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The Cassini spacecraft continues to observe brightness variations along
the orbital direction within Saturn's B ring.
This view looks toward the unlit side of the rings from about 53 degrees
above the ringplane.
The image was taken in visible red light with the Cassini spacecraft
narrow-angle camera on Dec. 17, 2006 at a distance of approximately 1.3
million kilometers (800,000 miles) from Saturn. Image scale is 8
kilometers (5 miles) per pixel.
The Cassini-Huygens mission is a cooperative project of NASA, the European
Space Agency and the Italian Space Agency. The Jet Propulsion Laboratory,
a division of the California Institute of Technology in Pasadena, manages
the mission for NASA's Science Mission Directorate, Washington, D.C. The
Cassini orbiter and its two onboard cameras were designed, developed and
assembled at JPL. The imaging operations center is based at the Space
Science Institute in Boulder, Colo.
For more information about the Cassini-Huygens mission visit
saturn.jpl.nasa.gov. The Cassini imaging team
homepage is at ciclops.org.
credit: NASA/JPL/Space Science Institute
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Go to Page 773 in the Internet Archive
Title: The origin of life and process of reproduction in plants and animals : with the anatomy and physiology of the human generative system, male and female, and the causes, prevention and cure of the special diseases to which it is liable : a plain, practical treatise, for popular use
Creator: Hollick, Frederick, 1818-1900
Publisher: Philadelphia : David McKay
Sponsor: Open Knowledge Commons and Yale University, Cushing/Whitney Medical Library
Contributor: Yale University, Cushing/Whitney Medical Library
Date: 1902
Language: eng
Description: BEIN 2006 +62: Bookplate of Stanley H. Baldwin. Blindstamp: Bought from Lindmark's Book Shop, Poughkeepsie, New York; inked stamp: Lindmarks Book Store ... Po'keepsie NY
Cover title: Dr. Hollick's complete works
Includes a foldout "Anatomical female model" of a pregnant woman preceding p. 299
Includes index
If you have questions concerning reproductions, please contact the Contributing Library.
Note: The colors, contrast and appearance of these illustrations are unlikely to be true to life. They are derived from scanned images that have been enhanced for machine interpretation and have been altered from their originals.
Read/Download from the Internet Archive
See all MHL images published in the same year
See all images from Yale University, Cushing/Whitney Medical Library
The origin of the lakes’s common name – the ‘Lake of Love’ – is the source of much debate. French novelist and poet Victor Hugo visited Bruges in 1837 and allegedly christened it the Lac d’Amour. It is said he was inspired by the word minne, medieval Dutch for ‘love’. But local legend has it that the minne was in fact a watery ghost: that of Saxon maiden Minna, who fled the home of her father rather than marry the suitor of his choice. When her lover returned from fighting the Romans, he found her dead of cold and hunger by a stream in the woods. He built a dyke, buried her in the ground, then released the water to create a lake over her resting place.
TRANSMISSION (detail)
48” x 48”
“In this space, abstract figures form together and organize colorful transcendental structures that represent a mutual whole between opposing forces.”
-Oree Original
Pueblo Nuevo presents, ORIGIN, the first solo exhibit by Oree Original (aka Daniel Jimenez). This new series of paintings are intensely bright, kaleidoscope-like puzzles that evoke pre-Columbian iconography remixed with Oree's personal mythology of our universe. Triangles, circles, squares and lines are used to construct complicated hypnotic patterns which form larger entities. Different combinations of these basic shapes, coupled with the vibrating relationships of solid colors give Oree's creations a seemingly infinite life with endless possibilities of their origins.
Born and raised in East Los Angeles, Oree moved to the Bay Area to begin an internship with Pueblo Nuevo and continue building on a career as a self taught visual artist. Currently residing in Berkeley, Oree has gained quite a reputation on dance floors of nightclubs and house parties all over the Bay. Only being kicked out of a handful of venues, he continues to steal hearts with his impeccable flowing locks.
Opening Reception
February 11th 2012 6pm-12am
Pueblo Nuevo Art Space & Gallery
1828 San Pablo Ave #1 Berkeley CA
with DJ Smokestack
Con una lectio magistralis su “Tra Enkie Ptah. Alle origini dell’arte nella civiltà urbana dell’Oriente antico” dell’archeologo Paolo Matthiae, professore all’università degli Studi di Roma La Sapienza, l’Ateneo pavese ha inaugurato, il 7 dicembre 2012 i corsi di Dottorato di Ricerca 2012-2013 e consegnato i diplomi ai neo-dottori.
