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Fish, any of approximately 34,000 species of vertebrate animals (phylum Chordata) found in the fresh and salt waters of the world. Living species range from the primitive jawless lampreys and hagfishes through the cartilaginous sharks, skates, and rays to the abundant and diverse bony fishes. Most fish species are cold-blooded; however, one species, the opah (Lampris guttatus), is warm-blooded.

 

The term fish is applied to a variety of vertebrates of several evolutionary lines. It describes a life-form rather than a taxonomic group. As members of the phylum Chordata, fish share certain features with other vertebrates. These features are gill slits at some point in the life cycle, a notochord, or skeletal supporting rod, a dorsal hollow nerve cord, and a tail. Living fishes represent some five classes, which are as distinct from one another as are the four classes of familiar air-breathing animals—amphibians, reptiles, birds, and mammals. For example, the jawless fishes (Agnatha) have gills in pouches and lack limb girdles. Extant agnathans are the lampreys and the hagfishes. As the name implies, the skeletons of fishes of the class Chondrichthyes (from chondr, “cartilage,” and ichthyes, “fish”) are made entirely of cartilage. Modern fish of this class lack a swim bladder, and their scales and teeth are made up of the same placoid material. Sharks, skates, and rays are examples of cartilaginous fishes. The bony fishes are by far the largest class. Examples range from the tiny seahorse to the 450-kg (1,000-pound) blue marlin, from the flattened soles and flounders to the boxy puffers and ocean sunfishes. Unlike the scales of the cartilaginous fishes, those of bony fishes, when present, grow throughout life and are made up of thin overlapping plates of bone. Bony fishes also have an operculum that covers the gill slits.

 

The study of fishes, the science of ichthyology, is of broad importance. Fishes are of interest to humans for many reasons, the most important being their relationship with and dependence on the environment. A more obvious reason for interest in fishes is their role as a moderate but important part of the world’s food supply. This resource, once thought unlimited, is now realized to be finite and in delicate balance with the biological, chemical, and physical factors of the aquatic environment. Overfishing, pollution, and alteration of the environment are the chief enemies of proper fisheries management, both in fresh waters and in the ocean. (For a detailed discussion of the technology and economics of fisheries, see commercial fishing.) Another practical reason for studying fishes is their use in disease control. As predators on mosquito larvae, they help curb malaria and other mosquito-borne diseases.

 

Fishes are valuable laboratory animals in many aspects of medical and biological research. For example, the readiness of many fishes to acclimate to captivity has allowed biologists to study behaviour, physiology, and even ecology under relatively natural conditions. Fishes have been especially important in the study of animal behaviour, where research on fishes has provided a broad base for the understanding of the more flexible behaviour of the higher vertebrates. The zebra fish is used as a model in studies of gene expression.

 

There are aesthetic and recreational reasons for an interest in fishes. Millions of people keep live fishes in home aquariums for the simple pleasure of observing the beauty and behaviour of animals otherwise unfamiliar to them. Aquarium fishes provide a personal challenge to many aquarists, allowing them to test their ability to keep a small section of the natural environment in their homes. Sportfishing is another way of enjoying the natural environment, also indulged in by millions of people every year. Interest in aquarium fishes and sportfishing supports multimillion-dollar industries throughout the world.

 

Fishes have been in existence for more than 450 million years, during which time they have evolved repeatedly to fit into almost every conceivable type of aquatic habitat. In a sense, land vertebrates are simply highly modified fishes: when fishes colonized the land habitat, they became tetrapod (four-legged) land vertebrates. The popular conception of a fish as a slippery, streamlined aquatic animal that possesses fins and breathes by gills applies to many fishes, but far more fishes deviate from that conception than conform to it. For example, the body is elongate in many forms and greatly shortened in others; the body is flattened in some (principally in bottom-dwelling fishes) and laterally compressed in many others; the fins may be elaborately extended, forming intricate shapes, or they may be reduced or even lost; and the positions of the mouth, eyes, nostrils, and gill openings vary widely. Air breathers have appeared in several evolutionary lines.

