereits Prückel, vermutlich war es vom Cafétier Wenzel Prückel (1838-1917), dem ersten Betreiber des Café Central, übernommen worden. Nach dem zweiten Weltkrieg wurde die prachtvolle Ausstattung im vorderen Teil leider entfernt und im Stil der 50er Jahre neu eingerichtet. Ein Verlust einerseits, eine attraktive Besonderheit andererseits, denn bis zum heutigen Tag sind alle Tische, Stühle, Lampen und Bänke original und unverändert. Bei schönem Wetter wartet das Café Prückel mit einem grossen Schanigarten auf mit wohl einer der ältesten Sonnenstoren Wiens. Das sehr beliebte und stets überaus gut besuchte Lokal bietet eine hervorragende Speisekarte und ist bekannt für seine ausgezeichneten Mehlspeisen.

Das Prückel ist ein Ort, an dem man gerne verweilt und Menschen beobachten kann. Das Publikum reicht von älteren Leuten über junge und jung gebliebene, Studenten, Alternative, Literaten, Intellektuelle bis hin zum "Sonderling". Der Service ist flott und freundlich. Unbedingt kosten: Mohnkuchen.

Kritik am Prückel: Negative Schlagzeilen hat das Prückel gemacht, als im Frühjahr 2005 zwei lesbische Frauen des Lokales verwiesen wurden, weil sie sich geküsst haben. Das sorgte zurecht für mediale Empörung und Protesten. Im Jänner 2015 kam es zu einem neuerlichen Vorfall dieser Art, nachzulesen hier. Die Meinung von Planet-Vienna ist, dass man sich schon etwas wundern muss, wie sowas im 21. Jahrhundert in der aufgeklärten westlichen Welt noch vorkommen kann. Von der bisherigen Empfehlung fürs Café Prückel sieht Planet-Vienna mittlerweile ab. Althergebrachte Kaffeehaus-Tradition in Ehren - aber wo es nach Homofeindlichkeit und Unterdrückung riecht, sollte man nicht hingehen.

www.planet-vienna.com/spots/prueckel/prueckel.htm

This prestigious, detached on three sides späthistoristische (late historicist) building was built in 1902-1903 by Jakob Gartner. Downstairs is Café Pruckel whose part has at Beaver Street an

Art Nouveau facility in the interior. The house is a listed building and is located at the main address, Dr.-Karl-Lueger-Platz 6

On our "day off" we had a morning in Herculaneum (near the modern Ercolano).

It is a site similar to Pompeii, but much smaller.

We had a guide who took us around the ruins of this Roman town (with audio guide and ear piece to listen to her).

Herculaneum was founded by Hercules according to mythological tradition, but actually had Greek origins.

The Greeks of Neopolis and Cumae ruled Herculaneum from the 6th century BC, while in the 5th century BC the Samnites gained control. Between the 2nd and 1st centuries BC, Herculaneum took part in the allie's war against Rome, but in 89 BC it was conquered and transformed into a municpium.

In 63 AD the town was hit by an earthquake. And by 79 AD Vesuvius erupted engulfing it an a huge river of boiling mud and debris which totally covered it.

A walk around the streets of Herculaneum.

On Decumano Massimo.

Decumanus Maximum.

Some kind of bath I think.

Cropredy has ancient origins, a chapel in the church is dedicated to St Fremund, an anglo-saxon saint thought to be the son of King Offa. It's name combines the Old English croppe or hill and ridig, a small stream. The village is only a few miles from Banbury, in hilly country along the banks of the River Cherwell. Before the Dissolution of the Monasteries Cropredy belonged the Bishop of Lincoln. More recently Brasenose College, Oxford, has become a significant landlord giving it's name to the local pub.

Dramatic changes to centuries of agrarian life were heralded by the excavation of the Oxford canal which runs alongside the Cherwell south-east of the church. This busy waterway was superseded by the Great Western railway, the village even had it's own station until 1956.

Unusually Cropredy retains the ringing of the curfew bell, in Medieval times this was a signal to return home and 'cover their fires'. Roger Lupton local priest between 1487 and 1528 was so lost in dense fog that he could only find his way from nearby Chacombe by the ringing of Cropredy's bells. He founded a fund in gratitude which paid for the daily winding of the clock and tolling the bell morning, noon and night. The bell is still rung Tuesday and Thursday nights for five minutes after eight O'clock.

The village is best known for the Civil War 'Battle of Cropredy Bridge'. A rare Royalist victory at a time when the Parliamentary forces were in the ascendancy. In June 1644 the King slipped out of Oxford to avoid two Roundhead armies which were rapidly approaching. At this point the Earl of Essex chose to lead his army south and relieve the siege of Lyme Regis leaving Sir William Waller to pursue the King with half of the men. Waller shadowed the Royal army to Worcester only for the King to double back towards Banbury where the Parliamentary commander saw an opportunity to split the Royal forces which were strung out along the Daventry road. Waller's artillery crossed Cropredy bridge but were too far ahead of the infantry and were overrun. Fierce fighting followed but neither side achieved a significant advantage and a chance of capturing the King was lost. As children we were told stories of a phantom drummer boy.

Cropredy's most prominent claim to fame is their music festival founded when Fairport Convention played the village fete in 1976. Cropredy Music Festival grew from these modest beginnings and now attracts over 20,000 music fans every year.

St. Mary the Virgin is an impressive building constructed from the local rust-coloured ironstone. While part of the wall of the south aisle has been dated to c1050 the present church begins in the 13th century with significant 14th and 15th century additions. The south wall has two tomb recesses thought to be built for Simon de Cropredy and his son c1200. The church has an interesting 13th century parish chest and the chapel dedicated to the anglo-saxon saint Fremund has two 15th century screens, one of which has the initials AD which may stand for Alice Danvers. The nave arcading, tower and choir arches are Perpendicular in style with no capitals and continuous moulding from ground level. The tower is early 15th century with the belfry and parapets added 80 years later, There are eight bells, six from the late 17th century, two added in 2007 called Fairport and Villager. Fragments of a Doom survive above the chancel arch. The church has a 17th century pulpit and a rare pre-reformation eagle lectern which is said to have been hidden in the river before the Battle of Cropredy where it lost one of it's lion feet. The beak has a slot for collecting 'Peter's Pence'. There is a beautiful 15th century head of the Virgin Mary in stained glass which was found in the churchyard. There are two fonts, one Norman and one Victorian. In the tower is a magnificent clock by John Moore of Clerkenwell dated 1831.

