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A Christmas preamble at Chatsworth House, Derbyshire.

One of the favourite fairy tales for our children, when they were young, was "Badjelly the Witch", written and narrated by the comic genius, Spike Milligan. A favourite character was a family cat named Fluffy Bum. Like a lot of successful writers for young readers, Milligan realised that kids revel in "rude" words and scatological terms. Include as many as you can to guarantee success with book sales!

This lengthy preamble is simply meant to introduce Fluffy Bum the Wren.

Papua New Guinea (PNG; Tok Pisin: Papua Niugini), officially the Independent State of Papua New Guinea, is a country in Oceania, occupying the eastern half of the island of New Guinea and numerous offshore islands (the western portion of the island is a part of the Indonesian provinces of Papua and West Papua). It is located in the southwestern Pacific Ocean, in a region defined since the early 19th century as Melanesia. The capital is Port Moresby.

 

Papua New Guinea is one of the most culturally diverse countries on Earth. According to recent data, 841 different languages are listed for the country, although 11 of these have no known living speakers. . (A detailed series of language maps of Papua New Guinea may be found at Ethnologue) There may be at least as many traditional societies,out of a population of about 6.2 million. It is also one of the most rural, as only 18% of its people live in urban centres. The country is one of the world's least explored, culturally and geographically, and many undiscovered species of plants and animals are thought to exist in the interior of Papua New Guinea.

 

The majority of the population live in traditional societies and practise subsistence-based agriculture. These societies and clans have some explicit acknowledgement within the nation's constitutional framework. The PNG Constitution (Preamble 5(4)) expresses the wish for "traditional villages and communities to remain as viable units of Papua New Guinean society",and for active steps to be taken in their preservation.

 

After being ruled by three external powers since 1884, Papua New Guinea gained its independence from Australia in 1975. It remains a Commonwealth realm of Her Majesty Elizabeth II, Queen of Papua New Guinea. Many people live in extreme poverty, with about one third of the population living on less than US$1.25 per day

 

Hormonal imbalance or hypothyroidism can sometimes feel like waves that never stop hitting the shore.

The Dr. Norbert Corland Clinic treats hormonal imbalances and hypothyroidism. call. +972-9-760-1440 or visit the website - www.fibrokur.com/PREAMBLE/

חוסר איזון הורמונלי או תת פעילות בלוטת התריס יכול לפעמים להרגיש כמו גלים שאינם חדלים להכות בחוף.

במרפאת דר נורברט קורלנד מטפלים בחוסר איזון הורמונלי ותת פעילות בלוטת התריס התקשרו 09-7601440 או הכנסו לאתר - www.fibrokur.com/%D7%91%D7%9C%D7%95%D7%98%D7%AA-%D7%94%D7...

 

The "Preamble Express" is seen eastbound at Joliet, Illinois, on the Rock Island in August 1974. The train was out scouting routes for the upcoming American Freedom Train. D&H U23B #2312 leads the four-car train.

 

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Qi Bo's photos on Fluidr

  

Qi Bo's photos on Flickriver

  

www.worldphoto.org/sony-world-photography-awards/winners-...

  

www.fotografidigitali.it/gallery/2726/opere-italiane-segn...

 

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The island of Sicily is a land that you never stop discovering, rich in natural treasures, artistic works, artifacts that are the fruit of human ingenuity, in its historical and cultural panorama it is the popular traditions that represent an unparalleled "eco living, static and dynamic at the same time "that exist (and persist) becoming visible, only when it is the people themselves who decide to give voice to them, traditions whose roots sink into a dark and distant past made up of stratified cultures between them, very often synonymous with wars and dominations, to throw ever green leaves in the present: this as a preamble to what I am going to describe in words and photographs, of the traditional folk festival of the "Maiorchino tournament", unique in its kind, which is is held this year in the Sicilian town of Novara di Sicilia. This ancient medieval center is an ancient village located in the province of Messina, whose name seems to come from a transformation of the ancient Latin name Noa into the Arabic language Nouah, which means "flower garden", to indicate the beauty of this territory, so appreciated by the Arabs when they settled here. The “Maiorchino Tournament” is a game that was once very popular in the province of Messina (Sicily) in the areas of the Nebrodi and Peloritani mountains, but which today survives exclusively in the town of Novara di Sicilia; the game-competition, complete with cheering towards the various teams, takes place during the Carnival period, it is a team competition (each team consists of three players, both men and women), which consists in throwing a heavy circular shape the precious Novara di Sicilia cheese called “Maiorchino” (cheese made with sheep's and goat's milk, whose weight varies between 10 and 12 kg); to throw the heavy cheese the players use a rope that is wound (as if it were a yo-yo) along the circumference of the cheese, a rope that is previously treated with pitch, to make it more "sticky" when it is unrolled during the launch; the route is downhill and is in stages, the total length of which is about one kilometer; to complete the entire course each team will have to do a lot of throws, the team that completes the entire course with fewer throws as possible wins. The photographs of the tournament, both for men and women, I took on Shrove Tuesday this year 2022, while the last two past editions were not taken due to the covid-19 pandemic.

 

L’isola di Sicilia è una terra che non si finisce mai di scoprire, ricchissima di tesori naturali, di opere artistiche, di manufatti frutto dell’ingegno umano, nel suo panorama storico e culturale sono le tradizioni popolari quelle che rappresentano una ineguagliabile “eco vivente, statica e dinamica al tempo stesso” che esistono (e persistono) divenendo visibili, solo nel momento in cui è il popolo stesso che decide di dare voce ad esse, tradizioni le cui radici sprofondano in un oscuro e lontano passato fatto di culture stratificate tra loro, molto spesso sinonimo di guerre e dominazioni, per gettare foglie sempre verdi nel presente: questo come preambolo di quanto vado a descrivere in parole e fotografie, della tradizionale festa popolare del “torneo del Maiorchino”, unica nel suo genere, che si è tenuto quest’anno nel paese siciliano di Novara di Sicilia. Questo antico centro medioevale è un antico borgo situato in provincia di Messina, Il cui nome sembrerebbe provenire da una trasformazione dell’antico nome latino Noa nella lingua araba Nouah, che significa “giardino fiorito”, ad indicare la bellezza di questo territorio, così apprezzato dagli Arabi quando qui si insediarono. Il “Torneo del Maiorchino”, è un gioco in passato molto diffuso in provincia di Messina nelle zone dei monti Nebrodi e dei monti Peloritani, ma che oggi sopravvive esclusivamente a Novara di Sicilia; il gioco-competizione, con tanto di tifo verso le varie squadre, si svolge durante il periodo di Carnevale, è una gara a squadre (ogni squadra è composta da tre giocatori, sia uomini che donne), che consiste nel lanciare una pesante forma circolare del pregiato formaggio di Novara di Sicilia chiamato “Maiorchino” (formaggio realizzato con latte di pecora e di capra, il cui peso varia tra i 10 ed i 12 Kg); per lanciare il pesante formaggio ci si avvale di una corda che viene avvolta (come se fosse uno di yo-yo) lungo La circonferenza del formaggio, corda che viene precedentemente trattata con della pece, per renderla più “adesiva” quando verrà srotolata durante il lancio; il percorso è in discesa ed è a tappe, la cui lunghezza totale è di circa un chilometro; per completare l’intero percorso ogni squadra dovrà fare molto lanci, vince la squadra che completerà l’intero percorso con meno lanci possibili. Le fotografie del torneo, sia maschile che femminile, le ho realizzate il giorno di martedì grasso di quest’anno 2022, mentre le due ultime passate edizioni non state realizzate a causa della pandemia da covid-19.

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click to activate the icon of slideshow: the small triangle inscribed in the small rectangle, at the top right, in the photostream;

or…. Press the “L” button to zoom in the image;

clicca sulla piccola icona per attivare lo slideshow: sulla facciata principale del photostream, in alto a destra c'è un piccolo rettangolo (rappresenta il monitor) con dentro un piccolo triangolo nero;

oppure…. premi il tasto “L” per ingrandire l'immagine;

 

Qi Bo's photos on Fluidr

  

Qi Bo's photos on Flickriver

  

www.worldphoto.org/sony-world-photography-awards/winners-...

  

www.fotografidigitali.it/gallery/2726/opere-italiane-segn...

 

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The island of Sicily is a land that you never stop discovering, rich in natural treasures, artistic works, artifacts that are the fruit of human ingenuity, in its historical and cultural panorama it is the popular traditions that represent an unparalleled "eco living, static and dynamic at the same time "that exist (and persist) becoming visible, only when it is the people themselves who decide to give voice to them, traditions whose roots sink into a dark and distant past made up of stratified cultures between them, very often synonymous with wars and dominations, to throw ever green leaves in the present: this as a preamble to what I am going to describe in words and photographs, of the traditional folk festival of the "Maiorchino tournament", unique in its kind, which is is held this year in the Sicilian town of Novara di Sicilia. This ancient medieval center is an ancient village located in the province of Messina, whose name seems to come from a transformation of the ancient Latin name Noa into the Arabic language Nouah, which means "flower garden", to indicate the beauty of this territory, so appreciated by the Arabs when they settled here. The “Maiorchino Tournament” is a game that was once very popular in the province of Messina (Sicily) in the areas of the Nebrodi and Peloritani mountains, but which today survives exclusively in the town of Novara di Sicilia; the game-competition, complete with cheering towards the various teams, takes place during the Carnival period, it is a team competition (each team consists of three players, both men and women), which consists in throwing a heavy circular shape the precious Novara di Sicilia cheese called “Maiorchino” (cheese made with sheep's and goat's milk, whose weight varies between 10 and 12 kg); to throw the heavy cheese the players use a rope that is wound (as if it were a yo-yo) along the circumference of the cheese, a rope that is previously treated with pitch, to make it more "sticky" when it is unrolled during the launch; the route is downhill and is in stages, the total length of which is about one kilometer; to complete the entire course each team will have to do a lot of throws, the team that completes the entire course with fewer throws as possible wins. The photographs of the tournament, both for men and women, I took on Shrove Tuesday this year 2022, while the last two past editions were not taken due to the covid-19 pandemic.

 

L’isola di Sicilia è una terra che non si finisce mai di scoprire, ricchissima di tesori naturali, di opere artistiche, di manufatti frutto dell’ingegno umano, nel suo panorama storico e culturale sono le tradizioni popolari quelle che rappresentano una ineguagliabile “eco vivente, statica e dinamica al tempo stesso” che esistono (e persistono) divenendo visibili, solo nel momento in cui è il popolo stesso che decide di dare voce ad esse, tradizioni le cui radici sprofondano in un oscuro e lontano passato fatto di culture stratificate tra loro, molto spesso sinonimo di guerre e dominazioni, per gettare foglie sempre verdi nel presente: questo come preambolo di quanto vado a descrivere in parole e fotografie, della tradizionale festa popolare del “torneo del Maiorchino”, unica nel suo genere, che si è tenuto quest’anno nel paese siciliano di Novara di Sicilia. Questo antico centro medioevale è un antico borgo situato in provincia di Messina, Il cui nome sembrerebbe provenire da una trasformazione dell’antico nome latino Noa nella lingua araba Nouah, che significa “giardino fiorito”, ad indicare la bellezza di questo territorio, così apprezzato dagli Arabi quando qui si insediarono. Il “Torneo del Maiorchino”, è un gioco in passato molto diffuso in provincia di Messina nelle zone dei monti Nebrodi e dei monti Peloritani, ma che oggi sopravvive esclusivamente a Novara di Sicilia; il gioco-competizione, con tanto di tifo verso le varie squadre, si svolge durante il periodo di Carnevale, è una gara a squadre (ogni squadra è composta da tre giocatori, sia uomini che donne), che consiste nel lanciare una pesante forma circolare del pregiato formaggio di Novara di Sicilia chiamato “Maiorchino” (formaggio realizzato con latte di pecora e di capra, il cui peso varia tra i 10 ed i 12 Kg); per lanciare il pesante formaggio ci si avvale di una corda che viene avvolta (come se fosse uno di yo-yo) lungo La circonferenza del formaggio, corda che viene precedentemente trattata con della pece, per renderla più “adesiva” quando verrà srotolata durante il lancio; il percorso è in discesa ed è a tappe, la cui lunghezza totale è di circa un chilometro; per completare l’intero percorso ogni squadra dovrà fare molto lanci, vince la squadra che completerà l’intero percorso con meno lanci possibili. Le fotografie del torneo, sia maschile che femminile, le ho realizzate il giorno di martedì grasso di quest’anno 2022, mentre le due ultime passate edizioni non state realizzate a causa della pandemia da covid-19.

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Urban 6 collection By Jen Maddocks

Urban 6 {MM Clusters} By Jen Maddocks

Preamble mask-Jen Maddocks

Update/Preamble: I just found out there already IS a pattern called "Blink" on Tanglepatterns by Beth Snoderly. So I am changing this one's name to "Blinkt". Because I "blinkt". I really do check Tanglepatterns before I go online with a step-out, but I don't look at the names as much as at the patterns themselves. So, I guess I better do that in the future.

 

Now back to the original description (except for the name):

 

The regularity of this pattern is its irregularity. The angular lines in step 1 should not (necessarily) echo each other. The Little sticks in step 2 should be at haphazard angles to each other. And I personally also like to fill in the spaces randomly - with solid black, or lines, or just thicken a few of the lines.

 

One morning I was still lying in bed in the dark room when my dear son came in and threw on the overhead light. I closed my eyes...and saw a very cool pattern on the back of my eyelids. (You know you've got the Zentangle bug in a bad way when you start deconstructing patterns on the backs of your eyelids...what's next, floaters? Hmmm...) Anyway, this developed from that, although the original was much wilder - and in fact the little sticks glowed (don't know how to deconstruct that!)... and that's why I called it "Blinkt".

The Castle and Prince Charles Edward A.D. 1745

 

It was September 1745, and in the old Palace of Holyrood for the last time in Scottish story, a Prince of the House of Stuart held his Court. When, some three weeks before, tidings of the southward march of Prince Charles and his Highlanders had reached the capital there had been much alarm among the citizens, succeeded by many stout words and precautionary deeds. The trained bands of the city, one thousand strong, furbished up their ancient firelocks, whose most serious use hitherto had been to discharge a joyous volley on some city holiday. An 'Edinburgh regiment' of volunteers was hastily enrolled and under the guidance of 'worthy Professor Maclaurin, the Archimedes of the age,' batteries were mounted at suitable points on the old city walls. But when the fierce Highlanders came within striking distance, the courage of the citizens evaporated, the trained bands melted away with ludicrous rapidity, and of real resistance there was none. In the early morning of i7th September, a surprise party of Lochiel's Camerons rushed the city guard at the Netherbow, and the whole city, with the exception of the Castle, at once yielded.