 

Many fishes are cryptically coloured and shaped, closely matching their respective environments; others are among the most brilliantly coloured of all organisms, with a wide range of hues, often of striking intensity, on a single individual. The brilliance of pigments may be enhanced by the surface structure of the fish, so that it almost seems to glow. A number of unrelated fishes have actual light-producing organs. Many fishes are able to alter their coloration—some for the purpose of camouflage, others for the enhancement of behavioral signals.

 

Fishes range in adult length from less than 10 mm (0.4 inch) to more than 20 metres (60 feet) and in weight from about 1.5 grams (less than 0.06 ounce) to many thousands of kilograms. Some live in shallow thermal springs at temperatures slightly above 42 °C (100 °F), others in cold Arctic seas a few degrees below 0 °C (32 °F) or in cold deep waters more than 4,000 metres (13,100 feet) beneath the ocean surface. The structural and, especially, the physiological adaptations for life at such extremes are relatively poorly known and provide the scientifically curious with great incentive for study.

 

Almost all natural bodies of water bear fish life, the exceptions being very hot thermal ponds and extremely salt-alkaline lakes, such as the Dead Sea in Asia and the Great Salt Lake in North America. The present distribution of fishes is a result of the geological history and development of Earth as well as the ability of fishes to undergo evolutionary change and to adapt to the available habitats. Fishes may be seen to be distributed according to habitat and according to geographical area. Major habitat differences are marine and freshwater. For the most part, the fishes in a marine habitat differ from those in a freshwater habitat, even in adjacent areas, but some, such as the salmon, migrate from one to the other. The freshwater habitats may be seen to be of many kinds. Fishes found in mountain torrents, Arctic lakes, tropical lakes, temperate streams, and tropical rivers will all differ from each other, both in obvious gross structure and in physiological attributes. Even in closely adjacent habitats where, for example, a tropical mountain torrent enters a lowland stream, the fish fauna will differ. The marine habitats can be divided into deep ocean floors (benthic), mid-water oceanic (bathypelagic), surface oceanic (pelagic), rocky coast, sandy coast, muddy shores, bays, estuaries, and others. Also, for example, rocky coastal shores in tropical and temperate regions will have different fish faunas, even when such habitats occur along the same coastline.

 

Although much is known about the present geographical distribution of fishes, far less is known about how that distribution came about. Many parts of the fish fauna of the fresh waters of North America and Eurasia are related and undoubtedly have a common origin. The faunas of Africa and South America are related, extremely old, and probably an expression of the drifting apart of the two continents. The fauna of southern Asia is related to that of Central Asia, and some of it appears to have entered Africa. The extremely large shore-fish faunas of the Indian and tropical Pacific oceans comprise a related complex, but the tropical shore fauna of the Atlantic, although containing Indo-Pacific components, is relatively limited and probably younger. The Arctic and Antarctic marine faunas are quite different from each other. The shore fauna of the North Pacific is quite distinct, and that of the North Atlantic more limited and probably younger. Pelagic oceanic fishes, especially those in deep waters, are similar the world over, showing little geographical isolation in terms of family groups. The deep oceanic habitat is very much the same throughout the world, but species differences do exist, showing geographical areas determined by oceanic currents and water masses.

 

All aspects of the life of a fish are closely correlated with adaptation to the total environment, physical, chemical, and biological. In studies, all the interdependent aspects of fish, such as behaviour, locomotion, reproduction, and physical and physiological characteristics, must be taken into account.

 

Correlated with their adaptation to an extremely wide variety of habitats is the extremely wide variety of life cycles that fishes display. The great majority hatch from relatively small eggs a few days to several weeks or more after the eggs are scattered in the water. Newly hatched young are still partially undeveloped and are called larvae until body structures such as fins, skeleton, and some organs are fully formed. Larval life is often very short, usually less than a few weeks, but it can be very long, some lampreys continuing as larvae for at least five years. Young and larval fishes, before reaching sexual maturity, must grow considerably, and their small size and other factors often dictate that they live in a habitat different than that of the adults. For example, most tropical marine shore fishes have pelagic larvae. Larval food also is different, and larval fishes often live in shallow waters, where they may be less exposed to predators.

