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Usually MU is the symbol for the mean of a probability distribution. It is sometimes used as the average of a dataset
Leena Ghrayeb, Industrial and Operations Engineering Ph.D. student (left) discusses probability of failure issues with Amy Cohn at the Healthcare Engineering and Patient Safety (CHEPS) office on UM’s North Campus.
Amy Ellen Mainville Cohn is an Arthur F. Thurnau Professor in the Department of Industrial and Operations Engineering at the University of Michigan, where she also holds an appointment in the Department of Health Management and Policy in the School of Public Health.
Dr. Cohn is the Faculty Director of the Center for Healthcare Engineering and Patient Safety (CHEPS). She holds an A.B. in applied mathematics, magna cum laude, from Harvard University and a PhD in operations research from the Massachusetts Institute of Technology.
Her primary research interests are in applications of combinatorial optimization, particularly to healthcare and aviation, and to the challenges of optimization problems with multiple objective criteria. She values teaching, mentoring, having a positive impact on society through her work, and helping to foster a vibrant, diverse, nurturing community.
Center for Healthcare Engineering and Patient Safety (CHEPS) at Michigan Engineering envisions a healthcare system which delivers the highest-quality care in a patient-centric way; supports the mental and physical well-being of its providers; and ensures economic viability for individuals and institutions.
June 14, 2022
Photo by Marcin Szczepanski/Lead Multimedia Storyteller, University of Michigan College of Engineering
Stakeholders collaboratively discuss spatial fire planning options and build draft PODs using maps of high probability control features, risk, and suppression opportunities (photo provided by OSU College of Forestry).
(Taris Catalyst-Jack E Eleven by Zan Parr Jack)
Owners: Jim and Michele Holland, Bucyrus, Kansas
Breeder: Lazy E Ranch Inc., Guthrie, Oklahoma
Shown by: Brad Lund and Kory Koontz
Events: Senior heading and heeling, senior tie-down roping and senior working cow horse
Photo: AQHA Journal
Worn by: Clive Owen as Walter Raleigh
Costume Designer: Alexandra Byrne
Film: Elizabeth: The Golden Age
An Elizabethan man of average means - and Raleigh is as commoner - would, in all probability, possess a single suit of clothes, so production did not have the luxury of outfitting him as they would their courtiers. Byrne explains, "There are lots of contemporary engravings of Raleigh, but the reality is that a gentleman of that time maybe had one suit of clothing - he would have gone to sea in those clothes, where they would have gotten wet, then dried, they would have gotten torn, they would have been repaired. So we worked with the idea that his clothes had gone to sea with him and they had evolved of the the journey... and remember, it was four months there and four monthes back."
The designer worked with Clive Owen on the evolution of the design, assuring him that "the britches would be fine! He was a little alarmed by them. But by the end of production, I think he was quite keen on them, the way they have become a part of him. They give you a certain way of walking and a certain scale. He wears them like no one else!"
Costumes displayed courtesy of Universal Pictures International, celebrating the release of Elizabeth: The Golden Age, only at the movies November 15.
Worn by: Clive Owen as Walter Raleigh
Costume Designer: Alexandra Byrne
Film: Elizabeth: The Golden Age
An Elizabethan man of average means - and Raleigh is as commoner - would, in all probability, possess a single suit of clothes, so production did not have the luxury of outfitting him as they would their courtiers. Byrne explains, "There are lots of contemporary engravings of Raleigh, but the reality is that a gentleman of that time maybe had one suit of clothing - he would have gone to sea in those clothes, where they would have gotten wet, then dried, they would have gotten torn, they would have been repaired. So we worked with the idea that his clothes had gone to sea with him and they had evolved of the the journey... and remember, it was four months there and four monthes back."
The designer worked with Clive Owen on the evolution of the design, assuring him that "the britches would be fine! He was a little alarmed by them. But by the end of production, I think he was quite keen on them, the way they have become a part of him. They give you a certain way of walking and a certain scale. He wears them like no one else!"
Costumes displayed courtesy of Universal Pictures International, celebrating the release of Elizabeth: The Golden Age, only at the movies November 15.
Edited MODIS cumulative image of the average cloud cover in Europe since 1999.
Image source: earthobservatory.nasa.gov/images/144603/a-break-in-the-cl...
Original caption: If you look at global maps of cloudiness or sun duration, you will notice that Europe stands out as being one of the cloudiest continents. Aside from relatively sunny Spain and Portugal, clouds regularly darken skies across the rest of Europe, particularly in the winter when the jet stream often steers storm systems directly toward western Europe.
So the bout of unusually clear days and nights in late February 2019 likely came as a welcome change in atmospheric scenery. With a strong high pressure system hanging over Europe, skies were remarkably clear between February 23 - 27, a period when temperatures soared. Weather stations in England, Scotland, the Netherlands, and Sweden have all measured record-breaking temperatures for this time of year.
This pair of daytime and nighttime satellite images highlights the many contrasting features of the land surface, features that are often obscured by clouds. In the day image, acquired by the Moderate Resolution Imaging Spectroradiometer (MODIS) on Terra, some of the most prominent patterns relate to farming. Areas with high concentrations of croplands and few forests, most notably in France and Spain, have a light brown color for winter; more densely forested areas appear darker green.
The warmth and moisture of the oceanic climate of the United Kingdom, northern France, Belgium, and the Netherlands means vegetation in those countries maintains a healthy green color throughout the winter. In the colder, drier continental climate of central and eastern Europe, vegetation—aside from evergreen forests—withers and browns during winter. Aside from the snow-covered heights of the Alps and Pyrenees mountains, the warm weather this winter kept most of the continent free of snow.
By revealing the locations of cities, the nighttime image underscores the human footprint on the landscape. Madrid, London, Paris, and Berlin—all capital cities—also stand out as the brightest cities in their respective countries. Note that thin cloud cover has diffused some of the light from cities in central Europe, making several appear abnormally bright. The image was acquired by the Visible Infrared Imaging Radiometer Suite (VIIRS) on the Suomi NPP satellite.
As shown in the cloud probability map above, it is usually quite cloudy in western and central Europe in late February. The map shows average cloudiness since 1999 as observed by MODIS for seven days before and after February 27 since 1999.
NASA Earth Observatory images by Joshua Stevens, using data from the Level 1 and Atmospheres Active Distribution System (LAADS), the Land Atmosphere Near real-time Capability for EOS (LANCE), NASA EOSDIS/LANCE and GIBS/Worldview, and VIIRS day-night band data from the Suomi National Polar-orbiting Partnership. Story by Adam Voiland.
