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Origin by Evan Ducharme #EDORIGIN
Date: 04/29/16
Venue: SPACE 552 Clarke Dr, Vancouver
Photos: Ed Ng Photography
Sponsors: #wilhelmina; #labiosthetique; #labiosthetiqueparis; #familymanagement; #PortmanteauStereoCo; #hivemindmillinery; #hoyne; #hoynebrewingco
Thought I'd explain the origins of my Icon (now photoshopped a little):
1.My nic name (shaggy) as I look like shaggy from scobby Doo with chin growth after a few unshaven days and its 'ginger' like me (stop laughing)..
2. Its graffiti on a wall somewhere in my home town centre "It wasn't me" (Shaggy song :) ) so its kinda cool, and cools good right.
3. It gives me some anonymity as my 'fiss-ogg' (face) is not seen, although I'm in my stream if you look hard enough.
4. Nice to think there are other shaggys around my town maybe a bit more street than myself but hay...... thats cool too..
5. Like to think I lead a 'pop star' life style just like the reggae star 'shaggy' cars, homes, women, but back to reality I live in Macc !!
Il lavoro nei campi di Ercole Drei. L’opera, destinata in origine a ornare l’edificio della Mostra dell’Agricoltura e Bonifiche, fu concepita ed eseguita in gran parte fra il 1940 e il 1942. Solo nel 1962, dopo la sistemazione del parco, la stele venne conclusa e collocata nell’attuale sede. Nella parte frontale sono scolpite figure dedite allo svolgimento di attività agricole (mietitura del grano, raccolta delle olive, vendemmia, semina, mungitura, aratura) e di attività artigianali. Nella parte inferiore è la fontana, costituita da una grande vasca rettangolare alimentata da quattro bocchette in bronzo. Sul retro sono raffigurati i dodici segni zodiacali e le quattro stagioni, mentre nella parte inferiore è inciso un verso di Orazio in cui si esalta la bellezza della vita agreste: TU NIDUM SERVAS EGO LAUDO RURIS AMOENI / RIVOS ET MUSCO CIRCUMLITA SAXA NEMUSQUE (Ep. I). Ercole Drei dimostra uno stile perfettamente aderente alle principali istanze della scultura italiana fra le due guerre, privo di intellettualismi, pienamente figurativo, con un senso saldo delle masse e dei volumi semplificati.
Parco del Turismo - E.U.R. - Roma, Rome - Italy.
La Basilique du Saint-Sang de Bruges (en néerlandais : Heilig-Bloedbasiliek) est une basilique catholique, située à Bruges en Belgique.
À l'origine, il y avait une chapelle dédiée à Saint-Basile, de style roman, érigée au début du XIIe siècle. Au cours du même siècle, elle fut construite selon le souhait du comte de Flandre d'alors, Thierry d'Alsace, qui avait ramené la relique du Saint Sang car retrouvée en Terre Sainte lors de la deuxième croisade. Cette relique est donc conservée en ces lieux depuis 1150. Par la suite, l'édifice a été remanié plusieurs fois, comme le montre le style transitoire de sa façade gothique et renaissance.
Au rez-de-chaussée, la chapelle Saint-Basile, ou chapelle basse, a gardé son style roman et ses imposants piliers de forme cylindrique. Elle contient un bas-relief, datant grosso modo de 1300, qui représente le baptême du Christ ainsi qu'une Vierge en bois polychrome.
Hormis une crypte romane du xiie siècle, la basilique est continuée par un bel escalier à spirale de 1530 permettant l'accès à la chapelle du Saint-Sang (puisque se trouvant à l'étage), de style gothique et datant de 1480. Celle-ci était aussi d'origine romane avant d'être transformée; elle permet de découvrir la relique du Saint Sang.
Lors de chaque dernier dimanche du mois, est célébrée une messe en latin selon le rite tridentin (aussi appelé Forme extraordinaire du rite romain) par des prêtres de la Fraternité sacerdotale Saint-Pierre.
Dans la chapelle du Saint-Sang se trouvent aussi une chaire de vérité de 1728 et des peintures murales du XIXe siècle.
