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Sealing from Ur excavations.
Photo Leon legrain 1936.
www.amazon.com/Goddess-Lajja-Gauri-origins-Footsteps/dp/1...
origin: China
honeysuckle family
Real Jardín Botánico de Madrid ♦ Royal Botanic Garden, Madrid
DSCN9865
Here's a picture I took about a week ago of dandelions in a mown lawn near the southern parking lot of the York Woods Forest Preserve of DuPage County. (That's a lot of prepositions.) This isn't the most stunning picture I've ever taken of dandelions, but it illustrates a point.
Dandelions come in a variety of sizes, and sometimes they can grow very tall, but these specific guys are all sticking close to the ground. There's a reason for this, and it shows in the fact that the grass lawn here is fastidiously groomed by the Forest Preserve District lawn guys. The mower chops off the flower portions of tall dandelions before anybody has time to pollinate them, but the short guys sneak under the blades and last long enough to seed. More of those guys pass their short genes on to the next generation, so more of the next generation is short. Lawn dandelions get shorter with every generation, making this one of the most obvious places to see evolution in action. I was raised in a part of the country that doubts evolution -- and to be honest, a lot of those people these days make me wonder if we really have evolved past the caveman stage -- but here it is, Darwinism selecting away right there in the park.
"Say, Clint," you're probably not saying. "That's kind of a boring picture. You could have gotten a better shot of this if you'd put in a little more effort."
Well, friends, the truth is that I've slacked off a little on the photography thing since we got back from the Arizona trip. I had a backlog of Mud Season pictures to post, but I haven't done much in the mean time besides take a few flower pictures at York Woods, which I think I've over-represented here on the page. I don't know that this will change any time soon, as I've been distracted. You know how in every one of those milestone posts I talk about my word counts and say something like, "I could have written 53 novels if I'd done that instead." Well, I've gotten sucked into writing a novel in my basement, and have shifted away from the pictures even though it's spring and pretty outside. When I finish it (I don't have a timeline), it will be the seventh novel-length work I've written since I started writing in high school. Nobody has ever published any of them -- and to be fair, I think only the last couple have been good enough to justify publication. But maybe this one will work out better.
"Lädolar" is an impressive way for young people to see how interesting the crafts & trades can be. In 16 small, creatively designed containers on wheels, the artisans of tomorrow can experience the diversity of the crafts & trades and get acquainted with the many different materials, techniques and applications they entail.
Lädolar is a work by Werkraum Bregenzerwald (AT).
credit: rubra
Origin PC Genesis #124 ~ (2010) .... Origin updated in 2013 and 2017
2017 July upgrade -
Origin (huge) mid size case
90 degree inverted
Motherboard: ASUS Maximus IX Hero
Intel 7th Gen Intel Core Desktop Processor i7-7700K
Liquid Cooling
Origin Fans - Black
1.2 Kilowatt Thermaltake Toughpower
EVGA GeForce GTX 1080 Ti FOUNDERS EDITION, 11G-P4-6390, 11GB GDDR5X
16GB ORIGIN PC DDR4 Powered by Kingston 2666MHz
Hard Drive OS in Raid 1 - Samsung EVO 850 SSD - 500GB
Hard Drive Storage - 2TB Western Digital
Optical Drive One: 8X Blu-ray Disc (BD) Combo
Creative Sound Blaster PCI Express X-Fi Titanium
D-Link DWA-556 Xtreme N PCI Express Desktop Adapter (Internal)
Windows 10 PRO
----------------------------------------------------------
Plugable USB 3.0 - 10 port hub
RAZER Mako 2.1 Bi-amplified Multimedia Speaker System -
25-20KHz (+/-2.5dB 40-18,000Hz)
300 Watts RMS
ASUS PB278Q 27-Inch WQHD LED-lit PLS Professional Graphics Monitor
Razer Mamba 2017 mouse
Depot WPF branding agency redesigned the main chocolate brand in “Nestle Russia”'s portfolio. “Russia generous soul” keeps up with the times and changes together with its audience.
Under the brand “Russia generous soul” which is known almost to everyone in Russia a great variety of candies and chocolate bars with all kinds of flavors is produced – from traditional “Rossiyskiy/Russian” chocolate, which history goes back to 1974, to product ranges “With an open heart/S otkrytym serdcem” and “Favorite desserts/Lyubimye desserty” which have appeared recently.
The ambitious redesign project was initiated by “Nestle Russia” to draw the attention of younger audience to the “Russia generous soul” brand. The task of the agency was to renovate the brand making it more contemporary as well as keeping its recognizable features that represent strong national character of the brand.