 

After a fish reaches adult size, the length of its life is subject to many factors, such as innate rates of aging, predation pressure, and the nature of the local climate. The longevity of a species in the protected environment of an aquarium may have nothing to do with how long members of that species live in the wild. Many small fishes live only one to three years at the most. In some species, however, individuals may live as long as 10 or 20 or even 100 years.

 

Fish behaviour is a complicated and varied subject. As in almost all animals with a central nervous system, the nature of a response of an individual fish to stimuli from its environment depends upon the inherited characteristics of its nervous system, on what it has learned from past experience, and on the nature of the stimuli. Compared with the variety of human responses, however, that of a fish is stereotyped, not subject to much modification by “thought” or learning, and investigators must guard against anthropomorphic interpretations of fish behaviour.

 

Fishes perceive the world around them by the usual senses of sight, smell, hearing, touch, and taste and by special lateral line water-current detectors. In the few fishes that generate electric fields, a process that might best be called electrolocation aids in perception. One or another of these senses often is emphasized at the expense of others, depending upon the fish’s other adaptations. In fishes with large eyes, the sense of smell may be reduced; others, with small eyes, hunt and feed primarily by smell (such as some eels).

 

Specialized behaviour is primarily concerned with the three most important activities in the fish’s life: feeding, reproduction, and escape from enemies. Schooling behaviour of sardines on the high seas, for instance, is largely a protective device to avoid enemies, but it is also associated with and modified by their breeding and feeding requirements. Predatory fishes are often solitary, lying in wait to dart suddenly after their prey, a kind of locomotion impossible for beaked parrot fishes, which feed on coral, swimming in small groups from one coral head to the next. In addition, some predatory fishes that inhabit pelagic environments, such as tunas, often school.

 

Sleep in fishes, all of which lack true eyelids, consists of a seemingly listless state in which the fish maintains its balance but moves slowly. If attacked or disturbed, most can dart away. A few kinds of fishes lie on the bottom to sleep. Most catfishes, some loaches, and some eels and electric fishes are strictly nocturnal, being active and hunting for food during the night and retiring during the day to holes, thick vegetation, or other protective parts of the environment.

 

Communication between members of a species or between members of two or more species often is extremely important, especially in breeding behaviour (see below Reproduction). The mode of communication may be visual, as between the small so-called cleaner fish and a large fish of a very different species. The larger fish often allows the cleaner to enter its mouth to remove gill parasites. The cleaner is recognized by its distinctive colour and actions and therefore is not eaten, even if the larger fish is normally a predator. Communication is often chemical, signals being sent by specific chemicals called pheromones.

 

Many fishes have a streamlined body and swim freely in open water. Fish locomotion is closely correlated with habitat and ecological niche (the general position of the animal to its environment).

 

Many fishes in both marine and fresh waters swim at the surface and have mouths adapted to feed best (and sometimes only) at the surface. Often such fishes are long and slender, able to dart at surface insects or at other surface fishes and in turn to dart away from predators; needlefishes, halfbeaks, and topminnows (such as killifish and mosquito fish) are good examples. Oceanic flying fishes escape their predators by gathering speed above the water surface, with the lower lobe of the tail providing thrust in the water. They then glide hundreds of yards on enlarged, winglike pectoral and pelvic fins. South American freshwater flying fishes escape their enemies by jumping and propelling their strongly keeled bodies out of the water.

 

So-called mid-water swimmers, the most common type of fish, are of many kinds and live in many habitats. The powerful fusiform tunas and the trouts, for example, are adapted for strong, fast swimming, the tunas to capture prey speedily in the open ocean and the trouts to cope with the swift currents of streams and rivers. The trout body form is well adapted to many habitats. Fishes that live in relatively quiet waters such as bays or lake shores or slow rivers usually are not strong, fast swimmers but are capable of short, quick bursts of speed to escape a predator. Many of these fishes have their sides flattened, examples being the sunfish and the freshwater angelfish of aquarists. Fish associated with the bottom or substrate usually are slow swimmers. Open-water plankton-feeding fishes almost always remain fusiform and are capable of rapid, strong movement (for example, sardines and herrings of the open ocean and also many small minnows of streams and lakes).