Mathematics is the core discipline of the National Security Agency. Algebra, number theory, real and complex analysis, probability theory and statistics are used on a daily basis to solve challenging problems in information security and communications technology.
i09_0214 192
Fragile states in Africa, like Somalia, are grappling with tensions and tradeoffs between development imperatives and stabilization objectives, the need for economic stimulus and debt sustainability, and global financial stewardship and transparency. At the same time such countries need to focus on strengthening local public and private sector capacity. Indeed, the two countries are confronting extraordinary development challenges, including with respect to development finance. For more than a decade, the international community has stepped up efforts to engage more effectively with fragile states whose economic performance is impaired by limited administrative capacity, persistent social tensions, ongoing conflict, and political instability.
The International Monetary Fund and World Bank are engaged in some form in almost all fragile states to improve economic management and performance, reduce poverty, and improve governance. Development assistance is inherently risky in these environments, where weak policies and institutions correlate with a lower probability of successful outcomes. Despite the risks, there is a strong rationale for engagement as the impact of well-designed and supervised aid-financed programs can potentially be very high.
On October 17, the Brookings Africa Growth Initiative and the Brookings Doha Center hosted Finance Minister Abdirahman Duale Beileh of Somalia for a conversation on these and related issues.
Photo Credit: Paul Morigi
Worn by: Clive Owen as Walter Raleigh
Costume Designer: Alexandra Byrne
Film: Elizabeth: The Golden Age
An Elizabethan man of average means - and Raleigh is as commoner - would, in all probability, possess a single suit of clothes, so production did not have the luxury of outfitting him as they would their courtiers. Byrne explains, "There are lots of contemporary engravings of Raleigh, but the reality is that a gentleman of that time maybe had one suit of clothing - he would have gone to sea in those clothes, where they would have gotten wet, then dried, they would have gotten torn, they would have been repaired. So we worked with the idea that his clothes had gone to sea with him and they had evolved of the the journey... and remember, it was four months there and four monthes back."
The designer worked with Clive Owen on the evolution of the design, assuring him that "the britches would be fine! He was a little alarmed by them. But by the end of production, I think he was quite keen on them, the way they have become a part of him. They give you a certain way of walking and a certain scale. He wears them like no one else!"
Costumes displayed courtesy of Universal Pictures International, celebrating the release of Elizabeth: The Golden Age, only at the movies November 15.
The Grand Canyon NP & Grand Escalante Staircase! 45Epic Dr. Elliot McGucken ! Point Imperial! Fine Landscape and Nature Photography. Join my new 45EPIC fine art landscapes page on facebook!
facebook.com/mcgucken
Working on a couple photography books! 45EPIC GODDESS PHOTOGRAPHY: A classic guide to exalting the archetypal woman. And 45EPIC Fine Art Landscape Photography!
Fresh snow! More on my golden ratio musings: facebook.com/goldennumberratio
instagram.com/goldennumberratio
Greetings all! I have been busy finishing a few books on photography, while traveling all over--to Zion and the Sierras--shooting fall colors. Please see some here: facebook.com/mcgucken
Let me know in the comments if you would like a free review copy of one of my photography books! :)
Titles include:
The Tao of Epic Landscape Photography: Exalt Fine Art with the Yin-Yang Wisdom of Lao Tzu's Tao Te Ching!
The Golden Number Ratio Principle: Why the Fibonacci Numbers Exalt Beauty and How to Create PHI Compositions in Art, Design, & Photography
facebook.com/goldennumberratio
And I am also working on a book on photographing the goddesses! :) More goddesses soon!
Best wishes on your epic hero's odyssey!:)
I love voyaging forth into nature to contemplate poetry, physics, the golden ratio, and the Tao te Ching! What's your favorite epic poetry reflecting epic landscapes? I recently finished a book titled Epic Poetry for Epic Landscape Photographers:
www.facebook.com/Epic-Poetry-for-Epic-Landscape-Photograp...
Did you know that John Muir, Thoreau, and Emerson all loved epic poetry and poets including Shakespeare, Milton, Homer, and Robert Burns?
I recently finished my fourth book on Light Time Dimension Theory, much of which was inspired by an autumn trip to Zion!
www.facebook.com/lightimedimensiontheory/
Via its simple principle of a fourth expanding dimension, LTD Theory provides a unifying, foundational *physical* model underlying relativity, quantum mechanics, time and all its arrows and asymmetries, and the second law of thermodynamics. The detailed diagrams demonstrate that the great mysteries of quantum mechanical nonlocality, entanglement, and probability naturally arise from the very same principle that fosters relativity alongside light's constant velocity, the equivalence of mass and energy, and time dilation.
Follow me on instagram!
Join my new 45EPIC fine art landscapes page on facebook!
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(further information and pictures are available by clicking on the link at the end of page!)
Data
Year: 1742-45
Architect: Matthias Gerl the younger
Mentioned in documents : between 1260 and 1298
Parish Church of Ober-St. Veit ("Mary, Refuge of Sinners", "St. Vitus")
One of the most impressive religious buildings of the 13th District is the in a privileged position on a hill located parish of Upper-St. Veit.
The beginnings of a church complex at this location date back to the 12th century. The earliest - indirect - documented mention of a parish of St. Vitus, and thus an associated church, is the between 1260-1298 written letter of Curé Helias of St. Veit to the bailiff of Baumgarten.
The still under the choir existing crypt stems with a high probability from this earliest construction. It presents above a powerful polygonal central pillar cross vault. In 1800 it was still a consecrated chapel in which altar figures of the Virgin and St. John were located. The altar table dates from the year 1745. 1904 the connection with the upper church was bricked up.
The plan of the 1433 by the patronage master cathedral provost William Tuers newly built God's house, which had only a two-bay nave is handed down by a building documentation of Matthias Gerl.
Originally, the on three sides by an embankment wall surrounded church was open at the east side of a no longer extant castle. The still partly visible, pillar-supported wall had a parapet and embrasures, which were recognizable in part until the new building of the vicarage (1962).
After the destruction by the Turks in 1535 by Bishop Fabri took place a restoration of the church, 1609/10, it came to the erection of the St. Anne's, St. John's and Our Lady Altar. 1553 and 1615 new bells were installed.
The Saint construction dates back to 1742 and was built according to the plans of the Viennese Court architect Matthias Gerl the Younger in three years of construction. Interestingly, is found in the Stuttgart Nicolai Collection a drawing of the church tower "of St. Vitus, three hours of Vienna" from the year 1746. Supervised was the construction by the archiepiscopal ornamental and pleasure gardener Anton Mayr. The entire community for the church building rendered so-called hand and draught services, which are simple auxiliary works, to relieve the patronage master, the Archbishop of Vienna, Cardinal Sigmund Graf Kollonitsch, financially. His coat of arms can be seen on the tympanum of the south entry. The consecration of the church took place on 22 August 1745.
