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The Triton Fountain is a fountain located on the periphery of the City Gate of Valletta, Malta. It consists of three bronze Tritons holding up a huge basin, balanced on a concentric base built out of concrete and clad in travertine slabs. The fountain is one of Malta's most important Modernist landmarks.
Designed and constructed between 1952 and 1959 under no less than three governing bodies, and conceived jointly by eminent sculptor Chevalier Vincent Apap and his collaborator draughtsman Victor Anastasi, the fountain became unofficially operational on Saturday 16 May 1959. The fountain was used as a stage for National Celebrations named 'Mill-Maltin għall-Maltin' and is popularly believed that it might have contributed to the dramatic collapse of the sculptural group on Wednesday 1 March 1978. This statement has been technically proven incorrect since the sculptural group contained no structural armature to bear the weight of the water laden basin, which subsequently collapsed due to metal fatigue and creep.
The sculptural group was repaired by Malta Drydocks engineers between January 1986 and April 1987. During this intervention a central sculptural addition consisting of three seagulls and seaweed (also the work of Chev. Apap) was introduced within the sculptural group, however this arrangement subsequently diminished the role of the gigantic Triton figures.
The fountain deteriorated in subsequent decades, until the bronze figures were dismantled and restored in 2017. Works were ready by the end of the year, and the fountain and piazza were officially inaugurated on 12 January 2018.
Periphery & Animals As Leaders @ Brooklyn Bowl 11.22.2017
2017 © Fred Morledge - www.PhotoFM.com
For licensing or prints of these images, please contact Fred@PhotoFM.com
Periphery & Animals As Leaders @ Brooklyn Bowl 11.22.2017
2017 © Fred Morledge - www.PhotoFM.com
For licensing or prints of these images, please contact Fred@PhotoFM.com
President Trump's Special Representative for International Negotiations Jason Greenblatt toured the Gaza periphery area, visited Ziv Hospital in Safed, and the Old City of Jerusalem, August 29-30, 2017.
President Trump's Special Representative for International Negotiations Jason Greenblatt toured the Gaza periphery area, visited Ziv Hospital in Safed, and the Old City of Jerusalem, August 29-30, 2017.
President Trump's Special Representative for International Negotiations Jason Greenblatt toured the Gaza periphery area, visited Ziv Hospital in Safed, and the Old City of Jerusalem, August 29-30, 2017.
Junagarh Fort (Rajasthani: जुनाग्द क़िला) is a fort in the city of Bikaner, Rajasthan, India. The fort was originally called Chintamani and was renamed Junagarh or "Old Fort" in the early 20th century when the ruling family moved to Lalgarh Palace outside the fort limits. It is one of the few major forts in Rajasthan which is not built on a hilltop. The modern city of Bikaner has developed around the fort.
The fort complex was built under the supervision of Karan Chand, the Prime Minister of Raja Rai Singh, the sixth ruler of Bikaner, who ruled from 1571 to 1611 AD. Construction of the walls and associated moat commenced in 1589 and was completed in 1594. It was built outside the original fort of the city, about 1.5 kilometres from the city centre. Some remnants of the old fort are preserved near the Lakshmi Narayan temple.
Historical records reveal that despite the repeated attacks by enemies to capture the fort, it was not taken, except for a lone one-day occupation by Kamran Mirza. Kamran was the second son of the Mughal Emperor Babur who attacked Bikaner in 1534, which was then ruled by Rao Jait Singh. In the battle, the Mughals were defeated by Rathors. Kamran then returned to Lahore.
The 5.28 hectares large fort precinct is studded with palaces, temples and pavilions. These buildings depict a composite culture, manifest in the mix of architectural styles.
GEOGRAPHY
Junagarh fort is located in the arid region of the Thar desert of Rajasthan bordered on the northwest by the Aravalli range, a range of mountains in western India. Part of the desert area is in Bikaner city, which is one of the three desert triangle cities; the other two cities are Jaisalmer and Jodhpur. The name of the place where Bikaner city with its forts was established was then known as Jungladesh.
