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Maxillaria rotundilabia. Probablement un nouveau registre pour la Colombie, cette espèce étant connue du Pérou (et d'Equateur?). Vue au cour du tour d'observation d'orchídées et de nature que j'ai guidé durant 2 semaines pour la Fédération Française d'Orchidophilie avec Nature Experience pendant lequel nous avons vu 191 especes en fleur in situ. Département du Cauca, Colombie.
Maxillaria rotundilabia. Probablemente un nuevo registro para Colombia, esta especie siendo reportada para Perú (y Ecuador?). Vista en un tour de observación de orquídeas y de naturaleza que guié durante 2 semanas para la Federación Francesa de Orquideología con Nature Experience en cual vimos 191 especies florecidas in situ. Departamento del Cauca, Colombia.
If you have a fear of leaving your house, it is probable that you have an intense fear of being in certain situations in which escape is difficult or potentially embarrassing, or where help is not readily available. More specifically, the focus is on the fear of having a panic attack in such situations.A fear of leaving the house is associated with agoraphobia, though not all people with this disorder have this concern. Agoraphobia can occur on its own, but is more commonly a complication of panic disorder.
You do not need to be homebound to be diagnosed with agoraphobia. Agoraphobia can cause a panic response in an array of situations, including traveling by car, train, plane or bus; being in an elevator, crowd, large store, or confined area; being on a bridge or standing in a line. The fear associated with agoraphobia is so intense that a person will usually go to great lengths to avoid the feared situations. At the most extreme cases, agoraphobia can develop into a fear of leaving one’s house altogether. One’s home becomes his or her “safe zone.”Being homebound is disabling. But, you can find significant relief with treatment. The sooner treatment begins after the onset of agoraphobia, the more quickly symptom reduction or elimination will be realized. However, even those with long-term symptoms will generally experience improvement with treatment, and most will regain the freedom to resume many of the activities they once enjoyed.Your fear of leaving the house is fed by anxiety. By leaning and practicing relaxation techniques, you will be able to reduce the level of your anxiety and panic attacks. You may even be able to defuse an attack in the making.
Stress and anxiety seem to go hand in hand –- increase one and the other will follow. If you have developed agoraphobia and have a fear of leaving your house, it may be beneficial to your recovery to keep stress and anxiety in check.Systematic desensitization usually starts with imagining yourself in a progression of fearful situations and using relaxation strategies that compete with anxiety. Once you can successfully manage your anxiety while imagining fearful events, you can use the technique in real life situations. The goal of the process is to become gradually desensitized to the triggers that are causing your distress.
panicdisorder.about.com/od/agoraphobia/a/fearleavinghm.htm
A to Z List of Phobias
Ablutophobia – Fear of washing or bathing.
Acarophobia – Fear of itching or of the insects that cause itching.
Acerophobia – Fear of sourness.
Achluophobia – Fear of darkness.
Acousticophobia – Fear of noise.
Acrophobia – Fear of heights.
Aerophobia – Fear of drafts, air swallowing, or airbourne noxious substances.
Aeroacrophobia – Fear of open high places.
Aeronausiphobia – Fear of vomiting secondary to airsickness.
Aftokinitophobia – Fear of automobiles (cars).
Agateophobia – Fear of insanity.
Agliophobia – Fear of pain.
Agoraphobia – Fear of open spaces or of being in crowded, public places like markets.
Agraphobia – Fear of sexual abuse.
Agrizoophobia – Fear of wild animals.
Agyrophobia – Fear of streets or crossing the street.
Aichmophobia – Fear of needles or pointed objects.
Ailurophobia – Fear of cats.
Aimaphobia – Fear of blood.
Albuminurophobia – Fear of kidney disease.
Alektorophobia – Fear of chickens.
Algophobia – Fear of pain.
Alliumphobia – Fear of garlic.
Allodoxaphobia – Fear of opinions.
Altophobia – Fear of heights.
Alysidophobia – Fear of a chain or chains.
Amathophobia – Fear of dust.
Amaxophobia – Fear of riding in a car.
Ambulophobia – Fear of walking.
Amfisbitophobia – Fear of arguing.
Amnesiphobia – Fear of amnesia.
Amychophobia – Fear of scratches or being scratched.
Anablephobia – Fear of looking up.
Ancraophobia or Anemophobia – Fear of wind.
Androphobia – Fear of men.
Anemophobia – Fear of air drafts or wind.
Anginophobia – Fear of angina, choking or narrowness.
Anglophobia – Fear of England, English culture, etc.
Angrophobia – Fear of anger or of becoming angry.
Ankylophobia – Fear of immobility of a joint.
Anthrophobia or Anthophobia – Fear of flowers.
Anthropoiophobia or Anthophobia – Fear of people.
Anthropophobia – Fear of people or society.
Antlophobia – Fear of floods.
Anuptaphobia – Fear of staying single.
Apeirophobia – Fear of infinity.
Aphenphosmphobia – Fear of being touched.
Apiphobia – Fear of bees.
Apolithomaphobia – The fear of a fossil, fossils, or of Paleontology.
Apotemnophobia – Fear of persons with amputations.
Arachibutyrophobia – Fear of peanut butter sticking to the roof of the mouth.
Arachnephobia or Arachnophobia – Fear of spiders.
Arithmophobia – Fear of numbers.
Arrhenphobia – Fear of men.
Arsonphobia – Fear of fire.
Arythmophobia – Fear of not having rhythm.
Asanserophobia – Fear of an elevator or elevators.
Asthenophobia – Fear of fainting or weakness.
Astraphobia or Astrapophobia – Fear of thunder and lightning.
Astrophobia – Fear of stars and celestial space.
Astynomiaphobia – Fear of police.
Asymmetriphobia – Fear of asymmetrical things.
Ataxiophobia – Fear of ataxia (muscular incoordination)
Ataxophobia – Fear of disorder or untidiness.
Atelophobia – Fear of imperfection.
Atephobia – Fear of ruin or ruins.
Athazagoraphobia – Fear of being forgotton or ignored or forgetting.
Atomosophobia – Fear of atomic explosions.
Atychiphobia – Fear of failure.
Aulophobia – Fear of flutes.
Aurophobia – Fear of gold.
Auroraphobia – Fear of Northern lights.
Autodysomophobia – Fear of one that has a vile odor.
Automatonophobia – Fear of ventriloquist’s dummies, animatronic creatures, wax statues – anything that falsly represents a sentient being.
Automysophobia – Fear of being dirty.
Autophobia – Fear of being alone or of oneself.
Aviophobia or Aviatophobia – Fear of flying.
www.fearofstuff.com/phobialist/
Providence Mayor Jorge Elorza announced plans in October to rid the city of its abandoned properties, but some community activists are concerned the initiative will alienate certain residents.Holding up broken-heart signs to express their feelings towards Elorza’s program, dozens of protesters gathered Thursday at Providence City Hall, demanding the mayor update his plan so it won’t displace low-income residents.“There’s a housing crisis here in Rhode Island, and for Rhode Island to be the smallest state in the union, this should not be,” said protester Roline Burgison.The demonstration coincided with Elorza’s scheduled news conference to launch a separate initiative from Rhode Island Housing to assist first-time homebuyers purchase previously foreclosed homes.Demonstrators expressed concerns that the blighted homes the city aims to fix will be replaced with ones that are too expensive for low-income families.“Higher property taxes are always better for a city’s coffers, but they’re not necessarily better for the local homeowners,” added protester Christopher Samih-Rotondo. “If you’ve got low-income homeowners who have been there for years and their property taxes go up, that’s another way they’re pushed out.”
wpri.com/2016/02/11/protesters-fear-housing-program-will-...
IN ENGLISH BELOW THE LINE
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Aquí podeu veure La Pobla de Ferran des del sud-oest, des de la carretera que va de Ciutadilla a Passanant. Es la primera vista que hom té del lloc. I probablement fou també la última que en tingué l'assasí Josep Marimon, ja que fugí en aquesta direcció.
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La Pobla de Ferran a la primavera pot semblar un raconet rural idilic. Però durant una tarda de 1928, fou un autentic infern de matança i tragedia.