Cropredy is just off the Daventry road a few miles from Banbury about an hour from Stratford-upon-Avon.

www.youtube.com/user/Cotswoldchurches

www.bwthornton.co.uk

GAIUS CALIGULA. 37-41 AD. Æ As (11.21 gm). Struck 37/38 AD. C CAESAR AVG GERMANICVS PON M TR POT, bare head left / VESTA, S C across field, Vesta seated left, holding patera and sceptre. RIC I 38; BMCRE 46; Cohen 27. For more on Caligulan Numismatic Articles see: Coins courtesy cngoins.com

Related Articles of Caligula from American Numismatic Society Library Search

Library Catalog Search (Preliminary Version)

Full Record: Barrett, Anthony A. The invalidation of currency in the Roman Empire : the Claudian demonetization of Caligula's AES. (1999)

Full Record: Bost, Jean-Pierre. Routes, cits et ateliers montaires : quelques remarques sur les officines hispaniques entre les rgnes d'Auguste en de Caligula. (1999)

Full Record: Bibliothque Municipale d'Etude et d'Information de Grenoble. Grenoble : Bibliothque Municipale d'Etude et d'Information : catalogue des monnaies. II. Monnaies romaines. Monnaies impriales romaines. 2. Caligula - Neron . Index. / Bernard Rmy, Frdric Bontoux, Virginie Risler. (1998)

Full Record: Gainor, John R. The image of the Julio-Claudian dynasty from coins / by John R. Gainor.

Full Record: Martini, Rodolfo. Monete romane imperiali del Museo G. B. Adriani. Parte 3, Caius (37-41 d.C.) / Rodolfo Martini. (2001)

Full Record: ACCLA privy to presentation by Richard Baker on Caligula. (2002)

Full Record: Wend, David A. Caligula, the emperor as autocrat. Part 1. (2002)

Full Record: Wend, David A. Caligula, the emperor as autocrat. Part 2. (2002)

Full Record: Wend, David A. Caligula, the emperor as autocrat. Part 3. (2002)

Full Record: Kemmers, Fleur. Caligula on the Lower Rhine : Coin finds from the Roman Fort of Albaniana (The Netherlands) / Fleur Kemmers. (2004)

Full Record: Estiot, Sylviane. Le trsor de Meussia (Jura) : 399 monnaies d'argent d'poques rpublicaine et julio-claudienne / Sylviane Estiot, Isabelle Aymar. (2002)

Full Record: Gocht, Hans. Namenstilgungen an Bronzemünzen des Caligula und Claudius / Hans Gocht. (2003)

Full Record: Gomis Justo, Marivi. Ercavica : La emision de Caligula. Estimacion del numero de cunos originales.

Full Record: Sayles, Wayne G. Fakes on the Internet. (2002)

Full Record: Kemmers, Fleur. The coin finds from the Roman fort Albaniana, the Netherlands / Fleur Kemmers . (2005)

Full Record: Lopez Snchez, Fernando. La afirmacion soberana de Caligula y de Claudio y el fin de las acunaciones ciudadanas en occidente / Fernando Lopez Snchez. (2000)

Full Record: Besombes, Paul-Andr. Les monnaies hispaniques de Claude Ier des dpôts de la Vilaine (Rennes) et de Saint-Lonard (Mayenne) : tmoins de quel type de contact entre l'Armorique et la pninsule ibrique ? / Paul-Andr Besombes. (2005)

Full Record: Catalli, Fiorenzo. Le thesaurus de Sora / Fiorenzo Catalli et John Scheid.

Full Record: Giard, Jean-Baptiste. Faux deniers de Caligula de la Renaissance.

Full Record: Vermeule, Cornelius. Faces of Empire (Julius Caesar to Justinian). Part II(B), More young faces : Caligula again and Nero reborn / Cornelius Vermeule. (2005)

Full Record: Geranio, Joe. Portraits of Caligula : the seated figure? / Joe Geranio. (2007)

Full Record: Aguilera Hernandez, Alberto. Acerca de un as de Caligula hallado en Zaragoza / Alberto Aguilera Hernandez. (2007)

Full Record: Butcher, K. E. T. Caligula : the evil emperor. (1985)

Full Record: Fuchs, Michaela. Frauen um Caligula und Claudius : Milonia Caesonia, Drusilla und Messalina. (1990)

Full Record: Faur, Jean-Claude. Moneda de Caligula de Museo Arqueologico Provincial de Tarragona. (1979)

Full Record: British Museum. Dept. of coins and medals. Coins of the Roman Empire in the British museum. Vol. I: Augustus to Vitellius / by Harold Mattingly. (1976)

Full Record: Conrad, Edwin. A Caligula Isotope of Hadrian. (1968)

Full Record: Conrad, Edwin. The Metamorphosis of an Allegad 'As of Hadrian.' (1968)

Full Record: Bendall, Simon. A 'new' gold quinarius of Caligula. (1985)

Full Record: Cortellini, Nereo. Le monete di Caligola nel Cohen.

Full Record: Guey, Julien. Les "bains d'or" de Caligula "Immensi Avreorvm Acervi (Sutone, Cal., 42,3).

Full Record: Guey, J. Les "bains d'or" de Caligula : Sutone, Cal. 42, 3.

Full Record: Curry, Michael R. The Aes Quadrans of Caligula. (1968)

Full Record: Jonas, Elemr. L'emploi dar "damnatio memoriae" sur l'un des "dupondius" de Calgula. (1937)

Full Record: Julian, R. W. The coins of Caligula. (1994)

Full Record: Donciu, Ramiro. Cu privire la activitatea militara a lui Caius (Caligula) in anul 40 e.n. (1983)

Full Record: Hansen, Peter. A history of Caligula's Vesta. (1992)

Full Record: Kaenel, Hans-Markus von. Augustus, Caligula oder Caludius? (1978)

Full Record: Kaenel, Hans-Markus von. Die Organisation der Münzprgung Caligulas. (1987)

Full Record: Johansen, Flemming S. The sculpted portraits of Caligula. (1987)

Full Record: Carter, G. F. Chemical compositions of copper-based Roman coins. V : imitations of Caligula, Claudius, and Nero / G. F. Carter and others. (1978)

Full Record: Giard, Jean-Baptiste. L'atelier de Lyon sous Auguste : Tibre et Caligula. (1979)

Full Record: Giard, Jean-Baptiste. Les missions d'or et d'argent de Caligula dans l'atelier de Lyon. (1976)

Full Record: Giard, Jean-Baptiste. Le monnayage de l'atelier de Lyon des origines au rgne de Caligula (43 avant J.-C. - 41 aprs J.-C.). (1983)

Full Record: Nony, D. Quelques as d'imitation de Caligula trouves a Bordeaux (Gironde). (1981)

Full Record: Levy, Brooks Emmons. Caligula's radiate crown. (1988)

Full Record: Poulsen, Vagn. Un nouveau visage de Caligula. (1972)

Full Record: Price, Martin Jessop. Elephant in Crete? New light ona cistophorus of Caligula. (1973)

Full Record: MacInnis, H. Frank. Ego-driven emperor commits excesses. (1979)

Full Record: McKenna, Thomas P. The case of the curious coin of Caligula : a provincial bronze restruck with legend-only dies. (1994)

Full Record: Mowat, Robert. Bronzes remarquables de Tibre, de son fils, de ses petits-fils et de Caligula. (1911)

Full Record: Koenig, Franz E. Roma, monete dal Tevere : l'imperatore Gaio (Caligola). (1988)

Full Record: Kollgaard, Ron. Caligula's coins profile despot. (1993)

Full Record: Kollgaard, Ron. A numismatic mystery : "the Caligula quadrans." (1994)

Full Record: Martini, Rodolfo. Osservazioni su contromarche ed erosioni su assi de Caligula. (1980)