HISTORY
Before the present Junagarh Fort was built, an old stone fort existed in the city. This fort was built in 1478 by Rao Bika who established the city of Bikaner in 1472. Rao Bika was the second son of Maharaja Rao Jodha of the Rathor clan, the founder of Jodhpur city. He conquered the large arid lands to the northern region of Rajasthan to set up his domain. As the second son of Jodha he had no chance of inheriting his father’s territory of Jodhpur or to the title of Maharaja. He, therefore, reconciled and decided to build his own kingdom at Bikaner at the place then called "Jungladesh". Bikaner, though a partly of the Thar Desert, was considered an oasis on the trade route between Central Asia and the Gujarat coast since it had adequate spring water sources. Bika’s name was thus tagged to the Bikaner city as well as to the then state of Bikaner (“the settlement of Bika”) that he established. The history of Bikaner and the fort within it thus start with Bika. It was only about 100 years later that Bikaner’s fortunes flourished under Raja Rai Singhji, the sixth ruler of Bikaner, who ruled from 1571 to 1611. During the Mughal Empire’s rule in the country, he accepted the suzerainty of the Mughals and held a high position of an army general in the court of Emperor Akbar and his son Emperor Jahangir. His successful war exploits by way of winning half of Mewar kingdom won him accolades and rewards from the Mughal emperors. He was gifted the jagirs (lands) of Gujarat and Burhanpur. With the large revenue earned from these jagirs, he built the Junagarh fort on a plain land, which has an average elevation of 230 m. The formal foundation ceremony for the fort was held on 17 February 1589 and the fort was completed on 17 January 1594. Raja Rai Singhji, was an expert in arts and architecture and the knowledge that he acquired during his several sojourns to several countries are amply reflected in the numerous monuments he built in the Junagarh fort. Thus the fort, a composite structure, became an outstanding example of architecture and a unique centre of art, amidst the Thar desert.
Karan Singh who ruled from 1631 to 1639, under the suzerainty of the Mughals, built the Karan Mahal palace. Later rulers added more floors and decorations to this Mahal. Anup Singh, who ruled from 1669–98, made substantial additions to the fort complex, with new palaces and the Zenana quarter (royal dwelling for females). He refurbished the Karan Mahal with a Diwan-i-Am (public audience hall) and called it the Anup Mahal. Gaj Singh who ruled from 1746 to 1787 refurbished the Chandra Mahal (the Moon palace). Following him, Surat Singh ruled from 1787 to 1828 and he lavishly decorated the audience hall (see picture in info box) with glass and lively paintwork. Dungar Singh who reigned from 1872 to 1887 built the Badal Mahal (the weather palace) named so in view of a painting of falling rain and clouds (a rare event in arid Bikaner). Ganga Singh who ruled from 1887 to 1943 built the Ganga Niwas Palace, which has towers at the entrance patio. This palace was designed by Sir Samuel Swinton Jacob. Ganga Singh’s son Sadul Singh succeeded his father in 1943 but acceded to the Union of India in 1949. He died in 1950.
Bikaner came under the suzerainty of the British Raj under a treaty of paramountcy signed in 1818, where after the Maharajas of Bikaner invested heavily on refurbishing their Junagarh fort. However, during the 18th century, before this treaty was signed, there was internecine war between rulers of Bikaner and Jodhpur and also amongst other Thakur, which was put down by the British troops. It is reported that during the attack by Jodhpur army, of the two entrances to the fort (one in the east and the other in the west), the eastern entrance and the southern rampart were damaged; marks of cannonballs fired are seen on the southern façade of the fort.
Ganga Singh was the best-known king among the Rajasthan princes. A favourite of the British Raj, he earned the title of Knight Commander of the Star of India. He served as a member of the Imperial War Cabinet, represented the country at the Imperial First World War Conferences and the British Empire at the Versailles Peace Conference and was aware of the shift of fortunes in the World War II but died in 1943, before the war was won by the allies. His contribution to the building activity in Junagarh involved separate halls for public and private audience in the Ganga Mahal and a durbar hall for formal functions. The hall where he held his Golden Jubilee as a ruler of Bikaner is now a museum. He also got a new palace - north of Junagarh fort - designed and built by Swinton, the third of the new palaces built in Bikaner and named it Lalgarh Palace in the name of his father and shifted his residence from Junagarh fort to this palace in 1902. The royal family still lives in a special suite in the Lalbagh palace, which they have converted into a heritage hotel.
STRUCTURES
The structures built within the Junagarh fort are the palaces and temples, which are made of red sandstone (Dulmera) and marble. The palaces are described as picturesque with their assortment of courtyards, balconies, kiosks and windows. The fort, the temples and the palaces are preserved as museums and provide insight into the grandiose living style of the past Maharanas of Rajasthan. The fort is called “a paradox between medieval military architecture and beautiful interior decoration”.
OVERVIEW
The massive fort built in the plains of Bikaner has a rectangular (quadrangular) layout with a peripheral length of 986 m. The fort walls are 4.4 m wide and 12 m in height. It encompasses an area of 5.28 ha. It was surrounded by a moat which was 6.1–7.6 m deep with a base width of 4.6 m and top width of 9.1 m. However, the moat no longer exists. The fort is well fortified with 37 bastions (‘burj’ in local language) and seven gates (two are main gates) to counter enemy attacks. The fort was built as a “new stronghold” outside of the ruins of an old fort built by Rao Bika and on the periphery of the Bikaner city walls (1.5 kilometres from the city centre); the old fort was demolished a century after it was built.