Sono attualmente 610 i dottorandi di Pavia, 59 stranieri. L’Università di Pavia ha attivato 26 corsi di dottorato di ricerca, organizzati in cinque Scuole, coordinate dalla prof.ssa Guglielmina Nadia Ranzani: Scienze umanistiche, Scienze e Tecnologie “Alessandro Volta”, Scienze dell’Ingegneria, Scienze sociali e Scienze della vita “Camillo Golgi”. 18 corsi prevedono una co-tutela internazionale e la partecipazione a progetti di ricerca in cooperazione con enti di ricerca e Università di tutto il mondo.
Paolo Matthiae insegna Archeologia e storia dell'arte del Vicino Oriente antico all'Università di Roma La Sapienza, dove è stato Preside della Facoltà di Scienze Umanistiche e Pro-Rettore. Ha intrapreso gli scavi di Ebla nel 1964 e tuttora li dirige. È accademico dei Lincei, di Francia, d'Austria, e di Svezia. Ha pubblicato numerosi libri e articoli relativi a Ebla e alla storia dell'arte della Mesopotamia e della Siria in genere; in essi, partendo dall'esperienza condotta sul campo, ha intrapreso una revisione critica del ruolo storico della Siria nel quadro delle civiltà del Vicino Oriente. Autore di un'ampia Storia dell'arte dell'Oriente antico (Electa 1996-2002), che sta completando con un quarto volume, ha scritto numerosi saggi soprattutto sull'arte dell'antica Mesopotamia. Tra le sue opere piú recenti, oltre Ebla. Un impero ritrovato (Einaudi 1977, 1989, 1995), si ricordano Prima lezione di archeologia orientale (Laterza 2005), Gli Archivi Reali di Ebla (Mondadori-Sapienza 2008) e Ebla. La città del trono (Einaudi 2010).
Ideato e diretto da Francesca Ferrari.
Dedicato a Samia Yusuf Omar.
Coreutica – Frontiere - è un viaggio antropologico che dal passato, dalle tradizioni, dalle nostre origini, si rivolge alla visione di una realtà contemporanea e dimostra di permanere, di non essere sorpassato anche quando risulta essere stravolto. Il viaggio è anche tempo che scorre, che rende immobili o irriconoscibili, a seconda dell’inquadratura. La tradizione orale è volata via e ciò che ne rimane è una eco nostalgica o uno stravolgimento massificatore che tutto piega all’idea di mercato, di abbandono di edonismo di commiserazione. I popoli si mettono in cammino, proprio quei popoli che hanno nella suole lacere la memoria delle loro origini. Il tema preminente dell’opera è quello della costrizione, che sia essa costrizione fisica di corpi ammassati in uno spazio ristretto, che sia costrizione psicologica di una condizione sociale e familiare, opprimente e alienante. Dalla coabitazione dei corpi di un luogo estremamente ristretto, dall’unione degli uomini per un progetto nuovo di vita e di speranza simboleggiato dalla condivisione di una coperta, forse ancora troppo stretta, si arriva al conflitto in cui i fratelli diventano nemici, è la Zattera della Medusa di Gericault, è la Vlora. Convivenze coatte nel destino del mare, che non ha occhi né orecchi. L’omertà dei nostri giorni, la costrizione al silenzio, si stigmatizza nella donna promessa sposa per interesse e non per amore, che è metafora dell’eterno conflitto con se stessi su ciò che si deve fare a caro prezzo della vita.
La colonna sonora, eseguita dai musicisti dal vivo, interpreti anche loro come le danzatrici del ruolo a volte di individui, a volte di massa, elaborano i suoni delle nostre origini, le terzine salentine, le ninna nanne, i canti che sono lamenti della vita dura sacrificata al lavoro, che sono i canti d’amore, che sono la nostra musica popolare contaminata dalla contemporaneità.
Interpreti
Andrea Colangelo, Fulvia Farcomeni, Francesca Ferrari, Maria Sole Ferrari, Rosanna Freda, Silvia Martella,Sofia Nanni, Elia Salvatori, Luca Salvatori, Chiara Strabioli
Direzione artistica
Igor Geat
Ideazione musicale
Andrea Colangelo e Fabrizio Cammisuli
Direzione tecnica
Luca Mazzenga
Riprese
Mirko Colucci
Grafica
Silvia martella
Con la partecipazione di
Barbara Forti
Caffè Corretto
Giosuè Calaciura
This marker is the point of origin for the Public Land Survey System (PLSS) in the state if Utah.