Matthias Gerl then by the still existing west tower of the castle and the Gothic choir with a thereto attached northeast steeple in its design possibilities was constricted. In an advanced stage of planning, he renounced the western tower, so that he could expand the central space.
In 1887 followed a major renovation of the entire church building; 1895, the kerosene lamps were removed and replaced by gas light.
The changes inside the church, which the pastor H. Riedl undertook 1901-1908, partly exist yet and are not without controversy. For example, in 1902 the former sacristy cemetery was converted to the Antonius chapel, later the exit into the crypt walled up and the, unfortunately, stylistically not suitable floor in center and traverse aisle laid. For the two large side windows in the nave he had painted new stained glass windows. They were donated by the families Rohrbacher and Glasauer and existed there until 1958. A small excerpt from one of the windows is as a wall decoration in the largest room of St. Vitus-House.
1994/95, the much needed facade renovation of the parish church could be carried out.
1965, a baptistery was built according to plans by Georg Lippert on the north side of the nave. It served also as a confessional chapel and religious site for the working days.
In 1994, a chapel new building was erected in its place. The plans were drawn by Hermann Bauer. The in comparison to the old building towards the north enlarged chapel is both accessible from inside the church and from the entranceway to the church, a vitrified connection. The opening times of the chapel are independent from those of the parish church. The ratio of the height of the ceiling to the height of the wall is based on the golden section; the wooden structure of the stepped ceiling is visible. The semi-circular, bricked and flanked by two, positioned ahead columns sanctuary is located in the central part of the glazed north façade and receives indirect, natural light from above. The chapel floor is covered with Greek marble. The altar lower part of Wachauer marble on the front side has twelve figures in relief representing the twelve apostles, in a broader sense, the people of God. The ambo of the same material shows the Resurrected with the disciples of Emmaus. Altar and ambo are from the Lienz artist Peter Niedertscheider. The baptismal font is a work from the 19th century.
Worn by: Clive Owen as Walter Raleigh
Costume Designer: Alexandra Byrne
Film: Elizabeth: The Golden Age
An Elizabethan man of average means - and Raleigh is as commoner - would, in all probability, possess a single suit of clothes, so production did not have the luxury of outfitting him as they would their courtiers. Byrne explains, "There are lots of contemporary engravings of Raleigh, but the reality is that a gentleman of that time maybe had one suit of clothing - he would have gone to sea in those clothes, where they would have gotten wet, then dried, they would have gotten torn, they would have been repaired. So we worked with the idea that his clothes had gone to sea with him and they had evolved of the the journey... and remember, it was four months there and four monthes back."
The designer worked with Clive Owen on the evolution of the design, assuring him that "the britches would be fine! He was a little alarmed by them. But by the end of production, I think he was quite keen on them, the way they have become a part of him. They give you a certain way of walking and a certain scale. He wears them like no one else!"
Costumes displayed courtesy of Universal Pictures International, celebrating the release of Elizabeth: The Golden Age, only at the movies November 15.
Worn by: Clive Owen as Walter Raleigh
Costume Designer: Alexandra Byrne
Film: Elizabeth: The Golden Age
An Elizabethan man of average means - and Raleigh is as commoner - would, in all probability, possess a single suit of clothes, so production did not have the luxury of outfitting him as they would their courtiers. Byrne explains, "There are lots of contemporary engravings of Raleigh, but the reality is that a gentleman of that time maybe had one suit of clothing - he would have gone to sea in those clothes, where they would have gotten wet, then dried, they would have gotten torn, they would have been repaired. So we worked with the idea that his clothes had gone to sea with him and they had evolved of the the journey... and remember, it was four months there and four monthes back."
The designer worked with Clive Owen on the evolution of the design, assuring him that "the britches would be fine! He was a little alarmed by them. But by the end of production, I think he was quite keen on them, the way they have become a part of him. They give you a certain way of walking and a certain scale. He wears them like no one else!"
Costumes displayed courtesy of Universal Pictures International, celebrating the release of Elizabeth: The Golden Age, only at the movies November 15.
Greetings mate! I love voyaging forth to Zion National Park to contemplate poetry, physics, the golden ratio, and the Tao te Ching! What's your favorite epic poetry reflecting epic landscapes? I recently finished a book titled Epic Poetry for Epic Landscape Photographers:
www.facebook.com/Epic-Poetry-for-Epic-Landscape-Photograp...
Did you know that John Muir, Thoreau, and Emerson all loved epic poetry and poets including Shakespeare, Milton, Homer, and Robert Burns?
How inspiring the grandeur of Zion is! It reminds us of those entities greater than ourselves, such as Homer's Iliad and Odyssey and Light Time Dimension Theory!
I recently finished my fourth book on Light Time Dimension Theory, much of which was inspired by an autumn trip to Zion!
www.facebook.com/lightimedimensiontheory/
Via its simple principle of a fourth expanding dimension, LTD Theory provides a unifying, foundational *physical* model underlying relativity, quantum mechanics, time and all its arrows and asymmetries, and the second law of thermodynamics. The detailed diagrams demonstrate that the great mysteries of quantum mechanical nonlocality, entanglement, and probability naturally arise from the very same principle that fosters relativity alongside light's constant velocity, the equivalence of mass and energy, and time dilation.
Follow me on intsagram!
Join my new 45EPIC fine art landscapes page on facebook!
Fresh snow! More on my golden ratio musings: The Golden Number Ratio Principle: Why the Fibonacci Numbers Exalt Beauty and How to Create PHI Compositions in Art, Design, & Photography facebook.com/goldennumberratio
Best wishes on your epic hero's odyssey!:)
Zion National Park Winter Fine Art Photography 45EPIC Dr. Elliot McGucken Fine Art Landscape and Nature Photography
History
The church with the downed tower
History of joy and suffering of an old christian time witness of Vienna
The Minoritenkirche in Vienna is one of the oldest and most valuable artistic churches of the city. It is therefore not surprising that it also experienced a very eventful history. In all probability, the Franciscans were - how the Friars Minor (Thomas of Celano: "Ordo Friars Minor" ) also called on account of its founders personality, called by the Babenberg Duke Leopold VI the Glorious, in 1230 into the country. Here he gave them a lot, probably with a church (probably dedicated to St. Catherine of Alexandria), before the walls of the city, between the Scots Monastery (Schottenstift) and the ducal residence. It was not until 1237, and in 1271 the entire area was included in the extended boundary wall. The Minorite Barnabas Strasser says in his chronicle from 1766 that Leopold had asked on his return from the Holy Land in 1219 Francis in Assisi to the relocation of some brothers to Vienna, which was then carried out 1224. The Franciscans, however, are detectable only in 1234 by a bull of Gregory IX . to Frederick the Warlike, the last reigning Babenberg, by the year 1239 there was already the Austrian province. The above-mentioned chapel near the present Minoritenkirche the brothers have now expanded and dedicated it to the Holy Cross ("Santa Croce"). In 1251 the dedication was by the Bishop Berthold of Passau. In addition, the friars began to build a monastery, the 1234 is mentioned in a document (the monastery comprised finally the Ballhausplatz, Minoritenplatz and parts of the Hofburg and the Public Garden) . Of the original Romanesque building stock nothing has been preserved. Especially the great fire of 1276 has cremated large parts of the Convention.