La châsse du Saint-Sang (elle-même élaborée en 1617), des habits religieux et des peintures sont exposés dans le musée attenant à la basilique.
- Traitement photo normal cette fois-ci aucun traitement noir et blanc et aucunes photos avec effets en HDR (High dynamic range) n'ont été réalisées.
Found on Odori in Morioka. I would love to take her on a picnic in the countryside and get her to pose against a backdrop of mountains and trees whilst gazing at the reflections in her eyes . . .
All right, that's it, I'm checking myself into a hospital now!
Photo Archive/2014/04-April/Origins-GreatDebate
Celebrate five years of intellectual stimulation and excitement with the Origins Project at Great Debate Transcending Our Origins: Violence, Humanity, and the Future.
The first panel of the evening, The Origins of Violence, will feature scholars and writers Steven Pinker, Richard Wrangham, Erica Chenoweth, Adrian Raine, John Mueller and Sarah Mathew discussing the development of violence from the brain to world wars.
The second panel, The Future: From Medicine and Synthetic Biology to Machine Intelligence, will feature scientists and notable experts Richard Dawkins, Craig Venter, Kim Stanley Robinson, Esther Dyson, Eric Horvitz, George Poste and Randolph Nesse discussing the future of new biomedical and robotic technologies and their impact on humanity. The evening will be moderated by Lawrence Krauss.
Top experts will convey their astronomical knowledge to novices, intermediate students and advanced practitioners, and elaborate on what humankind now knows about the universe. Jerry T. Bonell (US) of the NASA Goddard Space Flight Center will explain the “hot universe” that is brimming with high-energy insights. Scientists of the European Southern Observatory in Chile, on the other hand, will introduce us to the “cold universe”. The visible portion of the cosmos will be explained by Dietmar Hager (AT), an astrophotographer who’s certainly the right man for this job.
picture showing from left to right: Dietmar Hager (AT), Jerry T. Bonell (US), Diethard Schwarzmayr.
credit: rubra
North aisle window by Hardman c1880.
St John the Baptist's church at Armitage is a very ancient building in origin, but most of what we see today is the result of later rebuilding, the west tower dating from 1632 and the remainder of the church being Victorian work, the nave and aisles having been rebuilt in Neo-Norman style in 1844. Echoes of the original Norman church can be seen in the south doorway within the porch which has a striking array of bestial head carvings surrounding the arch, but all looking thoroughly restored (original elements are said to be reused in the churchyard cross which I frustratingly neglected to photograph, but these actually look no earlier than the carvings surrounding the door).
Within the church is rather dark owing to the heavier Neo-Norman design and an abundance of Victorian stained glass. The nave arcades however are handsome and the bold carved detailing manages to emerge from the gloom. Some of the Victorian glass is rather good, with a few major studios represented. The foremost item of interest here however is revealed immediately upon entry via the south door, a fascinating early Norman font adorned with a series of carved figures in relief set in pairs under round-headed arches. The carving is quite naive but this simply adds to its ancient charm.
I found Armitage church refreshingly open and welcoming, a few locals did come in during my visit for a meeting in the adjoining parish room but they made me welcome and appreciated my interest in the font and the glass.
Can anyone shed light on the origins of the orange and grey boats. Am I correct in thinking they are ships lifeboats. Seen at Newhaven, East Sussex on June 11th 2020.
I accept that we were 'hell'. I understand this as an extension of Sartre's "Hell is other people".
John: Nice shirt.
Ruin: I hardly remember childhood but I remember loving this shirt. It came from America! We loved everything American then, in Ireland.
I had inscrutable eyes. I didn't realise that I was culturally appropriating at the time. I appear to be taking on Max Von Sydow's eyes from his Chinese impression (as Ming the Merciless). I apologise profusely.
John: Cultural appropriation is indeed a tricky one. If it really matters to you, would you continue to speak the language, wear the clothes, live in whichever European country enslaved/exploited the country of your origins? Surely accepting and valuing each other is superior to separatism? Much of the best of rock and roll is a superb blending of African and European roots. Much non European art of the last century and beyond adopts the style of the oppressor. Most European countries were developed by a combination of exploitation of the natives, colonial wars and immigration. Culture cannot be frozen forever at an arbitrary time of supposed purity, whoever you are. Is that not one one step from Hawaiian women performing sexy hula dances in grass skirts for semi drunk foreign hotel guests?