 

Bottom-living fishes are of many kinds and have undergone many types of modification of their body shape and swimming habits. Rays, which evolved from strong-swimming mid-water sharks, usually stay close to the bottom and move by undulating their large pectoral fins. Flounders live in a similar habitat and move over the bottom by undulating the entire body. Many bottom fishes dart from place to place, resting on the bottom between movements, a motion common in gobies. One goby relative, the mudskipper, has taken to living at the edge of pools along the shore of muddy mangrove swamps. It escapes its enemies by flipping rapidly over the mud, out of the water. Some catfishes, synbranchid eels, the so-called climbing perch, and a few other fishes venture out over damp ground to find more promising waters than those that they left. They move by wriggling their bodies, sometimes using strong pectoral fins; most have accessory air-breathing organs. Many bottom-dwelling fishes live in mud holes or rocky crevices. Marine eels and gobies commonly are found in such habitats and for the most part venture far beyond their cavelike homes. Some bottom dwellers, such as the clingfishes (Gobiesocidae), have developed powerful adhesive disks that enable them to remain in place on the substrate in areas such as rocky coasts, where the action of the waves is great.

 

The methods of reproduction in fishes are varied, but most fishes lay a large number of small eggs, fertilized and scattered outside of the body. The eggs of pelagic fishes usually remain suspended in the open water. Many shore and freshwater fishes lay eggs on the bottom or among plants. Some have adhesive eggs. The mortality of the young and especially of the eggs is very high, and often only a few individuals grow to maturity out of hundreds, thousands, and in some cases millions of eggs laid.

 

Males produce sperm, usually as a milky white substance called milt, in two (sometimes one) testes within the body cavity. In bony fishes a sperm duct leads from each testis to a urogenital opening behind the vent or anus. In sharks and rays and in cyclostomes the duct leads to a cloaca. Sometimes the pelvic fins are modified to help transmit the milt to the eggs at the female’s vent or on the substrate where the female has placed them. Sometimes accessory organs are used to fertilize females internally—for example, the claspers of many sharks and rays.

 

In the females the eggs are formed in two ovaries (sometimes only one) and pass through the ovaries to the urogenital opening and to the outside. In some fishes the eggs are fertilized internally but are shed before development takes place. Members of about a dozen families each of bony fishes (teleosts) and sharks bear live young. Many skates and rays also bear live young. In some bony fishes the eggs simply develop within the female, the young emerging when the eggs hatch (ovoviviparous). Others develop within the ovary and are nourished by ovarian tissues after hatching (viviparous). There are also other methods utilized by fishes to nourish young within the female. In all live-bearers the young are born at a relatively large size and are few in number. In one family of primarily marine fishes, the surfperches from the Pacific coast of North America, Japan, and Korea, the males of at least one species are born sexually mature, although they are not fully grown.

 

Some fishes are hermaphroditic—an individual producing both sperm and eggs, usually at different stages of its life. Self-fertilization, however, is probably rare.

 

Successful reproduction and, in many cases, defense of the eggs and the young are assured by rather stereotypical but often elaborate courtship and parental behaviour, either by the male or the female or both. Some fishes prepare nests by hollowing out depressions in the sand bottom (cichlids, for example), build nests with plant materials and sticky threads excreted by the kidneys (sticklebacks), or blow a cluster of mucus-covered bubbles at the water surface (gouramis). The eggs are laid in these structures. Some varieties of cichlids and catfishes incubate eggs in their mouths.

 

Some fishes, such as salmon, undergo long migrations from the ocean and up large rivers to spawn in the gravel beds where they themselves hatched (anadromous fishes). Some, such as the freshwater eels (family Anguillidae), live and grow to maturity in fresh water and migrate to the sea to spawn (catadromous fishes). Other fishes undertake shorter migrations from lakes into streams, within the ocean, or enter spawning habitats that they do not ordinarily occupy in other ways.

 

The basic structure and function of the fish body are similar to those of all other vertebrates. The usual four types of tissues are present: surface or epithelial, connective (bone, cartilage, and fibrous tissues, as well as their derivative, blood), nerve, and muscle tissues. In addition, the fish’s organs and organ systems parallel those of other vertebrates.