However, the strong growth of the Friars Minor now living in Vienna made a new building of the church and monastery necessary. Already laid by King Otakar II of Bohemia in 1276 the foundation stone for the new building of that temple which was now already on the present site of the church, the monarch also promised tax exemption for all who had contributed to the building of the church.
First stage of construction (beginning in the third third of the 13th century.): So he decided to build new church and convent, but by the death in battle of Ottokar in 1278 at the March Field (Jedlespeigen close Dürnkrut) delayed the construction, thus only after the turn of the century it couldbe completed. The embalmed body of Ottokar remained 30 weeks in the chapter house of the monastery until it was transferred to Znojmo and finally to Prague. The king's heart is buried in the original Chapel of St. Catherine, which was now newly assigned this name because the appropriation should be reserved to the Holy Cross of Christ, the new church and the convent . This newly built house of God was given the shape of a two-aisled nave with zweijochigem (two-bay) long choir (chancel), which closed with the five sides of a decagon. This long choir, the one 1785/86 and changed into a five-storey residential building, was canceled in 1903. In connection with the subway construction (1984-86), although archaeological excavations took place, it also laid the foundations of the former free long-choir, but most of the foundations of the old presbytery were destroyed at the same time. - The first church had a rood screen, even at the turn of the 15th/16th Century the still resulting image of the Saint Francis was attached by an unknown artist. Just from this first phase, we know by the Baroque Minoritenchronik (chronicle) first mentioned the name of a builder, namely brother Hans Schimpffenpfeil .
Second stage of construction (after 1317-1328 ) Blanche (Blanche) of Valois, the wife of Duke Rudolf III . ( 1307) and daughter of Philip the Fair, in 1304 decreed in his will to build a chapel in honor of her grandfather, the Holy King Louis IX. of France (canonized in 1297) and introduced for this purpose in 1000 available books. However, the project was realized only under Isabella (Elizabeth ) of Aragon, wife of King Frederick the Fair (1330 ). The chapel dedicated to their relatives canonized in 1317, St . Louis of Anjou, son of Charles II of Naples, great-nephew of Louis IX . of France and Franciscan archbishop of Toulouse (1297 ); it was first a self- cultivation in the NE (north-east) of the two-aisled nave Minoritenkirche, until the third construction phase it was integrated into the nave (now the north aisle with Anthony's Chapel). In 1328 the chapel was apparently completed because in 1330 the founder - was buried in the chapel of Louis - in terms of her testamentary disposition. The tomb of Queen Isabella stood in the middle of the Kapellenjochs (chapel bay) in front of the apse. The tracery show similarity with those of the Albertine choir of St. Stephen (built by Duke Albrecht II [ 1358] ) as well as with that of the Sanctuary Strassengel near the Cistercian monastery Rein near Graz (around the middle of the 14th century.). Probably belonged to the tympanum with the donor portraits of Frederick the Fair and Isabella at the feet of the Mother of God, which was inserted in the third construction phase of the church in the secondary north portal, the original entrance to the Ludwig chapel. It must be mentioned that even the Duchess Blanche (1305 ) built around 1330 a high early gothic marble grave, which unfortunately disappeared in the course of the renovation of the church in the years 1784-86 by the court architect Johann Ferdinand Hetzendorf of Hohenberg. It would be in Vienna today the only work of art of this kind
Third stage of construction (from 1339 -1400): Construction of a three-aisled hall (originally nave chapel Ludwig). The north wall of the chapel was extended to the west and in the north portal installed a second yoke. In addition, it was built a new west facade, with especially the central portal - including was designed - with jamb - pompous like the French late Gothic - perhaps under South German mediation. In the obituary of the Friars Minor brother Jacob of Paris is called ( around 1340), the confessor Albrecht II as the creator of this work of art. The duke and his wife Johanna von Außenmauer MinoritenkirchePfirt have obviously significantly contributed to the emergence of Vienna undoubtedly unique late Gothic cathedrals three portal group, there is also a representation of Albrecht and his wife in the middle portal next to the cross of Christ. Together with the two for a rich Mendikantenkirche (Mendicity church) this equipment is also of French models (see Notre Dame Cathedral in Paris [after 1285] ) constructed in 1350-1370 with splendid rose windows (with "bright" and "rotating" tracery) to the south wall - unusually without a doubt. The workshop, which built the Ludwig chapel was also busy with the west facade ("Minoritenwerkstatt" (workshop)). 1350-60 or later today, finally, the bell tower was only partially built (as a builder is a lay brother Nicholas, 1385 or 1386 called ). The tower consists mainly of two parts, a lower part made of stone blocks to the height of the nave, and an upper, octagonal section of mixed masonry. Its crown had because of damage - especially been renewed several times and was eventually removed - during the Turkish wars . The consecration of the enlarged Minoritenkirche must have taken place about the year 1390. So that the church had received its valid look for the next time.
In 1529, during the first siege of the monastery and the church even more extensive damage suffering (launch of the spire). Since the monastery of the Observant (Franciscans) had been destroyed by the Turks, these sought to supplant the Franciscans in their convent, where John Capistrano, the founder of the "brown Franciscan" (Observant) in Vienna, lived some time in the Franciscan monastery and in the Church had preached, but eventually instructed the Emperor Ferdinand I the now homeless Observant buildings on Singerschen Platz. In fact, the number of Wiener Friars Minor has then shrunk to seven, so that they felt compelled to call Fathers from Italy. But that but could not prevent that the church from 1569-1620 war a Protestant church. Interestingly, originate numerous coats of arms on the balcony of this period. At that time the Conventual were only in the possession of Louis Chapel and the Chapel of St. Catherine. Also during the second Turkish siege in 1683 the tower served as an observation tower and the Minoritenkirche was accordingly fired by the Turks and severely damaged. In 1733 the tower is adorned with a copper dome, but because of the danger of collapse eventually had to be removed. It brought the church to that low pointed tiled roof, which still exists today .