Ruin: and of course, all art is theft. It's strange to come from the only country in Europe, other than Finland, which had no history at all of colonialism (at least in recorded history, but who really knows?), and then be expected to take on Colonial guilt. I see this new cocktail as some awful combination of colonial guilt with neo-puritanism, we seem to be a few steps away from the Pol Pot solution. I read today that George Bernard Shaw is to be 'cancelled'. We have to throw out his anti-war treatise in 'Major Barbara' apparently. There is a burgeoning 'baby and bathwater' situation brewing here. Thankfully I will not live to see the full reverberations generated by 'Wokeness'.
Without transgression art dies. I think we have seen that pretty clearly already. Self-censorship destroys creativity. I suspect the world might be waiting for a 'Hero'. That does not bode well.
Maybe 'arts dies' is a little premature, maybe it just moves somewhere else again, China for example.
John: Artists may need a clearly defined opposition for the best sparks.
A lot happened under Thatcher and Reagan for instance.
Russia and China house great talent.
Ruin: Yes, it is fascinating to watch Chinese artists emerge. Indian too I suspect. I haven't really studied the Russian art scene emergence.
RARA 2023. Roma - "La Demolizione del Palazzo Caffarelli sul Campidoglio gia` sede dell' Ambascita di Germania a Roma"; in: L'Ill. ITAL. ANNO XLVI - No. 3 (19/01/1919) & L'Ill. ITAL. ANNO XLVI - No. 40 (05/10/1919). S.v., Alberto Danti, Musei Capitolini (26/10/2018) & Anche: Paola Mazzei (2019/2022). wp.me/pbMWvy-3B7
Foto: ROMA, 2017-18 – il centro antico, storico e moderno: Veduta del colle Capitolino / Campidoglio (sinistra); i Fori Romano e Imperiale (al centro) e il fitto tessuto urbano del quartiere Ronti Monti (in alto al centro); in: RARA 2022 (10/2018).
www.flickr.com/photos/imperial_fora_of_rome/52614492174
1). ROMA - "Il Campidoglio e l'invadenza Germanica" & "Planimetria dell colle Capitolino"; in: L'Ill. ITAL. ANNO XLVI - No. 3 (19/01/1919): 66 -67.
Foto: 1a = ROMA – “Il Campidoglio e l’invadenza Germanica” & “Planimetria dell colle Capitolino”; in: L’Ill. ITAL. ANNO XLVI – No. 3 (19/01/1919): 66 -67.
www.flickr.com/photos/imperial_fora_of_rome/52614232841
Foto: 1b = ROMA – “Il Campidoglio e l’invadenza Germanica” & “Planimetria dell colle Capitolino”; in: L’Ill. ITAL. ANNO XLVI – No. 3 (19/01/1919): 66 -67.
www.flickr.com/photos/imperial_fora_of_rome/52614720538
Foto: ROMA - Il Catasto urbano di Roma (1819-24 [aggiornato con = rett. 9 / Vecchio Catasto Edilizio Urbano, 1890-91?]. Anche: Monumento a Vittorio Emanuele II (Vittoriano); in: Il Catasto urbano di Roma (1819-24 [aggiornato con = rett. 1 / Vecchio Catasto Edilizio Urbano, 1890-91?]. Fonte: “IMAGO” di ARCHIVIO di STATO di Roma: Progetto Imago I (06/12/2022); in: RARA (06/12/2022).
www.flickr.com/photos/imperial_fora_of_rome/52614508489
2). ROMA - "La Demolizione del Palazzo Caffarelli sul Campidoglio gia` sede dell' Ambascita di Germania a Roma"; in: L'Ill. ITAL. ANNO XLVI - No. 40 (05/10/1919): 350-353.