La Pobla de Ferran es un petit i quasi despoblat poblet d’un sol carrer, proper a Passanant, el cap del municipi. Només una casa sembla habitada sempre, però la resta es troben en bon estat ja que son segones residencies, i el poble es veu força arreglat. No té església però si les restes d’una ermita romànica. Es troba al extrem nord de la Conca de Barberà però dins de la Baixa Segarra, pel que té molts més lligams amb Tàrrega i Cervera. El paisatge és clàrament segarrenc, molt sec bona part de l’any peró preciosament verd al abril i maig, per exemple en aquest 2025 joiosament plujós.
També sembla que era excepcionalment verd el maig de 1928, en que havia plogut molt i s’esperava una molt bona collita. Aleshores el conreu del cereal era el nucli vital de la vida de tothom a La Pobla de Ferran. Tothom eren menys de 50 persones. D’aquestes, 9 eren nens i nenes. Un dels adults era Josep Marimon Carles, de 26 anys. Feia uns 5 anys que, durant el servei militar, va contraure tuberculosi vertebral o Mal de Pott, una malaltia que provocava malformacions, molt dolor, i impedia treballar. Per això es pasava moltes hores estirat a l’entrada de casa prenent el sol, que li mitigava el dolor. Però potser alguns veins ho confonien amb peresa, i així li feien saber. Probablement tot això va fer anant alienant soterradament a Marimon, que va dir més d’una vegada que “quan jo m’aixequí d’aqui, no s’hi posarà mai més ningú”.
La tarda del dissabte 21 de maig de 1928 quasi tot el poble era treballant als camps, netejant-los de males herbes. Només quedaven unes poques dones grans, els nens petits (els grans eren encara a escola), i el Marimon. Aleshores començà. Cap a les 4, va convencer a dues nenes i un nen de 3 i 4 anys (Carme Rabadà, Teresa Roca i Miquel Torres) que l’acompanyessin a una pallissa de la casa més al nord del poble, per veure com caçava colomins. Un cop allà sols, Marimon mata amb una destral a les tres víctimes i les tapà amb palla. Hi ha testimonis que en aquest punt arribà un esquilador al poble i el Marimon dissimulà durant uns 40 minuts, però no està clar. En tot cas, un cop va tenir camp lliure, armat amb una destral i una escopeta, va anar resseguint el carrer únic tot matant. A Can Corona va trobar Rosa Aloi de 45 anys, cosint. Amb ella hi havia una nena de 4 anys, Ramona Rabadà. Atacà la dona amb la destral, ferint-la greument al cap i, veient que la nena fugia cap al cobert del davant del carrer, la perseguí i matà allà. Rosa Aloi va morir pocs dies després. Marimon segui carrer amunt i matà d’un tret a Francesca Canela, de 70 anys, que donava menjar a les gallines de casa seva. No estic segur de quina casa era.
En aquest punt, Antonia Marimon (no eren familia) i Marina Roca, tornaren al poble i començaren a preocupar-se en no veure les criatures, i les començaren a buscar. Mentrestant, l’assassí havia vist que els nens més grans tornaven d’escola a Passanant (a uns 2 km), i les va enganyar amb la mateixa excusa dels colomins, portant-los a un paller que hi ha sota el castell i una mica apartat de les cases. Allà en matà tres més (Ramon Canela, Josep Rabadà i Salvador Torres, de 5, 6 i 11 anys). En aquell moment, en Josep Torres, de 8 anys, ho va veure i començà a fugir, però en Marimon li disparà per la esquena i el va matar.
En Marimon tornà a casa seva, on ja havia preparat la fugida. Agafà roba, menjar, beguda i recarregà la escopeta. En aquells moments Antonia Marimon i Marina Roca ja havien descobert els cadavers dels infants i pujaven pel carrer en estat de panic buscant ajuda. L’assassí els hi disparà diversos trets des de la finestra de casa seva, deixant-les greument ferides al mig del carrer, i després fugí en direcció sud. Encara va tenir temps de veure una avia amb la darrera criatura viva de tot el poble, que fugien, i els hi va disparar. Però estaven més lluny i afortunadament va fallar el tret.
Tots els habitants que treballaven dispersos pels camps havien sentit alguns trets, però era usual que Marimon cacés colomins, pel que inicialment no en deurien fer cas. Però en començar a sentir els crits desesperats de les dones, així com més trets, tornaren alarmats cap al poble, però no era rapid, sobretot perque La Pobla de Ferran està al cim d’una serra. Arribaren a una escena de horror absolut, amb tots els menors del poble morts excepte un, una dona gran morta i tres més de greument ferides. I amb l’assassí desaparegut.
Aviat les campanes de Passanant i de tots els pobles del entorn tocaren a sometent, i s’organitzà una batuda per caçar el criminal, al que tothom qualificava de boig. El primer dia ja eren 300 homes, i ràpidament foren quasi 2000, incloent decenes de guardies civils espanyols. En els propers dies es feu l’enterrament de les 9 victimes directes d’aquell 21 de maig, i pocs dies després, el de Rosa Aloi, que mori de les greus ferides al cap. Dos matrimonis perderen tres fills cadascun d’ells. I l’assassí encara estava sense localitzar. Diversos rumors el situaren a Montblanc, Tàrrega o Cervera, i part de la cerca es desvià cap allà. Molts pensaven que havia fugit cap a Barcelona o fins i tot França. Però altres pensaven que un noi sol, coix no havia pogut anar pas tant lluny, i intensificaren la busqueda per l’entorn més inmediat. I així fou com vuit dies després, de bon matí, el somatent el va trobar prop d’una cabana situada a menys de dos quilometres de La Pobla de Ferran, en direcció sud. El jutge i la guardia civil el volien agafar viu, però el somatent, lligat al territori i els seus habitants, volia venjança. Per tant, tal i com el van veure, li varen fotre un tret al cap. Així acabà aquesta tragedia. O casi, perquè pel que sembla, tot i que he vist versions contradictories, tant la Antonia Marimon com la Marina Roca, les altres dues ferides, acabaren morint per culpa dels trets que els hi disparà en Josep Marimon, pel que possiblement el balanç final fou de 12 assassinats.
Avui en dia La Pobla de Ferran és un llogaret que, tot i que poc habitat entre setmana, en gran part continua intacte en segona residencia. Aixó sí, encara hi manca un memorial per a les victimes de Josep Marimon aquell 21 de maig de 1928.
www.3cat.cat/3cat/la-pobla-de-ferran-cap-1-la-mort-dels-c...
www.guimera.info/noticies/dues-croniques-sobre-el-crim-de...
x.com/SospechosoUsual/status/1528033980775284737/photo/1
ca.wikipedia.org/wiki/La_Pobla_de_Ferran
www.poblesdecatalunya.cat/element.php?e=5551
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Here you can see the hamlet of La Pobla de Ferran from the south-west, just by the road from Ciutadilla to Passanant. It's the first view you have of the hamlet. And probably was the last glimpse of it that the assassin Josep Marimon had, when he fled the scene of his crimes.
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La Pobla de Ferran in the spring may seem like an idyllic rural corner in Western Catalonia. But during an afternoon in 1928, it was a real hell of slaughter and tragedy.
La Pobla de Ferran is a small and almost deserted village with only one street, near Passanant, the head of the municipality. Only one house seems to be always inhabited these days, but the rest are in good condition since they are second residences, and the village looks quite tidy. It has no church but the remains of a Romanesque chapel. The landscape is very dry for much of the year but beautifully green in April and May, for example in this joyfully rainy 2025.
It also seems that it was exceptionally green in May 1928, when it had rained a lot and a very good harvest was expected. At that time, cereal cultivation was the vital nucleus of everyone's life in La Pobla de Ferran. There were less than 50 people in all. Of these, 9 were boys and girls. One of the adults was Josep Marimon Carles, aged 26. About 5 years ago, during his military service, he contracted spinal tuberculosis or Pott’s Disease, that caused malformations, a lot of pain, and prevented him from working. That is why he spent many hours lying in the entrance to his house taking sunbaths, which alleviated his pain. But perhaps some neighbors confused this with laziness, and that is how they let him know. Probably all this rejecting and pain slowly alienated Marimon, who said more than once that "when I get up from here, no one will ever sit here again".