“Generosity and soulfulness are the two main values which underlie the “Russia generous soul” brand since its foundation”, creative director Depot WPF Alexey Fadeev comments. – While working on renovation of the brand, we kept design elements that represent these features (and even provided some new) but added simplicity and dynamism. Therefore package design remained recognizable for conservative supporters of the brand and got closer to younger audience as well”.
As part of the project “Russia generous soul”'s logo has been renovated. The research showed that previous version of the logo started to be perceived by customers as old-fashioned, strict and even “pompous” – such definitions naturally didn't accord with the brand character. The version provided by Depot WPF kept the recognizability as well as became more friendly. Multicolored domes remind of the beauty of Russian architecture, happy holidays and bright positive emotions.
Россия - Щедрая Душа, Нестле, дизайн упаковки, редизайн, рестайлинг, ребрендинг, обновление ключевого кондитерского бренда Nestle, брендинговое агентство Depot WPF
While designing the package for chocolate bars the decision was made to reject the frames: it made the package design more “open”. The new elements that give the feeling of warmth and home cosiness appeared in the design. Dark chocolate is distinguished by moderate fashionable design with golden elements. The design of milk chocolate is combined with a milky wave and a jug with delicious “milky splashes”.
“Product groups became larger and more attractive. The images of the ingredients on the package emphasize natural origin and high quality of the product, the creation of which from selection of the best cocoa beans to a finished chocolate bar is implemented at our full cycle confectionery plant in Samara”, – director of confectionery business of “Nestle Russia” Bruno Emmenegger points out.
Besides this, the navigation for numerous umbrella brands, products and flavors of chocolate was elaborated. In general new design meets all modern trends of its category in mass price segment and at the same time represents bright and original character of “Russia generous soul” brand.
The production in new design is already appearing in stores all over Russia. The two principal values of “Russia generous soul” brand, generosity and soulfulness, are reflected in a wide product range that consists of dozens of items. In collection there are dark chocolate “Rossiyskiy/Russian”, milk chocolate with different flavors for those who like classical combinations – “coffee and milk”, “hazelnut and raisins”, “caramel and peanuts”, as well as specific bars of “Favorite desserts/Lyubimye desserty” product range that are inspired by known since childhood taste of “Kievskiy” and “Orekhoviy” cakes.
The church owes it origins to the Cambridge Camden Society (from 1845, the Ecclesiological Society) founded in 1839 with the aim of reviving historically authentic Anglican worship through architecture. Its influence was substantial, and by 1843 its 700 members included the Archbishop of Canterbury. Its monthly magazine, The Ecclesiologist, reviewed new churches and assessed their architectural and liturgical significance.
In 1841, the society announced a plan to build a 'Model Church on a large and splendid scale' which would embody important tenets of the Society.
The project was supervised, and largely sponsored on behalf of the society, by Alexander Beresford-Hope, later MP and son-in-law of the Marquis of Salisbury, who chose the architect William Butterfield (1814-1900) to undertake the project.
[http://www.allsaintsmargaretstreet.org.uk/"]
Pertenezco a una tribu que, desde siempre, vive como nómada en un desierto del tamaño del mundo. Nuestros países son oasis de los que nos vamos cuando se seca el manantial, nuestras casas son tiendas vestidas de piedra; nuestras nacionalidades dependen de fechas y de barcos.
Lo único que nos vincula, por encima de las generaciones, por encima de los mares, por encima de la Babel de las lenguas, es el murmullo de un apellido.
"Origines". Amin Maalouf, escritor libanés
IL viaggio di Nur nel belly tempo è un progetto che si propone di rappresentare attraverso la danza orientale , un ipotetico viaggio nel tempo, naturalmente a passo di Danza Orientale. Lo spettacolo proposto ideato e coreografo da Maria Vittoria Gabriele , maestra di danza orientale , coreografica e giudice federale F.I.D.S, insieme alla sua compagnia delle Figlie di Nur e Re quinto e ad altre danzatrici
©Photo webtvstudios www.facebook.com/webtvstudios www.webtvstudios.it
Derrick de Kerckhove (CN) worked with Marshall McLuhan as translator and co-author and was Director of the McLuhan Program in Culture and Technology until 2008. Beside his interest in questions concerning communication, he supports new artistic developments that combine art, technology and emerged media communication. He is currently researching the effects of technology on the human consciousness.