Foto 1c = ROMA – “La Demolizione del Palazzo Caffarelli sul Campidoglio gia` sede dell’ Ambascita di Germania a Roma”; in: L’Ill. ITAL. ANNO XLVI – No. 40 (05/10/1919): 350-353.
www.flickr.com/photos/imperial_fora_of_rome/52614720568
Foto 1d = ROMA – “La Demolizione del Palazzo Caffarelli sul Campidoglio gia` sede dell’ Ambascita di Germania a Roma”; in: L’Ill. ITAL. ANNO XLVI – No. 40 (05/10/1919): 350-353.
www.flickr.com/photos/imperial_fora_of_rome/52614720588
Foto 1e = ROMA – “La Demolizione del Palazzo Caffarelli sul Campidoglio gia` sede dell’ Ambascita di Germania a Roma”; in: L’Ill. ITAL. ANNO XLVI – No. 40 (05/10/1919): 350-353.
www.flickr.com/photos/imperial_fora_of_rome/52614662720
Foto: Roma, Campidoglio (1919) planimetria archeologica | Scala: 1:500; in: ex-Archivio Storico SS-COL / Online (05/2017); in: RARA 2022 (06/2017).
www.flickr.com/photos/imperial_fora_of_rome/52614732933
3). ROMA - Alberto Danti (Relatore), "I Prussiani in Campidoglio e il nuovo ruolo di Roma Capitale: dalla visione mitica a cuore pulsante d’Italia" / Conferenza - Comune di Roma: Musei Capitolini (26/10/2018).
L’inizio del XIX secolo è un momento decisivo per la storia urbanistica del Campidoglio, che coincide con l’arrivo dei Prussiani; grazie all’apporto dell’Ambasciatore Karl Bunsen, essi entrano in possesso di tutte le proprietà presenti sul Capitolium, realizzando inoltre nuovi edifici come la sede dell’Istituto Archeologico Germanico. Con l’avvento di Roma Capitale e la cacciata dei tedeschi alla fine della I Guerra Mondiale, il Campidoglio assunse una nuova valenza simbolica a favore della Nazione intera. Si pensò infatti di stabilire sul Colle la sede del Parlamento: si avviarono lavori per scoprire le vestigia del Tempio di Giove e si progettò la realizzazione di un monumento a Dante Alighieri. E i fervori nazionalisti non si placarono con l’avvento del Fascismo, quando il Colle subì le demolizioni dei caseggiati che lo circondavano per far riemergere l’Immobile Saxum virgiliano, vanto dell’antica Acropoli della Città.
Fonte / source:
--- Comune di Roma: Musei Capitolini (26/10/2018 [07/01/2023]).
www.museicapitolini.org/it/mostra-evento/i-prussiani-camp...
Foto: ROMA – Alberto Danti, “I Prussiani in Campidoglio”; in: Claudio Parisi Presicce ( a cura di), ‘Campidoglio, mito, memoria, archeologia. Comune di Roma (2016): 61-79 (in: PDF).
www.flickr.com/photos/imperial_fora_of_rome/52614662745
3.1). ROMA - Alberto Danti, "I Prussiani in Campidoglio"; in: Claudio Parisi Presicce ( a cura di), 'Campidoglio, mito, memoria, archeologia. Comune di Roma (2016): 61-79 (in: PDF).
Fonte / source:
--- Alberto Danti / Academia.edu. (01/2023).
www.academia.edu/32701229/I_Prussiani_in_Campidoglio_in_C...
3.2). ROMA - Alberto Danti, "I prussiani in Campidoglio e il nuovo ruolo di Roma Capitale:
dalla visione mitica a cuore pulsante d’Italia"; in: Alberto Danti (a cura di / et al.), Il Campidoglio da riscoprire. Comune di Roma: Gangemi Editore (2018): 33-47 (in PDF).
Fonte / Source:
--- Alberto Danti / Academia.edu. (01/2023).
www.academia.edu/39684339/Il_Campidoglio_da_riscoprire_IN...
Foto: ROMA – Paola Mazzei, “Analemmata/Substructiones Capitolii e fortificazioni urbane: dall’età dei re alle mura repubblicane”, in: XVII International Congress of Classical Archaeology, Rome, 22nd – 26th September 2008 POSTER SESSIONS GIANICOLO 23 Settembre 2008 – La carta è una variante tematica e parziale della carta archeologica del Campidoglio all’epoca ancora in una fase di elaborazione; in: RARA 2022 (05/2015).
www.flickr.com/photos/imperial_fora_of_rome/52614732613
4). ROMA - Paola Mazzei, Il Campidoglio. Dalle origini alla fine dell'antichità. Tomo I; Bullettino della Commissione Archeologica Comunale di Roma. Supplementi, 26 (2019): 1-930.