On the afternoon of Saturday, May 21, 1928, almost the entire village was working in the fields, clearing them of weeds. Only a few old women remained, the small children (the older ones were still at school), and Marimon. Then it began. At around 4 o'clock, he convinced two girls and a boy aged 3 and 4 (Carme Rabadà, Teresa Roca and Miquel Torres) to accompany him to a hay room at the house further north of the village, to see how he hunted pigeons, something he usually did. Once there alone, Marimon killed the three little innocent victims with an axe and covered them with straw. There are witnesses that at this point a shearer arrived in the village and Marimon coldly helped him for about 40 minutes, but it is not clear. In any case, once he had a free field, armed with an axe and a shotgun, he went around the only street killing everyone he found. In Can Corona house he found Rosa Aloi, aged 45, sewing. With her was a 4-year-old girl, Ramona Rabadà. He attacked the woman with the axe, seriously wounding her in the head, and, seeing the girl flee towards the shed across the street, he chased and killed her there. Rosa Aloi died a few days later. Marimon continued up the street and shot and killed Francesca Canela, 70, who was feeding the chickens in her house. I am not sure which house it was, maybe the one further south with a large barn door.
At this point, Antonia Marimon (they were not family) and Marina Roca, returned to the village and began to worry when they did not see the children, and began to look for them. Meanwhile, the murderer had seen the older children returning from school in Passanant (about 2 km away), and deceived them with the same excuse of the pigeons, taking them to a haystack under the castle and a little away from the houses. There he killed three more (Ramon Canela, Josep Rabadà and Salvador Torres, aged 5, 6 and 11). At that moment, Josep Torres, aged 8, saw him and started to run away, but Marimon shot him in the back and killed him.
Marimon returned to his house, where he had already prepared his escape. He took clothes, food, drink and reloaded his shotgun. At that moment, Antonia Marimon and Marina Roca had already discovered the bodies of the children and were running up the street in a state of panic looking for help. The murderer fired several shots at them from the window of his house, leaving them seriously injured in the middle of the street, and then fled south. He still had time to see an grandmother with the last living child in the whole village, who were fleeing, and he shot them. But they were further away and fortunately the shot missed. All the inhabitants who were working scattered in the fields had heard some shots, but it was usual for Marimon to hunt pigeons, so initially they should not have paid attention. But when they began to hear the desperate cries of the women, as well as more shots, they returned in alarm to the village, but it was not fast, especially because La Pobla de Ferran is on the top of a hill. They arrived at a scene of absolute horror, with all the children in the village dead except one, an elderly woman dead and three more seriously injured. And with the murderer missing.
Soon the bells of Passanant and all the surrounding towns rang out calling for the “somatent” (militia), and a raid was organized to hunt down the criminal, whom everyone described as crazy. On the first day there were already 300 men, and quickly they were almost 2000, including dozens of Spanish police. In the following days the burial of the 9 direct victims of that May 21st took place, and a few days later, that of Rosa Aloi, who died of serious head injuries. Two couples lost three children each. And the murderer was still unaccounted for. Various rumors placed him in Montblanc, Tàrrega or Cervera, and part of the search was diverted there. Many thought he had fled to Barcelona or even France. But others thought that a lonely, lame boy could not have gone that far, and they intensified the search in the immediate area. And so it was that eight days later, early in the morning, a group of “somatent” found him near a cabin located less than two kilometers from La Pobla de Ferran, heading south.
The judge and the police wanted to take him alive, but the “somatent”, tied to the territory and its inhabitants, wanted revenge. Therefore, as they saw him, they shot him in the head. That's how this tragedy ended. Or almost, because apparently, although I have seen contradictory versions, both Antonia Marimon and Marina Roca, the other two wounded, ended up dying because of the shots that Josep Marimon fired at them, so possibly the final tally was 12 murdered.
Today La Pobla de Ferran is a village that, although sparsely inhabited during the week, remains largely intact as a second residence. However, there is still a lack of a memorial for the victims of Josep Marimon on that May 21, 1928.
www.poblesdecatalunya.cat/element.php?e=5551
Here the news in The Times of 1928:
www.guimera.info/noticies/wp-content/uploads/1928/05/1-Th...
Medallion of probable Alexandrian provenance dated 3rd century after Christ set in the so-called ‘Croce di Desiderio’ (Desiderio’s cross) at the Santa Giulia Museum in Brescia..
I find these figures and this image unbelievable modern reminding me of some photograph of bourgeois families taken in 1950’s.
Sorry but the image is not completely natural. I cleaned off some marks to make faces more 'readable'!
Denari de plata d'Antoninus Pius, probablement emès el 143-144 dC.
Al anvers el bust d'Antoninus Pius amb la llegenda ANTONINVS AVG PIVS P P TR P COS III (Antoninus Augustus Pius Pater Patria Tribunicia Potestate Consul III).
Al revers la Victoria portant la palma amb la llegenda IMPERATOR II (Imperator per segona vegada).
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Silver denarius of Antoninus Pius, probably coined in AD 143-144.
On the obverse the bust of the emperor with the lettering ANTONINVS AVG PIVS P P TR P COS III (Antoninus Augustus Pius Pater Patriae Tribunicia Potestate Consul III).
On the reverse, the Victory with the lettering IMPERATOR II.
Probable Melbourne's most photogenic laneway with its mix of greenery and old signage. Very popular cafes abound as well.
This is on my to be revisited list as I am not entirely happy with the results of this visit. The bright gray clouds make getting the correct exposure without the sky looking to blown out.
Baldwin 2-8-0 Consolidation, slide valves and all, is stopped with a probable extra passenger train that has what appears to be Mexican Bandidos on the pilot (cowcatcher), however; this scene is most likely posed, ca 1910. You can see the white extra flags mounted to the boiler smokebox front area. It appears that a conductor is standing in the background. The engineer is appearing out of his cab window with a pipe in his mouth. This steam locomotive may actually be an oil burner because of what appears to be an oil bunker that is mounted in the tender. The actual year, railroad name, location, purpose of the photo or the photographers name is not known. This photo was gifted to me.
Copyright Disclaimer under Section 107 of the Copyright Act of 1976, allowance is made for “fair use” for the purposes such as criticism, comment, news reporting, teaching, scholarship, and research. Fair use is a use permitted by copyright statute that might otherwise be infringing. Non-profit, educational or personal use tips the balance in favor of fair use.
IN ENGLISH BELOW THE LINE
Càmera Unger & Hoffmann, en format 18x24 cm., fabricada cap al 1920; objectiu combinable Trousse Parisienne (probablement fabricat per DeMaria), d'entorn 1900; ADOX CHS100 II, caducat fa pocs mesos.
Conegut com el Sanatori Antituberculós de Collserola, aquesta edificiació és nomes la seva part de safareig i desinfecció. De fet el sanatori mai fou acabat de construir i es destruí després de la guerra civil. En tot cas aquesta interessant estructura modernista abandonada i oblidada fou obra de Joan Rubió i construida el 1902-1905.
Menció apart és que mostra de nou l'absolut despreci pel patrimoni català que tenen els "nostres" governs. Patetic.
ca.wikipedia.org/wiki/Sanatori_Antitubercul%C3%B3s
www.youtube.com/watch?v=FpITm9d7bcU
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Unger & Hoffmann 18x24 large format camera, made c.1920; brass Trousse Parisienne (probably DeMaria) combine lens, made c.1900; ADOX CHS100 II, expired for some months.
Known as the Antituberculosis Sanatorium of Collserola, this building is only its laundry and disinfection part. In fact, the sanatorium was never finished and was destroyed after the civil war. In any case, this interesting abandoned and forgotten modernist structure was the work of Joan Rubió and built in 1902-1905.
It also shows once again the absolute contempt for Catalan historical heritage that "our" governments have. Pathetic.
IN ENGLISH BELOW THE LINE
La ICA Aviso fou probablement la càmera de plaques tipus "falling plate" més petita del món. Aquest tipus de càmeres carreguen diverses plaques fotogràfiques al darrera, usualment unes 12, i per mitjà de molles i palanques cada placa cau a la part inferior un cop exposada, d'aquí el nom "falling plate" (placa caiguda).