More and more, the bands developed in the Minoritenkirche, especially Ludwig chapel and cemetery, grave sites of the nobility. Besides Blanche of Valois and Isabella of Aragon and Margaret, the last country Duchess of Tyrol, was named Maultasch ( 1369 ), is buried here, as well as members of Lichtsteiner, Ditrichsteins, Puchaimer, Hojo, Stauffenberger, Greifensteiner; Piccolomini, Medici, Cavalcanti, Montaldi, Valperga, etc. (many of them are listed in the "Libro d'Oro of the "Congregation Italiana"). It should also be mentioned that the Franciscans since the end of the 14th Century took lively interest in teaching at the University of Vienna, especially of course in the subjects of theology, but also the jurisprudence. At the beginning of the 18th Century lived in the Vienna alsoin the Viennese Convention the Venetian cosmographer Br Vincenzo Coronelli, which the Emperor Charles VI. appointed to head the regulation of the Danube and its famous globes are now in the globe collection of the National Library in Vienna.
It is worthnoting, finally, the fact that around 1543 on the Ballhausplatz near the Imperial Palace from parts of the monastery a small hospital was donated and that the Franciscans for 13 years did all the counseling in this new Hofspital, at this time was the newly restored Chapel of St. Catherine Hospital Church. Another wing of the former minority monastery was home to the Imperial Court Library, 1558-1613.
To Minoritenkirche the second half of the 18th Century brought drastic changes. This development was initiated by the fact that the naturalized Italians in Vienna founded an Italian congregation in 1625/26 under the guidance of the Jesuit priest and professor at the University of Vienna Wilhelm Lamormaini. By the year 1773, when the Jesuit Order was temporarily released their Italian trade fairs celebrated this "Congregation Italiana" in a chapel of the Jesuits at Bognergasse, near the old Jesuit church "Am Hof". But in 1773 that little church was by the imperial government requisited. Then the Italians found in St. Catherine Chapel at Ballhausplatz, which popularly still is referred as the Italian church - ie not only the Minoritenkirche - a new home. After a thorough restoration of the chapel was consecrated on 1 February 1775 ceremony in memory of the "Santa Maria Maggiore" to Rome in the name of "Madonna della Neve" (Mary Snow church'). The Holy Mass conducted Antonio Salieri (1750-1825), who was in 1774 chamber composer and conductor of the Italian opera in Vienna, from 1788-90 to 1824 Kapellmeister and Director of the Court Chapel. Pope Pius VI . visited during his stay in Vienna on Good Friday of 1782 the church "Maria Schnee" on the Ballhausplatz. But this state of the law was short-lived: in 1783 Emperor Joseph II shifted the Friars Minor in the former Trinitarian on Alserstrasse, and the Minoritenkirche was on the grounds that the chapel "p Maria della Neve" for about 7,000 Italians living in Vienna was too small, the Congregation italiana transferred to the condition that the Community had now to restore the Great Church (imperial decree of June 3, 1784). The richly decorated chapel "Madonna della Neve" went on an imperial property and was finally in the late 18th Century canceled. Also, the Franciscan monastery passed into state ownership: one is used for imperial and feudal law firms. The cemetery near the church was abandoned. With the greatest financial burdens now led the congregation from the imperial mission of the church renovation, the thorough repair of the church was entrusted to the court architect Johann Ferdinand Hetzendorf of Hohenberg (1784-1789). In order to cover the construction costs somewhat, were the old long choir (chancel) and the beginning of the 14th Century. (Consecrated in 1317 ) at the western end of the south side of the nave grown (and now defunct) St. John's Chapel (Chapel Puchaimische Kapelle ) converted into residences. The solemn consecration of the church under the name of "Madonna della Neve" took place on 16 April 1786, on Easter Sunday.
But soon was moving closer to the church the next hardship: In the years of the Napoleonic wars, the church should serve as a warehouse for straw, hay and for different equipment, so in 1809 also the forced evacuation of the building took place. Shortly after engaging the French eventually turned this into a provisions store. Two-thirds of the floor was smashed by the rolling of drums and by the retraction of cars. In the middle of the church a wide, tunnel-like cavity had been excavated and other parts of the floor destroyed a in God's house capped oven. Until 18 April 1810, the then Prefect of the Minoritenkirche received back the church keys. In 1825 died one of the most famous Kongregaten (congregats) of this century, namely, the composer Antonio Salieri, and on 22 June this year resounded in the Italian national church with the participation of the court chapel and the first Hofchores (court choir) the Verdi Requiem.
As the situation after the Napoleonic war turmoil in the mid-19th Century had normalized, Emperor Ferdinand the Good in 1845 donated to the "Congregation italiana" the according to the model of Leonardo da Vinci's famous fresco (1495-97) designed mosaic of the Last Supper, which the Roman Giacomo Raffaelli of 12 panels with a total weight of 20 tons by Napoleon's orders had made in the years 1806-1814, and was eventually bought by Emperor Franz for the Belvedere Palace. To that gave Emperor Ferdinand a considerable amount (8000 guilders) to allow the mounting of the work of art in the Minoritenkirche. The inauguration of the altar took place on 26nd in March 1847. In 1852 Emperor Franz Joseph came and soon the Crown Prince Franz Ferdinand in the "Congregation ". The former paid each year mostly coming from out of town fast preachers for the Church, in return he regularly received at the Festival of Lights (2 February) as well as on Palm Sunday the sacred candle or the olive branch.
The last major change in the church took place in the years 1892-1905 at the restructuring of the Minoritenplatz. Now two new courses, namely the Ballhausplatz and Minoritenplatz emerged, the houses adjacent to the church (former Long John's Chapel Choir and) were demolished. The former Franciscan monastery had to give way to the House, Court and State Archives. Even the church was given a new face, although the plans of the architect Viktor Luntz due to financial reasons only could be realized partially, there were clearly visible changes: Most noticeable to the viewer is undoubtedly the Gothic passage on the south side of the walled grave stones originated partly from the bands, and part of the adjacent once cemetery, as well as the above installed "Minoritenhaus". 1907 were placed in the tower four new bells cast in Trento, which is, however - with the exception of one, St. Anthony ordained, Bell - 1914 confiscated. The solemn consecration of the church took place on 4 Held in May 1909 in the presence of Emperor Franz Joseph. Due to the highly cooperative attitude of the Congregation towards the transformation plans of the City of Vienna Lueger, the mayor promised that the court should never be installed directly behind the church.