--- Paola Mazzei, Il Campidoglio. Dalle origini alla fine dell'antichità. Tomo I; Bullettino della Commissione Archeologica Comunale di Roma. Supplementi, 26 (2019): 1-930.
--- Paola Mazzei, Il Campidoglio. Dalle origini alla fine dell'antichità. Tomo I; Bullettino della Commissione Archeologica Comunale di Roma. Supplementi, 27 (2022): 1-500.
The second volume of this work is divided into two parts: in the first, the presentation of the documentary datasheets of the new archaeological map of the Capitoline Hill, to which the first volume was already dedicated, continues and concludes; the datasheets of this second volume are all relevant to the second chronological macrophase (from the late Republic to the end of antiquity). In the second part there are instead some thematic chapters, dedicated to questions of interpretation, with a monographic cut and more or less extended according to the object to which they refer. Many parts of the second volume will be dedicated to a critique of historiographical sources, essential to read the archaeological object in a historical perspective. The volume brings critical updates on the bibliographical novelties of the decade between the conclusion of this research and the year of edition: therefore, all contributions whose contents, both of field research and theoretical reflection, have brought documentary novelties or new interpretative cues will be examined.
Fonte / source:
--- Paola Mazzei / Academia.edu. (01/2022).
uniroma1.academia.edu/PaolaMazzei
S.v.,
Foto: Campidoglio. Mito, memoria, archeologia – Le trasformazioni urbanistiche del Campidoglio. Roma: Musei Capitolini (2016).
www.flickr.com/photos/imperial_fora_of_rome/51560733085
--- ROMA ARCHEOLOGICA & RESTAURO ARCHITETTURA 2021. Campidoglio. Mito, memoria, archeologia – Le trasformazioni urbanistiche del Campidoglio. Roma: Musei Capitolini (2016): 1-283 (in PDF) [07/10/2021]. wp.me/pbMWvy-211
A l'origine c'était un château du 13ème siècle, abandonné en 1417.
En 1505, l'évêque Mathieu Schiner mandata Ulrich Ruffiner pour y construire une église.
Les travaux prirent une bonne dizaine d'années et l'église fut consacrée en 1514.
Le magnifique édifice gothique fut rénové en 1923.
Maitre-autel néo-gothique avec tableau, 1861 par F. Fleischmann.
Grand crucifix avec la Vierge et St-Jean de 1510.
Au cimetière, tombe de Rainer-Maria Rilke en 1926.
Montgomery County Fire Investigators have determined the origin of this afternoon’s fatal fire in the 15700 block of Interlachen Drive in Silver Spring and are releasing the name of the victim who perished in the fire. Units from Montgomery County Fire and Rescue were dispatched about 12:20 p.m. to a residential high-rise building located in the Leisure World community for the report of a building fire.
Montgomery County Fire Investigators were dispatched to the scene and have determined that the fire originated in the enclosed balcony/sunroom area of a 9th floor unit. Fire sprinklers activated in the unit and kept the fire from extending more significantly in the building.
Investigators have released the name of the deceased victim, Debra Yuhas Lee, age 63. There were no reported injuries to firefighters or civilians. The cause of the fire remains under investigation and is listed as undetermined at this time. Damage estimates were $150,000.
Photo Archive/2014/04-April/Origins-GreatDebate
Celebrate five years of intellectual stimulation and excitement with the Origins Project at Great Debate Transcending Our Origins: Violence, Humanity, and the Future.
The first panel of the evening, The Origins of Violence, will feature scholars and writers Steven Pinker, Richard Wrangham, Erica Chenoweth, Adrian Raine, John Mueller and Sarah Mathew discussing the development of violence from the brain to world wars.