Aquest model es del format 6x4,5 cm, el més petit de totes les plaques (quan aquestes càmeres solen ser molt voluminoses). De fet, té diversos noms. Inicialment era la Hüttig Gnom, després coneguda com a Hüttig Aviso, empresa que passà a formar part de ICA el 1909; per tant, els models finals eren la Hüttig Aviso. Crec que data de cap al 1920. Per desgracia li manca la part que guia les plaques internament, pel que la càmera no es pot fer servir.
collectiblend.com/Cameras/ICA/Aviso-
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The ICA Aviso was probably the smallest falling plate camera in the world. This type of camera loads several dry plates on the back, usually about 12, and by means of springs and levers each plate falls to the bottom once exposed, hence the name "falling plate".
This model is of the 6x4.5 cm format, the smallest of all plates (when these cameras are usually very bulky). In fact, it has several names. Initially it was the Hüttig Gnom, later known as Hüttig Aviso, a company that became part of ICA in 1909; therefore, the final models were the Hüttig Aviso. I think this one dates from around 1920. Unfortunately it lacks the part that guides the plates inside, so it can't be used.
Iglesia de San Miguel Arcángel, San Esteban de Gormaz, Soria, Castilla y León, España.
La iglesia de San Miguel es de una gran importancia a nivel artístico ya que lo más probable es que fuera el lugar donde por primera vez se edificara una galería porticada románica. Uno de los canecillos así lo atestigua.
En él aparece un monje que sostiene un libro abierto en el que se puede leer: “Me hizo el maestro Julianus en la era de 1119 (año 1081)”. Por este motivo se trataría no solo de la galería porticada más antigua de Castilla, sino uno de los primeros templos románicos de la zona sur del Duero. Declarada Monumento Nacional desde 1976.
Se trata de un templo de una sola nave con torre adosada al lado norte y galería porticada posterior a la construcción de la iglesia. Esta galería era un espacio de valor social ya que servía de lugar de reunión.
Los capiteles del pórtico muestran animales, caballeros y fortalezas musulmanas. La portada es muy sencilla. Se compone de 4 arquivoltas cuyos capiteles representan caras, leones y piñas. El ábside posee una ventana aspillera decorada con ajedrezado.
A diferencia de la iglesia, que está construida en mampostería irregular, la torre y la galería porticada presentan sillares cuadrados.
Interiormente solo tiene una nave, un corto presbiterio y ábside semicircular. En la capilla quedan una serie de pinturas tardo góticas representando la Visitación, la Adoración de los Reyes Magos y la Huida a Egipto.
Como curiosidad durante las obras de acondicionamiento realizadas en 2009, sacaron a la luz cientos de grafitos del S. XII y XIII, inscripciones funerarias, huellas, cruces de consagración…etc. También se encontró en la galería porticada de la iglesia una tumba medieval, en la que el difunto sujetaba en la mano una cruz patriarcal del S. XII, que está expuesta en el Museo Numantino de Soria.
The church of San Miguel is of great importance on an artistic level since it was most likely the place where a Romanesque porticoed gallery was built for the first time. One of the corbels testifies to this.
In it appears a monk holding an open book in which one can read: "Master Julianus made me in the era of 1119 (year 1081)". For this reason it would be not only the oldest porticoed gallery in Castile, but also one of the first Romanesque temples in the southern area of the Duero. Declared a National Monument since 1976.
It is a temple with a single nave with a tower attached to the north side and a porticoed gallery after the construction of the church. This gallery was a space of social value since it served as a meeting place.
The capitals of the portico show animals, knights and Muslim fortresses. The cover is very simple. It is made up of 4 archivolts whose capitals represent faces, lions and pineapples. The apse has a loophole window decorated with a checkered pattern.
Unlike the church, which is built in irregular masonry, the tower and the porticoed gallery have square ashlars.
Inside it only has a nave, a short presbytery and a semicircular apse. In the chapel there are a series of late Gothic paintings representing the Visitation, the Adoration of the Magi and the Flight into Egypt.
As a curiosity, during the conditioning works carried out in 2009, hundreds of graffiti from the 12th and 13th centuries, funerary inscriptions, footprints, consecration crosses, etc. were brought to light. A medieval tomb was also found in the porticoed gallery of the church, in which the deceased held a patriarchal cross from the 12th century in his hand, which is on display at the Numantino Museum in Soria.
Pas mal de photos vont tomber, je reviens d'un chouette séjour et j'ai des idées suite à un gros fail de mon smartphone (sérendipité?)
J'ai reçu du matoss pour mes photos de portrait, du coup ça suit son cours. Probablement vers Décembre malheureusement car je suis overbooké en ce moment.
Je vais lancer un concept de photo en full création : J'ai raté THE photo dans le train à cause de mon smartphone qui voulait rien savoir, j'étais tellement frustré que je me suis dit que j'allais recréer le paysage entièrement puis je me suis dit que non j'allais faire encore mieux pour la peine. Du coup quand j'aurai fini cette série, j'attaquerai une nouvelle avec mes idées en tête sur le thème des rêves et des dimensions. 7 photos pour les 7 jours de la semaine avec 7 dimensions différentes. Ca t'apprendra vilain, je vais te montrer que j'ai pas besoin de toi ! *encore frustré*
Sinon j'ai enfin fait des photos avec mon véritable appareil. Elles seront forcément de meilleures qualités mais je les garde pour la fin, je ne les ai même pas encore vu
Je bouge tout le temps en ce moment ça rend certaines choses plus compliquées mais ça me permet de vous ramener de belles photos.
------------------------------------------------
A lot of pictures are going to fall, I'm back from a nice trip and I have some ideas after a big failure of my smartphone (serendipity?)
I received some matoss for my portrait pictures, so it's going on. Probably around December unfortunately because I'm overbooked at the moment.
I'm going to launch a full creation photos concept : I missed THE photo in the train because of my smartphone that didn't want to know anything, I was so frustrated that I thought I was going to recreate the whole landscape and then I thought no, I was going to do even better for the pain. So when I finish this series, I will start a new one with my ideas on the theme of dreams and dimensions. 7 pictures for the 7 days of the week with 7 different dimensions. That'll teach you naughty, I'll show you that I don't need you! *still frustrated*
I finally took some pictures with my real camera. They're bound to be of better quality but I'm saving them for last, I haven't even seen them yet
I'm moving all the time at the moment which makes some things more complicated but it allows me to bring you some nice pictures.
IN ENGLISH BELOW THE LINE
Ningú havia vist aquestes fotos fins ara, sobretot els que les varen fer. Fins que jo les he revelat ara.
És tracta d'un rodet exposat probablement cap als anys 70 o 80. Pel context (originari de la RDA, emulsió d'origen sovietic) i la identificació del lloc, es tracta de les vacances d'una familia alemana de la RDA a les ribes del llac Balaton, a Hongria (també dins de l'Europa del Est, aleshores).
S'anomena "found film" a aquelles fotografies en pel•licula o placa que es troben sense revelar dins càmeres velles o per altres racons. La gracia és que ningú ha vist mai aquestes fotografies.
Aquest rodet prové un conjunt comprat a algú de Dittersdorf, a la antiga RDA, actual Alemania.
Aquest rodet, de format 35mm, està marcat com a 1СВЕМА М8 76Г. Sembla clar que és del tipus sovietic СВЕМА (Svema), però no he trobat cap referencia a una emulsió que es digués M8 i/o 76G. El vaig revelar amb HC110 durant 4:30 minuts a 23º.
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No one had seen these photos until now, especially those who took them. Until I revealed them now.
This one is a roll of 120 film exposed probably around the 70s or 80s. From the context (undeveloped film bought in the former East Germany, emulsion of Soviet origin) and the identification of the place, it is about the holidays of a German family from the GDR in shores of Lake Balaton, in Hungary (also within communist Eastern Europe at the time).
It's called "found film" to those photographs on film or plate that are undeveloped in old cameras or in other corners. The funny thing is that no one has ever seen these photographs.
This reel is from a set bought from someone in Dittersdorf, former GDR, now Germany.