The fort with seven gates contains several palaces, pavilions and many temples of Hindu and Jain religions - the earliest dated to the 16th century. A major feature of the fort is the stone carving done in red and gold coloured sandstones. The interiors of the palaces are decorated and painted in traditional Rajasthani style. The Junagarh palaces have a large number of rooms, as every king built his own separate set of rooms, not wanting to live in his predecessors’ rooms. These structures were considered as “at par with those of Louis’s France or of Imperial Russia”. Several types of architectural style are discerned in the fort complex and hence it is called a true depiction of composite culture. The earliest style is of Rajput architecture, defined by Gujarati and Mughal architectural influence reflecting the association with Mughal rulers, the second type is of semi-western architecture reflecting British influence, and finally the revivalists Rajput architecture that evolved particularly during the rule of Maharaja Ganga Singh. Only the most representative of all these architectural styles are on display for visitors. Thus, the unique monuments on display in the Junagarh Fort represent sixteen successive generations of the rulers of Bikaner, starting from the end of the 16th century.
GATES
While the main entry gate was Karan Pol or Parole, facing east, the current gate of entry is called Suraj Pol (meaning the Sun gate), 'pol' also colloquially spelt prol, built in gold coloured or yellow sandstone, unlike the other gates and buildings built in red sandstone. It is the east facing gate permitting the rising Sun’s rays to fall on the gate, which is considered a good omen. The doors of this gate are strengthened with iron spikes and studs to prevent ramming by elephants during an attack. At the entrance to the gate, two red stone statues of elephants with mahouts stand as sentinels. The gate was also the location for announcing the arrival and departure of royalty by musicians playing the trumpet from a gallery in the gate. The other gates are Karan Pol, Daulat Pol, Chand Pol (a double gate) and Fateh Pol; these provided access to various monuments in the fort. The Karan Pol gate is also braced with iron spikes to prevent battering of the gate by elephants. To the right of this gate is Daulat Pol. Forty-one hand imprints are seen on the Daulat Pol gate wall, in red colour, of the wives of the Maharajas of Bikaner, who committed sati (self immolation) on the funeral pyres of their husbands who died in battle.
Between the main gate and the palace, there is a quadrangle, and then another gate called the Tripolia gate (triple gateway) before accessing the royal chambers. Next to this gate is a small temple called the Har Mandir, where the Royal family used to offer worship. In the quadrangle, which houses a large pavilion with a water pool built in Carrara Italian marble. The Karan Mahal, where public audience was held in the Diwan-i-Am by Karan Singh (1631–39) and his successors till the 20th century, can also be seen in the same quadrangle.
TEMPLES
Har Mandir temple was the royal chapel - private temple of the royal family. The royal family celebrated the Hindu festival of Dussera and Gangaur here, apart from celebrating other family functions such as birthdays and marriages. In the Dussera celebrations, weapons and horses were worshipped here. The main deities worshipped in this temple are the Hindu deities Lakshmi Narayan, a combined representation of god Vishnu and his consort Lakshmi.
The Ratan Behari temple located near the Junagarh Fort, was built in 1846 by the 18th ruler of Bikaner. It was built in Indo-Mughal architectural style using white marble. The Hindu god Krishna is deified in this temple.
PALACES
Karan mahal (Public Audience Hall) was built by Karan Singh in c.1680 to mark his victory over the Mughal Emperor Aurangzeb. It is considered as one of the most exquisite palaces built with gardens, which displays the aesthetic sensibilities of the royalty of Rajasthan. It has stained glass windows and intricately carved balconies built in stone and wood fluted columns. Later Rajas, Anup Singh and Surat Singh, also added lot of glitter to this palace with inlaid polychrome glass, intricate mirror patterns, and red and gold paint. In the coronation chamber, there is a shored up alcove, which was used as a throne.
Phool Mahal ("Flower Palace") is the oldest part of the palace and was built by king Raja Rai Singh of Bikaner, who ruled between 1571-1668.
Anup Mahal is a multi-storey structure, which functioned as the administrative headquarters of the kingdom. It has ornate wooden ceilings with inlaid mirrors, Italian tiles, and fine lattice windows and balconies. It has some gold leaf paintings. It is considered as one of the “grandest construction”.