The second panel, The Future: From Medicine and Synthetic Biology to Machine Intelligence, will feature scientists and notable experts Richard Dawkins, Craig Venter, Kim Stanley Robinson, Esther Dyson, Eric Horvitz, George Poste and Randolph Nesse discussing the future of new biomedical and robotic technologies and their impact on humanity. The evening will be moderated by Lawrence Krauss.
The origin of this name is obscure. It could be pertinent to fishing, or maybe Fisher was a one time owner. Various theories have been put forward. Whatever the answer they are an excellent group of early 19c weatherboard cottages, and stand alongside the river just upstream from Mitcham Bridge on the Mitcham-Sutton Road. How they have escaped the attention of vandals I do not know, apart from the fact that they are on private property. They have of course been repaired and partly renovated from time to time and I believe they are now in the hands of the National Trust, in which case they will be well looked after.
L’église Saint Nicolas est à l’origine une simple chapelle dépendant de la puissante abbaye bénédictine toute proche (fondée en 639 au lieu dit le Fossé).
C’est un édifice du XI° siècle (probablement), fort simple, dédiée au patron des mariniers (ce qui s’explique par le rôle important de la Marne comme voie d’eau).
Au XIII° siècle, en raison du développement de l’habitat proche de l’abbaye, Guillaume d’Auvergne, évêque de Paris (1228-1249), érige la chapelle en paroisse pour les habitants du village de Saint-Maur.
Style gothique, consacrée au patron des mariniers.
paroisses-snsmf.cef.fr/paroisses-snsmf/rubrique3.php?iden...
L’agrandissement oriental (chœur et collatéral sud de trois travées de style gothique rayonnant) est lié à cet évènement. Il est attribué à Nicolas, abbé de 1238 à 1246.
La nouvelle paroisse restera desservie par les moines de l’abbaye jusqu’à la sécularisation de celle-ci au XVI° siècle.
L’église subira quelques transformations au cours des deux derniers siècles :
1827 : suppression d’une galerie à arcatures prolongeant le porche d’entrée sur le flanc sud de l’église afin de donner un bas-côté à la nef.
1890 : réfection énergique (et modification du couronnement du clocher dont le caractère roman est maintenu.
1931 ; réfection totale de la nef couverte en berceau d’une voûte au dessus de laquelle se trouve une remarquable charpente du XIII° siècle (cette opération de sécurité a enlevé tout caractère à cette nef dont les parties les plus anciennes étaient considérées comme romanes.
Masters of the Universe line. Made by Mattel in 2025.
The Origins series which are designed like the original action figures . But with more articulation than the original figures.
Inspired from the original concept art.
One of the things I like about the Origins line is they go all out on the art work !
I just don't have the space to store all the packages they
come in. So the next best thing is to take pictures to save for posterity ....
Most of the Concept designs for the characters I like too, of course. So I like that Mattel is doing figures based on the original or concept ideas .
Mattel has taken He-Man & the Masters of the Universe characters into many different scales and lines.
I like a lot of them. But for cost and storage reasons,
I can't collect them all.
But the Origins line gets me !
The same style as the original figures.
But with more articulation. Yes !
Nico: oo, so THIS is where Señor Domo came from!
me: mmhm. Maybe you should introduce him to your new flickr friends.
Nico: Maybe tomorrow. He needs a bath.
While going through some old boxes I found these pieces of rocks and glass. They were originally going to be used for jewelry.
L’Hermione est un navire de guerre français en service de 1779 à 1793. C'est une frégate de 12 (en référence au calibre de ses canons) portant 26 canons de 12 livres et 6 canons supplémentaires de 6 livres. En jargon naval on la dénomme « frégate de 26 canons », bien qu'à l'origine elle en ait porté 34. Elle fait partie des frégates de la classe Concorde, construites à partir de 1777 à l'arsenal de Rochefort.
Elle est connue pour avoir conduit pour sa deuxième traversée le marquis de La Fayette aux États-Unis en 1780, lui permettant de rejoindre les insurgés américains en lutte pour leur indépendance.
C'est la seconde frégate portant ce nom mythologique dans la Marine française. Une troisième Hermione est construite sous le Premier Empire à l'arsenal de Lorient par la société des frères Crucy.