 

Tidings were immediately sent to the Prince, who was waiting with his forces at Slateford, and no sooner did he learn of Lochiel's success than the order to march was given, and by midday his whole army, numbering some three thousand men, was camped in Hunter's Bog, a sheltered hollow at the foot of Arthur's Seat. The proudest moment of Charles' life had arrived. At the other side of the hollow, beyond the ridge, lay Holyrood, the Palace of the Stuart Kings; and attended by the Duke of Perth, Lord Elcho, and his guard of loyal clansmen, the 'last hope' of the Stuarts rode forward to claim his own. By St. Anthony's Chapel he halted, and with intense, if suppressed, emotion looked for the first time on the ancient Palace with the grey old city stretching away behind it. The sight, inspiring in itself by reason of its beauty and its memories, was made for him yet more inspiring by the crowds of expectant citizens who filled the surrounding park. All Edinburgh had turned out to greet him; some from passionate loyalty, many from prudential considerations in view of possibilities, most from curiosity. But the Prince did not stay to analyse the motives. The holiday crowd, the cheers, the waving banners, were enough for the moment, and with a heart beating quick with hope he dismounted and entered the Palace of his ancestors. Yet ere he passed within the gateway, tradition says he received a rude reminder that to enter the Palace was not to win the Crown. From the direction of the Castle was heard an ominous report, and in a few seconds a cannon ball crashed full against the wall of Holyrood. The message needed no interpreter. The City might have yielded, the Palace might have opened its gates, but the Castle hurled its defiance against the bold invader.

 

For a few days, however, the old fortress was left untroubled, and the handsome young Prince set himself to charm Edinburgh. How he might have succeeded is doubtful, had it not been that he was soon able to back his persuasive graces with the lustre of a victory. Three days after his arrival, he and his Highlanders marched out to meet the Royal troops which, under General Cope, were advancing from Dunbar towards the City, surprised them in the grey dawn of the morning at Prestonpans, and inflicted a defeat so utter and humiliating as to be unforgettable. In five minutes the battle was over; four hundred men were slain, over two thousand were prisoners, and only some two hundred escaped in panic flight. Little wonder that the taunting song which commemorates the fight, caught and has held the imagination of Scotsmen:-

 

Hey, Johnnie Cope, are ye wauking yet!

Or are ye sleeping, I would wit ?

O haste ye, get up, for the drums do beat,

O fye, Cope, rise in the morning !

 

Flushed with victory the Prince returned to Edinburgh, where he was greeted with an enthusiasm much less superficial than that of three days before, and as the pipes played him into Holyrood to the tune of 'The King shall enjoy his ain again,' there were many who thought that the prediction might well prove true.

 

But there was still the Castle. As an effective hostile force it did not indeed count for much; yet the significance for the Prince and his cause of a Hanoverian garrison in the heart of Edinburgh was great, and correspondingly significant would be its disappearance. With the capture or surrender of the Castle, and the hoisting of the Stuart flag from its battlements, Scotland's adhesion to the cause would be so unmistakably proclaimed, that the last waverer might well be won. But, however desirable its acquisition, direct assault was not politic at least not until by further conciliatory tactics the City had been firmly won over. So for the time Charles was content with placing a guard of the Camerons in the Weighhouse, at the head of the High Street, to watch the Castle entrance, while he gave himself anew to the task of wooing his Scottish countrymen by many a royal grace.

 

It was a task for which nature had admirably suited him, and he discharged it well. Tall, handsome, and debonair, the grace and kindliness of his manner charmed the ladies of Edinburgh, and was not without influence on their less impressionable husbands. Holyrood revived its ancient fame and grew familiar with courtly ways and royal receptions. Whenever the young Prince rode along the streets, he won the admiration of the common people, alike by his kingly appearance and his frequent gracious words. Toleration was the order of the day. The Protestant ministers, who had fled from Edinburgh, feeling certain that their Church services would be forbidden, were encouraged to return, and were assured that absolute freedom of worship would be accorded to all. And it was; for even when one of their number, Mr Macvicar, the minister of St. Cuthbert's, strained this liberty to excess he was not interfered with. The guns of the Castle immediately overhead gave him perhaps a sense of unusual security, and at a service in his church, which was attended by many Jacobites, he offered the customary prayers for King George, adding besides this undoubtedly offensive petition: " As to this young person who has come among us seeking an earthly crown, do Thou, in Thy merciful favour, grant him a heavenly one." "An honest fool" was all that Charles said, when the objectionable prayer was reported. Everything, in short, was done to conciliate the Scottish people and revive their attachment to the Stuart line; and in the proclamations from Holyrood, which were plentifully issued at the time, promises to redress all grievances were as abundant as were predictions of the prosperous future that awaited Scotland on the return of the exiled King James. As described by Mrs Cockburn (the authoress of The Flowers of the Forest) in a satirical poem, the Prince was all things to all men that he might gain some.

 

Have you any laws to mend?

Or have you any grievance?

I am a hero to my trade

And truly a most leal Prince.

Would you have war, would you have peace,

Would you be free of taxes?

Come chapping to my father's door,

You need not doubt of access.

 

After ten days of this soothing treatment, Charles thought he might now deal with the Castle, more especially as the garrison was beginning to resent the presence of the Highland guard at the Weighhouse, and had fired an occasional shot in that direction. So on 29th September communication between the Castle and the City was forbidden. The blockade had begun; and the men in the Castle were not sorry, for they were keen soldiers and quite ready to give a good account of themselves. In General Preston, the Governor of the Castle, the Jacobite cause had a determined foe, and along with him was General Guest, the Commander of the Royal Forces in Scotland, not so keen perhaps in his antagonism, but a loyal Hanoverian none the less. Under these leaders was the garrison, some two hundred strong, which had been further increased by one hundred fugitives from Prestonpans. With a fairly ample store of provisions, the fortress was thus well equipped for meeting any attack which the Jacobite forces were likely to make. A prolonged siege was out of the question, as the Prince must needs move on to England at an early date. Any hope of success in the matter of the Castle plainly lay either in its voluntary surrender, or in a sudden strenuous assault. Of the former there was little prospect, and how faint the grounds for the latter hope, the event amply proved. On 29th September the blockade had been declared, and on 5th October it was abandoned. Yet in these seven days occurred sundry lively passages both of correspondence and of fighting.

 

The stationing of guards to enforce the blockade was promptly answered from the Castle by a communication from the Governor to the City authorities, that if free intercourse with the Castle was obstructed, he would open fire upon the City and on the obstructing guards. The mere threat threw the City fathers into a panic, and hastening to Holyrood they begged the Prince to cancel the blockade and save the City from destruction. But the Prince saw things in another light. To remove the blockade would be to abandon his hopes, and he preferred to answer threat by counterthreat.

 

"I shall be heartily sorry," he wrote, in a letter addressed to the City authorities, but intended for General Preston's perusal, "for any mischief that may befall the city, and shall make it my peculiar care to indemnify you in the most ample manner. In the meantime I shall make full reprisals upon the estates of those who are now in the Castle, and even upon all who are known to be open abettors of the German(!) Government, if I am forced to it by the continuance of such inhumanities.

Holyrood House, Sept. 30, 1745.

CHARLES, P.R."

 

To the threat General Preston, whose estate in Fife was specially referred to, was indifferent. But in response to the urgent prayer of the City authorities, who had despatched a messenger to intercede with King George in London, he agreed to a truce for six days, conditionally on the free communication between the Castle and the City being undisturbed. By the end of the first day, however, the truce was broken. On 1st October the guard at the Weighhouse fired on some messengers who were taking provisions into the Castle. At once the fortress guns spoke out, and hostilities began in earnest.

 

The guard at the Weighhouse was strengthened, other detachments of the Camerons were posted in St. Cuthbert's Churchyard and in Livingstone's Yards, and intermittent firing was kept up between the Castle and all three positions. But the heavier metal was in the Castle, and General Preston decided that the time had come to use it. On 4th October at noon a notice was sent to the inhabitants of James' Court, and other houses in the immediate neighbourhood, that the guns were to begin to play, and that all who wished to save their lives had better remove themselves with the utmost speed. In a trice the houses at the head of the High Street were tenantless, and throughout the afternoon a steady cannonading took place (one relic of which is still to be seen in a cannon ball fast embedded in the gable of 'Cannon Ball House’, the first house on the South side of the street). Towards evening a sortie was made by the garrison, when under the protection of the guns a trench was dug midway between the gate and the top of the High Street, and on the earthen rampart thus thrown up were mounted some field pieces, which had full command of the Weighhouse. Throughout the night a constant fire was kept up, and no little damage resulted, but the Highlanders still maintained their position. At five o'clock next afternoon, 5th October, the one real assault was made. The persistent fire from the trench had irritated the Camerons beyond endurance, and in the face of tremendous volleys they dashed up the head of the street, carried the earthworks, drove the Castle troops back into the citadel, and remained for the moment masters of the field. But the position was hopelessly exposed, and having vindicated their courage the Highlanders could do nothing but reluctantly seek shelter in the City from the fire of the Half-Moon Battery.

 

Brief though the contest had been, and not inglorious, it had cost the Prince a score of valuable lives which he could ill spare, and the damage to the City was costing him the loyalty of citizens which he could spare even less. So, reluctantly, he made a virtue of a necessity, and issued his final proclamation concerning the Castle, the magniloquence of which may be pardoned when one thinks of the bitter necessity which led to its issue:

 

"Charles', Prince of Wales, &c., Regent of Scotland, England, France and Ireland, and the Dominions thereunto belonging. -

 

It is with the greatest regret that we are hourly informed of the many murders which are committed upon the innocent inhabitants of this City, by the inhuman commanders and garrison of the Castle of Edinburgh . . . . As we have threatened, we might justly proceed to use the powers which God has put into our hands to chastise those who are instrumental in the ruin of this Capital, by reprisals upon the estates and fortunes of those who are against us: but we think it no ways derogatory to the glory of a prince to suspend punishment or alter a resolution, when thereby the lives of innocent men can be saved. In consequence of this sentiment, our humanity has yielded to the barbarity of our common enemy: the blockade of the Castle is hereby taken off, and the punishment threatened suspended."

 

Given at our Palace of Holyrood House, the 5th day of October 1745 years.

Charles, P.R."

 

Fewer words might have served better, but the pill required a little gilding. The preamble gratified the Prince, and the citizens were entirely satisfied with the conclusion. The blockade was raised, they and their belongings were no longer in danger of sudden destruction, and that sufficed.

 

Thus ended the last ‘siege' of Edinburgh Castle. For a few weeks longer the Prince tarried in Holyrood, receiving daily accessions to his army until his force numbered nigh six thousand men, but the soldiers of King George behind the Castle walls were left severely alone. And when 1st November arrived, they found themselves once more undisputed masters of the City; for, on that day, after a grand review on Portobello sands, the whole Jacobite Army, with pipes playing and banners flying, marched away to the South to put the fortunes of the Stuarts to the final test. The Prince had looked his last upon the Castle, and the Castle had seen its last of him. Never was the Stuart banner to adorn that ancient fortress of his race. Never within those walls were these standards, so proudly borne by the southward marching clans, to float out in triumph on the breeze. Yet - strange fate! - in sad dishonour they were one day to find there a temporary resting-place, which was to be the prelude to a deeper shame. On Culloden's field, not six months after the farewell to Holyrood, the hopes of the Stuarts were for ever quenched, and out of the clenched hands of the dead Highlanders who lay on that disastrous field, were wrenched the standards they had so bravely carried. Conveyed to Edinburgh in triumph, they were borne to the Castle, and there exhibited as spoils of war, the tokens of unquestioned victory. Thus it was that at last the banners of the Stuarts gained entrance to the Castle.

 

Had that been their final fate, no soldier would ever have complained. Defeat and capture bring no dishonour. But to capture, the Duke of Cumberland proceeded to add shame. The order was given that the standards be burned at the Market Cross - an unworthy order and unworthily obeyed. Brave men had carried these colours through fire and flood, and at last had died in their defence. Mistaken they may have been in their ideals and their endeavours, but their banners spoke of nothing but a loyal devotion and a splendid gallantry which will ever be Scotland's pride. Yet when from the Castle these symbols of a lost cause were carried to the burning, the hands to which they were entrusted were those of the least esteemed of all Edinburgh's citizens. Prince Charles' own standard was borne by the public executioner! Thirteen other banners, each embroidered with the arms of a noble House, were carried by chimney sweepers! One by one they were committed to the flames, and one by one the herald proclaimed as outlaws the chieftains to whom the banners had belonged.

 

So it was that with every possible mark of shame the association of Prince Charles Edward with Edinburgh and its Castle came to an end. Yet today there is no thought of shame in the minds of Scotsmen when they think of him. Whatever be their judgment as to his bold and unfortunate enterprise, they remember him with a great tenderness and not a little pride: and think of him as the hero inspirer of Scotland's sweetest songs, as the Prince whose brave adventure closed the long romance of Scottish history, and as the son of Scotland's ancient Kings, whose brief Court at Holyrood added a memorable page to the story of Royal Edinburgh.

 

A slightly later start to my walk but without the preamble to the newly reopened Jubilee Bridge meant that I was passing Fiddlers Ferry at much the same time as on my previous wander. Also passing at much the same time was 000Y Arpley to Ditton. The slight difference was that the locomotive was 66065 instead of 66023. Oh - and the sun was shining this time!

Papua New Guinea (PNG; Tok Pisin: Papua Niugini), officially the Independent State of Papua New Guinea, is a country in Oceania, occupying the eastern half of the island of New Guinea and numerous offshore islands (the western portion of the island is a part of the Indonesian provinces of Papua and West Papua). It is located in the southwestern Pacific Ocean, in a region defined since the early 19th century as Melanesia. The capital is Port Moresby.

 

Papua New Guinea is one of the most culturally diverse countries on Earth. According to recent data, 841 different languages are listed for the country, although 11 of these have no known living speakers. . (A detailed series of language maps of Papua New Guinea may be found at Ethnologue) There may be at least as many traditional societies,out of a population of about 6.2 million. It is also one of the most rural, as only 18% of its people live in urban centres. The country is one of the world's least explored, culturally and geographically, and many undiscovered species of plants and animals are thought to exist in the interior of Papua New Guinea.

 

The majority of the population live in traditional societies and practise subsistence-based agriculture. These societies and clans have some explicit acknowledgement within the nation's constitutional framework. The PNG Constitution (Preamble 5(4)) expresses the wish for "traditional villages and communities to remain as viable units of Papua New Guinean society",and for active steps to be taken in their preservation.