More important restoration work was carried out 1960-1962 (church affairs), in the last decade, as the outer walls have been restored.
About Minoritenplatz finally should be mentioned that the pastoral care of Italians after 1786 by each rectors appointed by the Archbishop was, from 1808 to 1813 was also here Clemens Maria Hofbauer who died 1820 and later was canonized working as a church rector. Therefore, there is also his monument on the north side of the church. Since the year 1953, and officially by the order of the archbishop Ordinariate of 1 December 1957 is the Friars Minor transmitted the pastoral care of the Italian community again, firstly the Fathers belonging to the Order of Padua Province while they are under the Austrian province today. In the year 2003, ie 50 years after the adoption of the pastoral care of Italians in the Minoritenkirche by the Conventual, that Francis statue was made, nowadays, it is located on the north side of the church, next to the Baroque cultivation.
(Text by Dr. Manfred Zips, Ital. Congregation )
Statistics and Probability word wall for Class V. Available to download for FREE at:
www.tesindia.com/teaching-resource/Class-V-Word-Wall-Stat...
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a handy little graph i whipped up in lab to illustrate how alcohol consumption (by Sachin AND the girls he hits on) relates to his chances of getting laid
[don't know what just the tip is?]
Kalenderhane Mosque (Theotokos Kyriotissa) Istanbul/ Turkey
Kalenderhane Mosque (Turkish: Kalenderhane Camii) is a former Eastern Orthodox church in Istanbul, converted into a mosque by the Ottomans. With high probability the church was originally dedicated to the Theotokos Kyriotissa. This building represents one among the few still extant examples of a Byzantine church with domed Greek cross plan.
Architecture and decoration
The sanctuary with the mihrab and minbar
The building has a central Greek Cross plan with deep barrel vaults over the arms, and is surmounted by a dome with 16 ribs. The structure has a typically Byzantine with alternating layers of brick and stone masonry. The entry is via a esonarthex and an exonarthex (added much later) in the west side.
An upper gallery over the esonarthex, following the same plan of the one existing in the Church of the Pantokrator, was removed in 1854. Also the north and south aisles along the nave were destroyed, possibly during the nineteenth century too. The tall triple arches connecting the aisles with the nave are now the lower windows of the church.
The sanctuary is on the east side; however, the reconstructed mihrab and minbar are in a corner to obtain the proper alignment with Mecca.
Two small chapels named prothesis and diakonikon, typical of the Byzantine churches of the middle and late period have survived.
The interior decoration of the church, consisting of beautiful colored marble panels and moldings, and of elaborated icon frames, is largely still extant. The building possesses two features which both represent an unicum in Istanbul: a mosaic, one meter square, representing the "Presentation of Christ", which is the only pre-iconoclastic exemplar of a religious subject surviving in the city, and a cycle of frescoes of the thirteenth century (found in a chapel at the southeast corner of the building, and painted during the Latin domination) portraying the life of Saint Francis of Assisi. This is the oldest known representation of the saint, and may have been painted only a few years after his death in 1226. Both have now been detached and partially restored, and can be seen in the Archaeological Museum of Istanbul.
As a whole, the mosque of Kalenderhane represents – together with the Gül Mosque in Istanbul, the Church of Hagia Sophia in Thessaloniki and the Church of the Dormition in (Koimesis) in Iznik (Nicaea), one of the main architectural examples of a domed Greek cross church from the Byzantine middle period.
Worn by: Clive Owen as Walter Raleigh
Costume Designer: Alexandra Byrne
Film: Elizabeth: The Golden Age
An Elizabethan man of average means - and Raleigh is as commoner - would, in all probability, possess a single suit of clothes, so production did not have the luxury of outfitting him as they would their courtiers. Byrne explains, "There are lots of contemporary engravings of Raleigh, but the reality is that a gentleman of that time maybe had one suit of clothing - he would have gone to sea in those clothes, where they would have gotten wet, then dried, they would have gotten torn, they would have been repaired. So we worked with the idea that his clothes had gone to sea with him and they had evolved of the the journey... and remember, it was four months there and four monthes back."
The designer worked with Clive Owen on the evolution of the design, assuring him that "the britches would be fine! He was a little alarmed by them. But by the end of production, I think he was quite keen on them, the way they have become a part of him. They give you a certain way of walking and a certain scale. He wears them like no one else!"
Costumes displayed courtesy of Universal Pictures International, celebrating the release of Elizabeth: The Golden Age, only at the movies November 15.
The Global Grid of Probabilities of Urban Expansion to 2030, v1 (2000-2030) data set presents spatially explicit probabilistic forecasts of global urban land-cover change from 2000 to 2030 and is part of the Land Use and Land Cover (LULC) collection. For each grid cell that is non-urban in 2000, a Monte-Carlo model assigned a probability of becoming urban by the year 2030. The authors first extracted urban extent circa 2000 from the NASA MODIS Land Cover Type Product v5, then used population densities from the Global Rural-Urban Mapping Project, Version 1 (GRUMPv1) to create a population density driver map. Next, using the present empirical distribution of regional urban population densities along with the probability density functions of projected regional population and GDP values for 2030, new urban land in each region by 2030 was estimated in a Monte-Carlo fashion. See more information at dx.doi.org/10.7927/H4Z899CG.
Average probability of finding a cherimoya tree belonging to a specific genetic cluster (A or B) in each 10-minutes cell with 20 or more trees applying a one-degree circular neighbourhood. Dark blue areas show a higher probability of finding trees belonging to cluster A, whereas dark green areas show a higher probability of finding trees belonging to cluster B. Light blue-coloured areas are not clearly assigned to any of the two clusters. Copyright Maarten van Zonneveld et al. 2012 PLoS ONE doi:10.1371/journal.pone.0029845.
Read more about Bioversity International’s work on Information systems for crop and tree diversity
www.bioversityinternational.org/research-portfolio/inform...
In all probability, this was a chance occurrence thanks to a statistical fluke. (See: en.wikipedia.org/wiki/Normal_distribution)
The least of all places in Bangalore where you have probability of expecting a WAP4, ED WAP4 22217 waits in the sidings adjacent to pf4 to take charge of the diverted16381 CSTM-CAPE Jayanthi Janata express, while ANGL WAG7 28240 moves through pf4 after getting clearance signal to Proceed towards Bangarpet.