L’Hermione est mise en chantier en 1778 à l'arsenal de Rochefort sur les plans d'Henri Chevillard, dit Chevillard Aîné. On est alors en pleine guerre d'indépendance américaine et les chantiers navals français, qui passent pour les meilleurs du monde[réf. nécessaire], fonctionnent à plein régime. La frégate est lancée en 1779, soit six mois après sa mise sur cale et est totalement achevée en à peine onze mois. Entre mai et décembre, le navire est testé avec succès dans le golfe de Gascogne sous le commandement du jeune lieutenant de vaisseau Louis-René-Madeleine de Latouche-Tréville (futur vice-amiral et commandant en chef de la marine de Napoléon). L’Hermione réalise alors une brillante campagne au large des côtes françaises, capturant avec audace plusieurs corsaires anglais et de nombreux navires marchands. Cinq jours avant son combat contre le HMS Québec, la Surveillante est sortie avec l'Hermione et d'autres navires espagnols pour accueillir la grande flotte franco-espagnole revenant de Saint-Domingue dont une petite partie allait rejoindre Brest.
La Fayette embarque du port de Pauillac sur le navire La Victoire (un monument commémore son départ) le 25 mars 1777 et met les voiles vers le port espagnol de Pasajes, non loin de Saint-Sébastien, pour y charger fusils et munitions. Après une traversée de 54 jours, il débarque près de Georgetown en Caroline du Sud. Blessé lors de la bataille de Brandywine, il retourne en France en février 1779. Il repart ensuite avec l'Hermione en 1780 et débarque à Boston pour annoncer l'envoi de renforts français au général Washington. L’Hermione appareille le 2 juin ; elle combat la frégate britannique Iris et subit d'importants dommages. En mai 1781, la frégate reçoit le jeune Congrès américain à son bord. Le 21 juillet 1781, elle combat à plusieurs reprises et avec succès aux côtés du vaisseau l’Astrée commandé par Jean-François de La Pérouse. L’Hermione est elle-même toujours commandée à cette époque par Latouche-Tréville (cf. combat du 21 juillet 1781).
En février 1782, alors que la guerre bascule en faveur des insurgés américains que Louis XVI soutient, la frégate regagne la France. Elle accompagne alors une flottille en direction de l'océan Indien pour renforcer l'escadre de Pierre André de Suffren dans le conflit avec les Britanniques pour le contrôle du golfe de Bengale. La paix est cependant rapidement signée et le navire retourne à Rochefort en avril 1784.
En 1793, la France révolutionnaire se mobilise, à force de levées en masse, pour faire face à la Première Coalition, tandis que l'Ouest du pays s'embrase. La guerre de Vendée bat son plein avec ses atrocités, vidant les ports de marins et d'officiers, devenus hostiles à la Convention. L’Hermione, amarrée à Nantes, reprend du service contre l'Angleterre, ennemie jurée de la France révolutionnaire après l'exécution du roi. Placée sous le commandement du récemment promu capitaine de vaisseau (et futur amiral) Pierre Martin, elle s’empare d’un corsaire puis est postée durant trois mois dans l’embouchure de la Loire pour appuyer les troupes républicaines contre les Vendéens. Le IVe jour complémentaire de l'an I de la République (20 septembre 1793), commandée par un équipage peu expérimenté, à peine sortie de l'estuaire de la Loire et par la faute d’un pilote local, la frégate sombre sur des rochers au large du Croisic, sur le plateau du Four. Une campagne de fouilles archéologiques, entreprise au cours de l'été 2005, permet de récupérer plusieurs objets, dont une partie du gouvernail, et de remonter l'ancre de quatre mètres de long et d'un poids d'une tonne et demie.
L’Hermione est une frégate ; c'est un bâtiment plus léger et plus maniable qu'un vaisseau. Rattachée à une escadre, elle doit servir d'éclaireur, de répétiteur de signaux, ou bien doit assister les vaisseaux désemparés dans la bataille. Employée seule, elle est utilisée pour faire des croisières et la guerre au commerce ennemi, ou, en temps de paix, pour effectuer diverses missions scientifiques ou d'exploration.