Full Record: Szaivert, Wolfgang. Moneta Imperii Romani. Band 2 und 3. Die Münzprgung der Kaiser Tiberius und Caius (Caligula) 14/41 / von Wolfgang Szaivert. (1984)

Full Record: Boschung, Dietrich. Die Bildnisse des Caligula. Kaenel, Hans-Markus von. Jucker, Hans. Deutsches Archaologisches Institut. Das Romische Herrscherbild. 1. Abt., Bd. 4, Die Bildnisse des Caligula / Dietrich Boschung ; mit einem Beitrag von Hans-Markus von Kaenel ; auf Grund der Vorarbeiten und Marterialsammlungen von Hans Jucker. (1989)

Full Record: Rosborough, Ruskin R. An epigraphic commentary on Suetonius's life of Gaius Caligula. A thesis...for the...Doctor of Philosophy. (1920)

Full Record: Richard, Jean-Claude. A propos de l'aureus de Caligula dcouvert Saint-Colomban-des-Villards (Savoie). (1982)

Full Record: Richard, Jean-Claude. Un aureus de Caligula dcouvert Saint-Colomban-des-Villards (Savoie). (1982)

Full Record: Ritter, Hans-Werner. Adlocutio und Corona Civica unter Caligula und Tiberius. (1971)

Full Record: Kumpikevicius, Gordon C. A numismatic look at Gaius. (1979)

Full Record: Savio, Adriano. La coerenza di Caligola nella gestione della moneta / Adriano Savio. (1988)

Full Record: Savio, Adriano. Note su alcune monete di Gaio-Caligola. (1973)

Full Record: Stylow, Armin U. Die Quadranten des Caligula als Propaganda-münzen.münzen" aus der stdtischen sammlung zu Osnabrück. (1971)

Full Record: Schwartz, Jacques. Le Monnayage Snatorial entre 37 et 42 P.C. (1951)

Full Record: Rodolfo Martini, ed. Sylloge nummorum Romanorum. Italia. Milano, Civiche Raccolte Numismatiche Vol. 1 Giulio-Claudii / a cura di Rodolfo Martini. (1990)

Full Record: Szaivert, Wolfgang. Zur Julisch-Claudischen Münzprgung. (1979)

Full Record: Vedrianus. The Roman Imperial series. V. Gaius. (1963)

Full Record: Tietze, Christian M. Kaiser Cajus Caesar, genannt Caligula. (1979)

Full Record: Wood, Susan. Diva Drusilla Panthea and the sisters of Caligula / Susan Wood. (1995)

Full Record: Sutherland, Carol Humphrey Vivian. Coinage in Roman imperial policy 31 B.C.-A.D. 68. (1951)

Full Record: Sutherland, C. H. V. The mints of Lugdunum and Rome under Gaius : an unsolved problem. (1981)

Full Record: Trillmich, Walter. Familienpropaganda der Kaiser Caligula und Claudius : Agrippina Maior und Antonia Augusta auf Münzen. (1978)

Full Record: Voirol, August. Eine Warenumsatzsteuer im antiken Rom und der numismatische Beleg inher Aufhebung : Centesima rerum venalium. (1943)

Full Record: Trillmich, Walter. Zur Münzprgung des Caligula von Caesaraugusta (Zaragoza). (1973)

The Garden District is a neighborhood of the city of New Orleans. A subdistrict of the Central City/Garden District Area, its boundaries as defined by the City Planning Commission are: St. Charles Avenue to the north, 1st Street to the east, Magazine Street to the south and Toledano Street to the west. The National Historic Landmark district extends a little further. The area was originally developed between 1832 and 1900 and is considered one of the best-preserved collections of historic southern mansions in the United States. The 19th-century origins of the Garden District illustrate wealthy newcomers building opulent structures based upon the prosperity of New Orleans in that era.

This whole area was once a number of plantations, including the Livaudais Plantation. It was sold off in parcels to mainly wealthy Americans who did not want to live in the French Quarter with the Creoles. It became a part of the city of Lafayette in 1833, and was annexed by New Orleans in 1852.[9] The district was laid out by New Orleans architect, planner and surveyor Barthelemy Lafon.

Originally the area was developed with only a couple of houses per block, each surrounded by a large garden, giving the district its name. In the late 19th century some of these large lots were subdivided as Uptown New Orleans became more urban. This has produced a pattern for much of the neighborhood of any given block having a couple of early 19th-century mansions surrounded by "gingerbread" decorated late Victorian houses. Thus the "Garden District" is now known for its architecture more than gardens per se.

en.wikipedia.org/wiki/Garden_District,_New_Orleans

en.wikipedia.org/wiki/Wikipedia:Text_of_Creative_Commons_...

Origin 85x

Téléobjectif de 40mm. Objectif optionnel des appareils subminiature Steky.

Le kit est complet. Boîte d'origine, trousse en cuir et viseur à placer sur le viewfinder de l'appareil lors de l'utilisation du téléobjectif.

I'm a great appreciator of art for its own sake. When the granite carvings of Brent Reeve started sprouting all over the wilderness, they were a mystery to everyone but his personal friends. After asking around for many months, I eventually met the man a few years back. These days, he's gone on to carve a wild array of imaginative images and his signature heads all over my homeland – even in people's front yards. But I love the origin story. He was a man escaping the trauma buzzing in his head, leaving pictures like some modern version of an ancient tribesman on the landscape. The motivation was just getting it out, an escape from the ache of keeping too much inside. It was much the same for me at the start. Though my daily journal has a decent crowd of followers, I was a decade in before I topped a couple dozen. Pushed along by the joy of creating itself, feelings that need sharing. Saying to find your way in the pouring rain, and please, tread on me.

August 28, 2024

Prospect, Nova Scotia

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There were two seemingly unconnected headlines in a Philippine newspaper today, one listing how the President of the Philippines is purging a large number of leaders as being connected with Narcotics and another mentioning that the leader of the largest nation in the world has consolidated his power to the extent that he can become a lifetime ruler. The manner of Xi's rise to this imperial level of power is claimed to be through the use of a populist "soft coup" against political corruption that left only his friends in power. President Duerte's campaign against narcotics may have the same effect.

In the Chinese case, achieving lifetime presidency via non-democratic means may be claimed to be corrupt.

The taxi driver in whose taxi I was riding claimed that Duerte's family was itself involved in narcotics. This rumour appears to be suggested by circumstantial evidence.

If it were true that these political movements, against corruption and narcotics, were themselves corrupt or involved in narcotics, then they would be another example of the false flag method of dividing oneself into a righteous avenger and hidden evil alter ego, for the purpose of demonising and conquering ones enemies such as is sometimes claimed to have occurred as justifications for the invasions of Cuba, Vietnam, and Iraq.

These political means of achieving power, should they exist, can be argued to parallel the way in which humans divide themselves into two to boost their power via pride, self love and self confidence.

Other auto-divided things along similar broad lines may be argued to include

Protection rackets "I'll protect you, from me"

Built in obsolescence "I'll repair/replace that which is broken, cause I broke it"

Disease creating (?) pschiatrists and psychiatric drug manufacturers

Drug pushers "I'll make you feel good again, having made you feel bad"

Municipevil (!) I am sometimes not all that keen on municipal things, perhaps including myself, when like all the other things in this list, they create the problems that they solve.