This film roll, in 35mm format, is marked as 1СВЕМА М8 76Г. It seems clear that it is of the Soviet СВЕМА (Svema) type, but I have not found any reference to an emulsion called M8 and/or 76G. I developed it with HC110 for 4:30 minutes at 23º C.
Gamma Cygni Nebula is at 3700 Light Years away, and Crescent Nebula is at 4100 Light Years away, which looked shining gas around it widely with bluish green OIII, doubly ionized oxygen light from behind Gamma Cygni Nebula.
The light, I feel, revealed three dimensional vast structure of Gama Cygni Nebula area. The area has vast shell or bubble structure. The shell is illuminated from inside, and the shell itself is shining red. Inner surface is bluish green plus red, and outer surface is red alone and darker. The shell is dense toward 10 o'clock direction and thin toward 4 o'clodk direction and toward us.
equipment: Askar FMA180 Pro, Optolong L-ultimate Dual 3nm Filter, and Canon EOS R6-SP5, modified by Seo-san on ZWO AM5 Equatorial mount, autoguided with Fujinon 1:2.8/75mm C-Mount Lens, ZWO ASI 120MM-mini, and PHD2 Guiding on Genuine Tripod
exposure: 7 times x 1,800 seconds, 5 x 240 sec, and 11 x 60 seconds at ISO 6,400 and f/4.5
site: 1,450m above sea level at lat. 35 55 53 North and long. 138 24 54 East in the parking near Makiba-Kohen near Mt.Yatsugatake Yamanashi 山梨県まきば公園. Ambient temperature was around 1 degree Celsius or 34 degrees Fahrenheit. Wind was mild, and SQML was up to 21.23. Seeing was bad, and guide error RMS was around 1". Six-day 42% illuminated Moon was in the sky during first half of the imaging session.
pas trop vert ici !
511A5126
Merci de mettre vos commentaires sur les photos que vous aimez , j'en ferais de même sur les vôtres !
Pensez à regarder certains de mes albums où j'ai regroupé les photos faites dans des lieux que j'ai aimés .
Et bonne visite de ma galerie !
Probablement un hibride naturel de Pescatoria klabochorum par Pescatoria coelestis, lesquelles, en certains endroits, partagent leur habitat naturel. Photographié en culture dans le département du Valle del Cauca, Colombie.
Probablemente un híbrido natural de Pescatoria klabochorum por Pescatoria coelestis, las cuales, en algunos lugares, comparten hábitat natural. Fotografiado en un cultivo en el departamento del Valle del Cauca, Colombia.
The old Glasgow Citybus image is now just on one bus in the city, with its sister now in the latest livery, albeit with West Coast fleet names. It is probable that it will be redeployed elsewhere in the company in due course.
The two most probable Empid species to be found up here are Cordilleran and Hammond's. The former is shown to be more olive than gray and is much more numerius up here. This guy is gray enough to be a Hammond's. Both have relative larger eye rings like this but the Cordilleran's is distinctively tear-drop shaped. This ID is a little iffy. Although I have never seen a local Flycatcher drink or bathe, they often join the avian throng at our pond to hawk for insects.
IMG_2899; Cordilleran Flycatcher
Probablement la rare Sobralia Cattleya in situ durant un TOUR EXCEPTIONNEL DE 14 JOURS que je viens de guider pour un 2eme groupe de la Fédération Française d'Orchidophilie. Tous les records d'observation battus: 235 ESPÈCES D'ORCHIDÉES FLEURIES IN SITU sans parler d'oiseaux fantastiques, d'autres raretés botaniques etc... Le paradis de la biodiversité c'est la COLOMBIE !
Probablemente la escasa Sobralia Cattleya in situ durante un TOUR EXCEPCIONAL DE 14 DÍAS que acabo de guiar para un segundo grupo de la Federación Francesa de Orquideología. Todos los récords de observación vencidos: 235 ESPECIES DE ORQUÍDEAS FLORECIDAS IN SITU, sin hablar de aves fantásticas, de otras rarezas botánicas etc... El paraíso de la biodiversidad es COLOMBIA !
La Kodak Vest Pocket Autographic és una camara molt interessant per si mateixa, ja que per l'època en que va sorgir (1912), era realment petita. Encara avui en dia és aproximadament de la mida d'un mòbil, un cop tancada. El seu nom vol dir literalment "càmara de butxaca d'armilla"). Amb ella, Kodak creà el format de pel·licula 127, que va desapareixer fa dècades, però que ha experimentat un renaixement al Japó. La KVPA es produí del 1915 al 1926, substituint la KVP, que no comptava amb el sistema Autographic. Històricament, la Vest Pocket és molt important, ja que s'en fabricaren quasi 2 milions, i moltes foren (suposadament) emprades per soldats al·liats a les trinxeres de la Primera Guerra Mundial.
El sistema Autographic permetia escriure petites notes en la pel·licula, per mitjà d’una obertura a la part posterior de la càmara i un petit estilet metal·lic. Tot i que Kodak invertí molts diners en comprar la patent, el sistema no fou cap exit de vendes, i 10 anys després ja no interesava a ningú.
Aquesta càmara en qüestió probablement fou produida entre 1918 i 1921, ja que a la càmara es menciona una patent de 1917, i a partir de 1921 l’acabat cambià al anomenat “cristall japonès”.
camerapedia.wikia.com/wiki/Kodak_vest_pocket_autographic
blog.scienceandmediamuseum.org.uk/the-vest-pocket-kodak-w...
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The Kodak Vest Pocket is a very interestinc vintage camera. Introduced in 1912, it was quite small, fitting as it says, in a vest pocket. Even now is almost as large as a smartphone. Kodak created the 127 film for this camera; discontinued decades ago, now it resurges in small batches again.
The KVP Autographic was produced from 1915 to 1926, being preceded by the model without the Autographic feature from 1912 to 1914. The history of this camera is wonderful, as it was extremely popular (almost 2 milions produced), and used by british and american soldiers in the Great War (although from 1915 onwards the british were theoreticaly forbidden to do so).
The autographic technology was a feature that enabled to scratch small notes on the film just after taking a picture. It had an opening in the back of the camera, and a metallic stylus to write the note. Although Kodak payed a lot for the patent, it was not a popular, and discontinued a decade later, more or less.
This camera was produced probably in 1918-1921, because the patents inscribed in the back, and after that, they were finished with another type of surface (named “Japan crystal”).
camerapedia.wikia.com/wiki/Vest_Pocket_Kodak
camera-wiki.org/wiki/Vest_Pocket_Kodak
blog.scienceandmediamuseum.org.uk/the-vest-pocket-kodak-w...
There are 15 species of Pardosa . , several sadly look the same so I am not 100% on ID. These are very common and are usually seen running everywhere on sunny days.
SANTOS COSME Y DAMIÁN.
Madera policromada
Isidro Villoldo ( 1526-1575
Es muy probable, que la figura de los dos hermanos médicos, cuyos orígenes se pierden en los intrincados caminos de la leyenda dorada, sea el resultado de la cristianización de los Dióscuros paganos, del Cástor y Pólux de la mitología clásica, quienes al lado de Esculapio, ostentaron también similares patronazgos.
Si el fundador de la capilla era enterrado en la misma el año de 1547, hay que suponer una cronología similar para la ejecución del relieve que formó parte de un retablo, con el que se ponen en relación algunas pinturas sobre tabla que forman parte de la colección del Museo. Sin embargo ningún resto arquitectónico asociado a dicho retablo, se rescató tras el proceso desamortizador.
La obra representa una escena de interior, de elegante composición, en cuya diagonal se encuentra la cama del enfermo. La narración cuenta cómo, habiendo fallecido un servidor de la casa, y estando el amo en grave peligro de salud por tener una pierna enferma, los hermanos Cosme y Damián se comprometieron a realizar un trasplante con la pierna del difunto. Los santos médicos se afanan en las tareas de su oficio, tomando uno de ellos el pulso y contemplando la orina en el matraz, mientras que el otro procede a encajar la pierna del servidor. Yace éste en el suelo, con la pierna amputada sobre un tajo y como si realmente no estuviera muerto, según cuenta el suceso del milagro, sino doliéndose del proceso.