Chandra Mahal has the most luxurious room in the palace, which houses gold plated deities and paintings inlaid with precious stones. In the royal bedroom, mirrors have been strategically placed so that the Maharaja could see from his bed, any intruder entering his room.
Ganga Mahal was built in the 20th century by Ganga Singh who reigned for 56 years from 1887 to 1943, has a large durbar hall known as the Ganga Singh Hall that houses the Museum. The museum has exhibits of war weaponry and also a World War I aeroplane (biplane), which is stated to be well maintained.
Badal Mahal (The weather palace) is part of the Anup Mahal extensions. It has paintings of Shekhawati Dundlod chiefs paying respects to the Maharaja of Bikaner in different types of turbans. Photos of people standing on nails, wood, swords and saws are also depicted here – a display of faith and endurance. The walls in this palace depict fresco paintings of the Hindu god Krishna and his consort Radha amidst the rain clouds.
Bikaneri Havelies located both within and outside the fort in the Bikaner city’s by lanes are also of unique architectural style in home architecture. Aldous Huxley who visited these havelis reportedly said “They are the pride of Bikaner.”
FORT MUSEUM
The museum within the fort called the Junagarh Fort Museum was established in 1961 by Maharaja Dr.Karni Singhji under the control of "Maharaja Rai Singhji Trust". The Museum exhibits Sanskrit and Persian manuscripts, miniature paintings, jewels, royal costumes, farmans (royal orders), portrait galleries, costumes, headgear and dresses of gods’ idols, enamelware, silver, palanquins, howdahs and war drums. The museum also displays armoury that consists of one of the assorted collection of post medieval arms.
MAHARAJA RAI SINGHJI TRUST
Maharaja Rai Singhji Trust has been set up by the 'Royal family of Bikaner' with the basic objective to showcase the fort with professional inputs in various areas and to improve the experience for visitors. Another objective is to promote education and research scholarships, cultural activities, setting up of libraries and integration with other such trusts.
WIKIPEDIA
If ever there was a band that deserved a better place to play for this night, it is Periphery. The stage was almost non-existent and the lighting was horrible. There were times when you could not even see the band since the lighting was so uneven. My pictures reflect this. However, Periphery did not disappoint. They are technical wizards on their respective instruments. And they have fun on stage!
Si jamás fuera una banda que mereciera un mejor sitio para tocar, sería Periphery. Casi no existía algo que se llamaría un escenario y la iluminación era horrible. Había ocasiones en las que ni siquiera se podía ver la banda debido a las luces tan inconsistentes e irregulares. Mis fotos reflejan esto. No obstante, Periphery no me desilusionó. Todos los integrantes son magos técnicos en sus instrumentos respectivos. ¡Y se divierten en el escenario!
August 26th, 2016 - Periphery performs live at Saint Andrews Hall in Detroit, Michigan. Credit: Mirak Habbiyyieh. www.schwegweb.com
Fotos para This is Rock
Su música
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One of the most beautiful Goan beaches, although not as peaceful as it used to be (sometimes referred to as the Goan lost paradise). Palolem Beach is long beach now entirely filled with rooms and huts and restaurants, sometimes with live music. There's also a market for tourists. Walk the beach at night with a flashlight and you'll be amazed by crabs running away from you.
Take a walk to Monkey Island... You will spot this island to your right on entering the beach... you can walk along the beach and across some rocks during low tide and reach the island, during high tide water covers and makes it impossible to walk across. The island has a network of trails to explore and the more adventurous can traverse the rocks on the periphery of the island. Make sure you carry your water bottle and be careful, people have injured themselves walking over these rocks.
Further on to the right is Butterfly Beach. You'll need a boat to get there but worth a trip for a change of scenery. It has a very steep beach, so deep that you can dive in from the waters edge if you time your dive correctly.
Further on still is Honeymoon Beach, a small strip of beach which generally brings you total seclusion. These islands are usually visited by couples who want get away from the prying eyes of tourists.
The best time for a boat ride to these islands is either in the morning at 07:00 or in the evening around 17:00 when you can see the setting sun from the boat. You need to bargain really hard with the boatsman to strike a good deal , there are quite a few guys running these boats and it would be best to talk to 3-4 guys before you strike a deal.
Palolem is a small beach town but do take long walks (carry a torch/flashlight if walking along the beach at night!). If you happen to be there on a full moon night , its quite an experience stolling on the beach on a full moon night with the islands clearly visible in the moon light, you will find people partying late into the night upto 2-03:00 in the morning. Immediately to the south of Palolem, which gets busier every season, is the beautiful Columb Bay where you can stay in a comfortable yet eco friendly complex. Just beyond is Patnem beach which used to be much quieter than Palolem but has a few guest houses and beach shacks.