C'est un navire de 1 166 tonnes, avec une longueur de hors tout de 66 m, une largeur au maître-couple de 11,5 m et de 5,78 m de creux. Elle peut embarquer 316 hommes. Elle compte trois mâts et sa voilure de route couvre plus de 2 200 m2 lui permettant d'atteindre une vitesse maximale de 14,5 nœuds.
Durant les essais de la réplique et malgré une confortable marge de sécurité, elle atteint sans peine 13 nœuds à l'allure du petit largue, alors que les calculs prévoyaient seulement 12 nœuds. Il s'avère que la forme de la coque est bien plus efficace qu'estimée, ce qui explique des performances nettement supérieures aux unités britanniques comparables de l'époque (Les Britanniques ne maîtrisaient pas aussi bien l'architecture navale que Chevillard, ou Sané, en France[réf. nécessaire]).
Elle est armée de trente-quatre canons, dont vingt-six tirant des boulets de douze livres (d'où le terme de « frégate de 12 ») et huit canons de six livres sur les gaillards.
Elle dispose de trois ponts : le pont de gaillard, le pont de batterie et le faux-pont, ce dernier est sous le niveau de la mer et sous le pont principal. Le premier sert à la manœuvre, le second à l'artillerie ainsi qu'aux repas et le troisième au repos,
Teignmouth to ShaldonaThe Ferry Crossing can be traced back to 1296, but is probably much older, with origins in Saxon times. It has always been an important link and in those days saved a 14 mile journey to Shaldon and beyond, via Newton Abbot as the first bridge wasn’t built until 1827.
The Ferry now runs from the bottom of Lifeboat Lane in Teignmouth, but throughout its history has landed in several different places. For instance, during World War Two, The Ferry landing moved along the beach to Gales Hill, next to the present commercial docks, as the whole area around The Point was used by U.S. Forces for the repair and preparation of landing craft for D Day.
Black and white ‘gunports’ were added to the rowing boat ferries after the Napoleonic wars to make them look like ‘fearsome’ Men o’ War. This tradition continued with the advent of the first motor ferries nos. 1 & 2 in 1907-08.
When the first bridge was built around 1827 the ferry was then owned by the Shaldon Bridge Company until it was purchased by the local Council in the early 1950s.
Teignbridge District Council still retain the ‘rights to the crossing and own No.4 ferry, which was built in 1946. The service itself is run privately by a local company, the previous owners added the former Kings Lynn Ferry to the route, built around 1973 and now named ‘No.5’.
A visit the Teignmouth & Shaldon museum will tell you more about the Ferry and local history. Historic Ferry Teign Passenger Ferry
Connecticut USA
Origin of the Name Connecticut - The name Connecticut is from a Mohican/Algonquin Indian word "quonehtacut", which means "long tidal river."
State Nickname - Constitution State
State Motto - "Qui transtulit sustinet" - He Who Transplanted Still Sustains
State Song - Yankee Doodle
State bird - American Robin
State flower - Mountain laurel
State tree - White oak
For more information on visiting the state of Connecticut visit
3-Day Martha's Vineyard, Whale Watches, Plymouth Plantation Tour from New York
Tour Code: 455-1082
Fourth of July - Independence Day weekend holiday celebration
Visit:
Connecticut - drive through with welcome center stop
Martha's Vineyard Island Massachusetts
Martha's Vineyard Cruise
Aquinnah town Massachusetts
Gay Head Cliffs Massachusetts
Gay Head lighthouse Massachusetts
Edgartown Massachusetts
Whale Watch boat ride
Provincetown beach town in Cape Cod Massachusetts
Pilgrim Monument in Provincetown Cape Cod Massachusetts
Whydah Pirate Shipwreak Museum in Provincetown Cape Cod Massachusetts
Plymouth Massachusetts
Plimoth Plantation living history museum in Plymouth, Massachusetts
Mayflower II 17th-century Pilgrim ship
Plymouth Rock of 1620
For more information on the 3-Day Martha's Vineyard, Whale Watches, Plymouth Plantation Tour from New York visit:
www.taketours.com/new-york-ny/3-day-martha-s-vineyard-wha...
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Connecticut state, United States of America USA country, North America continent
July 6th 2014