 

After being ruled by three external powers since 1884, Papua New Guinea gained its independence from Australia in 1975. It remains a Commonwealth realm of Her Majesty Elizabeth II, Queen of Papua New Guinea. Many people live in extreme poverty, with about one third of the population living on less than US$1.25 per day

 

Election day in USA. Read the Preamble to our Constitution. This is our creed. Vote responsibly.

 

[6368-D90-Neo]

© 2024 Mike McCall

In preparation for the Bicentennial journey of the American Freedom Train, the four-car Preamble Express was dispatched to scout the route and court host city officials.

 

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click to activate the icon of slideshow: the small triangle inscribed in the small rectangle, at the top right, in the photostream;

or…. Press the “L” button to zoom in the image;

clicca sulla piccola icona per attivare lo slideshow: sulla facciata principale del photostream, in alto a destra c'è un piccolo rettangolo (rappresenta il monitor) con dentro un piccolo triangolo nero;

oppure…. premi il tasto “L” per ingrandire l'immagine;

 

Qi Bo's photos on Fluidr

  

Qi Bo's photos on Flickriver

  

www.worldphoto.org/sony-world-photography-awards/winners-...

  

www.fotografidigitali.it/gallery/2726/opere-italiane-segn...

 

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The island of Sicily is a land that you never stop discovering, rich in natural treasures, artistic works, artifacts that are the fruit of human ingenuity, in its historical and cultural panorama it is the popular traditions that represent an unparalleled "eco living, static and dynamic at the same time "that exist (and persist) becoming visible, only when it is the people themselves who decide to give voice to them, traditions whose roots sink into a dark and distant past made up of stratified cultures between them, very often synonymous with wars and dominations, to throw ever green leaves in the present: this as a preamble to what I am going to describe in words and photographs, of the traditional folk festival of the "Maiorchino tournament", unique in its kind, which is is held this year in the Sicilian town of Novara di Sicilia. This ancient medieval center is an ancient village located in the province of Messina, whose name seems to come from a transformation of the ancient Latin name Noa into the Arabic language Nouah, which means "flower garden", to indicate the beauty of this territory, so appreciated by the Arabs when they settled here. The “Maiorchino Tournament” is a game that was once very popular in the province of Messina (Sicily) in the areas of the Nebrodi and Peloritani mountains, but which today survives exclusively in the town of Novara di Sicilia; the game-competition, complete with cheering towards the various teams, takes place during the Carnival period, it is a team competition (each team consists of three players, both men and women), which consists in throwing a heavy circular shape the precious Novara di Sicilia cheese called “Maiorchino” (cheese made with sheep's and goat's milk, whose weight varies between 10 and 12 kg); to throw the heavy cheese the players use a rope that is wound (as if it were a yo-yo) along the circumference of the cheese, a rope that is previously treated with pitch, to make it more "sticky" when it is unrolled during the launch; the route is downhill and is in stages, the total length of which is about one kilometer; to complete the entire course each team will have to do a lot of throws, the team that completes the entire course with fewer throws as possible wins. The photographs of the tournament, both for men and women, I took on Shrove Tuesday this year 2022, while the last two past editions were not taken due to the covid-19 pandemic.

 

L’isola di Sicilia è una terra che non si finisce mai di scoprire, ricchissima di tesori naturali, di opere artistiche, di manufatti frutto dell’ingegno umano, nel suo panorama storico e culturale sono le tradizioni popolari quelle che rappresentano una ineguagliabile “eco vivente, statica e dinamica al tempo stesso” che esistono (e persistono) divenendo visibili, solo nel momento in cui è il popolo stesso che decide di dare voce ad esse, tradizioni le cui radici sprofondano in un oscuro e lontano passato fatto di culture stratificate tra loro, molto spesso sinonimo di guerre e dominazioni, per gettare foglie sempre verdi nel presente: questo come preambolo di quanto vado a descrivere in parole e fotografie, della tradizionale festa popolare del “torneo del Maiorchino”, unica nel suo genere, che si è tenuto quest’anno nel paese siciliano di Novara di Sicilia. Questo antico centro medioevale è un antico borgo situato in provincia di Messina, Il cui nome sembrerebbe provenire da una trasformazione dell’antico nome latino Noa nella lingua araba Nouah, che significa “giardino fiorito”, ad indicare la bellezza di questo territorio, così apprezzato dagli Arabi quando qui si insediarono. Il “Torneo del Maiorchino”, è un gioco in passato molto diffuso in provincia di Messina nelle zone dei monti Nebrodi e dei monti Peloritani, ma che oggi sopravvive esclusivamente a Novara di Sicilia; il gioco-competizione, con tanto di tifo verso le varie squadre, si svolge durante il periodo di Carnevale, è una gara a squadre (ogni squadra è composta da tre giocatori, sia uomini che donne), che consiste nel lanciare una pesante forma circolare del pregiato formaggio di Novara di Sicilia chiamato “Maiorchino” (formaggio realizzato con latte di pecora e di capra, il cui peso varia tra i 10 ed i 12 Kg); per lanciare il pesante formaggio ci si avvale di una corda che viene avvolta (come se fosse uno di yo-yo) lungo La circonferenza del formaggio, corda che viene precedentemente trattata con della pece, per renderla più “adesiva” quando verrà srotolata durante il lancio; il percorso è in discesa ed è a tappe, la cui lunghezza totale è di circa un chilometro; per completare l’intero percorso ogni squadra dovrà fare molto lanci, vince la squadra che completerà l’intero percorso con meno lanci possibili. Le fotografie del torneo, sia maschile che femminile, le ho realizzate il giorno di martedì grasso di quest’anno 2022, mentre le due ultime passate edizioni non state realizzate a causa della pandemia da covid-19.

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September 20, 1976, with Preamble Express E9 #951 with three sisters on 18 cars. . . roaring!

In preparation for the Bicentennial journey of the American Freedom Train, the four-car Preamble Express was dispatched to scout the route and court host city officials.

youtu.be/IHaq-4zCb4w

 

Joyful and Triumphant! (1992) Gilbert M. Martin

(b. 1941)

 

Toccata on “God Rest Ye Merry, Gentlemen” (1999) Mark A. Miller

(b. 1967)

 

Personent hodie (2009) Pamela Decker

(b. 1955)

 

Weihnachten, Op. 145, No. 3 (1915) Max Reger

(1873–1916)

 

Go, Tell It on the Mountain (1966) Eugene W. Hancock

(1929–1993)

 

Variations on the Huron Carol (2017) Brenda Portman

I. Preamble (b. 1980)

II. Tambourin

III. Reverie

IV. March

V. Caprice

VI. Toccata

 

It Came upon the Midnight Clear Marianne Kim

(b. 1972)

 

I Saw Three Ships (2007) Richard Elliott

(b. 1957)

Oysterville's Ned Osborne House has been in this photostream before, but never in the autumn.

 

It looks like a piece of New England set into the landscape of the Pacific Northwest.

 

A plaque installed by the Daughters of the Pioneers has this to say in a single sentence:

 

"Built for his bride-to-be who died before the wedding date faithful to the end Ned lived a bachelor all his life in this house."

======================

Historian and writer Sidney Stevens wrote about the Osborne House in far greater detail in the February 5, 2008, issue of the Chinook Observer. Keep reading, because Ned Osborne features prominently in this story though it might not seem like it at first.

======================

When I first moved to Oysterville some thirty years ago, the old Ned Osborn house was owned by Norm Dutchuck and his wife, Dolores.

 

In a village known for its 'characters,' Norm was among the most colorful. In fact, when he died some fifteen years later, Dolores had 'The Mad Russian of Oysterville' carved on his tombstone - "not mad in the sense of angry or insane," their son Mike is quick to explain. "More the wild-and-crazy-guy kind of mad."

 

Norm was a fun-loving, people and party person. A salesman in the Portland area, he frequently offered a get-away to his Oysterville house as a bonus to his clients.

 

Invariably, they became friends and during the 30 or 40 weekends a year that Norm, himself, was in residence, there was often a party going on.

 

If the weather was good, the party was more than likely in the front yard and Norm's end of our quiet village street could be said to be 'a little boisterous,' perhaps reminiscent of Oysterville's rip-roaring pioneer days of a hundred years past.

 

Not only did Norm have a bigger-than-life capacity for fun, he looked the part of a 'character,'too. An inveterate hunter, he had lost an eye from a stray pellet on a pheasant hunting expedition in Eastern Oregon.

 

His one glass eye, though a good match for his real one, gave him a distinctive, somewhat zany appearance.

 

(Mike, with a sense of humor to match his dad's, has kept Norm's glass eyes - there was always a spare - and has plans to place them somewhere in the house, perhaps imbedded in a brick above a doorway, to keep watch over the comings and goings of the household.)

 

It was a Sunday 'morning-after' that I met Norm. He came dashing around my Uncle Willard Espy's neighboring cottage where Wede (as Willard was often called), his wife Louise, and I were having a leisurely cup of mid-morning coffee. Introductions were made, a cup provided for Norm and, without much preamble he asked, "Were we too noisy last night, Wede?"

 

"Not at all, Norm," Willard chuckled. "In fact, I thought the party broke up a little earlier than usual."

 

"Yeah, I had to send them all home. That's what I want to talk to you about. Around midnight or so I went into the house to get another beer and a man I'd never seen before came down the stairs. It was the damndest thing. He said to me 'Get those people the hell out of here.' And I could tell he meant business. So I sent everyone home. I was wondering if you had any idea who that man was."

 

"What did he look like?"Willard looked very interested, though somewhat amused, I thought. "Well, what did the man look like?" he asked. "Short or tall? Did he have a beard? How old do you think he was?"

 

Norm answered each question, elaborating with detail, and at that point I wondered which man, if either, was pulling the other's leg. Or were they both serious?

 

I wish I had listened more closely to Norm's answers for, after some time, Willard said, "You know, I think that was Ned Osborn. At least that's what I remember him looking like when I was a boy."

 

"Well, that's what I wondered," said Norm. And both men lapsed into silence.

 

Louise and I, full of curiosity wanted more information and, at our urging Norm and Wede told us what they knew of the man who had built and lived in the house that the Dutchucks now owned.

 

Osborn was born in Kalmar Sweden and went to sea as a young boy, along with his good friend Charles Nelson. The two of them eventually wound up in Oysterville and settled along Fourth Street (now Territory Road) on neighboring parcels of land. Ned went to work as a sail maker and, in 1873, began building a house for his bride-to-be.

 

Like many of the old residential buildings of Oysterville, Osborn's house may be classified as 'carpenter' style architecture.

 

It is a simple 'T' shape in plan, of frame construction with a pitched gable roof and shiplap siding. The covered front porch, sheltering stacks of stove wood, a barrel full of long-handled garden tools, and an old fashioned porch swing, provides an inviting entryway to the house.

 

The front door opens directly into the kitchen, a cozy space dominated by a round dining table and wood cook stove - a room that is obviously the heart of the old structure, for it gives access to all other parts of the house.

 

To the left are the parlor and the downstairs bedroom; to the right are the pantry and the bathroom.

 

Along the rear wall, next to the kitchen sink and counter, a door opens onto a generous back porch.

 

It is from the kitchen, too, that the stairway leads to the large dormitory-style bedroom above - a room which can sleep as many as 12, says Mike.

 

Whether Ned intended to make separate bedrooms upstairs is unclear.

 

As the house was nearing completion, he sent to the 'old country' for his true love, but learned that she had recently died.

 

Though he lived in the house for the rest of his days, Ned never married, nor did he finish the upstairs portion of the house.

 

Perhaps he had soured on life, Norm and Willard speculated; perhaps that was why he didn't hold much truck with partying into the wee hours.

 

By the time they had finished telling the tale, both Norm and Willard seemed convinced that the man who had come down from those erstwhile unfinished rooms was Ned Osborn, himself, though dead for more than fifty years.

 

No one of us ever said the word "ghost" or "haunted" or "spirit."

 

The facts as presented by Norm and dignified by Wede's careful questioning seemed to warrant more respect than to be called a "ghost story."

 

However, Ned Osborn became a 'person of interest' in my mind and when more information about him surfaced many years later I was intrigued.

 

It was while I was cleaning out a closet in the Espy family house that I ran across some notes on the back of an old envelope, stamp cancellation date 1947. In my grandfather's familiar, cramped handwriting down the length of the paper, almost in poetic form, was 'new' information about Ned and his house!

 

Oysterville, Washington.

 

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תת פעילות בלוטת התריס וחוסר איזון הורמונלי עלולים למנוע גם ממך לחוות את הרגעים הקסומים של החיים במלואם.

במרפאת ד"ר נורברט קורלנד📞 09-760-1440 מטפלים בחוסר איזון הורמונלי ותת פעילות בלוטת התריס.

www.fibrokur.com/%D7%91%D7%9C%D7%95%D7%98%D7%AA-%D7%94%D7...

In preparation for the Bicentennial journey of the American Freedom Train, the four-car Preamble Express was dispatched to scout the route and court host city officials.

Heade (1819 - 1904) became a good friend of the acclaimed landscape painter Frederic Church (1826–1900), but he worked on the periphery of the Hudson River School. He specialised not in dramatic wilderness subjects, as many of the school did, but preferred more prosaic marshlands and coastal settings. Even when he painted storms, as here, he portrayed not the actual tempest, but its tense preamble of blackening sky and eerily illuminated terrain. This painting was based on a sketch of an approaching storm that Heade witnessed on Rhode Island's Narragansett Bay about 1858. The image became the basis for a more elaborate and synthetic version of the subject painted in 1868 (Amon Carter Museum, Fort Worth, Texas).

 

[Metropolitan Museum of Art, New York - Oil on canvas, 71.1 x 111.8 cm]

Lo Stato della Città del Vaticano (in latino Status Civitatis Vaticanæ[9]), comunemente abbreviato in Città del Vaticano , è uno stato indipendente (0,44 km², 799 abitanti al 23 aprile 2009, capitale Città del Vaticano) dell'Europa.

 

La semplice dizione Vaticano spesso è usata anche per indicare non tanto lo Stato, quanto piuttosto il vertice della Chiesa cattolica, ovvero la Santa Sede, la quale è tuttavia un'entità diversa e distinta.

 

È un'enclave del territorio della Repubblica Italiana, essendo inserito nel tessuto urbano della città di Roma e costituisce il più piccolo Stato indipendente del mondo, in termini sia di popolazione sia di estensione territoriale.

 

Le lingue ufficiali sono l'italiano e il latino.

______________________

O Vaticano ou Cidade do Vaticano, oficialmente Estado da Cidade do Vaticano (italiano: Stato della Città del Vaticano), é o centro da Igreja Católica e uma cidade-estado soberana sem costa marítima cujo território consiste de um enclave murado dentro da cidade de Roma, capital da Itália. Com aproximadamente 44 hectares (0,44 km²) e com uma população de pouco mais de 800 habitantes, é o menor Estado do mundo, tanto por população quanto por área.