La plasmación escultórica del acontecimiento ha realizado un esfuerzo de actualización. Los médicos visten con los ropones y gorros característicos de la profesión a mediados del siglo XVI. La figura del criado es la de un hombre de color, siguiendo una pauta generalizada en esta escena y de la que se encuentran muchos ejemplos en el arte español, ejemplificando por otro lado la presencia generalizada de los esclavos de raza negra formando parte del tejido social.
Son patronos de los médicos, cirujanos, boticarios, barberos y hospitales.
(Inventario del Gobierno Español)
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© Copyright :Sie können nicht meine Fotos !
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Neah Bay, WA - 7 Oct 2016 - resembles an Iceland Gull but would be in an atypical plumage for this time of year. Flight feathers do appear worn, but probably not worn enough to appear this white. The tail also seems darker than I'd expect on an Iceland this pale. Shapewise this bird was extremely similar to many of the hundreds of California Gulls nearby.
An exceedingly rare probable/possible Johns Hopkins University/Applied Physics Laboratory (JHU/APL) produced/issued photograph of the earth, taken by the JHU/APL Department of Defense Gravity Experiment (DODGE) satellite.
I’m certain this photograph was meant for internal distribution & consumption. I haven’t seen more than maybe three different color photographs taken by the satellite, one of which was the first full-disk color image of the earth.
Thankfully & frankly - long overdue - JHU/APL posted the following content, which was not available when I first posted my below linked photograph:
www.jhuapl.edu/TechDigest/Detail?Journal=A&VolumeID=6...
Credit: JOHNS HOPKINS UNIVERSITY APPLIED PHYSICS LABORATORY website
Further/more specifically, per Fig. 1, despite the ‘picture characteristics’ depicted, I think this is a cropped image taken by the “60° - FIELD B & W CAMERA”. Again, with only several DODGE images to base my ignorant supposition, none showed the mast structure to this degree…along with what looks like one of the extended damper booms across the lower left corner of the image. That, along with it being black & white might support such. Although, I wouldn’t be surprised if the historic color photographs released to the press were also cropped for ‘prime time’.
Wonderful & amusing anecdotal information associated with the DODGE image at the following:
www.donaldedavis.com/2003NEW/NEWSTUFF/DDEARTH.html
Credit: "Don Davis: Space Artist and Animator" website (lots of good stuff here)
Further:
“The DODGE (Department of Defense Gravity Experiment) satellite was orbited primarily to study a number of advanced biaxial and triaxial gravity-gradient stabilization techniques at near-synchronous altitudes. Secondary objectives included obtaining measurements of the earth's magnetic field at near-synchronous altitudes and black-and-white and color TV photography of the entire earth disk. DODGE was launched as part of a multiple DOD satellite payload that included DATS 1, LES 5, and IDCSP 16, 17, and 18. The satellite was in the form of an octagonal aluminum shell with a truncated pyramid at the top and a 25.4-cm-diameter cylindrical mast extending 1.57 m from the satellite base. The satellite body was 2.41 m long and 1.22 m in diameter. A total of 10 knobbed booms were carried on board. Upon radio command, these booms could be independently extended or retracted along three axes to various limits out to 45.75 m. The cylindrical mast housed a 4.6-m boom that extended through the end of the mast, two 15.25-m-long damper booms that extended in the x-y plane, and triaxial vector magnetometer sensors. The remaining seven booms were contained in the satellite body along with a two-camera (one color and one black-and-white) vidicon camera system. The command system consisted of a dual command receiver, dual command logic, and power switching circuitry. The telemetry system included two directional antennas mounted on the mast, two 38-channel commutators for housekeeping data, and a dual transmitter system that transmitted analog data at a frequency of 240 MHz and TV data at 136.8 MHz. The satellite was successfully stabilized 12 days after launch by means of the gravity-gradient booms and libration dampening systems. It was oriented with its base and mast directed toward the center of the earth's disk. The mission was a success and proved the feasibility of achieving triaxial gravity-gradient stabilization at synchronous altitudes using passive and semi passive techniques. The satellite operated for over 3 years and took thousands of black-and-white and color pictures of the earth. Early in 1971, problems with the batteries on board limited operation to only solar acquisition periods. The satellite was placed in an operational off mode in early 1971.”
Above per/at:
nssdc.gsfc.nasa.gov/nmc/spacecraft/display.action?id=1967...
Credit: NASA Space Science Data Coordinated Archive (NSSDCA) website
By Friday 6th April 1979, the probable date of this photograph, FLF Lodekkas were getting, as it were, thin on the tarmac on the Bristol "city" services. Muller Road depot still had them for the Gloucester Road services, 73 & 74; Winterstoke Road used them for the services to Hartcliffe, 77-79; and they were still grinding up and down on Lawrence Hill's "killer" road, the 87/88. Contrary to what might have been expected they endured, on the 87/88, for a further six years, the last running in the country. I could have stayed at Lawrence Hill and carried on driving them for another eight years.
According to the Evening Post's usually reliable clock it is 13:19 and, at 16°C, there must have been a hint of spring in the air. All that part of the Post building behind the bus has been demolished. The Dodge flatbed lorry nosing its way up to the Old Market roundabout now looks rather old-fashioned. You no longer seem to see goods carried in that way, secured with ropes and tarpaulins. Perhaps they would now have to go on a "curtain-sider".
Probable altivagans FOSP. In the parking lot at Kings Pond feeding with other sparrows. A pure Red FOSP would have thicker more-defined back streaks and a more defined auricular patch, but the streaks on this bird are thin and small. Seen and photographed by other birders, I only have this photo. More photos of the same bird can be found here:
www.flickr.com/photos/98532726@N07/12427889063/in/photoli...
file:///Volumes/Liam%20Singh*/L%202/fox%20sparrow/IMG_0616.jpg
file:///Volumes/Liam%20Singh*/L%202/fox%20sparrow/IMG_0625.jpg
Here's another FOSP from Victoria BC with almost the exact same plumage:
ebird.org/view/checklist/S25503278#_ga=2.40735973.6354921...
Cusworth Hall is an 18th-century Grade I listed country house in Cusworth, near Doncaster, South Yorkshire in the north of England. Set in the landscaped parklands of Cusworth Park, Cusworth Hall is a good example of a Georgian country house. It is now a country house museum.
The house is constructed of ashlar with slate roofs. The rectangular 6 x 5 bay plan main block is linked to 5 x 2 bay service wings.
The Wrightson family had held the lordship of Cusworth since 1669.
The present house was built in 1740–1745 by George Platt for William Wrightson to replace a previous house and was further altered in 1749–1753 by James Paine. On William's death in 1760 the property passed to his daughter Isabella, who had married John Battie, who took the additional name of Wrightson in 1766. He employed the landscape designer Richard Woods to remodel the park. Woods was one of a group of respected landscape designers working across the country during the 18th century and Cusworth was one of his most important commissions in South Yorkshire, another being at Cannon Hall. Woods created a park of 250 acres with a hanging and a serpentine river consisting of three lakes embellished with decorative features such as the Rock Arch and the Cascade.
The estate afterwards passed to John and Isabella's son, William Wrightson (1752–1827), who was the MP for Aylesbury from 1784 to 1790 and High Sheriff of Yorkshire for 1819–1820. He was succeeded by his son William Battie-Wrightson (1789–1879), who at various times was MP for East Retford, Kingston upon Hull and Northallerton. He died childless and Cusworth Hall passed to his brother Richard Heber Wrightson, who died in 1891.
The property was then inherited by his nephew William Henry Thomas, who took the surname Battie-Wrightson by Royal Licence and died in 1903. He had married Lady Isabella Cecil, eldest daughter of the 3rd Marquess of Exeter. Between 1903 and 1909 Lady Isabella made further alterations to the house. She died in 1917, leaving an only son Robert Cecil Battie-Wrightson (1888–1952). On his death in 1952, the estate descended to his sister, a nurse who had married a Major Oswald Parker but later was variously known as Miss Maureen Pearse-Brown and as Mrs Pearce. She was obliged to sell the contents of Cusworth Hall in October 1952 to meet the death duties levied at Robert Cecil's death. She subsequently sold the hall to Doncaster Council.