Camera: Canon Powershot SX30IS
Time: 15:18 hrs
Location: Whitefield Railway Station
Camera Model Name: Canon EOS 5D
Lens: EF100-400mm f/4.5-5.6L IS USM
Tv (Shutter Speed): 1/500Sec..
Av (Aperture Value): F8.0
Metering Modes: Evaluative metering
ISO Speed: 320
Focal Length: 260.0 mm
Flash: Off
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DAY 06: Destination – SPANGMIK
Distance & Time: Shey – Spangmik by car - 150 km / 5 hrs.
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‘M’ Point is some kilometers before Spangmik, our destination. Was told that the Marmots in this area are extremely human friendly. It naturally sounds exciting in terms of close-up shots. An opportunity of sighting wild ass or Kiang too remains.
Wait in vain no wildlife is spotted. The possibilities have been exaggerated in all probability.
This is a semi meadow semi wetland area. Melting of glacier a source of water resulting in knee-deep grassland.
Andrea is interested in shooting the cattle grazing at some distance, while Shalini is busy taking landscape shots. Stay close to Sonam just in case if he is able to detect any movement.
Suddenly there is excitement, he points towards the wetland. Take a few seconds to locate, a pair of Black-necked Cranes! My heart skips a beat; this is not an area where they have been sighted before!
In absence of any cover, we gradually creep in trying not to raise alarm. These birds are known to be painfully shy. Glad of the new waterproof trekking boots, stepping in the puddles is a least concern (not that it would have mattered in this circumstance).
Black-necked Crane or Tibetan Crane is approximately 139 cm long and the male is slightly taller. Weigh 6-8 kg (13-18 lbs), longevity is reported to exceed 40 years. Feeds on shoots, tubers, insects, crickets or small fish. They are encountered in high-altitude open wetlands, meadows and bogs. The species is limited in its general distribution to the vast Tibetan Plateau, from Ladakh and southwestern and western Tibet to the central and eastern parts of Qinghai Province of China ranging in altitude from 3, 500-4, 700m / 11, 483-15, 420ft.
Clutch size is 1-2 brownish green eggs with brown spots are laid, often directly on to the grassy ground (or ground lined with dry grass or tubers) of a small island in a shallow lake, mount of marshes, or a floating nest platform (an untidy heap of collected aquatic plants). They are incubated by both sexes for 28-30 days. Three days after hatching, chicks vacate the nest, following their parents.
By April about ≤ 50 birds (including about 12 breeding pairs) migrate to clearly defined pockets in far eastern Ladakh located between 4100-4700m / 13,451-15,420ft., to depart again by late October. It winters near wetlands and harvested wheat or barley fields in the lower zones of east Tibet, south China, and Bhutan in altitudes between 2700-3200m / 8858-10,499ft. The species is endangered, considered ‘Vulnerable’ under IUCN Red List criteria, with estimated total world population not exceeding 5600-6000 birds.
In Ladakh its range is limited to the far eastern wetlands of Ladakh like Chushul, Fukche, Lalpari, Hanle, Churmur and Tso Kar. Unconfirmed reports have been there of feeding in the marshes at Shey, Diskit and upper Suru Valley.
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Note: Those who care about nature please visit and sign: www.savestevesplace.com/
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KILLING OF COWS AND SPIKES Photographed by L.A. Huffman. Though this photograph is dated as 1907, there is a probability that it was taken earlier. Huffman closed his Miles City studio in 1905 and spent the following years reprinting his work. The date may be that of the reprinting. As pictured the print is a 20” X 24” reissue on Ektalure X paper. This image was originally issued by Huffman as a postcard. “Vintage prints” are still available for purchase from Coffrin’s Old West Gallery in Miles City, Montana. The word “spike” as used in the title is a colloquialism for bull.
Laton Alton Huffman came to Miles City, Montana in 1879 to take over the position of post photographer at the military settlement of Fort Keogh. Huffman had a background in ranching, and his ability to ride and ranch allowed him outstanding access and mobility within the region. Though Huffman’s images portray a wide variety of subjects and views he is best known for his documentation of the cattle industry and the cowboys of the open range. Huffman’s ranching background also bled into his style; he in known as a photographer who showed the west “as it really was,” creating images which displayed the conditions and habits of the frontier without the accompanying romanticism. Huffman went on to open a successful photographic studio in Miles City. He died in 1931 at the age of 77.
Huffman is known to have documented the decline of the buffalo (the other vanishing race of the American west) with a sympathetic eye. In this image, however, he seems to suggest the utility (or at least the normalcy) of the kill. Eight dead bulls and cows are pictured in this image. They are arranged in such a manner that no apparent flight seems to have occurred. The buffalo have dropped as they stood, and they appear peaceful in death. The day is bright and sunny, and the image is not intended to be emotionally dense as much as it is a depiction of normal life. There is a horse grazing freely amongst the fallen buffalo. It is saddled and is slung with a rifle. The rifle is an interesting element, for it suggests that the rider must have laid down the firearm in order to use his hands towards other means. Is he planning to skin the buffalo where they lay? Or is he taking a photograph? I find the latter to be the more likely conclusion, a conclusion which suggests that the photographer is the one to have killed these animals. And that shared perspective is extended as an invitation, or even a celebration, to the viewer.
Here's a sticker I've been seeing around town a lot since the baseball playoffs started a few weeks ago. I like the sentiment. It harkens back to a White Sox shirt I bought in 2005 that says, "No such thing as curses. Just win."
There are two ways people tend to approach sports. I'm a science-minded skeptic, and while I've rarely been interested enough to do the math myself, I place high value in statistical probability as I contemplate an outcome. Chicago goes for a different approach, choosing instead to appeal to unseen strange and mystical powers of the netherworld that somehow dictate what sports teams do. These people believe in curses, and nobody believes in curses more than the fans of the Chicago Cubs.
In baseball's early days, the Chicago Cubs were a really good baseball team, winning a number of National League pennants and two world championships in the first decade of the 20th century. But they hit a drought after their win in 1908, thanks in part to the rise of Babe Ruth and the New York Yankees. (The Cubs were on the losing end of Ruth's called shot in 1932.) But things started looking up for a while in the 1940s, and the Cubs finally made it back to the World Series in 1945.
Then one day, a cheeseburger salesman named George Sianis, owner of the Billy Goat Tavern, decided he was going to take a goat named Murphy to one of the World Series games. And I know the world was a different place in 1945, but even then the owners of professional sports teams were reluctant to let you bring farm animals into the stands. People started complaining, so the Wrigley staff kicked Sianis and his goat to the curb. This enraged Sianis, the story goes, and he supposedly snarled, "Them Cubs, they ain't gonna win no more." And so dawned the curse of the Billy Goat. The Cubs lost the '45 series to the Detroit Tigers, and they've never gone to another series until now. And Cubs fans believe with a deranged devotion I find borderline insane that it's all because of this goat.