A Cidade do Vaticano é uma cidade-estado que existe desde 1929. É distinta da Santa Sé, que remonta ao Cristianismo primitivo e é a principal sé episcopal de 1,142 bilhões de Católicos Romanos (Latinos e Orientais) de todo o mundo. Ordenanças da Cidade do Vaticano são publicados em italiano; documentos oficiais da Santa Sé são emitidos principalmente em latim. As duas entidades ainda têm passaportes distintos: a Santa Sé, como não é um país, apenas trata de questões de passaportes diplomáticos e de serviço; o estado da Cidade do Vaticano cuida dos passaportes normais. Em ambos os casos, os passaportes emitidos são muito poucos.

O Tratado de Latrão, de 1929, que criou a cidade-estado do Vaticano, falou dela como uma nova criação (Preâmbulo e no artigo III) e não como um vestígio dos muito maiores Estados Pontifícios (756-1870) que anteriormente abrangiam a Itália central. A maior parte deste território foi absorvido pelo Reino da Itália em 1860 e a porção final, ou seja, a cidade de Roma, com uma pequena área perto dele, dez anos depois, em 1870.

A Cidade do Vaticano é um estado eclesiástico ou sacerdotal-monárquico,[3] governado pelo bispo de Roma, o Papa. A maior parte dos funcionários públicos são todos os clérigos católicos de diferentes origens raciais, étnicas e nacionais. É o território soberano da Santa Sé (Sancta Sedes) e o local de residência do Papa, referido como o Palácio Apostólico.

Os papas residem na área, que em 1929 tornou-se Cidade do Vaticano, desde o retorno de Avignon em 1377. Anteriormente, residiam no Palácio de Latrão na colina Celio no lado oposto de Roma, local que Constantino deu ao Papa Milcíades em 313. A assinatura dos acordos que estabeleceram o novo estado teve lugar neste último edifício, dando origem ao nome Tratado de Latrão, pelo qual é conhecido.

_______________________

Vatican City or Vatican City State ]officially Stato della Città del Vaticano which translates literally as "State of the City of the Vatican", is a landlocked sovereign city-state whose territory consists of a walled enclave within the city of Rome, the capital city of Italy. It has an area of approximately 44 hectares (110 acres), and a population of just over 800

Vatican City was established in 1929 by the Lateran Treaty, signed by Cardinal Secretary of State Pietro Gasparri, on behalf of the Holy See and by Prime Minister Benito Mussolini on behalf of the Kingdom of Italy. Vatican City State is distinct from the Holy See, which dates back to early Christianity and is the main episcopal see of 1.166 billion Latin and Eastern Catholic adherents around the globe. Ordinances of Vatican City are published in Italian; official documents of the Holy See are issued mainly in Latin. The two entities even have distinct passports: the Holy See, not being a country, only issues diplomatic and service passports; Vatican City State issues normal passports. Very few passports are issued by either authority.

The Lateran Treaty in 1929, which brought the city-state into existence, spoke of it as a new creation (Preamble and Article III), not as a vestige of the much larger Papal States (756-1870) that had previously encompassed much of central Italy. Most of this territory was absorbed into the Kingdom of Italy in 1860, and the final portion, namely the city of Rome with Lazio, ten years later, in 1870.

Vatican City is an ecclesiastical or sacerdotal-monarchical state, ruled by the Bishop of Rome—the Pope. The highest state functionaries are all Catholic clergymen of various national origins. It is the sovereign territory of the Holy See (Sancta Sedes) and the location of the Pope's residence, referred to as the Apostolic Palace.

The Popes have generally resided in the area that in 1929 became Vatican City since the return from Avignon in 1377, but have also at times resided in the Quirinal Palace in Rome and elsewhere. Previously, they resided in the Lateran Palace on the Caelian Hill on the far side of Rome from the Vatican. Emperor Constantine gave this site to Pope Miltiades in 313. The signing of the agreements that established the new state took place in the latter building, giving rise to the name of Lateran Pacts, by which they are known.

India celebrates her 65th Republic Day today. Greetings to all

 

Constitution of India, biggest in the world came into existence on 26th January,1950

PREAMBLE

 

WE, THE PEOPLE OF INDIA, having solemnly resolved to constitute India into a SOVEREIGN SOCIALIST SECULAR DEMOCRATIC REPUBLICand to secure to all its citizens:

 

JUSTICE, social, economic and political;

 

LIBERTY of thought, expression, belief, faith and worship;

 

EQUALITY of status and of opportunity;

 

and to promote among them all

 

FRATERNITY assuring the dignity of the individual and the unity and integrity of the Nation;

 

IN OUR CONSTITUENT ASSEMBLY this twenty-sixth day of November, 1949, do HEREBY ADOPT, ENACT AND GIVE TO OURSELVES THIS CONSTITUTION.

Olympus OM-4TI

zuiko 28mm f/2.8 @ f/5.6

fuji superia 200

Processed and scanned at Nation Photo, Paris.

 

roll start 20190423

end 20190425

 

Shot on 2019-04-24T22:23(GMT+2) until 23:45 = 80 minutes total exposure

 

This year, right after Easter, the weather was oh so pleasant. Much like a preamble to summer. Delicious nights. On this vacation, I could not resist the urge, I had to sacrifice some much needed sleep to try a shot. And here it is. Dogs were barking but at least, my tripod was not shaking 😀

 

Anyway.

 

It would have looked better on slide film, just like last year but colour negatives were all I had.

 

Oh and I "brushed" the trees with my iPhone's lamp for one minute at full power, give or take.

 

Thanks for looking :)

La profecía maya es cierta. El Apocalipsis ha comenzado. Los tsunamis y demás catástrofes naturales y las numerosas guerras, fueron el preámbulo de lo que hoy es un hecho: Ana Botella será la nueva alcaldesa de Madrid. El fin del mundo es hoy.

Y Ana Botella Crew lo queremos celebrar con esta acción simple y contundente. Manzanas y peras con boquillas de spray le dan la bienvenida a la gran reina al grito bilingüe de Apocalipsis Now, con su nuevo palacio como telón de fondo.

Con esto demostramos que, por mucho que te esfuerces, estudies y trabajes, no serás más que un triste mileurista indignado viviendo en una diminuta casa hipotecada. En cambio, ella, sin dar un palo al agua ni ser votada, gobernará sobre la capital del Reino de España, España, España.

"Si se suman dos manzanas, pues dan dos manzanas. Y si se suman una manzana y una pera, nunca pueden dar dos manzanas, porque es que son componentes distintos. Hombre y mujer es una cosa, que es el matrimonio, y dos hombres o dos mujeres serán otra cosa distinta".

 

///////////

 

The Mayan prophecy is true. The Apocalypse has begun. Tsunamis and other natural disasters and the many wars, was the preamble to what is now a fact: Ana Botella will be the new mayor of Madrid. The end of the world is today.

Ana Botella Crew wants to celebrate with this simple and forceful street action. Apples and pears with spray caps welcome the great queen shouting bilingual, Apocalipsis Now, with her new palace as a backdrop.

This demonstrates that, however much you try, studies and works, you're just a sad angry poor guy living in a tiny house mortgaged. Instead, she, without a stick to water or a vote, rule over the capital of the Kingdom of Spain.

 

"If you sum up two apples, two apples is the result. But if you sum up an apple and a pear, the result will never be two apples, because they are distinct components. Man and woman is one thing, which is marriage, and two men or two women will be something else ", she said, also she said that she will destroy graffiti. That´s why this street art action is made with apples, pears and spray can´s caps.

Marvel Chief Creative Officer and former Editor-In-Chief Joe Quesada cleared his throat and leaned closer to the microphone at the start of the "Cup Of Joe" panel.

 

After an long pause, broken only with light, confused murmuring from the crowd, he commanded his hand to pick up the presentation remote and put the cover of the rebooted Thor #1 on the screen. The image was already familiar to the 2,000 people in the convention hall. Those who hadn't seen Quesada unveil the cover during his appearance on "The Tonight Show" the night before had surely seen it since. It had been splashed across social media and by morning it was the leading topic of conversation on every comics news and rumor site. Many doubted its veracity.

 

"This exciting new direction for Thor," he said, without preamble, "was always planned. It's an organic part of our ongoing evolution of the character."

 

He took a sip of water and scanned the crowd. A man seated in the front row noted the unexpected pause and glanced up from his Blackberry, irritated. He was the only business-suited person in the hall who wasn't doing Tony Stark cosplay.

 

Quesada put the remote down, so that he would have both hands free to grip the sides of the podium before continuing.

 

"Disney's recent acquisition of McDonalds' 'McDonaldland' intellectual property library..."

 

Another sip of water, followed by a slow swallow.

 

"...had absolutely no influence upon our pre-existing plans for...our plans to...for..."

 

And here Quesada lowered his head to the podium. No sound was heard but his shoulders were seen to quake.

 

The crowd offered slow, sympathetic, supportive applause before awkwardly filing out of the room, to afford Mr. Quesada some privacy and dignity.

 

The panel was scheduled to run another thirty seven minutes.

 

The man in the front row shook his head and made a phone call.

A scene in Kyle Field at Texas A&M university after the A&M Aggies lost a out of confidence football game to the FCS Appalachian State Mountaineers in one of college football’s most improbable upsets of 2022. The long shadows set an appropriate mood and serve as a preamble to a disastrous 2022 season that resulted in A&M not qualifying for a bowl game for the first time in a long time.

Happy Al’s is providing shuttle services in Liverpool City Centre during the Eurovision Song Contest and its preamble. Today they had deployed a couple of Enviro 400 MMCs and two ex-Lothian Volvos, including SN08 BWK, formerly Lothian 877.

....NO rain... We had all the preamble today.... but not a drop of wet stuff!

United Nations General Assembly Recognizes 21 March as International Day of Nowruz

 

united-nowruz-payvandFeb. 23rd 2010

UN Sixty-fourth General Assembly

 

The General Assembly this afternoon recognized the International Day of Nowruz, a spring festival of Persian origin, and moved back the dates of the next high-level dialogue on Financing for Development, as it continued its sixty-fourth session.

 

According to the preamble of the resolution on the International Day (document A/64/L.30/Rev.2), Nowruz, which means new day, is celebrated on 21 March, the day of the vernal equinox, by more than 300 million people worldwide as the beginning of the new year. It has been celebrated for over 3,000 years in the Balkans, the Black Sea Basin, the Caucasus, Central Asia, the Middle East and other regions.

 

The Assembly called on Member States that celebrate the festival to study its history and traditions with a view to disseminating that knowledge among the international community and organizing annual commemoration events.

 

Welcoming the inclusion of Nowruz into the Representative List of the Intangible Cultural Heritage of Humanity by the United Nations Educational, Scientific and Cultural Organization (UNESCO) on 30 September 2009, the text notes the festival’s “affirmation of life in harmony with nature, the awareness of the inseparable link between constructive labour and natural cycles of renewal and the solicitous and respectful attitude towards natural sources of life”.

 

The text who said that, as a holiday celebrated in many parts of the world with themes important to all humanity, Nowruz encouraged intercultural dialogue and understanding. Speaking after the Assembly took action on the draft, the representative of Iran marked its adoption by quoting lines of the Persian poet Jalaluddin Rumi that expressed the holiday’s theme of rebirth “on our planet and in our souls”.

    

مجمع عمومى سازمان ملل متحد در نشست عصر سه شنبه خود تصويب كرد كه روز ۲۱ مارس، اول نوروز، به عنوان «روز بين المللى نوروز» نامگذارى شود.

 

در قطعنامه روز بين المللى نوروز اشاره شده كه ۲۱ مارس (اول فروردين) همزمان با آغاز فصل بهار، توسط بيش از ۳۰۰ ميليون نفر از مردم جهان به عنوان نخستين روز سال جديد (خورشيدى) جشن گرفته مى شود.

 

اين قطعنامه مى افزايد: جشن آغاز نوروز كه ريشه ايرانى دارد بيش از سه هزار سال است كه در مناطق بالكان، حاشيه درياى سياه، قفقاز، آسياى مركزى، خاورميانه و ساير مناطق گرامى داشته مى شود.

 

مجمع عمومى سازمان ملل از اعضاى خود خواسته است تا با جشن گرفتن اين روز، تاريخ و سنت هاى آن را با چشم انداز گسترش هويت نوروز در ميان جامعه بين المللى، مورد مطالعه قرار دهند.

 

اين مجمع همچنين خواستار برنامه ريزى سالانه براى پاسداشت اين روز توسط اعضاى سازمان ملل شده است.

 

پس از تصويب سند نامگذارى روز بين المللى نوروز در مجمع عمومى سازمان ملل، معاون نمايندگي ايران در سازمان ملل در سخنانى از جلال الدين مولوى، شاعر ايرانى، نقل و قول كرد كه آغاز سال نو را به عنوان «تحول در زمين و جان ها» معرفى كرده است.

 

اسحق آل حبيب گفت: «بزرگداشت نوروز در واقع تجسم يكى از اهداف متعالى سازمان ملل يعنى تقويت صلح جهانى از طريق احترام به فرهنگ هاى ملى، ميراث فرهنگى جهانى و تنوع فرهنگى است.»

 

سند قرار گرفتن نوروز در فهرست ميراث بين المللى سازمان علمى، فرهنگى و آموزشى سازمان ملل، يونسكو، روز ۳۰ سپتامبر سال ۲۰۰۹ به تصويب رسيده بود.

 

در اين سند اشاره شده كه جشن نوروز يادآور آن است كه زندگى در پيوند با طبيعت تعريف مى شود و بيانگر پيوند ناگسستنى ميان كار سازنده با چرخه هاى طبيعى تجديد پذير و همچنين نشان دهنده اشتياق و نگرش احترام برانگيز نسبت به ريشه هاى طبيعى زندگى است.

 

در اين قطعنامه كه توسط نمايندگى هاى ايران، جمهورى آذربايجان، افغانستان، تاجيكستان، تركيه، تركمنستان، قزاقستان و قرقيزستان به مجمع عمومى سازمان ملل ارايه شده بود از نوروز به عنوان جشنى ياد شده كه براى بشريت عناصر مهمى در بر دارد و گفت و گوى بين فرهنگى و درك متقابل را تقويت مى كند.

 

قطعنامه روز بين المللى نوروز در ۱۷ بند مقدماتى و پنج بند اجرايى تنظيم شده است و در آن علاوه بر شناسايى روز ۲۱ مارس (اول فروردين) به عنوان روز بين المللى نوروز از كشورها خواسته شده تا در باره اين جشن و سازماندهى مراسمى در بزرگداشت نوروز اقدام كنند.