Cusworth Estate Cusworth was first mentioned as ‘Cuzeuuorde’ in the domesday survey of 1086 but there has been a settlement here for centuries dating back to the Anglo-Saxon period. Many different families had held the lands and manor but they did not always live at Cusworth.
‘Old Hall’ A large house is first mentioned in 1327. Robert Wrightson bought the lands and manor of Cusworth in 1669 from Sir Christopher Wray. The first surviving map of Cusworth is that of Joseph Dickinson's 1719 plan which shows the hall and gardens covered only 1 acre with the orchards a further 2 acres. What is most significant at this time was the ‘Parke’ of some 25 acres. The ‘Old Hall’ was next to the walled gardens in the centre of Cusworth village. In 1726 the ‘Old Hall’ was expanded including altering the gardens between 1726 and 1735. This expanded the kitchen garden into the size and form we know today with the Bowling Green and Pavilion.
In the period 1740–1745 William Wrightson employed George Platt, a mason architect from Rotherham, to build a new hall – the current Cusworth Hall – high on a scarp slope on the Magnesian Limestone removing the Hall, and the family, from the village of Cusworth. The ‘Old Hall’ was largely demolished in the process, many components from the old building re-used in the new.
Cusworth Hall Cusworth Hall itself and its outbuildings are at the centre of the park enjoying ‘prospect’ over the town of Doncaster. The Grade I-listed eighteenth century hall was designed by George Platt in the Palladian style. Cusworth Hall is handsome, well proportioned, with wings consisting of a stable block and great kitchen. Later additions by James Paine include a chapel and library. It has decorative outbuildings including a Brew House, Stable Block and Lodge. In addition it has a decorative garden called Lady Isabella's Garden on the west side adjacent to the chapel. On its eastern flank the stable block and gardeners' bothy. Attached to the bothy is a decorative iron enclosure known as the Peacock Pen.
Cusworth Park Cusworth Park is an historic designed landscape with a Grade II listing in the English Heritage Register of Parks and Gardens. It was designed and created by the nationally known landscape architect Richard Woods to ‘improve’ the park in the style made famous by Lancelot ‘Capability’ Brown now termed ‘The English Landscape Park’. Work started in 1761 laying out the ‘grounds and the serpentine river’.
The land forming the existing park is 60 acres (25 hectares) – 250,000m, and was part of the much larger parkland (250 acres) and estates (20,000 acres) of the Battie-Wrightson family who owned Cusworth Hall.
The walled garden The earliest description of the layout of the park and walled gardens is that shown on Joseph Dickinson's 1719 plan. In 1761 Richard Woods altered areas within the walled gardens. Together ‘woods’ Kitchen Garden and Green House Garden occupy the site of the orchard shown on Dickinson's plan.
The purchase of bricks from Epworth for the construction of the walled gardens is recorded in the New House Accounts.
The garden was a compartmentalised space, however with focus on domestic production in some sections, exotics in another, an orchard, and formal flower gardens in the rest.
The kitchen gardens included pine pits (pineapple house), later to become stove houses and mushroom houses.
The Entrance Terrace (Upper Terrace) Old plans show a narrow walled enclosure or ‘entrance terrace' running east–west. The walls of this enclosure may well have been of stone or stoned faced and still, in part survives. To the south are the main components of the walled garden. Access from the terrace down to the bowling green is via a flight of stone steps.
Bowling Green Described on Richard Woods plans of 1760. This is a roughly square, walled enclosure where the bowling green is surrounded by an earthed banked terraced walk. The enclosure is defined by a brick wall, which was lowered along its western side to give a view over to the Green House Garden.
Summerhouse / Bowling Pavilion Built 1726. The summerhouse is the main architectural feature of the walled garden. It is of two stories with the upper storey accessed from the Bowling Green. There is an impression of more carefully shaped quoins at the corners but it is probable that the walls were originally rendered and lime washed externally. There are windows giving views across the Bowling Green from the upper chamber and across the Flower Garden from the lower chamber.
During restoration in the 1990s the upper chamber was decorated with Trompe-l'œil. showing views of imagined walled gardens at Cusworth.
Flower Garden The garden was designed to be viewed principally from the higher position of the bowling green. It was subdivided by cross-paths and furnished with four formal beds. Although one of the smallest compartments, the flower garden was the most highly ornamental and tightly designed. It would have created a formal, colourful architectural space contrasting with the simplicity of the bowling green
Hall Garden The function of the Hall Garden is not clear but appears to have been an extension of the decorative scheme of the flower garden. The Hall Garden has a perimeter walk and is then divided into two plots by a further, central path.
Peach House This whitewash wall indicates the position of the peach house.
Melon Pits Melon pits ran east–west along this area.
Orchard Through the 18th century the orchard was not enclosed and remained open until the late 19th century. It was double its current size extending back up to Cusworth Lane until the northern half was sold off for housing in the 1960s.
Kitchen Garden (No longer existing) The west, south and this east boundary wall(s) of the garden still exist but the plot of land was sold off for housing in the 1960s. There was an access gate between the Hall Garden and the kitchen garden (this can be seen bricked up in the northwest corner). This garden had a perimeter walk and was planted with trees arranged in parallel lines orchestrated around a small building at the northern end of the compartment.
Green House Garden (No longer existing) The kitchen garden represents the greater part of the area occupied by the original orchard shown on Dickinson's 1719 plan. The remaining area was described on Woods’ plan as the Green House Garden and was shown divided into two unequal parts. Both parts of the garden appear to have been planted with trees, probably fruit trees. A building abuts the bowling green in roughly the position as the one shown on the Dickinson plan but there is an additional building, roughly square in plan, to the northwest corner of the enclosure. This was probably the Dovecote for which Wrightson paid £9 15s 0d in 1736.
The west boundary wall still exists and this low (east) wall that runs along the length of the bowling green but the plot of land was sold off for housing in the 1960s.
In 1961 Doncaster Rural District Council purchased Cusworth Hall and the adjoining parkland from the Battie-Wrightson family. The Council undertook an initial restoration of the grounds and also recreated what is now the tearooms within the former stable block. The former reception rooms and spacious galleries now house the Museum of South Yorkshire life, officially opened on 30 September 1967.
Cusworth Hall and Park underwent an extensive £7.5 million renovation between 2002 and 2005, involving essential conservation repairs to the Hall and extensive restoration of the landscape gardens. Within the hall external repairs to the stonework and roof were undertaken to ensure that the exterior was watertight, whilst internal works upgraded internal services and enabled new displays to be installed.
The restoration of the designed landscape have been greatly influenced by a comprehensive analysis of available archive material, among which are the original written memoranda and sketches produced by Richard Woods for his site forman Thomas Coalie. An integrated archaeological programme also formed a key aspect of the restorations, recording in detail landscape features such as the Rock Arch, Cascade, and Bridge. This restoration has not 'recreated' the 18th century scheme, although elements are still incorporated within a 'living' amenity garden that is now thriving as a result of the recent work undertaken in partnership with the Friends of Cusworth Park.
The Hall reopened to the public on 23 May 2007 and the new displays document the history of South Yorkshire and it is a valued resource for local residents, students and school groups alike.
Cusworth Hall Museum and Park is the venue for a varied program of seasonal exhibitions, events and activities linked to the history of the area. including Country Fairs, vintage vehicle rallies, historic re-enactments, wildlife sessions and a range of seasonally themed events. A free, weekly, 5 km parkrun takes place every Saturday at 9 am in the grounds of Cusworth Hall. The first event was held on Saturday 5 October 2019 and was hosted by the staff at Cusworth in collaboration with the local community.
Additionally, Doncaster Museums' Education Service offers a range of learning sessions to schools and educational establishments. Specialist and experienced Education Officers deliver learning workshops to schools across a broad range of topics as well as out-of-school-hours activities for families and local communities.
Aquest és un objectiu de llautó, probablement francès, per a càmeres de gran format. Conserva, juntament amb la tapa que fa de "obturador", d'un sol dels diafragmes tipus Waterhouse. Aquest objectiu, que deu datar de finals del s. XIX (1860-1890?), sembla del tipus Petzval.