 

The typical fish body is streamlined and spindle-shaped, with an anterior head, a gill apparatus, and a heart, the latter lying in the midline just below the gill chamber. The body cavity, containing the vital organs, is situated behind the head in the lower anterior part of the body. The anus usually marks the posterior termination of the body cavity and most often occurs just in front of the base of the anal fin. The spinal cord and vertebral column continue from the posterior part of the head to the base of the tail fin, passing dorsal to the body cavity and through the caudal (tail) region behind the body cavity. Most of the body is of muscular tissue, a high proportion of which is necessitated by swimming. In the course of evolution this basic body plan has been modified repeatedly into the many varieties of fish shapes that exist today.

 

The skeleton forms an integral part of the fish’s locomotion system, as well as serving to protect vital parts. The internal skeleton consists of the skull bones (except for the roofing bones of the head, which are really part of the external skeleton), the vertebral column, and the fin supports (fin rays). The fin supports are derived from the external skeleton but will be treated here because of their close functional relationship to the internal skeleton. The internal skeleton of cyclostomes, sharks, and rays is of cartilage; that of many fossil groups and some primitive living fishes is mostly of cartilage but may include some bone. In place of the vertebral column, the earliest vertebrates had a fully developed notochord, a flexible stiff rod of viscous cells surrounded by a strong fibrous sheath. During the evolution of modern fishes the rod was replaced in part by cartilage and then by ossified cartilage. Sharks and rays retain a cartilaginous vertebral column; bony fishes have spool-shaped vertebrae that in the more primitive living forms only partially replace the notochord. The skull, including the gill arches and jaws of bony fishes, is fully, or at least partially, ossified. That of sharks and rays remains cartilaginous, at times partially replaced by calcium deposits but never by true bone.

 

The supportive elements of the fins (basal or radial bones or both) have changed greatly during fish evolution. Some of these changes are described in the section below (Evolution and paleontology). Most fishes possess a single dorsal fin on the midline of the back. Many have two and a few have three dorsal fins. The other fins are the single tail and anal fins and paired pelvic and pectoral fins. A small fin, the adipose fin, with hairlike fin rays, occurs in many of the relatively primitive teleosts (such as trout) on the back near the base of the caudal fin.

 

The skin of a fish must serve many functions. It aids in maintaining the osmotic balance, provides physical protection for the body, is the site of coloration, contains sensory receptors, and, in some fishes, functions in respiration. Mucous glands, which aid in maintaining the water balance and offer protection from bacteria, are extremely numerous in fish skin, especially in cyclostomes and teleosts. Since mucous glands are present in the modern lampreys, it is reasonable to assume that they were present in primitive fishes, such as the ancient Silurian and Devonian agnathans. Protection from abrasion and predation is another function of the fish skin, and dermal (skin) bone arose early in fish evolution in response to this need. It is thought that bone first evolved in skin and only later invaded the cartilaginous areas of the fish’s body, to provide additional support and protection. There is some argument as to which came first, cartilage or bone, and fossil evidence does not settle the question. In any event, dermal bone has played an important part in fish evolution and has different characteristics in different groups of fishes. Several groups are characterized at least in part by the kind of bony scales they possess.

 

Scales have played an important part in the evolution of fishes. Primitive fishes usually had thick bony plates or thick scales in several layers of bone, enamel, and related substances. Modern teleost fishes have scales of bone, which, while still protective, allow much more freedom of motion in the body. A few modern teleosts (some catfishes, sticklebacks, and others) have secondarily acquired bony plates in the skin. Modern and early sharks possessed placoid scales, a relatively primitive type of scale with a toothlike structure, consisting of an outside layer of enamel-like substance (vitrodentine), an inner layer of dentine, and a pulp cavity containing nerves and blood vessels. Primitive bony fishes had thick scales of either the ganoid or the cosmoid type. Cosmoid scales have a hard, enamel-like outer layer, an inner layer of cosmine (a form of dentine), and then a layer of vascular bone (isopedine). In ganoid scales the hard outer layer is different chemically and is called ganoin. Under this is a cosminelike layer and then a vascular bony layer. The thin, translucent bony scales of modern fishes, called cycloid and ctenoid (the latter distinguished by serrations at the edges), lack enameloid and dentine layers.