 

همچنين از كشورهايى كه نوروز را گرامى مى ‌دارند خواسته شده تا براى پژوهش پيرامون تاريخ و سنت‌هاى نوروزى با هدف انتشار آگاهى در مورد ميراث نوروز در ميان جامعه بين المللى تلاش كنند

 

Hi all, If you are a photographer based in or near Edinburgh, Scotland, and you've got the time please read on, it might just be worth your while. I've been asked a few times if do lessons but it's not something I do or am planning to do, however If you ever meet me I'm happy to exchange views and help with advice if you want it. Just ask.

 

Anyway that was a little bit of tangential preamble to the main purpose of this message, which is that next Saturday (13 July) I'm planning a photography day away. I have a couple of ideas in mind just now... firstly (and most likely) I might aim for Dunnottar Castle at sunrise and then head north to Rattray Lighthouse and then round the north east coast of Scotland before maybe finishing at sunset along the north coast near Nairn or Inverness, then back home down the A9.... another idea might be a deep incursion south of the border to capture some English light and bring it back home, however I'm also open to other ideas.

 

So here's the thing, if anyone else is interested in coming with me for the day then I've got space for another 3 people in the car.

 

Here's the deal, whatever the cost of the petrol is for the day then we split it between us. I reckon I can get about 450-500 miles on a full tank and a full tank costs about £90. I expect to cover somewhere in the region of 500-800 miles on this trip. So u can estimate what a share of the petrol might be. Remember there might only be two or three of us so factor that in.

 

Duration/Timings etc

 

You need to be able to get to me for the start time or be available to be picked up en-route. This is going to be a long mission. Sunrise is roughly 0430 hours just now and the intention will be to be somewhere for sunrise. If your late for any rendezvous or pick up I won't be missing out on the sunrise waiting for you, I'll be continuing on. Just saying :o) So it's likely I'll be leaving Edinburgh at around 0100-0200 hours on the Saturday morning, in time to get a sunrise somewhere, then we'll see what we can find during the rest of the day and we'll be staying out to get the sunset somewhere too and that might be several hundred miles away from home. So all in all I expect the total trip to last roughly 24 hours from start to finish. (0200 Saturday right through to roughly 0200 Sunday)

 

Anyway this offer is on a first come first served basis. I'll throw in any advice you want for free, or maybe you can buy me a chippy ;o)

 

If you are interested get in touch.

 

I have final say on the route :o)

 

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click to activate the icon of slideshow: the small triangle inscribed in the small rectangle, at the top right, in the photostream;

or…. Press the “L” button to zoom in the image;

clicca sulla piccola icona per attivare lo slideshow: sulla facciata principale del photostream, in alto a destra c'è un piccolo rettangolo (rappresenta il monitor) con dentro un piccolo triangolo nero;

oppure…. premi il tasto “L” per ingrandire l'immagine;

 

Qi Bo's photos on Fluidr

  

Qi Bo's photos on Flickriver

  

www.worldphoto.org/sony-world-photography-awards/winners-...

  

www.fotografidigitali.it/gallery/2726/opere-italiane-segn...

 

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The island of Sicily is a land that you never stop discovering, rich in natural treasures, artistic works, artifacts that are the fruit of human ingenuity, in its historical and cultural panorama it is the popular traditions that represent an unparalleled "eco living, static and dynamic at the same time "that exist (and persist) becoming visible, only when it is the people themselves who decide to give voice to them, traditions whose roots sink into a dark and distant past made up of stratified cultures between them, very often synonymous with wars and dominations, to throw ever green leaves in the present: this as a preamble to what I am going to describe in words and photographs, of the traditional folk festival of the "Maiorchino tournament", unique in its kind, which is is held this year in the Sicilian town of Novara di Sicilia. This ancient medieval center is an ancient village located in the province of Messina, whose name seems to come from a transformation of the ancient Latin name Noa into the Arabic language Nouah, which means "flower garden", to indicate the beauty of this territory, so appreciated by the Arabs when they settled here. The “Maiorchino Tournament” is a game that was once very popular in the province of Messina (Sicily) in the areas of the Nebrodi and Peloritani mountains, but which today survives exclusively in the town of Novara di Sicilia; the game-competition, complete with cheering towards the various teams, takes place during the Carnival period, it is a team competition (each team consists of three players, both men and women), which consists in throwing a heavy circular shape the precious Novara di Sicilia cheese called “Maiorchino” (cheese made with sheep's and goat's milk, whose weight varies between 10 and 12 kg); to throw the heavy cheese the players use a rope that is wound (as if it were a yo-yo) along the circumference of the cheese, a rope that is previously treated with pitch, to make it more "sticky" when it is unrolled during the launch; the route is downhill and is in stages, the total length of which is about one kilometer; to complete the entire course each team will have to do a lot of throws, the team that completes the entire course with fewer throws as possible wins. The photographs of the tournament, both for men and women, I took on Shrove Tuesday this year 2022, while the last two past editions were not taken due to the covid-19 pandemic.

 

L’isola di Sicilia è una terra che non si finisce mai di scoprire, ricchissima di tesori naturali, di opere artistiche, di manufatti frutto dell’ingegno umano, nel suo panorama storico e culturale sono le tradizioni popolari quelle che rappresentano una ineguagliabile “eco vivente, statica e dinamica al tempo stesso” che esistono (e persistono) divenendo visibili, solo nel momento in cui è il popolo stesso che decide di dare voce ad esse, tradizioni le cui radici sprofondano in un oscuro e lontano passato fatto di culture stratificate tra loro, molto spesso sinonimo di guerre e dominazioni, per gettare foglie sempre verdi nel presente: questo come preambolo di quanto vado a descrivere in parole e fotografie, della tradizionale festa popolare del “torneo del Maiorchino”, unica nel suo genere, che si è tenuto quest’anno nel paese siciliano di Novara di Sicilia. Questo antico centro medioevale è un antico borgo situato in provincia di Messina, Il cui nome sembrerebbe provenire da una trasformazione dell’antico nome latino Noa nella lingua araba Nouah, che significa “giardino fiorito”, ad indicare la bellezza di questo territorio, così apprezzato dagli Arabi quando qui si insediarono. Il “Torneo del Maiorchino”, è un gioco in passato molto diffuso in provincia di Messina nelle zone dei monti Nebrodi e dei monti Peloritani, ma che oggi sopravvive esclusivamente a Novara di Sicilia; il gioco-competizione, con tanto di tifo verso le varie squadre, si svolge durante il periodo di Carnevale, è una gara a squadre (ogni squadra è composta da tre giocatori, sia uomini che donne), che consiste nel lanciare una pesante forma circolare del pregiato formaggio di Novara di Sicilia chiamato “Maiorchino” (formaggio realizzato con latte di pecora e di capra, il cui peso varia tra i 10 ed i 12 Kg); per lanciare il pesante formaggio ci si avvale di una corda che viene avvolta (come se fosse uno di yo-yo) lungo La circonferenza del formaggio, corda che viene precedentemente trattata con della pece, per renderla più “adesiva” quando verrà srotolata durante il lancio; il percorso è in discesa ed è a tappe, la cui lunghezza totale è di circa un chilometro; per completare l’intero percorso ogni squadra dovrà fare molto lanci, vince la squadra che completerà l’intero percorso con meno lanci possibili. Le fotografie del torneo, sia maschile che femminile, le ho realizzate il giorno di martedì grasso di quest’anno 2022, mentre le due ultime passate edizioni non state realizzate a causa della pandemia da covid-19.

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“Left Hander!!!”

I heard my classmate yell as I approached the batting spot, rounders bat in hand feeling all dangerous and loose cannon-esque. I watched the least sporting of the kids who were always plonked out as fielders hurriedly lollop round to the left in their plimsolls and grey socks. I felt a wonderful feeling of power; the way I imagine a great white shark must feel when someone yells ‘shark!’ before watching the water empty and tasting the distinct increase of urea in the ocean.

 

It mattered not whether you actually did a good hit or not. The preamble was all you needed to feel special, important, so important that the team’s best thrower would be sent from their very important position at fourth base all the way round to cover the un-protected left side of the playground. The rest of the team on bases would shuffle diligently as if preparing their bodies for a back-to-front situation when really they were daydreaming about the latest Velcro shoes at Clarks.

 

Sport is a left handers most powerful time, we wield this mystery and unpredictability by using our strange little wizened left paw, or ‘south paw’.

 

Upon arrival back in the classroom after games, triumphant chest beating and dead leg giving began to seem a little misjudged when we had to sit down and write. There the ‘cack-handedness’ became more prevalent and the dead legs were returned.

I remember having to sit a certain way round when sharing desks with right handers or we would bash elbows. Writing a letter on un-lined paper was our Kryptonite – Left handers write uphill. Whatever way you turn the paper to counteract it, like a compass your left hand will adjust and ensure that the letter has a pleasant 1:3 incline.

 

And as for the smudging….I would go home every day with a permanent shadow on the underside of my arm and hand and a book full of bleeding writing. Had I spent an afternoon in art using charcoal then I would go home looking like a little chimney sweep.

 

I was informed rather too late this year that the 13th August was Left Handers day.

 

I didn’t even know we had a day. The word must be spread using some kind of flyer at the till in those left handed shops on Carnaby Street that sell scissors and knives and guitars. I would therefore not know about it as I have never bought anything ‘left handed’. When proffered left handed scissors in school I would end up ripping the paper in a furious crocodile technique after the scissors had simply curled the paper ever so gently for the umpteenth time.

 

When I went to people’s houses for tea they always tried to lay the table back to front for me. I explained that it didn’t matter and that I was still spoon fed at home and who was to do the honours this evening?

 

When I meet another left hander I find myself drawn towards them. Not because I feel we are some kind of comrades who have endured terrible hardship and prejudice but it’s just quite a good way to start chatting someone up. . . .

  

“So can you use normal scissors? I can.” flutter eyelashes, gaze at his left hand seductively.

 

“Yes I’m licensed to use scissors and rulers and bread knives and scalpels and hacksaws and most cutting implements.” He replies proudly with puffed out chest like a child who has used the toilet for the first time.

 

“Which side do you dress to? I hear that Kevin Costner always goes left.”

 

“Oh yes I have my trousers made especially with the left leg three times wider to accommodate me.”

 

I gasp, left hand grasps my throat as I let out a left-orientated filthy laugh and steal a quick glance at his crotch

 

“So do you also make love left handed?” I ask as I trace a line with my left hand down along my left buttock.

 

“Oh I don’t use my hands; I use my left handed ‘making love’ tools which I bought online from Ulefthandesucker.com. I have the portable set in the boot of my car, and some left handed condoms.”

 

“Which hand do you wipe your bum with?” I ask picking up a right handed ruler and using it to draw a perfect line, no smudges.

 

“Neither”

 

“Well nice to meet you, urm goodbye”

    

www.doaks.org/about/about-dumbarton-oaks

  

History

 

Dumbarton Oaks was created by Mildred and Robert Woods Bliss, collectors and patrons of art and scholarship in the humanities. Robert Bliss was a diplomat in the US Foreign Service, and the Blisses traveled and lived in South America and Europe. After a long search for a permanent home in Washington, they purchased the 1801 Federal-style house and property in June of 1920. Throughout their lives they were enthusiastic collectors of art and books and ardent supporters of music and the arts.

 

After buying the property, the Blisses altered it significantly. Mildred Barnes Bliss worked closely with renowned landscape designer Beatrix Farrand to transform the land surrounding the house into terraced gardens and vistas. The Blisses renovated and expanded the original structure, adding the Music Room in 1929, and the wing to house the Byzantine Collection in 1940. As early as 1932, the Blisses had begun planning to convey the institution to Harvard, Robert's alma mater; the property was transferred in 1940. The Blisses remained very active, continuing to shape the institution, the collections, and the garden, until their deaths in the 1960s. The Pre-Columbian Gallery, designed by architect Philip Johnson to house Mr. Bliss's collection of Pre-Columbian art, which had been on long-term loan to the National Gallery of Art, opened to the public in 1963. The Garden Library was added in the same year, to house and display Mrs. Bliss's collection of rare and modern books related to all aspects of the history of gardens. Dumbarton Oaks continues to respond to the need for change; in 2005 scholars were welcomed into the new library, and in 2008 the extensive renovation of the Main House and Museum was completed.

 

Early History

 

Dumbarton Oaks is situated on land that formerly was part of a 1702 land grant patented by Colonel Ninian Beall (1625–1717) as the Rock of Dumbarton. In 1801, William Hammond Dorsey (1764–1818) acquired twenty acres from a Beall decedent and built a house, which survives, in part, as the central core of the present Dumbarton Oaks. The property subsequently passed through a series of individuals, including Vice President John C. Calhoun (1782–1850) and Edward Magruder Linthicum (1797–1869), who greatly enlarged the house. The Blisses acquired the house and six acres of land on November 15, 1920. They would eventually increase the size of the property to approximately fifty-four acres.

 

The Blisses

 

Robert Woods Bliss was born in 1875 in St. Louis, Missouri, where his father, William Henry Bliss, was US District Attorney. He graduated from Harvard University in 1900 and began a distinguished career as a Foreign Service officer and diplomat. He eventually served as Ambassador to Argentina (1927–33).

 

Mildred Barnes Bliss was born in New York City in 1879 to Anna Dorinda Blaksley and Demas Barnes, who had invested in the patent medicine Fletcher's Castoria, the phenomenal success of which made him a wealthy man. When Barnes died in 1888, his wealth passed to his wife and their only child, the nine-year-old Mildred. The second marriage of Anna Barnes to William Bliss in 1894 brought Mildred and Robert together, and they themselves married in 1908.

 

Mildred and Robert Bliss seated in front of windows reading together from a book

 

Robert Bliss's career brought the Blisses to Paris in 1912. There they became friends with a circle of Americans, including the artist Walter Gay, the author Edith Wharton, and Mildred Bliss’s childhood friend, the historian, diplomat, and banker Royall Tyler. Tyler introduced the Blisses to Parisian art dealers and sparked their passion for collecting, especially Byzantine and Pre-Columbian art. In Paris, Mildred Bliss began to support musicians and host musical evenings.

 

In 1920, the Blisses purchased the Georgetown property that they named Dumbarton Oaks. Their redesign of the house and the creation of the garden—directed by landscape designer Beatrix Farrand—made Dumbarton Oaks one of the outstanding residences of Washington. In 1940, the Blisses offered Harvard University the gift of Dumbarton Oaks, with its grounds, buildings, library, and art collections. Robert Bliss died in 1962, and Mildred Bliss in 1969.