However, taking a somewhat contrarian, about-face, all these auto-divided things might also be described as the fountain of happiness. Xi and Duerte may by their machinations really be bringing peace and prosperity to their respective countries. Pax America may be both bringing dollars to American banks and peace to most of the world. Built in obsolescence may fund research and development. I won't defend drug pushers but psychiatric drugs clearly seem to have benefits for some Indeed at a more profound level, as suggested by the traditional Philippine symbol for property or fertility the inward curling "lingling-o"omega above left, and self hugging (and I would claim self seeing Bulul), joy that comes to "other power" Amitabha worshippers, the sinful split of Adam and Adam's other side Eve, prefigures the heeling (almost drug pusher?!, as Marx and Bowie would have it) relationship with Jesus. Do we even need to unveil what is going on? Perhaps this photo description is the worst of things. Namuamidabutsu.

The lingling O seems to be the origin of the Japanese magatama which is a lingling O split in two.

Articles from the Manila Bulletin, Art detail from Guardians by Jason Duclan on display at Tam Awan village. Should you wish that I cease and desist please leave a comment or contact me via the mail link at nihonbunka.com

Nürnberg,Bavaria’s second largest city (after Munich), Nürnberg is located on the Pegnitz River where it emerges from the uplands of Franconia (Franken), south of Erlangen.

The city was first mentioned in 1050 in official records as Noremberg, but it had its origin in a castle (now known as Kaiserburg [imperial castle]) built about 10 years earlier by the German king Henry III, duke of Bavaria, who became in 1046 Holy Roman emperor. A settlement developed around the castle, and in 1219 the city was granted its first charter. The city soon gained full independence, becoming a free imperial city. By the latter part of the 13th century, Nürnberg was no longer solely a fortified settlement. It had developed into a city of craftsmen and patricians, and manufacturing and commerce had become the foremost sources of income.

In 1471 the painter Albrecht Dürer was born in Nürnberg. During the period of Dürer and his contemporaries—the painter Michael Wohlgemuth (his teacher), the wood sculptor Veit Stoss, the brass founder Peter Vischer (see Vischer Family), the stonecutter and sculptor Adam Kraft, as well as the cobbler-poet Hans Sachs—the arts flourished in Nürnberg as never before or since. In 1525 the tenets of the Reformation were adopted by the city, and in 1526 the scholar and Protestant leader Philipp Melanchthon founded a Gymnasium there—one of Germany’s first—which continues to bear his name. Together with the humanist Willibald Pirkheimer, the astronomer Regiomontanus, and the cosmographer Martin Behaim, the designer of the first globe, Melanchthon laid the foundation for Nürnberg’s reputation as a centre of learning in the developing Western world.

In the early 17th century, Nürnberg was at the height of its economic and cultural development, yet by 1806 it had lost its status as a free imperial city and, much indebted, became part of the kingdom of Bavaria. The shift of world trade routes from the land to the sea, following the exploration of America and the discovery of the seaway to India, and the devastations of the Thirty Years’ War were the initial causes of this decline. Not until the beginning of the industrial age, when the first German railway was opened (December 7, 1835), linking Nürnberg and Fürth, did the city begin to flourish again as an industrial centre.

The first letter on the serial number of Euro banknotes show the their origin.

K Sweden

L Finland

M Portugal

N Austria

P Holland

R Luxenbourg

S Italy

T Ireland

U France

V Spain

W Denmark

X Germany

Y Grece

Z Belgium

L’Otaïtien touche à l’origine du monde et l’Européen touche à sa vieillesse. L’intervalle qui le sépare de nous est plus grand que la distance de l’enfant qui naît à l’homme décrépit. Il n’entend rien à nos usages, à nos lois, ou il n’y voit que des entraves déguisées sous cent formes diverses, entraves qui ne peuvent qu’exciter l’indignation et le mépris d’un être en qui le sentiment de la liberté est le plus profond des sentiments.

- Supplément au Voyage de Bougainville et autres contes, Denis Diderot

My latest sub @ Threadless.

There is hope, always remember THE ORIGINS. Just a fun design, saving energy awareness)

.

Enjoy & thanks! :))

www.threadless.com/designs/the-origins

There are many explanations of the origin of the word "jeep," all of which have proven difficult to verify. One notion holds that the vehicle bore the designation "GP" (for "Government Purposes" or "General Purpose"), which was phonetically slurred into the word jeep. However, R. Lee Ermey, on his television series Mail Call, disputes this, saying that the vehicle was designed for specific duties, and was never referred to as "General Purpose" and it is highly unlikely that the average jeep-driving GI would have been familiar with this designation. The Ford GPW abbreviation actually meant (G for government use, P to designate its 80-inch (2,000 mm) wheelbase and W to indicate its Willys-Overland designed engine).

Many, including Ermey, suggest that soldiers at the time were so impressed with the new vehicles that they informally named it after Eugene the Jeep, a character in the Popeye cartoons created by E. C. Segar. Eugene the Jeep was Popeye's "jungle pet" and was "small, able to move between dimensions and could solve seemingly impossible problems."[1]

Words of the Fighting Forces by Clinton A. Sanders, a dictionary of military slang, published in 1942, in the library at The Pentagon gives this definition:

Jeep: A four-wheel drive vehicle of one-half- to one-and-one-half-ton capacity for reconnaissance or other army duty. A term applied to the bantam-cars, and occasionally to other motor vehicles (U.S.A.) in the Air Corps, the Link Trainer; in the armored forces, the ½-ton command vehicle. Also referred to as "any small plane, helicopter, or gadget."

This definition is supported by the use of the term "jeep carrier" to refer to the Navy's small escort carriers.

Early in 1941, Willys-Overland demonstrated the vehicle's off-road capability by having it drive up the steps of the United States Capitol, driven by Willy's test driver Irving "Red" Haussman, who had recently heard soldiers at Fort Holabird calling it a "jeep." When asked by syndicated columnist Katherine Hillyer for the Washington Daily News (or by a bystander, according to another account) what it was called, Irving answered, "It's a jeep."

Katherine Hillyer's article was published nationally on February 20, 1941, and included a picture of the vehicle with the caption:

LAWMAKERS TAKE A RIDE- With Senator Meade, of New York, at the wheel, and Representative Thomas, of New Jersey, sitting beside him, one of the Army's new scout cars, known as "jeeps" or "quads", climbs up the Capitol steps in a demonstration yesterday. Soldiers in the rear seat for gunners were unperturbed.

This exposure caused all other jeep references to fade, leaving the 4x4 with the name. The term was also in military slang use to mean vehicles that were untried, or untested. The word certainly existed as slang for several decades prior to the invention of the military vehicle.

In 1950 Willys-Overland Inc. was granted the privilege of owning the name "Jeep" as a registered trademark however they certainly did not invent the name nor design the original vehicle.

Photo prise le mercredi 16 mai 2012 lors d'un repérage.

235 km 585 de la Garonne.

Altitude : 2 m.

63e écluse sur le Canal à franchir par les navigants depuis son extrèmité occidentale à Toulouse.

65e écluse à l'origine sur le Canal avant les années 70 (66e si l'on compte l'écluse Notre Dame à Beziers sur l'ancien tracé)..