You can take a boat ride in the river joining the sea on northern side of the Palolem beach.
Very quiet and more in the 1960s than in the 21st century (thank goodness). No Jet Skis - no rip-offs or touts - very good locals who make this a unique place in India - one that the authorities could learn a lot from - more the sort of place you come to compose music on the beach.
WIKIPEDIA
Identified
EVIDENCE
Provenance evidence: Inscription
Location in book: Title Page
Comments:
This copy inscribed by the author to Gil Ott and Julia Blumenreich in February 1989
IDENTIFICATION
Owner: Ott, Gil
Owner: Blumenreich, Julia
Other: Fitterman, Robert, 1959-
COPY
Repository: Penn Libraries
Call number: PS3606.I87 L4 1988 Ott copy
Collection: Ott Collection
Copy title: Leases
Author(s): Fitterman, Robert, 1959-
Published: New York City, 1988
Printer/Publisher: Periphery
FIND IN POP
President Trump's Special Representative for International Negotiations Jason Greenblatt toured the Gaza periphery area, visited Ziv Hospital in Safed, and the Old City of Jerusalem, August 29-30, 2017.
Misha Mansoor
Centro Dinámico Pegaso. October 28, 2017.
This photo was taken with a cell phone camera at KnotFest Mexico 2017. Centro Dinámico Pegaso, Toluca, Edo. Mex.
August 26th, 2016 - Periphery performs live at Saint Andrews Hall in Detroit, Michigan. Credit: Mirak Habbiyyieh. www.schwegweb.com
I had a meeting scheduled on the periphery of Winchester but unfortunately the other participant was let down by the bus service, the bus totally failing to materialise. After a half hour wait in the cold, he went home. I was already at the venue when I picked up his email message on my iPad so decided to go down into Winchester for a walkabout with my camera.
I drove into town, confronted the parking problem and made my way into the centre.
Approaching the main street, I heard a beautiful male voice and, turning the corner, found a man singing expressively and a small crowd of people listening intently, one or two taking photos on iPhones. I crossed over and indicated as I usually do that I'd like to take a photo. I took one or two and then Miguel, as I found he was called, stopped singing so I explained my strangers' project and asked if I could include him in it.
He wanted to know where the photo would be published so I described 365 Project and my dedication to it and also said that the photo would be posted on Flickr (where I have a newly opened account). Miguel was then happy to say yes and I took a few more photos, some in colour, others in b&w.
I thought Miguel might be Spanish or Italian but he replied 'Latin American'. Later in the conversation I learned that his native country is Peru but he has lived in England for some 20 years.
Miguel handed me his card with his email and his website details. This was welcome as I had nothing to write with and nothing to write on. In addition to a camera, a notebook and a pen should now be standard on my person, I think, as I often unexpectedly happen on opportunities for a portrait.
We agreed I should use the website for a little more information to accompany the portrait as I, for one, was conscious of folk waiting for the singing to begin again.
I discovered that Miguel is Miguel Moncloa, a tenor, and one half of a classical duo, Sul Fiato, formed in 2012, the other half being Naomi Scott de Moncloa, an Australian soprano.
Sul Fiato is Italian, meaning ‘on the breath’. On the website this is described as 'The ultimate technical goal for any classical singer, it also refers to the link between the breath and the soul or human spirit.'
Once again from the website: 'on the importance of music to him', Miguel says, “Music is the only way that I connect fully with my fellow human beings.
I have photos to email to Miguel. I was very appreciative of his time and interested to learn about his professional life.
This is my #12 submission to the Human Family Group. To view more street portraits and stories visit:
www.flickr.com/groups/thehumanfamily/
This photo is also in The Portrait Group and STRANGERS!
The periphery of the Agra fort is about 3 km long, and most of the view is similar from the outside, with a 20 foot (~7 meters) tall compound wall all around, and buildings visible beyond the walls in typical Moghul architecture. They certainly spared no expense - it is amazing how much detail is built into the external walls.
Leica S2 + 70mm Summarit-S f/2.5
S2002081
Form with gold-tinted body and cerata. White stipple on periphery of foot.
Oosterschelde, Netherlands, June, 2006. © R. Groeneveld.
Full SPECIES DESCRIPTION BELOW
Sets of OTHER SPECIES at: www.flickr.com/photos/56388191@N08/collections/
Aeolidiella glauca (Alder & Hancock, 1845)
Synonyms: Eolis glauca Alder & Hancock, 1845.