 

From Private Estate to Research Institute

 

In preparation for the inauguration of the Dumbarton Oaks Research Library and Collection on November 1, 1940, Mildred and Robert Woods Bliss undertook considerable planning beginning in 1936. They aggressively increased their collection of Byzantine and related artworks, creating what Walter Muir Whitehill would later call “not only a representative group of Byzantine and related objects in many materials, but pieces that illustrated the derivation of the style from classical antiquity and exemplified the extraneous elements brought into the Empire by barbarian invaders.”

 

In 1938, the Blisses began to work with the architect Thomas T. Waterman (1900–1951) to design and build library and exhibition pavilions for the new institution. These were located to the west of the music room and incorporated mosaics from excavations at Antioch, which the Blisses had helped fund.

 

The Blisses engaged Marvin Ross (1904–1977) to catalog the expanded Byzantine Collection, Elizabeth Bland (d. 1997) to register and help install the collection, Barbara Sessions (1899–1980) to assemble and catalog the research library (which by 1940 numbered some twelve thousand books), and Ethel B. Clark (1878–1964) to catalog Mildred Bliss’s collection of rare books, manuscripts, and holographic materials. They initiated the Census of Byzantine and Early Christian Objects in North American Collections, employing researchers Louisa Bellinger (1900–1968) and Elizabeth Dow (1911–2000) to undertake the task. They acquired for Dumbarton Oaks a copy of the Princeton Index of Christian Art and initiated the Dumbarton Oaks Papers in the hope that scholars would publish articles on objects in the collection. All of this was in place when the Dumbarton Oaks Research Library and Collection was legally transferred to Harvard on November 29, 1940.

 

In giving Dumbarton Oaks to Harvard, Mildred and Robert Woods Bliss provided little direction for the development of the nascent research institute. Their letter to Harvard’s president announcing the gift stated rather simply their desire that Dumbarton Oaks “be used for study and research in the Humanities and Fine Arts, with especial emphasis upon Byzantine art and the history and culture of the Eastern Empire in all its aspects.” They further expressed their hope that Dumbarton Oaks itself would become a center of research and a place of residence for scholars, students, and artists.

 

In a 1939 letter to her friend Royall Tyler (1884–1953), Mildred Bliss was better able to articulate the general atmosphere she desired for the institution. She wrote, “I know that what Dumbarton Oaks has to give—the work that it can do—can never be done in a big center—it must be small and quiet and unemphatic: a place for meditation and recueillement.” She reiterated this sentiment, albeit after the fact, in the 1966 preamble to her last will and testament, where she wrote that “Dumbarton Oaks is conceived in a new pattern, where quality and not number shall determine the choice of its scholars; it is the home of the Humanities, not a mere aggregation of books and objects of art.”

 

The Second World War

 

The Dumbarton Oaks Research Library and Collection opened a little more than a year after the outbreak of the Second World War. At first, the war seemed to have little impact on the embryonic institution. However, with the Japanese bombing of Pearl Harbor on December 7, 1941, and America’s entry into the conflict, Dumbarton Oaks quickly shifted from the academic to the pragmatic.

 

Dumbarton Oaks, in effect, reacted to and then joined the war effort: the collection was quickly packed and sent to various distant locations for safekeeping until the end of the war in 1945; use of the property was offered to relief organizations and then to the Departments of War and State, first to expedite the war effort and then to facilitate the establishment of world peace; a victory garden was maintained; and Dumbarton Oaks fellows provided the War Department with lists of potentially endangered sites, monuments, and artworks in Hungary, Bulgaria, Germany, Greece, Yugoslavia, Romania, and Tunisia in order to help insure their protection.

 

These activities notwithstanding, throughout the war years the Blisses also continued to collect art in order to further improve the Byzantine collection that they had given to Harvard University.

 

Dumbarton Oaks Conversations

 

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In the late summer and early fall of 1944, at the height of the Second World War, a series of important diplomatic meetings took place at Dumbarton Oaks. Their outcome was the United Nations charter that was adopted in San Francisco in 1945. At these meetings, officially known as the Washington Conversations on International Organization, Dumbarton Oaks, delegations from China, the Soviet Union, the United Kingdom, and the United States deliberated over proposals for the establishment of an organization to maintain peace and security in the world. Among the representatives were Soviet Ambassador to the United States, Andrei Gromyko (1909–1989); US Under Secretary of State Edward Stettinius, Jr. (1900–1949); Wellington Koo (1887–1985), Chinese Ambassador to the United Kingdom; and Sir Alexander Cadogan (1884–1968), British Permanent Under Secretary of State for Foreign Affairs, and Edward Wood (the Earl of Halifax) (1872–1959), British Ambassador to the United States, each of whom chaired his respective delegation.

 

Dignitaries seated at tables arrangned in a U-shape in the Music Room at the Dumbarton Oaks Conversations

 

Robert Woods Bliss was instrumental in arranging these meetings. Already in June 1942, on behalf of the Director of Dumbarton Oaks, John Thacher, and the Trustees for Harvard University, he had offered to place the facilities at the disposal of Secretary of State Cordell Hull. When in June 1944 the State Department found that Dumbarton Oaks could comfortably accommodate the delegates and that the environment [was] ideal, the offer was renewed by James B. Conant, then President of Harvard University, in a letter of June 30, 1944.

 

The conversations were held in two phases. In the first, representatives of the Soviet Union, the United Kingdom, and the United States convened between August 21 and September 28. In the second, representatives of China, the United Kingdom and the United States held discussions between September 29 and October 7. Since the Russian and Chinese delegations could not meet at the same time and at the same place, the organizers took pains to hold the talks with the Chinese at the same place or at an equally glamorous site as where the conversations with the Russians were held.

 

The stated purposes of the proposed international organization were

 

To maintain international peace and security; and to that end to take effective collective measures for the prevention and removal of threats to the peace and the suppression of acts of aggression or other breaches of the peace, and to bring about by peaceful means adjustment or settlement of international disputes which may lead to a breach of the peace

To develop friendly relations among nations and to take other appropriate measures to strengthen universal peace

To achieve international co-operation in the solution of international economic, social and other humanitarian problem

To afford a center for harmonizing the actions of nations in the achievement of these common ends

The delegates agreed on a tentative proposal to meet these goals on October 7, 1944. In his Witness to History, 1929–1969 (New York, 1973, 159), C. E. Bohlen observes that Dumbarton Oaks settled all but two issues regarding the organization of the United Nations—the voting procedure in the Security Council and the Soviet pressure for the admission of all sixteen of the Soviet republics to the General Assembly. It took the conference at Yalta, plus further negotiations with Moscow, before the issues were solved.

  

Preamble to one of the tuning concerts at the Carmel Palladium Center for the Performing Arts.

This is the Indianapolis Symphonic Band.

This is supposed to be one of the premier acoustic venues in the nation.

You can hear each instrument in it's own right while they are playing.

 

I can't demonstrate the sound here even with a perfect HDR presentation.

CLICK ON PHOTO TO VIEW LARGE ON BLACK

 

Grand Opening January 22

Leonardo Da Vinci painted this woman at two ages is that he himself had a screenplay. The canvas is not only an aesthetic work but also an allegory of the myth of Isis.The whole composition of the painting, its decorations and tasks combine in an orderly and chronological way all the elements of the myth of Isis. Thierry Gallier zooms in on certain parts of the painting and shows us scenes, objects and characters. Thus the famous phallus of Osiris is found in the meanders of a path in the background of the painting. It's all there! We let ourselves be guided by the author, especially since in the preamble of the book, he had given us a quotation from Leonardo da Vinci which invited the observer to find realities in graphical representations that could have appeared at first glance as abstract or random. The Italian genius would have been a follower of the language of birds applied to painting. Mona Lisa is... Isis. The world's most famous painting chronologically tells the story of Isis and Osiris.

 

The woman depicted in the Mona Lisa might be both a Chinese slave, and Leonardo da Vinci's mother, according to a new theory from Angelo Paratico, a Hong Kong-based historian and novelist.

The identity of the sitter for the portrait hanging in Paris' Louvre museum has long been a matter of debate. If Paratico's theory is correct, it means the 15th-century polymath was half-Chinese.

However, the historian's claims are tenuous.

Paratico told the South China Morning Post: "I am sure up to a point that Leonardo's mother was from the Orient, but to make her an oriental Chinese, we need to use a deductive method.

"One wealthy client of Leonardo's father had a slave called Caterina. After 1452, Leonardo's date of birth, she disappeared from the documents. She was no longer working there. During the Renaissance, countries like Italy and Spain were full of oriental slaves."It is also necessary to rethink Western ethnocentrism in order to regain the invention of landscape painting in China and certainly to rediscover the contribution of Taoist alchemy in medieval alchemy with the important role of religious emissaries.

  

In support of his theory, Paratico, who is finishing a book entitled Leonardo da Vinci: a Chinese scholar lost in Renaissance Italy, also cited Austrian neurologist Sigmund Freud's 1910 assumption that the painting was inspired by the artist's mother, and claimed that certain aspects of Da Vinci's life and work suggest an oriental link.

 

Freud was the first to apply psychoanalysis to art, choosing for his subject the life and work of Leonardo da Vinci. Observing Leonardo's partly fused image of the Virgin and St. Anne, he inferred that the artist had depicted his two mothers, his biological mother and his stepmother. This very early analytic discourse on parent loss and adoption changed the course of the interpretation of art. Freud explored the psychology of art, the artist, and aesthetic appreciation. Confronting the age-old enigma of the Mona Lisa, he proposed a daring solution to the riddle of the sphinxlike smile of this icon of art. His paper prefigures concepts of narcissism, homosexuality, parenting, and sublimation. Lacking modern methodology and theory, Freud's pioneering insights overshadow his naive errors. In this fledgling inquiry, based on a childhood screen memory and limited knowledge of Leonardo's artistic and scientific contributions, Freud identified with this Renaissance genius in his own self-analytic and creative endeavor.

 

"For instance, the fact he was writing with his left hand from left to right... and he was also a vegetarian which was not common," he told the paper. "Mona Lisa is probably a portrait of his mother, as Sigmund Freud said in 1910. On the back of Mona Lisa, there is a Chinese landscape and even her face looks Chinese."

Users of China's Twitter-like Sina Weibo were quick to express their incredulity, posting dozens of parodies of the painting.

One user replaced her features with unlikely faces ranging from Chinese male comedian Zhao Benshan (pictured below) to British actor Rowan Atkinson, to a grimacing robot holding a Mona Lisa mask.

"I now understand why her smile looks so mysterious and concealed – it's typically Chinese," said another poster.

THE VULTURE phantasy of Leonardo still absorbs our interest. In words which only too plainly recall a sexual act (“and has many times struck against my lips with his tail”), Leonardo emphasizes the intensity of the erotic relations between the mother and the child. A second memory content of the phantasy can readily be conjectured from the association of the activity of the mother (of the vulture) with the accentuation of the mouth zone. We can translate it as follows: My mother has pressed on my mouth innumerable passionate kisses. The phantasy is composed of the memories of being nursed and of being kissed by the mother. 1

A kindly nature has bestowed upon the artist the capacity to express in artistic productions his most secret psychic feelings hidden even to himself, which powerfully affect outsiders who are strangers to the artist without their being able to state whence this emotivity comes. Should there be no evidence in Leonardo’s work of that which his memory retained as the strongest impression of his childhood? One would have to expect it. However, when one considers what profound transformations an impression of an artist has to experience before it can add its contribution to the work of art, one is obliged to moderate considerably his expectation of demonstrating something definite. This is especially true in the case of Leonardo. 2

He who thinks of Leonardo’s paintings will be reminded by the remarkably fascinating and puzzling smile which he enchanted on the lips of all his feminine figures. It is a fixed smile on elongated, sinuous lips which is considered characteristic of him and is preferentially designated as “Leonardesque.” In the singular and beautiful visage of the Florentine Monna Lisa del Giocondo it has produced the greatest effect on the spectators and even perplexed them. This smile was in need of an interpretation, and received many of the most varied kind but none of them was considered satisfactory. As Gruyer puts it: “It is almost four centuries since Monna Lisa causes all those to lose their heads who have looked upon her for some time.” 1 3

Muther states: 2 “What fascinates the spectator is the demoniacal charm of this smile. Hundreds of poets and writers have written about this woman, who now seems to smile upon us seductively and now to stare coldly and lifelessly into space, but nobody has solved the riddle of her smile, nobody has interpreted her thoughts. Everything, even the scenery is mysterious and dream-like, trembling as if in the sultriness of sensuality.” 4

The idea that two diverse elements were united in the smile of Monna Lisa has been felt by many critics. They therefore recognize in the play of features of the beautiful Florentine lady the most perfect representation of the contrasts dominating the love-life of the woman which is foreign to man, as that of reserve and seduction, and of most devoted tenderness and inconsiderateness in urgent and consuming sensuality. Müntz 3 expresses himself in this manner: “One knows what indecipherable and fascinating enigma Monna Lisa Gioconda has been putting for nearly four centuries to the admirers who crowd around her. No artist (I borrow the expression of the delicate writer who hides himself under the pseudonym of Pierre de Corlay) has ever translated in this manner the very essence of femininity: the tenderness and coquetry, the modesty and quiet voluptuousness, the whole mystery of the heart which holds itself aloof, of a brain which reflects, and of a personality who watches itself and yields nothing from herself except radiance….” The Italian Angelo Conti 4 saw the picture in the Louvre illumined by a ray of the sun and expressed himself as follows: “The woman smiled with a royal calmness, her instincts of conquest, of ferocity, the entire heredity of the species, the will of seduction and ensnaring, the charm of the deceiver, the kindness which conceals a cruel purpose, all that appears and disappears alternately behind the laughing veil and melts into the poem of her smile…. Good and evil, cruelty and compassion, graceful and catlike, she laughed….” 5

Leonardo painted this picture four years, perhaps from 1503 until 1507, during his second sojourn in Florence when he was about the age of fifty years. According to Vasari he applied the choicest artifices in order to divert the lady during the sittings and to hold that smile firmly on her features. Of all the gracefulness that his brush reproduced on the canvas at that time the picture preserves but very little in its present state. During its production it was considered the highest that art could accomplish; it is certain, however, that it did not satisfy Leonardo himself, that he pronounced it as unfinished and did not deliver it to the one who ordered it, but took it with him to France where his benefactor Francis I, acquired it for the Louvre. 6

Let us leave the physiognomic riddle of Monna Lisa unsolved, and let us note the unequivocal fact that her smile fascinated the artist no less than all the spectators for these 400 years. This captivating smile had thereafter returned in all of his pictures and in those of his pupils. As Leonardo’s Monna Lisa was a portrait we cannot assume that he has added to her face a trait of his own so difficult to express which she herself did not possess. It seems, we cannot help but believe, that he found this smile in his model and became so charmed by it that from now on he endowed it on all the free creations of his phantasy. This obvious conception is, e.g., expressed by A. Konstantinowa in the following manner: 5 7