64e écluse si l'on ne compte pas l'écluse de Garonne, la ou a été posée la première pierre du Canal du Midi, guère usitée (mais qui a conservé ses portes éclusières) et commune aux canaux du Midi, Latéral à la Garonne et de Brienne).

63e écluse si on ôte aussi du décompte l'ancienne écluse Matabiau à Toulouse, qui a perdu sa fonction éclusière lors de la modernisation du Canal dans les années 70.

De nouveau une écluse à bajoyers elliptiques.

C'est à partir de cet écluse et en direction de l'Etang de Thau que le canal cesse d'être arboré.

On quitte le Biterrois pour entrer dans loe Bassin de Thau.

Sur ces liens, des photos de David Merlin sur le Canal, particulièrement entre Beziers et l'Etang de Thau :

www.david-merlin.com/phototheque/photos_canal-du-midi-v0.htm

www.david-merlin.com/phototheque/photos_canal-du-midi-v30...

www.david-merlin.com/phototheque/photos_canal-du-midi-v60...

www.david-merlin.com/phototheque/photos

Voir aussi d'autres liens photographiques ayant comme sujet le Canal du Midi :

www.flickr.com/photos/51063756@N03/sets/72157629815095294/

www.flickr.com/groups/r-r-r/discuss/72157629186932232/

www.flickr.com/photos/21252309@N06/sets/72157604226551224...

www.flickr.com/photos/26359075@N02/sets/72157619113135217...

www.flickr.com/photos/lyli12/sets/72157623917517556/with/...

www.flickr.com/photos/34489588@N08/sets/72157614766492790...

www.flickr.com/photos/reneve31/sets/72157623974357358/wit...

www.flickr.com/photos/27197968@N04/sets/72157622493028095...

www.flickr.com/photos/voldepegase/sets/72157627902747759/...

Localisation sur wikimapia :

wikimapia.org/#lat=43.32194&lon=3.4841497&z=15&am...

2ème anniversaire du café associatif la Maison Blanche...

Serge Lopez - Rachid Benallaoua - Jean Luc Amestoy - Alyss Kalbez - Rafael Pradal

Rachid Benallaoua, musicien du groupe « Origines contrôlées », dont font également partie deux membres de Zebda, ouvre les portes de la Maison Blanche dans le quartier Arnaud Bernard à Toulouse. Il s'agit d'« un café associatif ouvert à toaus, où l'on propose différentes formes d'activités culturelles et musicales » expliquent Emilie et Constance, membres de l'association Art Maniak, à l'origine du projet. « L'association existe depuis une quinzaine d'années, les idées et les envies se discutaient depuis longtemps et Rachid, qui est très attaché à ce quartier, attendait l'opportunité de les concrétiser ici ».

Video... 01...

Video... 02...

Toute la série... ICI...

Facebook | 500px | YouTube | Vimeo

stefanog.com

Heal your soul with art. Soulful prints available at

www.zazzle.com/soul7visual For home,

Office, Salon, Lobby, Spa, Massage....inspire your guest/clients with Visual Soul.

It takes a village to raise a child. ~ African proverb

Cassone

Place of origin:

Tuscany, Italy (made)

Date:

ca. 1430-1460

Artist/Maker:

unknown (production)

Materials and Techniques:

Poplar and walnut, joined and nailed, decorated with modelling in gesso and gilding

Museum number:

8974-1863

Gallery location:

Medieval and Renaissance, room 64, case 15

Marriage chests or cassoni were made in pairs. They were emblazoned with the coats of arms of the relevant families and often decorated with wedding scenes. A number of figures on this example wear Burgundian fashions, which were much in vogue in Florence between about 1425 and 1450. Early records do not tell us where this cassone came from, but it was bought by this museum for £40 in 1863, possibly from William Blundell Spence, a flamboyant English dealer based in Fiesole (just outside Florence), or from Giuseppe Baslini, a dealer from Milan, who in 1869 sold this museum the front panel (Museum No. 21 - 1869) of what could once have been its pair. This item is a rare example of a surviving cassone that almost certainly retains its original base, as well as remaining largely unaltered.

Physical description

Rectangular cassone, decorated with a wedding scene in gilt modeled gesso and partly covered with red, blue and green glazes. The lid is flat, partly painted with black spots on an off-white background, and heavily worm-eaten. The back is decorated in the same way as the lid, the sides with a crimson ‘artichoke’ textile pattern, and the front with a wedding scene. The plinth is made up of three planks, forming the front and sides, and with a triangular bracket in each corner at the rear, forming the back feet. The sides of the plinth are decorated with a continuation of the textile pattern, and the front with two elongated quatrefoil frames, each containing two painted angels converging and holding an unidentified coat of arms. The upper part of the front is made up of figures, modeled in gesso, punched and gilded with red and dark blue glazes, similar to those on a cassone panel (Museum No. 21- 1869), which could well have formed its pair.

The wedding scene itself consists of two processions, the one on the left taking up two thirds of the picture, converging either side of a lute-player: the one on the left is led by a harper, and the one on the right by the bride, who is followed by five women, three of which form a group, holding hands in a dance, at the back. Male attendants in the left-hand procession hold knotted handkerchiefs, which presumably have bridal connotations. The ground they stand on is decorated with stylized irises with red glazed petals and green glazed shoots. The bridegroom’s attendants wear a livery emblazoned with a leopard chained to a cushion on their cloaks, and the the bride’s mother (or nurse?) has large dragon on a turf emblazoned on hers. The families remain unidentified. Their headdresses would have been the latest Burgundian fashion, and very much in vogue in Florence between about 1425 and 1450. The bride is bare headed and wears a long plait, the sign of maidenhood.

The plinth is made up of three planks overlapping at the front and sides, chamfered at the top and nailed to each other in the front corners. Immediately below the chamfering runs a narrow, grooved fillet, which gives the moulding an overhanging appearance. An identical fillet is nailed to the immediately below the lid. The floor of the cassone, mainly made up of one board, is nailed to the sides and front at the edges, and a narrow strip of the same wood, which fills the gap in the floor, is nailed to the back. The front, back and sides of the cassone are four boards joined together at the corners with dovetails cut into the sides. (Note that both the chest and stand, which appear to be joined, the chest not intended to be lifted from the stand - are dovetailed to hold the front and back in place, drawer-style, not in the usual manner of chests to hold the ends in place.) The corners are covered with canvas, and the front edges with a band of decorative gilt gesso punch marks. The lid is made up of two planks of poplar, with 19th century rails of walnut nailed to the front and side edges for extra support, and reinforced on the inside with three wooden slats, also added later. A bare, rectangular patch in the centre of the lid suggests that there was once a piece of moulding glued to the top.

The dove-tail joinery of the front and sides of the main part of the cassone's is decorated from top to bottom with punch marks, consistent with those found on the clothes of figures on the front panel. This indicates that the sides, although of different decoration, do form part of the original cassone. The lock is off centre and must have been crudely inserted at a later date. However, this cassone is considered largely authentic and to date from about 1430.

Conserved 2007

In addition to surface treatments, two nailed vertical battens (applied in the 19th or 20th century) were removed from the back, one at each end where they appear to have been intended to provide extra stability between chest and stand. In addition to the extensive removal of surface dirt, the painted stand, ends and back of the cassone were retouched. The front panel of the cassone was not retouched.