Current taxonomy: World Register of Marine Species www.marinespecies.org/aphia.php?p=taxdetails&id=138711
GLOSSARY BELOW
Description
The body grows up to 40 mm long. It is translucent whitish, often with a fawn, orange fig. 01 flic.kr/p/2nYKVwj or, occasionally, golden fig. 02 flic.kr/p/2nYJjp9 suffusion of varying intensity and extent. The notum has opaque flecks of white fig. 04 flic.kr/p/2nYKVsB or a whitish shade of the general body tint fig. 01 flic.kr/p/2nYKVwj .
The cerata are arranged in about fifteen transverse rows on each side of the body. They sometimes conceal most of the notum fig. 05 flic.kr/p/2nYKVs1 , but much of it is often exposed fig. 01 flic.kr/p/2nYKVwj . The cerata are translucent white or pinkish revealing a pinkish fig. 03 flic.kr/p/2nYMiVQ , orange-brown fig. 01 flic.kr/p/2nYKVwj or grey-brown fig. 04 flic.kr/p/2nYKVsB internal digestive gland, with large white cnidosacs at the tip. Some of, but rarely all of, each ceras in the anterior row may be occupied for about half its length by a very large whitish cnidosac fig. 06 flic.kr/p/2nYKVn6 & fig. 05 flic.kr/p/2nYKVs1 to form a white ruff resembling the usually more fully developed one on A. alderi. There is usually extensive opaque whitish mottling on the surface of the cerata fig. 04 flic.kr/p/2nYKVsB & fig. 07 flic.kr/p/2nYFZeA .
The smooth, sometimes wrinkled fig. 07 flic.kr/p/2nYFZeA , translucent rhinophores are usually tinted orange of varying intensity fig. 06 flic.kr/p/2nYKVn6 with an opaque cream-white apical stipple.
The head is translucent white fig. 05 flic.kr/p/2nYKVs1 or tinted orange fig. 01 flic.kr/p/2nYKVwj . Internal eyes visible are visible at the posterior base of the rhinophores, unless hidden by the tilt of a rhinophore fig. 05 flic.kr/p/2nYKVs1 . The internal, opaque white internal jaw and buccal mass are often visible fig. 05 flic.kr/p/2nYKVs1 , and they may be tinted by the overlying translucent integument fig. 08 flic.kr/p/2nYKViU . The distance between oral tentacles at their base is about equal to thickness of a single tentacle base fig. 08 flic.kr/p/2nYKViU . Oral tentacles translucent white, nearly always without tinting of another colour, and with opaque white flecks fig. 03 flic.kr/p/2nYMiVQ .
The broad foot is three times as wide as the body, narrowing to a slender posterior point fig. 08 flic.kr/p/2nYKViU & fig. 09 flic.kr/p/2nYMiGD . The convex anterior continues into short propodial tentacles which often bend forwards at the tip resulting in a sigmoid foot anterior fig. 09 flic.kr/p/2nYMiGD . The sole is usually transparent colourless, clearly revealing the body and its overhanging cerata. Round white ovotestes may be visible through the sole. The dorsal surface of the foot usually has white peripheral pigment flecks fig. 21 flic.kr/p/2nYLSNc , but they are often hidden by overhanging cerata apart from its protruding posterior fig. 01 flic.kr/p/2nYKVwj or through the sole from below fig. 09 flic.kr/p/2nYMiGD .
Key identification features
Identification should be made with more than one feature as there is some interspecific overlap. For example, a white ruff of anterior cerata can be found on some of all three Aeolidiella species, though it is usually most distinct on A. alderi.
Aeolidiella glauca
1) Maximum length 40 mm (Thompson & Brown, 1984). Body broad fig. 09 flic.kr/p/2nYMiGD in comparison with A. sanguinea and A. alderi . Often, overall pinkish appearance from cerata, especially when viewed through translucent foot.
2) From above, internal eyes usually visible through translucent body fig. 03 flic.kr/p/2nYMiVQ .
3) Anterior cerata may be white and resemble the more fully developed white ruff on A. alderi fig. 06 flic.kr/p/2nYKVn6 & fig. 05 flic.kr/p/2nYKVs1 .
4) Anterior half of body copiously speckled with pale opaque pigment fig. 01 flic.kr/p/2nYKVwj .
5) Distance between oral tentacles about same as thickness of single tentacle base fig. 01 flic.kr/p/2nYKVwj .
6) Anterior edge of foot has short propodial tentacles which may curve forwards at the tip fig. 09 flic.kr/p/2nYMiGD .
7) White pigment stipple on dorsal periphery of foot fig. 21 flic.kr/p/2nYLSNc & fig. 09 flic.kr/p/2nYMiGD , oral tentacles, cerata and, distally, on rhinophores fig. 03 flic.kr/p/2nYMiVQ .