Photo showing Derrick de Kerckhove (CN) speaking at the ORIGIN Symosium II.
credit: rubra
from Wikipeida en.wikipedia.org/wiki/Loretto_Chapel
The Loretto Chapel in Santa Fe, New Mexico, USA is a former Roman Catholic church that is now used as a museum and wedding chapel.[1] It is known for its unusual helix-shaped spiral staircase (the "Miraculous Stair"). The name and origin of the builder have still not been verified. The Sisters of Loretto credited St. Joseph with its construction, at the time.
It has been the subject of legend, and the circumstances surrounding its construction and its builder were considered miraculous by the Sisters of Loretto.
In 1872 Jean-Baptiste Lamy, the Bishop of the Santa Fe Archdiocese, commissioned the building of a convent chapel to be named Our Lady of Light Chapel, which would be in the care of the Sisters of Loretto. The chapel was designed by French architect Antoine Mouly in the Gothic Revival style, complete with spires, buttresses, and stained glass windows imported from France. Although it was built on a much smaller scale, the chapel bears an obvious resemblance to the Sainte-Chapelle in Paris.
The architect died suddenly[citation needed] and it was only after much of the chapel was constructed that the builders realized it was lacking any type of stairway to the choir loft. Due to the chapel's small size, a standard staircase would have been too large. Historians have also noted that earlier churches of the period had ladders rather than stairs to the choir loft, but the Sisters did not feel comfortable with that prospect because of the long habits that they wore.
The Sisters of Loretto relate the story as follows:
Needing a way to get up to the choir loft the nuns prayed for St. Joseph's intercession for nine straight days. On the day after their novena ended a shabby-looking stranger appeared at their door. He told the nuns he would build them a staircase but that he needed total privacy and locked himself in the chapel for three months. He used a small number of primitive tools including a square, a saw and some warm water and constructed a spiral staircase entirely of non-native wood. The identity of the carpenter is not known for as soon as the staircase was finally finished he was gone. Many witnesses, upon seeing the staircase, feel it was constructed by St. Joseph himself, as a miraculous occurrence.
The resulting staircase is an impressive work of carpentry. It ascends twenty feet, making two complete revolutions up to the choir loft without the use of nails or apparent center support. It has been surmised that the central spiral of the staircase is narrow enough to serve as a central beam. Nonetheless there was no attachment unto any wall or pole in the original stairway, although in 1887—10 years after it was built—a railing was added and the outer spiral was fastened to an adjacent pillar.[3] Instead of metal nails, the staircase was constructed using dowels or wooden pegs.
St Clement's Church, Rodel is a late fifteenth-century or early sixteenth-century church in Rodel, Harris, built for the Chiefs of the MacLeods of Harris. It is dedicated to Pope Clement I.
St Clement's Church is believed to have been built on the site of an older church of unknown origin and date. It fell into disuse after the Reformation in 1560, though the churchyard remained the preferred site for MacLeod burials. The church was extensively repaired and given a new roof by Captain Alexander MacLeod of Berneray in 1784, but it burned down almost immediately, leading to further rebuilding and restoration in 1787.
By 1840 St Clement's had again fallen into disrepair, and the Countess of Dunmore arranged for it to be repaired in 1873: this is commemorated in a stone plaque over the door in the nave.. Today the church is in the care of Historic Environment Scotland.
Leaning against the wall of the north transept are five grave slabs. Four are medieval in origin, while the fifth is dated 1725. The south transept is home to a tomb of a knight in armour, believed to be John MacLeod of Minigish, clan leader of the MacLeods until his death in 1557.
Much better know is the tomb of the church's founder, Alexander MacLeod, also known as Alexander Crotach, or humpback as a result of a sword wound he had received while fighting the MacDonalds on Skye. Alexander's tomb is built into the south wall of the nave. It carries the best collection of medieval sculpture in the Western Isles.
The arch surmounting the tomb is surrounded by biblical designs while within it are some truly spectacular carvings. These include a hunting scene in which a knight pursues two stags, and a rare depiction of sailing galley of the 1500s. Also shown is a castle, presumed to be Dunvegan.
At the bottom is the stone figure of a reclining knight in armour, on top of the chest in which Alexander was laid to rest. The work is signed off with this inscription in Latin: "This tomb was prepared by Lord Alexander, son of William MacLeod, Lord of Dunvegan, in the year of our lord 1528". The tomb was probably designed to be painted in bright colours.