Fonte / Source:

collections.vam.ac.uk/item/O81200/cassone-unknown/

1,2 Liter

4 in-line

110 pk

Exposition : Citroën 100 Years

27/06/2019 - 03/09/2019

Autoworld

www.autoworld.be

Brussels - Belgium

August 2019

Origin: Love Live!

Cosplayer: unknown

Photographer: vato915

Event: Anime Expo 2015

Ellery Queen - Origin of Evil, Pocket Book 926, 1953

HISTORY OF STEPWELLS IN GUJARAT

Stepwells are wells in which the water is reached by steps. They are most commonly found in western India especially Gujarat where over 120 such wells are reported. The origin of the stepwell may be traced to reservoirs of the cities of the Indus Valley Civilization such as Dholavira and Mohenjo-daro. The stepwells were constructed in the south western region of Gujarat around 600 AD. From there they spread north to Rajasthan and subsequently to north and west India. Construction activities accelerated during the 10th to 13th century during the Chaulukya and Vaghela periods. The construction of these stepwells hit its peak during the 11th to 16th century. The Muslim rulers of the 13th to 16th century did not disrupt the culture that was practiced in these stepwells and encouraged the building of stepwells. The wells lost their significance in the 19th century due to introduction of water pumps and pipe-systems.

ANCIENT PERIOD

The stepped well may have originated to ensure water during drought periods. The water is considered sacred from the time of Vedas and the steps to reach the water level in artificially construed reservoirs can be found in the sites of Indus Valley Civilization such as Dholavira and Mohenjo-daro.

2ND-10TH CENTURY

The earliest example of a bath-like pond reached by steps is found at the Uperkot caves in Junagadh. These caves have been dated to the 4th century. Navghan Kuvo, a well with circular staircase, in the vicinity, is another example. It was possibly built in the Western Satrap (200-400 AD) or Maitraka (600-700 AD) period though some place it as late as the 11th century. The nearby Adi Kadi ni Vav is constructed either in the second half of the 10th century or 15th century.

The earliest stepwells are found at Dhank in Rajkot district of Gujarat; they are dated to the pre-Chalukyan period. The nearby Bochavdi stepwell near Bochavdi Nes in Alech hills is slightly earlier than two other stepwells in Dhank. These are the Jhilani stepwell dated to 600 AD and the Manjushri stepwell dated to the early 7th century based on their Saurastra style architecture.

10TH-12TH CENTURY

The stepwell as a form of artistic architecture started during the Chaulukya period. The stepwell situated west of kund of Modhera Sun Temple may belong to the 11th century whereas the mandapa above ground is from the 10th century. The Rani ki vav (the Queen's stepwell) of Patan was constructed around 1050 AD. Ankol Mata stepwell at Davad and Mata Bhavani's Stepwell in Ahmedabad belonged to the third quarter of the 11th century.

Several stepwells are ascribed to Minaldevi, the mother of Chaulukya ruler Jayasimha Siddharaja. The lake in Viramgam and a stepwell in Nadiad are ascribed to her. The Minal stepwell in Balej village in Sabarkantha district is ascribed to her and was built in 1095 AD (Samvat 1152). Another Minaldevi Vav in Virpur in Rajkot district is also ascribed to her and has stylistic affinities to Chaulukya architecture. Asapuri stepwell of Ahmedabad and the stepwell of Jhinjhuwada are of the 12th century. The Chaumukhi stepwell of Chobari in Surendranagar district depicts religious figures similar to nearby temples. the two stepwells in Kaleshwari-Ni Nal near Lunawada resemble Rani ki Vav in iconography so they may belong to the end of the 10th century. The stepwell in Dhandhalpur is ascribed to Jayasimha Siddharaja. During the reign of Kumarapala in the 12th century, several stepwells were constructed. The stepwell at Vayad near Patan was built during this time. Ganga stepwell at Wadhwan has been dated to 1169 AD (Samvat 1225).

During the later years of the Chaulukya period, construction slowed down due to political unrest. The Vikia and Jetha stepwells near Navlakha Temple, Ghumli near the Barda hills belonged to the 13th century. The Gyan stepwell near Visavada village in the Barda hills is ascribed to the time of Bhima II. The ruined stepwell of nearby Keshav village is of the same period.

12TH-13TH CENTURY

The Ra Khengar stepwell between Vanthali and Junagadh is stated to be constructed by Tejpal of the Vastupal-Tejpal, the brother-ministers in Vaghela court. It belongs to the early Vaghela period. Visaldev of Vaghela dynasty built the stepwell along with gates and temples at Dabhoi, completed in 1255. The Satmukhi stepwell in Dabhoi is a temple built over a tank with seven wells ascribed to him.

The Madhavav in Wadhwan was built in 1294 AD (Vikram Samvat 1350) by Nagar Brahmin Madha and Keshav, the ministers in court of the last Vaghela ruler Karan Ghelo. The Batris Kotha stepwell in Kapadvanj may have belonged to the 13th century due to its similarity with the Madha and Vikia stepwells.

14TH-15TH CENTURY

A large number of stepwells were constructed in the 14th century. Sodhali stepwell in Mangrol[disambiguation needed] was built in 1319 AD (V. S. 1375) by Vali Sodhala of Modha caste. The stepwell near the Brahma temple of Khedbrahma belonged to the 14th century judged by its style.

The Suda stepwell in Mahuva (1381 AD), Hani stepwell in Dhandhusar (1389/1333 AD) and Siddhnath Mahadev stepwell in Dholka were built during Tughlak rule in Gujarat. The stepwell of Sampa near Ahmedabad was built in 1328 AD. The Rajba stepwell of Rampura near Wadhwan and the Wadhwani stepwell in Khambhat were built in 1483 and 1482 respectively based on the earlier Madha stepwell of Wadhwan. The Dada Harir Stepwell was built in 1499 by the harem lady of Mahmud Begada.

During the Muslim period, the religious aspect of stepwells lost its significance. The stepwell of Sodali village near Mahemdavad and the stepwell in Mahemdavad itself, both of which belonged to the 15th century rule of Mahmud Begada, are its example. The two stepwells found in and around Vadodara are of the 15th century; one is near Sewasi village (V. S. 1537) and the other is the Navalakhi stepwell (1405 AD) of Laxmi Vilas Palace.

The Adalaj Stepwell was constructed by Rudabai in 1499 AD. A nearby stepwell in Chhatral also belongs to the same period.

16TH-18TH CENTURY

The Nagabawa stepwell in Dhrangdhra (1525 AD) and Jiva Mehta stepwell in Morbi are of the same style and period. The stepwell of Roho (1560 AD) was built by Champa, the wife of Raja Shri Nanaji and her daughter. There are also important stepwells in Palanpur and Jhinjhuwada.

Several stepwells are plain in design without any ornamentation which makes it difficult to ascertain their period, but they may belong to the 16th or 17th century. Such stepwells are in Hampur and Idar, as well as the Matri stepwell in Kankavati and Gyaneshwari stepwell in Modhera. The stepwell of Mandva in north Gujarat is similar to that of Mahemdavad so may belong to that period. The Sindhvai Mata stepwell in Patan has an inscription dating to 1633 AD. The Ravli stepwell of Mangrol is of the 17th century. The stepwell in Limboi near Idar has Chaulukya style ornamentation and hs been dated to 1629 AD.