Now, a science-minded skeptic might say that the century or so of Cubs failure owes more to cheap or distracted ownership and bad management and the fact that the Cubs have rarely acted like they have any interest in playing baseball. This skeptic might try pointing at 108 years of statistics to support the claim, but a Cubs fan won't hear any of that. No. It's the goat, and they cite any number of freak incidents that have nothing to do with goats to back them up. There's the black cat that ran across the field during a division game against the Miracle Mets of 1969 when the Cubs were poised to win the pennant. There was Leon Durham's dropped ball against the Padres that let a pennant slip away in 1984. And there's the horrible story of the Bartman Ball in 2003, when the Cubs were four outs away from going to the series.
They've tried any number of schemes to reverse the curse. A restaurant blew up the Bartman Ball and turned it into a soup in 2004, and you often hear about police or Wrigley security finding the severed heads of goats lying around the ball park. (No joke. This actually happens with astounding frequency.) But nothing's ever worked ... at least not until 2009, when the Cubs were finally bought by owners with an interest in baseball who were committed to a long-term project of actually building a good team from the ground up. These owners hired the stats-minded guy who'd ended the Red Sox championship drought in 2004 by focusing more on game play and less on the team's relationship with livestock. And now, finally, the curse is over. The Cubs might not win the World Series, but at least they got there, and what happens next is on them.
So #$@& curses.
No such thing as curses. Just win.
Greetings mate! I love voyaging forth to Bryce Canyon and Zion National Park to contemplate poetry, physics, the golden ratio, and the Tao te Ching! What's your favorite epic poetry reflecting epic landscapes? I recently finished a book titled Epic Poetry for Epic Landscape Photographers:
www.facebook.com/Epic-Poetry-for-Epic-Landscape-Photograp...
Did you know that John Muir, Thoreau, and Emerson all loved epic poetry and poets including Shakespeare, Milton, Homer, and Robert Burns?
I recently finished my fourth book on Light Time Dimension Theory, much of which was inspired by an autumn trip to Zion!
www.facebook.com/lightimedimensiontheory/
Via its simple principle of a ofurth expanding dimension, LTD Theory provides a unifying, foundational *physical* model underlying relativity, quantum mechanics, time and all its arrows and asymmetries, and the second law of thermodynamics. The detailed diagrams demonstrate that the great mysteries of quantum mechanical nonlocality, entanglement, and probability naturally arise from the very same principle that fosters relativity alongside light's constant velocity, the equivalence of mass and energy, and time dilation.
Follow me on intsagram!
Join my new 45EPIC fine art landscapes page on facebook!
Fresh snow! More on my golden ratio musings: The Golden Number Ratio Principle: Why the Fibonacci Numbers Exalt Beauty and How to Create PHI Compositions in Art, Design, & Photography facebook.com/goldennumberratio
Best wishes on your epic hero's odyssey!:)
Bryce Canyon National Park Autumn Colors & Winter Snow Fine Art Photography 45EPIC Dr. Elliot McGucken Fine Art Landscape and Nature Photography: Nikon D810
Love shooting with both the sony A7RII and the Nikon D810! :)
Graph illustrating how the probability of getting a parking ticket (y axis) after parking in a stall with an expired meter without feeding it increases as a function of time (x axis).
Wed Jan 9 from midnight to 6 AM was supposed to be a high probability of seeing an aurora. At midnight I jumped in my car and drove 30 miles to Ashpinnun Lake. When I got there it was minus 11 degrees, crystal clear, no wind and no aurora. I was only able capture this photo which may just be city lights, though any city is very far away. That is why this location is supposed to be so good. Oh well, I gave it my best shot.
Aurora Shoot - Jan 8, 2014-6287 WM
The present building was completed in 1897 has remained virtually unchanged since the 1930s. Houston has grown from a small farming community to an expanding semi rural village.
No one knows exactly when Houston got its first place of worship or where it was built but in all probability it was in the 8th century, near Greenhill Farm, Houston. The oldest surviving church building is the ruined Kirk of Kilallan which bears the date of 1635. This ruin is situated in Barochan Cross Road about 4 miles west of the centre of Houston. An evening service in the churchyard there is held annually in July, when old Psalms are sung to tunes well known to the parishioners of the time.
As a result of the Decree of Union which took place in 1771, the Kirk of Kilallan was no longer required and soon became a ruin. Worship then centred around a fairly modest building which was erected on the site of our present Church around 1775. It was envisaged that a new church, big enough to hold the united body, would be built at Houston but, because of the considerable costs involved, in the event only galleries were added to the existing building.
Around 1870, Mrs Ellice of Glengarry was given permission by Paisley Presbytery to build a new church, on the present site, in memory of her young son, Alexander Archibald Spiers of Elderslie, who had died shortly after being elected as MP for West Renfrewshire. By the early 1930's, this building was badly in need of repairs and by this time responsibility for any church repairs fell on the congregation. Fortunately, the Laird came to the rescue and he agreed to carry out a scheme of restoration, improvements and re-decoration in memory of his mother. This work was completed in 1938 and, apart from the installation of two new stained glass windows and the resiting of the organ, the church has remained virtually unchanged up to the present day.
The present West Hall was built in 1844 at the time of the Disruption when a body of members of Houston Kirk broke away to form a congregation of the newly constituted Free (later to become the United Free) Church. This was called the West Kirk. In March 1941, a fire broke out in the loft of the Church. This resulted in the complete destruction of the Church. However, in 1949, it was agreed that the two congregations would unite on the understanding that worship would be held in Houston and Killellan Kirk and that the rebuilt 'West Church' would provide hall accommodation. As a result, the original part (next to the main street) was reopened in 1953 and an additional hall (next to the Manse) was added in 1989. The main hall was also refurbished at this time, adding 3 committee rooms and extra storage facilities.
In 2016 an extension was added to the church and it was named The Killellan Halls.
This is the Washtec SoftCare intro at Mobil in Silverstream. It's one of many Intro and Evo systems installed by Mobil during the early 2000s, but sadly they are now all dropping like flies. Around half of Mobil's Intro's and Evo's have been replaced in the last two years, and this one is next!
The replacement machine will be an as-yet-unconfirmed Touchless system (but in all probability it will most likely be a PDQ Laserwash 360plus).
GOOGLE STREETVIEW:
www.google.com/maps/@-41.1465978,175.0097736,3a,60y,175.8...