The Public Land Survey System (PLSS) is the surveying method used historically over the largest fraction of the United States to survey and spatially identify land parcels before designation of eventual ownership, particularly for rural, wild or undeveloped land. It is sometimes referred to as the rectangular survey system (although non rectangular methods such as meandering can also be used). The survey was "the first mathematically designed system and nationally conducted cadastral survey in any modern country" and has been cited as "an object of study by public officials of foreign countries as a basis for land reform."[1] Much of the actual surveying was done in the nineteenth century under a contract system managed by the General Land Office (GLO) resulting in the eventual creation of the State Plane Coordinate System. Required and suggested survey methods have changed over time, as described in a series of Instructions and Manuals issued by the GLO beginning in 1851, although the basic framework has remained substantially unchanged since several experimental methods were first used in Ohio, the first state surveyed under the system (and site of the Beginning Point of the U.S. Public Land Survey) Description from Wikipedia
St Michael Stanton Harcourt is a treasury of medieval art and architecture. The present building is Noman in origin remodelled in the C13 when transepts were added and the chancel enlarged. The Norman features c. 1150 include the north and south doorways. The chancel c. 1250 has three graduated lancets with internal clustered shafts with stiff-leaf capitals. In the C15 the Harcourt chapel was built on the south side of the chancel, c.1470 sometimes attributed to William Orchard. The nave roof is of c. 1400. The font was made in 1833, A rare mid C13 chancel screen has C15 squints pierced through it and a C15 painting of a saint. On the north wall of the chancel is part of the shrine of St Edburg removed from Bicester Priory by Sir James Harcourt during the Dissolution. The upper part is 1294-1317 while the base is constructed from a C15 tomb-chest, Statues of Field Marshal William Earl and Sir William Vernon Harcourt. Effigy thought to be Maud, wife of Sir Thomas Harcourt c.1400 in the chancel. In the Harcourt Chapel Sir Robert Harcourt d. 1471 and wife. Sir Robert Harcourt knight c.1490. In the south transept tomb-chest, Sir Simon Harcourt d. 1547. Large Baroque wall-monument to Sir Philip Harcourt and wife. Several C15 and C16 brasses and some medieval stained glass. Next to the church Pope's tower c. 1460-71. Banner thought to have been used at the Battle of Bosworth.
Origins I Before time began as us humans believe god created the earth and the universe. At the begining of the universe and time humans were made and so it begins. Humans began to grow smarter and complicated and sofisticated with intellect. By the years and eons that humans grew they became smart and so in the year 2000 humans made there first trecks into outer space , launching satalites and even traveling to the moon. As the year 2010 passed on mankind began to overpopulated the world. By the year 2012 man became wearioys that the world end very soon. But much if them didn't believe that. By 2027 the world nearly came to an end with an asteroid padding just inches away. Next time wouldn't be so lucky. In 2067 man travled to mars, and as thought mandkind kind could go farther. Farther than ever before. Farther to touch the heavens. 600 years later man has travled past our galaxy the milky way galaxy. And has seen planets no one has ever seen before but as mankind came across two new planets similar to earth with the same atmospher and qualities, man called this planet Aqolas 4 or A4Q and as for a militarty training ground planet Aqolas 3 was named A3Q. And so became NOVI. To be continued...
Angel Vigil describes the role of the Spanish/Mexican cowboys in the origins and development of cowboy culture in the American West during the George Bush Presidential Library and Museum's Education Department program "El Vaquero" May 17, 2011 at the Annenberg Presidential Conference Center. The program was also distributed live through TTVN for distance learning students across Texas.
Photo by George Bush Presidential Library and Museum
Italian origin monddmondo De Amicis (1846-1908) was a highly productive writer and journalist. After the great success of his work, Bozzeti di vita militare, which was published in 1868 when he had chosen the military branch before and showed his military life as an idealized dream for educational purposes, he gives himself completely to writing. He travels regularly to book his impressions from Spain (1873), London (1874), the Netherlands (1874), Morocco (1876), Paris (1879) and Istanbul (1878).