8) Body translucent white, anterior often translucent orange fig. 01 flic.kr/p/2nYKVwj .
9) Spawn, a plain non-sinuous spiral line fig. 10 flic.kr/p/2nYMiF1 ; white contents divided into sections by clear breaks; ova small so width of spawn line 5 or 6 times diameter of one ovum fig. 11 flic.kr/p/2nYMiDT .
Similar species
Aeolidiella alderi (Cocks, 1852) fig. 12 flic.kr/p/2nYJsRu .
1) Maximum length 37 mm (Thompson & Brown, 1984). When extended, fairly robust but more slender than Aeolidia papillosa, A. filomenae and Aeolidiella glauca. Usually straighter than the more slender, sinuous A. sanguinea.
2) From above, internal eyes usually visible through translucent body unless hidden by tilt of rhinophore.
3) Front row of cerata makes a white ruff with white zone in each ceras usually 50% or more of length.
4) No opaque flecks on dorsum.
5) Distance between oral tentacles about same as thickness of single tentacle base .
6) Anterior edge of foot a smooth crescent terminating in short triangular propodial tentacles which do not usually curve forward at the tip .
7) White or yellow pigment distally on rhinophores, oral tentacles and cerata, but no white pigment stipple on dorsal periphery of foot.
8) Body translucent white. Some tinted yellowish or reddish fig. 13 flic.kr/p/2nYMiCW .
9) Spawn is a deeply sinuous line arranged loosely in a disc fig. 14 flic.kr/p/2nYJsPA .
Aeolidiella sanguinea (Norman, 1877) fig. 15 flic.kr/p/2nYFZ4q & fig. 16 flic.kr/p/2nYLSWo .
1) Maximum length 46 mm (Thompson & Brown, 1984). Slender sinuous body is more slender than A. alderi.
2) From above, internal eyes usually visible through translucent body.
3) All cerata have a large white cnidosac slightly tinted by the orange to red surface of the cerata. The front row of cerata can make a white ruff, and the white zone, tinted orange or red, in each ceras can be more than 50% of ceras length. But the ruff is not usually as fully developed as on A. alderi.
4) No opaque flecks on notum.
5) Distance between oral tentacles about same as thickness of single tentacle base.
6) Anterior edge of foot often sigmoid with short propodial tentacles curved forward at tip.
7) No surface pigment on dorsal periphery of foot, oral tentacles or cerata, but rhinophores have distinctly demarcated white tips.
8) Body, rhinophores and cerata are translucent red, orange or yellow,
9) Spawn; a plain spiral line.
Aeolidia papillosa (Linnaeus, 1761) fig. 17 flic.kr/p/2nYKV7S .
1) Maximum length120 mm (Thompson & Brown, 1984). Body broader than Aeolidiella glauca.
2) Internal eyes not, or barely, visible through opaque pigment.
3) Dull whitish cnidosac visible if not obscured by white apical pigment.
4) Much opaque pigment on dorsum.
5) Distance between oral tentacles about three times thickness of tentacle base.
6) Anterior edge of foot a smooth crescent terminating in short triangular propodial tentacles.
7) Much pigment on rhinophores and cerata. Often dark and whitish pigment stipple on dorsal periphery of foot.
8) Most of body, rhinophores and cerata not translucent.
9) Spawn; large convoluted ribbon, standing upright in water, deposited in spiral fig. 18 flic.kr/p/2nYJsHy .
Aeolidia filomenae Kienberger, Carmona, Pola, Padula, Gosliner & Cervera, 2016 fig. 19 flic.kr/p/2nYKV6p .
1) Maximum length at least 70 mm. Body broader than Aeolidiella glauca.
2) Internal eyes sometimes faintly visible in light specimens.
3) Apices of cerata are white, often revealing large white cnidosacs.
4) Dorsum white or pale colour with opaque white or brown flecks which may concentrate locally into dense brown markings.
5) Distance between oral tentacles about three times thickness of tentacle base.
6) Anterior edge of foot a smooth crescent terminating in short triangular propodial tentacles.
7) Rhinophores and cerata are translucent with varying amounts of opaque white and brown freckling. Usually no pigment stipple on dorsal surface of foot.
8) Some parts of body and cerata may be translucent.
9) Spawn; large convoluted ribbon, standing upright in water, deposited in spiral fig. 20 flic.kr/p/2nYFYXo .