The Amritavarshini Vav in Ahmedabad, completed in 1723, is L-shaped.

19TH-20TH CENTURY

The authorities during the British Raj found the hygiene of the stepwells less than desirable and installed pipe and pump systems to replace their purpose. Jethabhai's Stepwell in Isanpur, Ahmedabad was completed in the 1860s for irrigation. The stepwell of Wankaner palace was built by erstwhile rulers in the 1930s as a cool place of retreat for the royal family. It was built in white sandstone and is the last monument of its kind.

Due to waterpumps and pipe-systems, the stepwells lost their significance and due to economic cost, they were not constructed thereafter.

WIKIPEDIA

Origin: yadi.sk/i/TqgyIQfBuzfx1w

Author: Evgeny Okhremenko

Raw converter: Capture One

WB: (Kelvin:4500; Tint: 0)

Exposure: (Contrast: -10)

HDR: (Highlights: 60; Shadow: 20)

Curve: Film Standard

Camera Profile: NikonD700-C1-Generic

If you would like to see some of my friends, please click "here" !

The Donkey or Ass is a domesticated member of the horse family, Equidae. The wild ancestor of the donkey is the African wild ass, E. africanus. The donkey has been used as a working animal for at least 5000 years. There are more than 40 million donkeys in the world, mostly in underdeveloped countries, where they are used principally as draught or pack animals. Working donkeys are often associated with those living at or below subsistence levels. Small numbers of donkeys are kept for breeding or as pets in developed countries. A male donkey or ass is called a jack, a female a jenny or jennet; a young donkey is a foal. Jack donkeys are often used to mate with female horses to produce mules — the biological "reciprocal" of a mule, from a stallion and jenny as its parents instead, is called a hinny. Asses were first domesticated around 3000 BC, probably in Egypt or Mesopotamia, and have spread around the world. They continue to fill important roles in many places today. While domesticated species are increasing in numbers, the African wild ass and another relative, the onager, are endangered. As beasts of burden and companions, asses and donkeys have worked together with humans for millennia. Traditionally, the scientific name for the donkey is Equus asinus asinus based on the principle of priority used for scientific names of animals. However, the International Commission on Zoological Nomenclature ruled in 2003 that if the domestic species and the wild species are considered subspecies of one another, the scientific name of the wild species has priority, even when that subspecies was described after the domestic subspecies. This means that the proper scientific name for the donkey is Equus africanus asinus when it is considered a subspecies, and Equus asinus when it is considered a species. At one time, the synonym ass was the more common term for the donkey. The first recorded use of donkey was in either 1784 or 1785. While the word ass has cognates in most other Indo-European languages, donkey is an etymologically obscure word for which no credible cognate has been identified. Hypotheses on its derivation include the following:- Perhaps from Spanish, for its don-like gravity; the donkey was also known as "the King of Spain's trumpeter" Perhaps a diminutive of dun (dull grayish-brown), a typical donkey colour. Perhaps from the name Duncan. Perhaps of imitative origin. From the 18th century, donkey gradually replaced ass, and jenny replaced she-ass, which is now considered archaic. The change may have come about through a tendency to avoid pejorative terms in speech, and be comparable to the substitution in North American English of rooster for cock, or that of rabbit for coney, which was formerly homophonic with cunny. By the end of the 17th century, changes in pronunciation of both ass and arse had caused them to become homophones. Other words used for the ass in English from this time include cuddy in Scotland, neddy in southwest England and dicky in the southeast; moke is documented in the 19th century, and may be of Welsh or Gypsy origin. In the United States, the Spanish burro is used both specifically for the feral donkeys of Arizona, California and Nevada, and, west of the Mississippi, generically for any small or standard donkey. Donkeys vary considerably in size, depending on breed and management. The height at the withers ranges from 7.3 to 15.3 hands (31 to 63 inches, 79 to 160 cm), and the weight from 80 to 480 kg (180 to 1,060 lb). Working donkeys in the poorest countries have a life expectancy of 12 to 15 years; in more prosperous countries, they may have a lifespan of 30 to 50 years. Donkeys are adapted to marginal desert lands. Unlike wild and feral horses, wild donkeys in dry areas are solitary and do not form harems. Each adult donkey establishes a home range; breeding over a large area may be dominated by one jack. The loud call or bray of the donkey, which typically lasts for twenty seconds and can be heard for over three kilometres, may help keep in contact with other donkeys over the wide spaces of the desert. Donkeys have large ears, which may pick up more distant sounds, and may help cool the donkey's blood. Donkeys can defend themselves by biting, striking with the front hooves or kicking with the hind legs.

From Wikipedia, the free encyclopedia

Hook Head Lighthouse, Wexford.

The surrounding headland consists of carboniferous limestone. Relentlessly pounding seas have opened fissures in the bedrock, even under the lighthouse structure.

Built in the early thirteenth century it continues to serve its original function. It is believed to be one of the oldest operational lighthouses in the world. The tower stands four storeys high with walls up to 4 metres thick. The tower was constructed of local limestone and the original building survives almost intact. Standing 36 metres high, the tower consists of two tiers linked by as mural (within the wall) stairway of 115 steps. The first tier is 13m in diameter at the base and has three storeys, each consisting of a rib-vaulted chamber with original thirteenth century fireplace. In the thickness of the wall there are a number of small mural chambers, including two garderobes (toilets). The upper tier is 6m in diameter: originally it supported the fire beacon, which in later times was replaced by a lantern.

Not a great deal is known about the origins of this Plaque other than it does date from the very late 1930's

At first i considered such an item to have been on display at the Town Hall, but despite having the correct Coat of Arms for Manchester showing the 3 Rivers, the Latin wording "Concillio Et Labore" is missing, so it is anyone's guess!

The Shield measures 15cm in width, 18cm in height and 1cm in depth.

To the rear it is stamped into the wood "Made in Gt. Britain" along with a label on stating "Supplied by Kimptons, High Street, Newport, Mon".

There is further interest in that the Shield says Manchester United AFC not FC as this was the club's original crest until it was replaced in the 1970's.

Also this Shield spent over 50 years in the USA where it was given as a gift to a Lady who worked at BOAC[Airline] in 1940 and came back in 1990.

So despite what little is known How and Why it was produced the fact is it is quite a Unique item with much History even if there is mystery surround it's origins.

lego table & EXPEDIT

I collect....

"Any philatelic material that depicts a motorcycle, or part thereof, or name of manufacturer, where the make of motorcycle is recognizable as being of ITALIAN ORIGIN."

In this topic I collect.... "Stamps, mint and used, blocks, sheets, FDC, postally used covers, maximum cards, miniature-souvenir sheets, booklets, postal

stationery, cancellations, metermarks, proofs, stamp art work, artist signed items, poster stamps, errors, some postcards and other philatelic items"

If you have any items you think I might like please contact me at gavinnz@xtra.co.nz

If you are a motorcycle stamp collector then contact me as I have many items spare.