De Amicis, who also wrote school and children's books, gained worldwide fame with his novel about the diary of a ten-year-old student named Cuore (The Heart), published in 1886. Along with Pinocchio of Carlo Collodi, the Heart is one of the best-known children's books, translated into 200 languages. De Amicis has been a supporter of socialists since 1890 and, in line with this idea, deals with articles and research on politics and society; In addition, he produces works inspired by topics such as friendship, Italian language, and travels to South America (1884) and Sicily (1908). Sad events that took place in his family towards the end of his life accelerate his death.
The work here is first published in Italian in 1877 and prints 15 prints. It was translated and published in French in 1878. It is translated into the Greek language in 1896 by D. Vernardakis like other works by De Amicis. This translation is a work that can keep De Amicis' unique style while keeping the reader alive and excited by the rich observations and descriptions of the author.
The city of Istanbul in the late 19th century is exhibited in a fascinating and realistic way with its Galata bridge, bazaar, monuments, palaces, walls, Bosphorus and many more views filled with a colorful multicultural crowd. In addition, various appearances from everyday life that emerge with the rich illustrations of C. Biseo accompany the text from beginning to end, and convey the air in this attractive, eternal and cosmopolitan city of the East even better than the photographs.
Written By: İoli Vingopoulou
Il est communément admis que l'appellation gallo-romaine " sparnacus ", qui signifie lieu planté d'épines, est à l'origine du nom de la cité.
Des variantes existent, en voici quelques-unes.
Les trois fleurs des armoiries d'Epernay pourraient être des cénelles (fleurs sauvages) ou des aubépines - en breton "sparn-gwen". Et voilà l'épine sparnacienne transformée en fleur ! Une autre version affirme que l'ancien nom de la cité - Aquae perennae - (signifiant eaux vives) se serait petit à petit transformé en - Aixpernae - (comme à Aix) puis - Espernay -… Pourquoi pas ?
Une légende maintenant ! Les frères Nacus (sic), tanneurs de leur état, fort satisfaits de l'action des eaux du Cubry - petite rivière qui traverse la ville - sur l'assouplissement des peaux, décidèrent de s'installer en cet endroit, dans l'espoir (en latin spar) d'y réussir. D'où Epernay = l'espoir des frères Nacus !
Une version du XIXe siècle veut que la suite des communes : - Avenay - Aÿ - Epernay - se lise ainsi : " Avant Aÿ ! Aÿ ! Après Aÿ ! ".
Epernay est une ville ancienne dont l’occupation permanente des lieux remonte à la fin du premier âge de fer. Peu de vestiges témoignent de l’époque romaine. C’est le testament de Saint Remi (545) qui mentionne pour la première fois Epernay.
La ville est la propriété des Archevêques de Reims jusqu’au XIe siècle. Il s’agissait vraisemblablement d’une ville fortifiée, munie d’épaisses murailles et entourée de fossés profonds.
En 1024, Epernay passe dans le domaine des Comtes de Champagne. L’archevêque rémois Eble de
Roucy céde la ville au comte de Troyes, Eudes de Champagne. A cette époque les foires sparnaciennes sont réputées pour les produits de tannerie, les grains et les vins dit "tranquilles".
Les comtes de Champagne dotent la ville de divers établissements : églises, monastère, Hôtel-Dieu, hôpital et léproserie. Au XVe siècle, la cité échut aux Ducs d’Orléans qui instaurèrent une maîtrise des eaux et forêts.
Les siècles qui suivent éprouvent fortement la ville : guerre de religion, siège, destruction… En 1651, la ville est cédée au Duc de Bouillon en échange de Sedan et Raucourt qui entraient dans le royaume de France. Pendant la Révolution française, de nombreux biens mobiliers religieux sont dispersés et des bâtiments sont détruits comme l’Eglise et le couvent des Minimes.
Après ces périodes troublées, la ville retrouva calme et prospérité. Dès le XVIIIe siècle, son destin est lié à la production du vin de Champagne. L’installation de la ligne de chemin de fer en 1849 accélère l’essor du négoce du Champagne. La ville se métamorphose : hôtels particuliers et "châteaux" s’alignent sur la rue du Commerce, aujourd’hui avenue de Champagne. Grâce à la générosité des familles des négociants, la ville se dote d’églises, d’hôpitaux et de crèches. Les municipalités qui se succèdent participent également à cet élan. De nombreuses écoles primaires sont construites ou réaménagées jusqu’à la Première Guerre mondiale. La population augmente rapidement et la ville s’agrandit à la même vitesse.