Els objectius tipus Petzval foren inventats al 1840, i son dels més antics i famosos per a fotografia de retrats. Per desgracia aquest no conserva cap inscripció visible ni al exterior ni al interior.
ca.wikipedia.org/wiki/Objectiu_Petzval
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This is a brass lens, probably French, for large format cameras. It retains, together with the cover that acts as a "shutter", one of the Waterhouse type diaphragms. This lens, which must date from the end of the s. XIX (1860-1890?), seems of the Petzval type.
Petzval lenses were invented in 1840, and are among the oldest and most famous for portrait photography. Unfortunately this one does not retain any inscription visible either on the outside or inside.
A group of seven unidentified gall-like structures found on the trunk of a field maple; the group measures about 3mm x 1.5mm. Monks Wood NNR, Sawtry, Cambridgeshire. August 3, 2020.
I've found these odd little patches of what look, at least to me, a bit like galls, before, and photographed them more out of curiosity than anything else. As luck would have it, the piece of bark they were on came away when I touched it, so I brought it home, placed it in a specimen pot and waited to see what would emerge. The answer came today, in the form of seven small red larvae, each about 2mm long, one of which is illustrated in the comments below.
Still no idea what they are though!
Footnote: many thanks to [https://www.flickr.com/photos/rock_wolf] for identifying these as probable Torticid moth eggs.
There are 15 species of Pardosa . , several sadly look the same so I am not 100% on ID. These are very common and are usually seen running everywhere on sunny days.
Être bien préparé c’est déjà la moitié du travail, et dans le cas des sorties extravéhiculaires probablement même les 3/4 ! Mark et Aki aident Oleg et Piotr à enfiler leurs scaphandres. Le Orlan russe (c’est son nom, qui signifie aigle maritime 😎) est fiable et durable, et son ouverture par l’arrière est extrêmement bien pensée. La première d’une longue série de sorties extravéhiculaires s’est déroulée hier pour connecter et continuer l’installation de MLM. Oleg et Piotr ont eu une très, très longue journée. Ils ont commencé à se préparer à 6h30, et après une courte pause déjeuner sont sortis de la Station à 14h41 pour n’y revenir qu’à 22h35 😳 En tant que 3e membre de l’équipage Soyouz, c’est souvent Mark qui aide sur le segment 🇷🇺 - en plus il est très doué et il parle plutôt bien le russe. Aki est venu donner un coup de main aussi, et en tant que photographe officiel ™ de la Station (oui c’est mon titre maintenant), je suis passé immortaliser la scène. La prochaine sortie est prévue jeudi pour Oleg et Piotr, il en reste environ une dizaine…!
Preparation is half the work, and for spacewalks it is probably three times the work! Mark and Aki helped Pyotr and Oleg get into their Orlan suits. These Russian-made suits are a classic design and are respected all over the space industry, so durable and reliable, and getting into them through the opening in the back is well thought out. It was the first of many spacewalks to connect and finish installing MLM, and Oleg and Pyotr had a long, long day yesterday. They started at 6:30 our time to prepare for the spacewalk, had a short lunch break, left the Station at 14:41 and returned at 22:35 spending almost eight hours outside! Mark, as the third crewmember of the Soyuz, was the one helping out on the Russian segment. He speaks great Russian and has all the skills, Aki was here to help out as well, and me to take pictures as usual (I’ve become the Expedition’s official photographer it seems). Oleg and Pyotr are scheduled to do the same again on Thursday, around ten more spacewalks are planned for MLM/Nauka installation!
Credits: ESA/NASA
607J6142
Être bien préparé c’est déjà la moitié du travail, et dans le cas des sorties extravéhiculaires probablement même les 3/4 ! Mark et Aki aident Oleg et Piotr à enfiler leurs scaphandres. Le Orlan russe (c’est son nom, qui signifie aigle maritime 😎) est fiable et durable, et son ouverture par l’arrière est extrêmement bien pensée. La première d’une longue série de sorties extravéhiculaires s’est déroulée hier pour connecter et continuer l’installation de MLM. Oleg et Piotr ont eu une très, très longue journée. Ils ont commencé à se préparer à 6h30, et après une courte pause déjeuner sont sortis de la Station à 14h41 pour n’y revenir qu’à 22h35 😳 En tant que 3e membre de l’équipage Soyouz, c’est souvent Mark qui aide sur le segment 🇷🇺 - en plus il est très doué et il parle plutôt bien le russe. Aki est venu donner un coup de main aussi, et en tant que photographe officiel ™ de la Station (oui c’est mon titre maintenant), je suis passé immortaliser la scène. La prochaine sortie est prévue jeudi pour Oleg et Piotr, il en reste environ une dizaine…!
Preparation is half the work, and for spacewalks it is probably three times the work! Mark and Aki helped Pyotr and Oleg get into their Orlan suits. These Russian-made suits are a classic design and are respected all over the space industry, so durable and reliable, and getting into them through the opening in the back is well thought out. It was the first of many spacewalks to connect and finish installing MLM, and Oleg and Pyotr had a long, long day yesterday. They started at 6:30 our time to prepare for the spacewalk, had a short lunch break, left the Station at 14:41 and returned at 22:35 spending almost eight hours outside! Mark, as the third crewmember of the Soyuz, was the one helping out on the Russian segment. He speaks great Russian and has all the skills, Aki was here to help out as well, and me to take pictures as usual (I’ve become the Expedition’s official photographer it seems). Oleg and Pyotr are scheduled to do the same again on Thursday, around ten more spacewalks are planned for MLM/Nauka installation!
Credits: ESA/NASA
607J6197
Bernard Palissy, probablement né à Saint-Avit (hameau de Lacapelle-Biron) vers 1510 et mort à Paris, à la Bastille en 1589 ou 1590, est un potier, émailleur, peintre, artisan verrier, écrivain et savant français. Il appartient à l'École française de la Renaissance.
La majeure partie de son œuvre est exposée au musée national de la Renaissance du château d'Écouen.
Dans les poteries proches de La Chapelle-des-Pots, il acquiert les bases de la poterie traditionnelle saintongeaise. De 1536 à 1556, il consacre vingt ans de sa vie à tenter de reproduire la glaçure de la coupe qu'il avait vue ; qui ne connaît l'histoire de Palissy, à court de bois, brûlant ses tables et son plancher pour y parvenir ?
C'est en 1555, après une vingtaine d'années d'épreuves physiques et morales, endurant les reproches de sa femme et les moqueries de ses voisins, qu'il peut couvrir ses poteries d'un émail jaspé : le seul qui fasse le vrai mérite de ses ouvrages de terre.
Bernard Palissy, probably born in Saint-Avit (hamlet of Lacapelle-Biron) around 1510 and died in Paris at the Bastille in 1589 or 1590, was a French potter, enameller, painter, glassmaker, writer and scholar. He belongs to the French Renaissance School.
Most of his work is on display at the National Renaissance Museum at the Château d'Écouen.
In the potteries near La Chapelle-des-Pots, he acquired the basics of traditional Saintongean pottery. From 1536 to 1556, he devoted twenty years of his life to trying to reproduce the glaze of the bowl he had seen; who does not know the story of Palissy, who ran out of wood, burning his tables and his floor to achieve this?
It was in 1555, after some twenty years of physical and moral hardship, enduring the reproaches of his wife and the mockery of his neighbours, that he was able to cover his pottery with a speckled glaze: the only one that gives true merit to his earthenware.
This is one of the lowest, darkest clouds I've ever seen. Marin County shows beyond San Francisco Bay.
Ca. 1962-64 probable McDonnell Aircraft Company artist’s concept depicting a Gemini capsule reentry. Artist unknown.
8.5” x 11”.
In trying to find a “compare/contrast” image for this I came across only one, also a unicorn. And sure enough, I don’t recollect seeing any Gemini capsule reentry depictions over the many decades.
The one, by Neil Jacobe:
www.astrocryptotriviology.com/gemini-b-atm-entry
Credit: John B. Charles/ASTROCRYPTOTRIVIOLOGY website. Lots of good stuff here btw.