Habits and ecology
A. glauca is found sublittorally and, occasionally, at low water spring tide at sheltered sites, usually where there is some mud or silt present; its broad foot supports it on soft sediment fig. 21 flic.kr/p/2nYLSNc . Thompson & Brown, (1984) list its prey as Sagartiogeton spp., Cylista troglodytes (Price in Johnston, 1847), C. elegans (Dalyell, 1848) fig. 22 flic.kr/p/2nYKUXi , Cereus pedunculatus (Pennant, 1777) and Diadumene cincta Stephenson, 1925.
Like other nudibranchs, A. glauca is a simultaneous hermaphrodite. Spawn is deposited in a non-sinuous spiral line fig. 10 flic.kr/p/2nYMiF1 . The white ova within are divided into sections by several unoccupied short lengths of the transparent colourless line fig. 11 flic.kr/p/2nYMiDT . The spawn line is five or six times as wide as the diameters of the small ova fig. 12 flic.kr/p/2nYJsRu . Veliger larvae hatch from the spawn and drift as plankton before settling on the sea floor and transforming into adults.
Distribution and status
Available online images show that A. glauca occurs from Norway and Faeroe to the Netherlands and the south coast of Britain. Uncertainty about identifications of Aeolidiella records lacking the support of clear images make defining of its southern limit difficult. Thompson and Brown (1984) cited Tardy (1969) as recording it from Arcachon Bay near Bordeaux and said it probably does not occur in the Mediterranean. Some Iberian guides and websites show images of probable A. alderi as A. glauca or, in the absence of local finds, use images of A. glauca from north-west Europe. Careful search online with Google, GBIF, iNaturalist, Flickr and Facebook failed to find any incontestable image of A. glauca in southern Europe. In Britain, some old records aggregate A. alderi with A. glauca but an unmistakable image of A. glauca fig. 23 flic.kr/p/2nYFYKu from the Lizard, Cornwall, the southernmost tip of Britain, puts beyond doubt that it extends to the south coast of Britain. It is widespread in Britain and Ireland, UK map NBN species.nbnatlas.org/species/NBNSYS0000173623
GBIF map www.gbif.org/species/2291946
Acknowledgements
For use of images I thank Jim Anderson, Roy Dahl, Guy Freeman, Rokus Groeneveld, Arne Kuilman, Sylvain Le Bris, Mathias Meunier and Lou Valence, Malcolm Storey, Stefan Verheyen and Neil Ward. I thank Simon Taylor for specimens, and Marco Faasse for information about sea anemones.
References and links
Alder, J. & Hancock, A. 1845-1855. A monograph of the British nudibranchiate mollusca. London, Ray Society. Family 3, Plate 11. www.biodiversitylibrary.org/item/131598#page/326/mode/1up
Anderson, J. Aeolidiella glauca (Alder & Hancock, 1845), Scottish nudibranchs and sea slugs (accessed 12 November 2022) www.nudibranch.org/Scottish%20Nudibranchs/aeolidiella-gla...
Groeneveld, R. & Reijs, S. (accessed 12 November 2022). Zeenaaktslakken, Nudibranchia. www.diverosa.com/FF_NL/ff_zeenaaktslakken.htm
Tardy, J. 1969. Étude systématique et biologique sur trois espèces d’Aeolidielles des côtes européennes (Gastéropodes Nudibranches). Bull. Inst. Oceanogr. Monaco 68: 1 – 40.
Thompson, T.E. & Brown, G.H. 1984. Biology of opisthobranch molluscs 2. London, Ray Society.
Glossary
acontia = thread-like tissue containing numerous stinging nematocysts which are released by some sea anemones
buccal mass = anterior of digestive system including an odontophore that supports anterior of radula, and a complex of muscles to operate them and other mouthparts.
cerata = (sing. ceras, adj. ceratal) lobes on notum of some nudibranchs.
Cnidaria = hydroids, jellyfish, sea anemones etc. which possess cnidocytes.
cnidocytes = explosive stinging cells of Cnidaria. en.wikipedia.org/wiki/Cnidocyte
cnidosac = storage capsule at tips of cerata of Aeolidiidae for ingested cnidocytes.
digestive gland = large organ in gastropods which acts like the liver and pancreas in mammals to absorb food.
distal = away from centre of body or from point of attachment.
hermaphrodite, simultaneous = individual acts as both male and female at the same time with similar partner.
notum = (of sea slugs) the dorsal surface of the body; the back.
ovotestis = (pl. ovotestes) hermaphrodite organ serving as both ovary and testis.
propodial tentacles = tentacular, lateral extensions on anterior of the foot.
rhinophore = chemo-receptor tentacle; many sea slugs have a pair on top of the head.
veliger = shelled larva which moves by action of cilia on a velum (bilobed flap). Stage may be passed in plankton or within liquid-filled egg-capsule.