Mais la Première Guerre mondiale laisse la ville sans vestiges. Une nouvelle fois, la ville se reconstruit. Pendant l’entre-deux guerres, elle se dote d’un Collège de garçons, d’un Hôtel des Postes, de parcs…
Au cours de la guerre 1939-1945, la ville subit de nombreux bombardements de l'occupation de l'armée allemande jusqu'à sa libération, le 28 août 1944.
Patrimoine architectural
Son patrimoine architectural est ainsi fortement lié à son histoire. Il ne reste que très peu de maisons anciennes. Les destructions et reconstructions successives ont laissé peu de traces architecturales anciennes.
Epernay doit essentiellement son développement urbain à la production du vin de Champagne et l’arrivée du train en 1849. A cette époque, la ville connut un développement sans précédent qui a engendré une production architecturale très riche et variée. Les styles de cette époque se permettent une certaine liberté de création et font preuve d’originalité.
Les maisons de Champagne font appel à des architectes de renom : Victor Lenoir, Stanislas Loison, Auguste-Antoine Toudoire, Charles Blondel…D’autres métiers d’art viennent apporter leur contribution à la qualité architecturale d’Epernay et collaborent aux réalisations remarquables de la ville : Jacques Grüber, Georges Clarin,…
Au XXe siècle, Epernay s’agrandit et de nouvelles constructions voient le jour. L’architecture contemporaine complète alors les styles déjà présents dans la Capitale du Champagne.
110 km de caves
L'Avenue de Champagne, classée “Site Remarquable du Goût en France”, ainsi que les rues voisines situées au cœur d'Epernay, cachent un trésor : sous la ville, plus de 110 km de caves creusées dans la craie regorgent de champagne au reflet d'or ! Au total, on dénombre plus de 200 millions de bouteilles. Le champagne, idéalement né sur le sol champenois, est précieusement stocké dans ces immenses caves de craie....
Epernay compte presque autant de kilomètres de caves que de voirie !
Tandis que les rues de la commune représentent un tracé long de 130 km, on recense sous la ville, près de 110 kilomètres de caves. Certaines descendent jusqu'à 20 mètres de profondeur et jusqu'à 40 mètres pour d'autres, comme c'est le cas pour les caves du champagne De Castellane, avec une longueur de 9 km. Les caves de la Maison Mercier comptent à elles seules 18 km et 47 galeries taillées dans la craie. Ces caves datent pour la plupart du XVIIIe siècle, depuis l'apparition des premières Maisons de Champagne.
Un sous-sol idéal pour stocker le champagne...
La Champagne, et plus particulièrement la région d'Epernay, se caractérise par un sous-sol en craie. La Marne a creusé une large vallée et la ville s'est installée sur la rive gauche de la rivière. C'est la craie formée par des sédiments, et caractérisée par la présence de nombreux fossiles, qui permet la plantation de vignes sur les coteaux.
...et aménager des caves sur mesure
La craie, facile à creuser, permet l'aménagement des caves pour le stockage des vins de champagne. Cependant, elles ne furent pas uniquement utilisées pour leur mission première. Leur solidité est telle qu'elles ont servi d'abris pendant les guerres.
Quant aux caves Mercier, creusées de plain-pied avec le sol extérieur, elles sont si larges que les usines Renault y organisèrent une course de voitures en 1950, à l'occasion de la présentation de la 4 CV.
Un incident majeur est à noter dans leur histoire : en février 1900, l'effondrement des caves de la Maison Pol Roger entraîna l'ensevelissement de 1,5 million de bouteilles et de 500 pièces de vin...
Origin Hotels bietet unter anderem Golfpkakete für Marrakech an. Wohnen Sie in einem echtem Riad in der Medina von Marrakech und spielen Sie die besten Golfplätze der Region. Mehr Informationen unter www.originhotels.com
1956 Porsche Diesel. When Hitler said that every German should own either a car or a tractor, Mr. Porsche designed this as well as the Volkswagen.
According to the sign, "Porsche's tractors were all equipped with a hydraulic coupling between the engine and transmission, as it was not believed that farmers could properly handle a clutch."
The origins of Porsche: presskit.porsche.de/anniversaries/en/70-years-porsche-spo...
Visit the Northeast Classic Car Museum, between Cooperstown and Ithaca, NY: www.classiccarmuseum.org/