“During the long period in which the master occupied himself with the portrait of Monna Lisa del Gioconda, he entered into the physiognomic delicacies of this feminine face with such sympathy of feeling that he transferred these creatures, especially the mysterious smile and the peculiar glance, to all faces which he later painted or drew. The mimic peculiarity of Gioconda can even be perceived in the picture of John the Baptist in the Louvre. But above all they are distinctly recognized in the features of Mary in the picture of St. Anne of the Louvre.” 8

But the case could have been different. The need for a deeper reason for the fascination which the smile of Gioconda exerted on the artist from which he could not rid himself has been felt by more than one of his biographers. W. Pater, who sees in the picture of Monna Lisa the embodiment of the entire erotic experience of modern man, and discourses so excellently on “that unfathomable smile always with a touch of something sinister in it, which plays over all Leonardo’s work,” leads us to another track when he says: 6 9

“Besides, the picture is a portrait. From childhood we see this image defining itself on the fabric of his dream; and but for express historical testimony, we might fancy that this was but his ideal lady, embodied and beheld at last.” 10

Herzfeld surely must have had something similar in mind when stating that in Monna Lisa Leonardo encountered himself and therefore found it possible to put so much of his own nature into the picture, “whose features from time immemorial have been imbedded with mysterious sympathy in Leonardo’s soul.” 7 11

Let us endeavor to clear up these intimations. It was quite possible that Leonardo was fascinated by the smile of Monna Lisa, because it had awakened something in him which had slumbered in his soul for a long time, in all probability an old memory. This memory was of sufficient importance to stick to him once it had been aroused; he was forced continually to provide it with new expression. The assurance of Pater that we can see an image like that of Monna Lisa defining itself from Leonardo’s childhood on the fabric of his dreams, seems worthy of belief and deserves to be taken literally. 12

Vasari mentions as Leonardo’s first artistic endeavors, “heads of women who laugh.” 8 The passage, which is beyond suspicion, as it is not meant to prove anything, reads more precisely as follows: 9 “He formed in his youth some laughing feminine heads out of lime, which have been reproduced in plaster, and some heads of children, which were as beautiful as if modeled by the hands of a master….” 13

Thus we discover that his practice of art began with the representation of two kinds of objects, which would perforce remind us of the two kinds of sexual objects which we have inferred from the analysis of his vulture phantasy. If the beautiful children’s heads were reproductions of his own childish person, then the laughing women were nothing else but reproductions of Caterina, his mother, and we are beginning to have an inkling of the possibility that his mother possessed that mysterious smile which he lost, and which fascinated him so much when he found it again in the Florentine lady. 10 14

The painting of Leonardo which in point of time stands nearest to the Monna Lisa is the so-called Saint Anne of the Louvre, representing Saint Anne, Mary and the Christ child. It shows the Leonardesque smile most beautifully portrayed in the two feminine heads. It is impossible to find out how much earlier or later than the portrait of Monna Lisa Leonardo began to paint this picture. As both works extended over years, we may well assume that they occupied the master simultaneously. But it would best harmonize with our expectation if precisely the absorption in the features of Monna Lisa would have instigated Leonardo to form the composition of Saint Anne from his phantasy. For if the smile of Gioconda had conjured up in him the memory of his mother, we would naturally understand that he was first urged to produce a glorification of motherhood, and to give back to her the smile he found in that prominent lady. We may thus allow our interest to glide over from the portrait of Monna Lisa to this other hardly less beautiful picture, now also in the Louvre. 15

Saint Anne with the daughter and grandchild is a subject seldom treated in the Italian art of painting; at all events Leonardo’s representation differs widely from all that is otherwise known. Muther states: 11 16

“Some masters like Hans Fries, the older Holbein, and Girolamo dei Libri, made Anne sit near Mary and placed the child between the two. Others like Jakob Cornelicz in his Berlin pictures, represented Saint Anne as holding in her arm the small figure of Mary upon which sits the still smaller figure of the Christ child.” In Leonardo’s picture Mary sits on her mother’s lap, bent forward and is stretching out both arms after the boy who plays with a little lamb, and must have slightly maltreated it. The grandmother has one of her unconcealed arms propped on her hip and looks down on both with a blissful smile. The grouping is certainly not quite unconstrained. But the smile which is playing on the lips of both women, although unmistakably the same as in the picture of Monna Lisa, has lost its sinister and mysterious character; it expresses a calm blissfulness. 12 17

On becoming somewhat engrossed in this picture it suddenly dawns upon the spectator that only Leonardo could have painted this picture, as only he could have formed the vulture phantasy. This picture contains the synthesis of the history of Leonardo’s childhood, the details of which are explainable by the most intimate impressions of his life. In his father’s home he found not only the kind step-mother Donna Albiera, but also the grandmother, his father’s mother, Monna Lucia, who we will assume was not less tender to him than grandmothers are wont to be. This circumstance must have furnished him with the facts for the representation of a childhood guarded by a mother and grandmother. Another striking feature of the picture assumes still greater significance. Saint Anne, the mother of Mary and the grandmother of the boy who must have been a matron, is formed here perhaps somewhat more mature and more serious than Saint Mary, but still as a young woman of unfaded beauty. As a matter of fact Leonardo gave the boy two mothers, the one who stretched out her arms after him and another who is seen in the background, both are represented with the blissful smile of maternal happiness. This peculiarity of the picture has not failed to excite the wonder of the authors. Muther, for instance, believes that Leonardo could not bring himself to paint old age, folds and wrinkles, and therefore formed also Anne as a woman of radiant beauty. Whether one can be satisfied with this explanation is a question. Other writers have taken occasion to deny generally the sameness of age of mother and daughter. 13 However, Muther’s tentative explanation is sufficient proof for the fact that the impression of Saint Anne’s youthful appearance was furnished by the picture and is not an imagination produced by a tendency. In 1910, after about a year from his trip to the US, Freud decided to write something on Leonardo da Vinci. The outcome of that decision was a novelette whose purpose was to expose a psychoanalytic study on Leonardo. Freud acknowledged that this endeavor was very tentative and his findings were based on a scarcity of biographical materials. Nevertheless, he established the framework of his book on a rumination about childhood that Leonardo left in one of his notebooks. Freud took that childhood contemplation and elaborated an artistic interpretation from it. First, here is Leo’s legacy to Freud:

 

It seems…that I was destined to occupy myself so thoroughly with a vulture, for it comes to my mind as a very early memory that, as I was in my cradle, a vulture came down to me, opened my mouth with its tails, and stuck me many times with its tail against my lips.

 

Freud, who was an erudite in religion and history, knew that the symbol for vulture was a hieroglyph for mother in ancient Egypt. Since Leonardo was an illegitimate child, Freud called him, romantically, the “vulture child.” Later on, Freud speculated that Leonardo had a very affectionate mother, and that passionate maternal love, coupled with the experience of not having a father, had an important influence on is early development. However, because of the over-protective and excessive love from her mother, Leonardo was subjected to too much femininity, which set the stage for his homosexuality. But that explained only the inception process of homosexuality. Full blown homosexual behavior comes later on in life, after the child finally becomes an adult and tends to repress his love for his mother and inadvertently identifies with her. Additionally, another important factor that plays a role in becoming a homosexual is anal eroticism. Anal eroticism comes from a fixation during the anal stage of psychosexual development.

 

This theory about the origins of homosexuality seems far-fetched. It was based on a vague account that Leonardo left behind, to which Freud found mainly an artistic interpretation. The book is replete with lyricism, so its appeal is understandable. Nevertheless, the conjectures Freud made are not entirely scientific.

 

The Evidence

In order to give some validity to Freud’s claims, we need to find if there is any evidence that support the fact that males from the homosexual community had (1) careless or missing fathers, (2) overly affective mothers, (3) strong maternal identification, and (4) some characteristics that relate to anal fixation.

Leonardo’s childhood was precisely as remarkable as this picture. He has had two mothers, the first his true mother, Caterina, from whom he was torn away between the age of three and five years, and a young tender step-mother, Donna Albiera, his father’s wife. By connecting this fact of his childhood with the one mentioned above and condensing them into a uniform fusion, the composition of Saint Anne, Mary and the Child, formed itself in him. The maternal form further away from the boy designated as grandmother, corresponds in appearance and in spatial relation to the boy, with the real first mother, Caterina. With the blissful smile of Saint Anne the artist actually disavowed and concealed the envy which the unfortunate mother felt when she was forced to give up her son to her more aristocratic rival, as once before her lover. 19

Our feeling that the smile of Monna Lisa del Gioconda awakened in the man the memory of the mother of his first years of childhood would thus be confirmed from another work of Leonardo. Following the production of Monna Lisa, Italian artists depicted in Madonnas and prominent ladies the humble dipping of the head and the peculiar blissful smile of the poor peasant girl Caterina, who brought to the world the noble son who was destined to paint, investigate, and suffer. 20

When Leonardo succeeded in reproducing in the face of Monna Lisa the double sense comprised in this smile, namely, the promise of unlimited tenderness, and sinister threat (in the words of Pater), he remained true even in this to the content of his earliest reminiscence. For the love of the mother became his destiny, it determined his fate and the privations which were in store for him. The impetuosity of the caressing to which the vulture phantasy points was only too natural. The poor forsaken mother had to give vent through mother’s love to all her memories of love enjoyed as well as to all her yearnings for more affection; she was forced to it, not only in order to compensate herself for not having a husband, but also the child for not having a father who wanted to love it. In the manner of all ungratified mothers she thus took her little son in place of her husband, and robbed him of a part of his virility by the too early maturing of his eroticism. The love of the mother for the suckling whom she nourishes and cares for is something far deeper reaching than her later affection for the growing child. It is of the nature of a fully gratified love affair, which fulfills not only all the psychic wishes but also all physical needs, and when it represents one of the forms of happiness attainable by man it is due, in no little measure, to the possibility of gratifying without reproach also wish feelings which were long repressed and designated as perverse. 14 Even in the happiest recent marriage the father feels that his child, especially the little boy has become his rival, and this gives origin to an antagonism against the favorite one which is deeply rooted in the unconscious. 21

When in the prime of his life Leonardo reencountered that blissful and ecstatic smile as it had once encircled his mother’s mouth in caressing, he had long been under the ban of an inhibition, forbidding him ever again to desire such tenderness from women’s lips. But as he had become a painter he endeavored to reproduce this smile with his brush and furnish all his pictures with it, whether he executed them himself or whether they were done by his pupils under his direction, as in Leda, John, and Bacchus. The latter two are variations of the same type. Muther says: “From the locust eater of the Bible Leonardo made a Bacchus, an Apollo, who with a mysterious smile on his lips, and with his soft thighs crossed, looks on us with infatuated eyes.” These pictures breathe a mysticism into the secret of which one dares not penetrate; at most one can make the effort to construct the connection to Leonardo’s earlier productions. The figures are again androgynous but no longer in the sense of the vulture phantasy, they are pretty boys of feminine tenderness with feminine forms; they do not cast down their eyes but gaze mysteriously triumphant, as if they knew of a great happy issue concerning which one must remain quiet; the familiar fascinating smile leads us to infer that it is a love secret. It is possible that in these forms Leonardo disavowed and artistically conquered the unhappiness of his love life, in that he represented the wish fulfillment of the boy infatuated with his mother in such blissful union of the male and female nature.

 

www.bartleby.com/277/4.html

Hooray for Toy Story 3 - Please check out the pixartimes for comeplete coverage!.

 

The Oscar statuette is the copyrighted property of the Academy of Motion Picture Arts and Sciences, and the statuette and the phrases "Academy Award(s)" and "Oscar(s)" are registered trademarks under the laws of the United States and other countries. All published representations of the Award of Merit statuette, including photographs, drawings and other likenesses, must include the legend ©A.M.P.A.S.® to provide notice of copyright, trademark and service mark registration. Permission is hereby granted for use of the representation of the statuette in newspapers, periodicals and on television only in legitimate news articles or feature stories which refer to the annual Academy Awards as an event, or in stories or articles which refer to the Academy as an organization or to specific achievements for which the Academy Award has been given. Its use and any other use is subject to the "Legal Regulations for Using Intellectual Properties of the Academy of Motion Picture Arts and Sciences" published by the Academy. A copy of the "Legal Regulations" may be obtained from: Legal Rights Coordinator, Academy of Motion Picture Arts and Sciences, 8949 Wilshire Boulevard, Beverly Hills, California 90211; (310) 247-3000; or ©A.M.P.A.S.http://www.oscars.org/legal/preamble.html.

Vatican City or Vatican City State,officially Stato della Città del Vaticano which translates literally as "State of the City of the Vatican", is a landlocked sovereign city-state whose territory consists of a walled enclave within the city of Rome, the capital city of Italy. It has an area of approximately 44 hectares (110 acres), and a population of just over 800.Vatican City was established in 1929 by the Lateran Treaty, signed by Cardinal Secretary of State Pietro Gasparri, on behalf of the Holy See and by Prime Minister Benito Mussolini on behalf of the Kingdom of Italy. Vatican City State is distinct from the Holy See, which dates back to early Christianity and is the main episcopal see of 1.2 billion Latin and Eastern Catholic adherents around the globe. Ordinances of Vatican City are published in Italian; official documents of the Holy See are issued mainly in Latin. The two entities even have distinct passports: the Holy See, not being a country, only issues diplomatic and service passports; Vatican City State issues normal passports. Very few passports are issued by either authority.The Lateran Treaty in 1929, which brought the city-state into existence, spoke of it as a new creation (Preamble and Article III), not as a vestige of the much larger Papal States (756-1870) that had previously encompassed much of central Italy. Most of this territory was absorbed into the Kingdom of Italy in 1860, and the final portion, namely the city of Rome with Lazio, ten years later, in 1870.Vatican City is an ecclesiastical or sacerdotal-monarchical state, ruled by the Bishop of Rome—the Pope. The highest state functionaries are all Catholic clergymen of various national origins. It is the sovereign territory of the Holy See (Sancta Sedes) and the location of the Pope's residence, referred to as the Apostolic Palace. The Vatican City is the world's smallest state, being only a few acres.The name "Vatican" predates Christianity and comes from the Latin Mons Vaticanus, meaning Vatican Mount. The territory includes St. Peter's Square, distinguished from the territory of Italy only by a white line along the limit of the square, where it touches Piazza Pio XII. St. Peter's Square is reached through the Via della Conciliazione which runs from the Tiber River to St. Peter's. This grand approach was constructed by Benito Mussolini after the conclusion of the Lateran Treaty.According to the Lateran Treaty, certain properties of the Holy See that are located in Italian territory, most notably Castel Gandolfo and the major basilicas, enjoy extraterritorial status similar to that of foreign embassies. These properties, scattered all over Rome and Italy, house essential offices and institutions necessary to the character and mission of the Holy See. Castel Gandolfo and the named basilicas are patrolled internally by police agents of Vatican City State and not by Italian police. St. Peter's Square is ordinarily policed jointly by both.