Gavin

Here are the 69 makes I have postal items for at November 2013....

AERMACCHI AGRATI ALIPRANDI APRILIA AQUILA ASTRA BENELLI BETA BIANCHI BIMOTA CAGIVA CAPRIONI CECCATO CIMATTI CM COMET CONTI DEVIL DONISELLI DUCATI FANTIC FERRARI (SF PROTOTYPE) FREJUS FRERA GALLONI GANNA GARELLI GHEZZI-BRIAN GILERA GLORIA G.R. IDROFLEX ISO ITALJET LAMBORGHINI (PROTOTYPE) LAMBRETTA LAVERDA LEGNANO MAGNI MAINO MALAGUTI MALANCA MAS MASERATI MILLER MINARELLI MI-VAL MONDIAL MORBIDELLI MORINI MOTOBI MOTO GUZZI MOTOM MV AGUSTA NCR OXYGEN PARILLA PIAGGIO PRINETTI & STUCCHI RUMI SERTUM SIMPLEX SWM TESTI TORPADO TURKHEIMER VESPA VILLA WOLSIT

Words to help like minded people find me.....

Motorcycle stamps Motorcycle stamp Motorbike stamp Motor Cycle stamp Vespa Stamp

Moto Francobollo poster stamps Motor bike stamps moto busta

collezionista di francobolli del motociclo

"Qualsiasi materiale filatelico che raffigura un motociclo, o parte di esso, o nome del produttore, dove la marca di moto è riconoscibile come di origine italiana".

In questo argomento raccogliere... "Francobolli, menta e usati, blocchi, lastre, FDC, postally usati coperture, carte massime, miniatura-foglietti, libretti, postale

Cancelleria, cancellazioni, metermarks, prove, opera d'arte di timbro, artista firmato articoli, poster francobolli, errori, alcune cartoline e altri articoli filatelici "

Built Ford tough: By 1925, Ford was building its first factory-produced domestic pickup truck -- the Ford Model T Runabout-- with a pickup body. Ford also offered a heavier-duty, one-ton-rated Model TT pickup-- akin to today's F-Series Super Duty. The Model T chassis was simple, strong and lightweight, with a unique three-point suspension that isolated the frame and power-train from road shock that would cause other less sophisticated chassis designs to flex under heavy loads.

Look at that thing go! The Model T's original engines offered flexibility and boasted 20 horsepower, with a top speed of 72 kilometres an hour. The front-mounted, 2.9-litre four-cylinder flex-fuel engine was the first single-block motor with a removable cylinder head. It remains the basis for most modern engines. The engine could be matched to one of nine T body styles, all built on the same chassis.

The Touring, Roadster, Fordor, Coupe and Sedan were just some of the options. The Model T set the groundwork for modern cars that share the same chassis but are completely different from each other.

Tin Lizzie, a pop culture icon: Soon after the Model T appeared in dealer showrooms, it started appearing in movies and songs and became part of modern culture. The Model T was featured in 1920s black-and-white comedies and became the subject of jokes and cartoons. Hundreds of songs and even entire albums were created as the Model T became part of pop culture, later generating dozens of nicknames for the car. The most common -- Tin Lizzie -- had several possible origins ranging from the popularity of the female name Lizzie during that period to a famous Model T race car named Old Liz.

The car of the century: The Model T was the best-selling vehicle ever until 1972, when Volkswagen's Beetle surpassed it. More than 15 million Model Ts were sold by May 26, 1927, when a ceremony marked the formal end of Model T production.

Family as metaphor/origin

The family metaphor provides the identity of my origin, because the metaphor contains the origin.

It is not the origin but contains the remnants, characteristics and information about the origin.

By metaphor, it is the link to the origin without being the origin.

It prevails over time and space, but links me to a past and potential future containing the seeds and essence of the genetic, generic and DNA birth. It is worldly valid.

The metaphor tests and confirms physical, psychological, inherited and environmental effects of the same blood, similar environment, common parents, grandparents and ancestors, while environmental contexts tells us something about ourselves and reflects our persona. Family gives us clues to our own genetic, blood and behavior code.

It is a metaphor about which we are innately curious; seduced to assimilate and know the metaphor in a way we cannot know other metaphors. It defines the way we will know other metaphors because it so primary an experience. It by this experience, the experience of knowing our family that we authenticate our experience of not only who we are by our first name but what we are; so, that we can become who we are by overwhelming our shortcomings and developing our strengths with both new and learned behaviors and spiritual rebirth.

Family; culture; relationship seeking nature; cataclysmic change

Vincent Scully, one of my former Yale professors, once described the American cultural distinctive, regarding its treatment of artistic movements, neighborhoods, landmarks and institutions as “cataclysmic,” by which he meant a violent upheaval that causes great destruction that brings about a fundamental change. In any case, it is this that triggers anomie and alienation and the end for most of the displaced persons of this world.

I liken his descriptive label to the way my father and mother shrugged off their cultural heritage for that of the context in which they were raised.

My father adopted Harlem, my mother the Brooklyn Navy Yard neighborhood, . While Christina adopted America as her home of preference, she never lost her love and view of all things through a German perspective.

I did the same as my parents insofar as they took on their environmental context, but kept some of their family cultural vocabulary and trimmings. The distinctive characteristic they wore on their sleeve was not Rhodes, Romania or Poland, but the U.S.A. Their personality was American.

Christina is remarkably different. Christina carries her Germanic language and cultural. However, she, too, has adapted to America’s normative with joy. However convenient and functional, she still maintains her German citizenship and has not become an American. She is in every way a European. In this way, she and I have a great deal in common. It is the basis of my love of radio and music. It is that neither of us really believed our parents did not love us very deeply, nor we had to do something to relate. In my case, I learned my father’s and mother’s love of music, special words and dress. In reflection, I believe that I memorized the music and words in order to win favor and contact with them. Later, I just extended this modus-operendi to others. It became a relationship tool, a way to meet and converse. Christina believes that for whatever reason, European composers, writers, actors and movie producers so prolific in my childhood shaped my personality. It was to them that I escaped, learned, and found advantage and benefit.

When I visit, recall and perceive metaphors about my origin, I see past the metaphor and link to what the metaphor recalls. Photographs, smells, sounds, words, persons and references bring the origin to the present and the present to the origin. My identity, which was isolated and connected spatially, is grounded and linked to its mortal and physical beginnings. Likewise, too, when I recall my spiritual origin, my physical context vanishes and is replaced with an unseen and holy context. This context is made real by the Bible’s words, to my mind reasoning the reality of my spiritual being.

However, there was a rift between my father's family and the others. My mother would discuss this between Rose, Helen, Sylvia and even Pauline. They complained that my father's family family was rude, laughed too much, and were uneducated and liked nightclubs and raucous living. I believe they were “spooked” by the authenticity of my father's parent's language, illiteracy, cuisine, nationality, culture, dress code and national peculiarities and friends. It was very intimidating to people trying to be American and fit in with America’s emerging cardboard modernism. Later, I was to see this between westerners who married Arabs. Their metaphors were inherently incompatible and as they tolerated and made do, so does Christina with me via her European German culture to my different ways.

© Sophie Mutevelian www.sophiemutevelian.com/

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