The graveyard surrounding the church on its steeply sloping site contains a number of burial enclosures commemorating MacLeods buried here. For a coastal site it is a surprise to find that the graveyard offers no sea view. Instead the slope ensures it looks north towards the mountains of South Harris.
Church of St Katherine, Loversall, South Yorkshire.
Grade ll* listed.
There is a pair of ancient oak stalls, c14. The origin of these is unknown. (The oak stalls could possibly be from Roche Abbey in Rotherham.)
They feature 2 misericord hinged seats with a carved face on one and a green man on the other. Carvings on the elbows have faces and animals on them.
There is also a bench which looks like it was originally a stall with misericords. The centre section has been removed (you can see a gap), but they have fine carved elbows at each end.
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Church of St Katherine, Loversall, South Yorkshire.
Grade ll* listed.
List Entry Number: 1193085
Detail
LOVERSALL LOVERSALL SK59NE
5/46 Church of St Katharine 5.6.68
GV II*
Church. c1300, C15 and c1530; nave and south aisle rebuilt 1855 by Sir George Gilbert Scott. Ashlar and rubble magnesian limestone, lead and stone slate roofs. West tower, 4-bay nave with south aisle and porch; lower 2-bay chancel with separately-roofed south chapel. Tower: 4 stages; lower part c1300, altered; top stage Perpendicular. Chamfered plinth, moulded band, diagonal west buttresses and string courses between stages. Pointed west door, offset to left, has quadrant-moulded surround as does 3-light window over; Perpendicular 2-light window to 3rd stage. Offset beneath belfry stage with louvred, 2-light pointed windows and string course with north and south gargoyles beneath embattled parapet with 8 crocketed pinnacles. Nave: gabled porch of 1861. Aisle: chamfered plinth, trefoiled 2-light windows with hoodmoulds dropped from oversailing parapet having roll-moulded copings. Square-headed, cusped 2-light windows with hoodmoulds. Chancel: lower, partly roughcast. Two C19 windows to north have cusped intersecting tracery and carved hoodmould stops; similar 3-light east window; gable copings. Wirral chapel, of c1530, is of ashlar with chamfered plinth. 2-light windows to south and east have Tudor-arched lights in hollow-chamfered surrounds beneath basket arches; arched string course over east window; old flush- panelled door to west in hollow-chamfered and roll-moulded surround beneath Wirral arms, another heraldic plaque to south; quadrant-moulded oversailing course beneath roll-moulded parapet copings.
Interior: chamfered and quadrant-moulded tower arch. Perpendicular south arcade has octagonal piers, moulded capitals and low double-chamfered arches with hoodmoulds; C19 shouldered-arched window heads. Chancel arch: double- chamfered, the inner order on corbels (that to south with carved head). Chapel arcade, Perpendicular and similar to aisle; to its east is part of an earlier window behind plaster. Font: round base to bowl on chamfered shaft. Fittings: 2 stalls in chancel have misericords with bearded faces of C14; another altered stall of same date. Painted arms of George III (1785) over chancel arch. Hatchment of the Banks family. Monuments: in chancel, the Wylson tomb: floor slab with Latin rim inscription (Sir William d.1513). In chapel: early C14 effigy of knight with shield and sword; another chest tomb with shields in quatrefoiled side panels. Brass to Benjamin Staveley. Wall monument to William Dixon (d.1783) by Materworth of Doncaster: corniced plaque surmounted by bust set before on obelisk. Carvings over chapel arcade depict Wirral arms and those of Hugh Wombwell of Greasbrough (John Wirral married Mary Wombwell c1520).
Listing NGR: SK5761398733
History
The time of origin of this type of self-marketing can hardly be determined. Presumably the tradition of winemakers, homemade wine also pour out themselves, goes back to the Franconians and Bavarians under Charlemagne and Otto I. In particular, the from the Frankish and Bavarian region stemming "Capitulare de villis" (Kapitular for the crown lands and imperial courts) of 795 contains detailed information on viticulture, wine care and wine law.
On August 17, 1784 by Emperor Joseph II an Edict circular was issued, by which anyone the permission was granted, self-produced Labensmittel (provisions), wine and fruit must at all times to sell and pour out. Reason had been suits of innkeepers from an insignificant village in the county of Gorizia, who did not want to be forced by their Lord, count Delmetri, exclusively pour out his wine.
These provisions were renewed in 1845 by a Hofkanzleidekret (Court chancery decree). To facilitate inspections by the authority, such serving in 1883 became notifiable.