The current Pope is Benedict XVI, born Joseph Alois Ratzinger in Bavaria, Germany. Italian Cardinal Giovanni Lajolo serves as President of the Pontifical Commission for the State of Vatican City. He was appointed by Pope Benedict XVI on 11 September 2006.

 

Lo Stato della Città del Vaticano (in latino Status Civitatis Vaticanae), comunemente abbreviato in Città del Vaticano, è uno stato indipendente (0,44 km², 799 abitanti al 23 aprile 2009, capitale Città del Vaticano) dell'Europa.La semplice dizione Vaticano spesso è usata anche per indicare non tanto lo Stato, quanto piuttosto il vertice della Chiesa cattolica, ovvero la Santa Sede, la quale è tuttavia un'entità diversa e distinta.È un'enclave del territorio della Repubblica Italiana, essendo inserito nel tessuto urbano della città di Roma e costituisce il più piccolo Stato indipendente del mondo, in termini sia di popolazione sia di estensione territoriale.

Le lingue ufficiali sono il latino e l'italiano.

La sovranità sulla Città del Vaticano spetta alla Santa Sede, che è una monarchia assoluta, sotto l'autorità del papa; l'attuale capo di stato è il tedesco Joseph Ratzinger, eletto nel conclave del 2005, e regnante con il nome di Benedetto XVI. Per l'amministrazione del territorio vaticano, il papa si avvale di un Governatorato, al cui vertice è attualmente il cardinal Giovanni Lajolo, mentre per il governo della Chiesa cattolica il primo collaboratore del papa è il cardinale Segretario di Stato, carica attualmente ricoperta da Tarcisio Bertone.Il cuore della Città del Vaticano è la Piazza San Pietro, sulla quale si affaccia l'omonima basilica, la cui cupola (confidenzialmente chiamata cupolone, o cuppolone in romanesco) domina il territorio del piccolo Stato.All'interno delle mura medioevali e rinascimentali che circondano, eccetto piazza San Pietro, l'intera area, si trovano il Palazzo Apostolico, il Palazzo del Governatorato, i Musei Vaticani, i Giardini Vaticani ed altri edifici minori.

Il colle Vaticano, che non fa parte dei tradizionali sette colli di Roma, venne inserito nei confini della città sotto il pontificato di Leone IV, fautore dell'ingrandimento delle mura cittadine (848-852), allo scopo di proteggere la Basilica di San Pietro. Fino alla formazione dello Stato della Città del Vaticano (istituito con i Patti Lateranensi nel 1929), il Colle Vaticano era incluso all'interno del rione Borgo.

 

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In preparation for the Bicentennial journey of the American Freedom Train, the four-car Preamble Express was dispatched to scout the route and court host city officials.

When I was doing the preamble for this picutre I did a look on google maps to see that the old Portland Place garage is now closed down by Steele and for sale at the time of mapping. In teh 1980s Steele embraced the maroon band livery but int he late 1960s he was one of the first to do away with maroon in the livery with the arrival of 60AVA. In 1970 a number of owners bought ex Edinburgh Guys and Leylands to update their fleets largely from local Scottish dealer Tiger Coaches at Salsburgh. Steele always tended to go his own way though and despite the plentiful supply of Edinburgh PD2s at Salsburgh from whom he had bought 60AVA he chose instead to buy his from a relatively obscure English dealer Sidebotham of Swinton, who is notable really only for only having bought one large batch of buses to sell on and those being ex Edinburgh PD2s. It may be something to do with the end of Millburn Motors and Cowleys that Sidebotham ended up in the bus business but whatever transpired he didn't seem to buy any more.

 

Here is a shot which may just have been taken after it was collected, in Steele's new blue and cream colours with ultra modern reflective number plate belaying the fact that the bus dated from 1954. LFS415 took a while to make it to Scotland and entered service later than most of it's Tiger Coaches sisters and it lasted until about 1975. when I last saw it there was no steering wheel or drivers seat so I'm guessing it didn't travel far but it was a hearty performer for Steele largely on the locals in the early 1970s. I do remember travelling on it when an upper deck window fell out of it on a riotous school bus but it was like the other Edinburgh buses with a spartan and grey interior.punctuated with red seats. The scrap car could indicate this is Portland Place EDIT it is indeed Portland Place with photographer unknown but bought with copyright

 

 

THOMAS JAMES LLOYD

(1849 – 1910)

  

Thomas James Lloyd was a painter, principally of landscape, but also of genre and marine subjects. Living in London, Walmer Beach and Yapton, Sussex. He exhibited from 1870 at the Royal Academy, from 1871 – 1910 Suffolk Street, and at the Old Watercolour Society he exhibited 83 works, and elsewhere. AJ 1877 August “In Pastoral” (Royal Academy 1877) the lighting up of the hill beyond is remarkably like nature, and “Nearly Home” is very faithful to rural circumstances, as well as natural fact “This artist is making rapid strides, and bids fair to become one of our great landscape-painters.”

 

The following is a copy of a letter from Thomas James Lloyds step daughter:

Tuesday March 29th 1983

 

Dear Mrs James

 

Thank you for your letter and the lovely card which I am very pleased to have. I have not seen this picture till now and I am glad to see the typical little cat enjoying a saucer of milk, while the large dog- a colly? Looks on so intently. I suppose the venue may be Walma Beach but I don’t know if there is land near there or hills of any sort.

 

I will proceed to tell you all that I know of Tom Lloyd, which is not a very great deal.

 

He was born on August 4 1849, I think in London, but I do not know in which part. His father was an art dealer and there is a story about him in:

A Victorian canvas- The memoirs of W.P. Frith RA- edited by Neville Wallis- published 1957- pages 84-85.

 

This recounts how ‘Lloyds’ the picture dealers brought Frith’s picture “Life at the Seaside,” the first of his large scale pictures of contemporary life, for a thousand guineas, but on hearing that Queen Victoria wished to buy it allowed her to have it for the same price, but he retained the engraving rights for three years and so was not entirely deprived of his profits! There is a reproduction of this scene at Ramsgate Sands in the book.

 

I do not kow if anything of Tom Lloyd’s life till he and my mother met in 1907 but I have in my possession the certificate of his admission to membership “Royal Society of Painters in watercolour 1904,” known to me as the R.W.S. (Royal Watercolour Society). This imposing framed certificate is inscribed after a lengthy preamble as follows:

 

‘Given at our Royal Palace at Osborne on the tenth day of February 1887 in the 50th year or our reign. . . . . . ‘ Victoria R (signed by her)

 

The diploma begins by setting out the various titles of the Queen . . . . Defender of the faith, Empress of India, etc., to our trusty and well beloved Tom Lloyd Esquire Greeting.

 

I know that this grandeur, in relation to his quite humble origin, always amused him.

 

When Tom Lloyd was about seven years old his portrait was painted in Highland costume and exhibited in the Royal Academy. His son intended me to have it but unfortunately did not put his intention in his will, but only in a note book where I saw it several times. This note book could not be found after his death and in any case would not have been binding. This caused me most intense regret. It went with his other belongings to the owner of the hotel at which his son died in 1971. This was Mrs Foxwell of Seaton, Devon. She did allow me to have a pastel portrait of my stepfather by E.R. Hughes (born 1951) who also did pastel drawings of my brother and me.

 

In 1907 my mother, then a widow 40 years of age was living at Littlehampton with my brother and me. Her mother came to stay with us and told her that a cousin of theirs was living not far away at Yapton. I doubt if they had ever met but my grandfather had bought a large oil painting by Tom Lloyd called “Promising Youngsters”, and this later came into my mother’s possession. Anyway, the two ladies decided to hire a brougham and drive over to call on Tom Lloyd at Yew Tree House, Yapton. At this time I was several years old and it was a great delight when this unknown gentleman started bicycling over to call on my mother. He often brought with him packets of V and suchard chocolates individually wrapped, first in silver then in coloured paper- maroon for plain chocolate and mauve for milk! Tom Lloyd’s wife had died fairly recently, I don’t know why, but I believe that she ‘had a problem’ as it is enphemist- and that her death had been something of a relief. Whether she was ever the romantic and beautiful girl in the pictures, I have no idea. I feel that she was at any rate somewhat romanticised, but I do not have any knowledge of her at all.

 

In 1907 my mother took us for a holiday in the Isle of Wight and we stayed at Ventnor- Tom Lloyd must have stayed near as I have photographs taken by my mother on what was called the Undercliff near B Church. I suppose these places till exist.

 

On June 20, 1908 Tom Lloyd and my mother were married in London, and spent their honeymoon at Leamington Spa. We were all very happy at this event, but this was to be short lived. In 1909 my stepfather was very ill with some kind of kidney disease. It must have been the beginning of cancer but he received the best treatment then available, both in Hampstead where my mother had friends in the medical world and then convalescing at Hindhead. His health greatly improved and they set about plans for moving away from Littlehampton to some place with better schools for us children. They looked at Lewes but finally settled at Eastbourne (The corner House, 44 Arlington Road), where they built on a good studio with North lights. They moved, I think, in August and cannot have had any idea of what was in store. For illness soon struck again- the same trouble and Tom died in November 1910 to our very deep sorrow and regret.

Tom Lloyd had two brothers younger than himself- Stuart and Malcolm. Stuart was also a painter rather largely of sea scapes I think. I have none of his work, but I seem to remember bright skies and sunsets. However, I have been shown a reproduction of a gently river scene. I always supposed that Stuart only took to painting because his elder brother made a success of it. I may be wrong as he seems to have exhibited at the R.A. quite as many pictures as Tom. But I do know that he needed financial help from time to time and this my mother continued after Tom’s death. Malcolm was rather a withdrawn character, but I have a number of small sea scapes painted by him. I do not think he earned any money by painting and in his later life was provided for by his nephew Tom E Lloyd, the only child of Tom. He was known as Uncle Dick and his initials were R M Lloyd. I don’t know why the three boys all had Scotch names- James, Stuart and Malcolm and the kilt and glengarry worn in the aforesaid portrait.

There must have been a Scottish connection of which I know nothing. The connection with my mother’s family came through two sisters called Elizabeth and Sophia Sears (1783). One was the grandmother of Tom Lloyd and the other of my mother’s mother- so my mother and Tom E Lloyd were of the same generation.

Yours with warm regards,

E L (Tom Lloyds step-daughter).

 

photo date/id: 20160116_7769def

 

Després del rebuig del preàmbul i d'articles majors de l'Estatut de 2006 pel Tribunal Constitucional el 2010 una primera gran manifestació «Som una nació. Nosaltres decidim» va tenir lloc a Barcelona el 10 de juliol del mateix any.

 

2012: Manifestació «Catalunya, nou estat d'Europa.

 

2013: Via Catalana.

 

La Via Catalana 2014 (La V).

 

L’Onze de Setembre de 2015 encarem la mobilització més important de la nostra història: "LA VIA LLIURE A LA REPÚBLICA CATALANA".

Omplirem la Meridiana formant un immens mosaic blanc que dotarem de color; símbol del país nou que hem de construir entre tots a partir del 27 de setembre, on tot comença.

  

Where it all began.

After the rejection of the preamble and articles over the 2006 Statute by the Constitutional Court in 2010 the first major demonstration "We are a nation. We decide "took place in Barcelona on July 10 the same year.

2012: Demonstration "Catalonia, a new European state.

2013: Via Catalan.

Via Catalan 2014 (The V).

The Eleventh of September 2015 we face the biggest mobilization in our history "VIA FREE REPUBLIC CATALAN."

Fill Meridiana forming an immense mosaic that gives white color; symbol of the new country we must build together from September 27, where it all begins

Sony just announced two new lenses, one of which was a 100mm f/2.8 STF, which stands for "Smooth Trans Focus". This is an interesting lens design that diffuses sharp edges in the bokeh into softer transitions, which creates an overall smoother and more silky rendering of the background.

 

This would be especially nice for portraits, but also for any kind of close up shots, like flowers. The cost of achieving this effect is about 1.5 to 2 f-stops. So the 100mm f/2.8 is really a 100mm T/5.6 in terms of light transmission.

 

I don't know if I will get the 100mm lens, but I discovered that Sony also made a 135mm f/2.8 STF lens in the A-mount. This is a manual focus lens, something I am eminently comfortable with. I figured if the 100mm f/2.8 was any good for portraits and bokeh, then surely 135mm f/2.8 ought to be at least as good, if not even better.

 

I also discovered that the 135mm f/2.8 lens has been around for some time, and nobody is paying attention to it. So it can be bought for around $800-850 brand new, almost half the cost of the new 100mm f/2.8. Of course, it needs a Sony LA-EA3 adapter to work, which could be bought on eBay for about $130 brand new, less for used.

 

Long preamble, but the net of it was, I got myself a brand new Sony 135mm f/2.8 STF A-mount version for about $800, and it arrived today. The lens looks great, is made very well, and feels well-balanced and comfortable to use with a nice focus throw.

 

The only negative is, the focusing is not internal. So over time, it could suck in dust. Oh, well. It is not a disaster – I just need to be careful with how I use the lens.

 

With all that out of the way, this is a very interesting lens. I’ve been taking some test shots comparing this with the Sony 70-200 f/2.8 GM. There is no question that the STF renders a much smoother bokeh, if you prefer not to see sharp edges to OOF points of light.

 

Below are some comps, with the 70-200 the top image (pretty obvious), and the 135 STF the bottom image. The effect is less noticeable, as expected, when the camera-to-subject distance is large compared to the subject-to-background distance, as in Comp-1. It’s a lot more dramatic when the subject is much closer to the camera. See Comp-2 and Comp-3.

 

One ugly secret about the otherwise excellent Sony 70-200 f/2.8: Sony is cheating, as Nikon did for years. When you’re close to the subject, the real focal length is considerably less than expected. See Comp-4, and see how the magnification drops quite dramatically compared to the 135 prime, with the same sensor-to-subject distance for both lenses. I’m surprised that no one has yet thrown a flag on Sony for this.

 

DSC04091

Agenda 21

Nellie Vin ©Photography

Prints 20x16 in

  

For example, the 1976 U.N. conference on Human Settlements (Habitat I).

Here is an excerpt from the Preamble:

“Land…cannot be treated as an ordinary asset, controlled by individuals and subject to the pressures and inefficiencies of the market. Private land ownership is also the principle instrument of accumulation and concentration of wealth, and therefore, contributes to social injustice…”

en.wikipedia.org/wiki/Agenda_21

 

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