Meanwhile, this special law via the § 11 Trade Regulations and by the resembling each other tavern laws of the federal states of Vienna, Lower Austria, Burgenland, Styria and Carinthia is regulated.
Initially, in addition to wine probably often only bread and nuts were offered. Still in the 1960s, it was natural to bring your own food to the wine tavern because smaller businesses only a very modest selection (or no range) of food offered.
de.wikipedia.org/wiki/Heuriger
Sandgasse (Grinzing Holy City), 1894 named after an old field name; this was associated with a path between sand pits which were situated on both sides of today's road course. The street was formerly called John Lane.
Sandgasse (Grinzing, Heiligenstadt), 1894 benannt nach einem alten Riednamen; dieser bezog sich auf einen Weg zwischen Sandgruben, die sich beidseitig des heutigen Straßenverlaufs befanden. Die Gasse hieß zuvor Johannesgasse.
de.wikipedia.org/wiki/Liste_der_Stra%C3%9Fennamen_von_Wie...
The very beginning of the storyline where the princess, who was raised as a peasant, is told the true nature of her birth.
This is my version of Electrocutioner from Arkham Origins. His chest piece, arm pieces, and hand pieces are made from clay.
À l'origine, cet endroit est un terrain vague, servant d'entrepôt de matériaux de démolitions. En 1835, il est transformé en place publique et reçoit le nom de place de la Promenade. La fête patronale du village a lieu le premier dimanche après le 15 août et pendant quinze jours, forains, clowns, acrobates, théâtres ambulants et attractions variées s'installent sur la place.
En 1860, le hameau des Batignolles est rattaché à la ville de Paris, des commerçants y font construire leur résidence secondaire vers 1862. Cette même année, la place est clôturée par une grille avec portails en fer forgé.
D'une surface de 16 615 m2, il est réalisé sous le second Empire à la demande du baron Haussmann qui réalise le désir de Napoléon III d'implanter dans la capitale plusieurs jardins à l'anglaise. Napoléon III avait ramené ce goût des jardins lors d'un voyage en Angleterre.
C'est l'une des vingt-quatre réalisations de Jean-Charles Alphand, secondé par l'ingénieur Jean Darcel, l'architecte Gabriel Davioud et l'horticulteur Jean-Pierre Barillet-Deschamps.
Pendant la semaine sanglante, de nombreux Communards y sont fusillés le 24 mai 1871 puis enterrés dans une fosse commune située sous le kiosque à musique.
Le parc est agrandi en 1894.
Il a été conçu comme un jardin à l'anglaise, légèrement vallonné, avec une grotte, une rivière, une cascade et un lac miniature. Une végétation très exotique y fut plantée à la fois pour émerveiller les sens mais aussi pour montrer la puissance du second Empire, capable de faire vivre des espèces venant de tous les horizons climatiques.
Actuellement, la mairie de Paris essaie de conserver le jardin dans le pur style Haussmannien. Ce style est très visible par les petits ponts en béton avec dessins végétaux, les faux rochers stratifiés comme au Parc des Buttes-Chaumont construit à la même époque par le même Jean-Charles Alphand.
Parmi les espèces végétales présentes se trouvent :
quatre platanes hybrides (Platanus ×hispanica) plantés en 1840 et 1880, dont le plus haut fait 30 mètres et 5,90 m de circonférence et à ce titre est classé arbre remarquable1. Ils sont parmi les plus grands de Paris ;
un Hêtre pourpre (Fagus sylvatica f. purpurea) gigantesque[Combien ?] ;
de féviers d'Amérique (Gleditsia triacanthos) ;
des saules tortueux (Salix matsudana 'Tortuosa') ;
des noisetiers de Byzance (Corylus colurna) ;
des frênes à feuilles d'Aucuba (Fraxinus aucubaefolia) ;
des plaqueminiers du Japon (Diospyros kaki) ;
des citronniers trifoliers (Citrus limon) ;
un séquoia géant (Sequoiadendron giganteum).
Le square accueille également de très nombreuses espèces de palmipèdes (canards, cygnes, poules d'eau, bernaches) remarquables. La tranquillité du lieu, l'interdiction d'accès des pelouses au public en a fait des résidents permanents. Au printemps, on peut assez aisément observer des petits.
Le square abrite également un pigeonnier depuis 2010. Celui-ci a pour objectif de réguler les naissances et la prolifération de l'espèce. En 2012, 222 œufs ont été stérilisés2. Des problèmes de nourrissage par la population locale nuisent à l'efficacité de l'équipement, mais des actions pédagogiques sont régulièrement entreprises