 

Skin has several other functions in fishes. It is well supplied with nerve endings and presumably receives tactile, thermal, and pain stimuli. Skin is also well supplied with blood vessels. Some fishes breathe in part through the skin, by the exchange of oxygen and carbon dioxide between the surrounding water and numerous small blood vessels near the skin surface.

 

Skin serves as protection through the control of coloration. Fishes exhibit an almost limitless range of colours. The colours often blend closely with the surroundings, effectively hiding the animal. Many fishes use bright colours for territorial advertisement or as recognition marks for other members of their own species, or sometimes for members of other species. Many fishes can change their colour to a greater or lesser degree, by movement of pigment within the pigment cells (chromatophores). Black pigment cells (melanophores), of almost universal occurrence in fishes, are often juxtaposed with other pigment cells. When placed beneath iridocytes or leucophores (bearing the silvery or white pigment guanine), melanophores produce structural colours of blue and green. These colours are often extremely intense, because they are formed by refraction of light through the needlelike crystals of guanine. The blue and green refracted colours are often relatively pure, lacking the red and yellow rays, which have been absorbed by the black pigment (melanin) of the melanophores. Yellow, orange, and red colours are produced by erythrophores, cells containing the appropriate carotenoid pigments. Other colours are produced by combinations of melanophores, erythrophores, and iridocytes.

 

The major portion of the body of most fishes consists of muscles. Most of the mass is trunk musculature, the fin muscles usually being relatively small. The caudal fin is usually the most powerful fin, being moved by the trunk musculature. The body musculature is usually arranged in rows of chevron-shaped segments on each side. Contractions of these segments, each attached to adjacent vertebrae and vertebral processes, bends the body on the vertebral joint, producing successive undulations of the body, passing from the head to the tail, and producing driving strokes of the tail. It is the latter that provides the strong forward movement for most fishes.

 

The digestive system, in a functional sense, starts at the mouth, with the teeth used to capture prey or collect plant foods. Mouth shape and tooth structure vary greatly in fishes, depending on the kind of food normally eaten. Most fishes are predacious, feeding on small invertebrates or other fishes and have simple conical teeth on the jaws, on at least some of the bones of the roof of the mouth, and on special gill arch structures just in front of the esophagus. The latter are throat teeth. Most predacious fishes swallow their prey whole, and the teeth are used for grasping and holding prey, for orienting prey to be swallowed (head first) and for working the prey toward the esophagus. There are a variety of tooth types in fishes. Some fishes, such as sharks and piranhas, have cutting teeth for biting chunks out of their victims. A shark’s tooth, although superficially like that of a piranha, appears in many respects to be a modified scale, while that of the piranha is like that of other bony fishes, consisting of dentine and enamel. Parrot fishes have beaklike mouths with short incisor-like teeth for breaking off coral and have heavy pavementlike throat teeth for crushing the coral. Some catfishes have small brushlike teeth, arranged in rows on the jaws, for scraping plant and animal growth from rocks. Many fishes (such as the Cyprinidae or minnows) have no jaw teeth at all but have very strong throat teeth.

 

Some fishes gather planktonic food by straining it from their gill cavities with numerous elongate stiff rods (gill rakers) anchored by one end to the gill bars. The food collected on these rods is passed to the throat, where it is swallowed. Most fishes have only short gill rakers that help keep food particles from escaping out the mouth cavity into the gill chamber.

 

Once reaching the throat, food enters a short, often greatly distensible esophagus, a simple tube with a muscular wall leading into a stomach. The stomach varies greatly in fishes, depending upon the diet. In most predacious fishes it is a simple straight or curved tube or pouch with a muscular wall and a glandular lining. Food is largely digested there and leaves the stomach in liquid form.

 

Between the stomach and the intestine, ducts enter the digestive tube from the liver and pancreas. The liver is a large, clearly defined organ. The pancreas may be embedded in it, diffused through it, or broken into small parts spread along some of the intestine. The junction between the stomach and the intestine is marked by a muscular valve. Pyloric ceca (blind sacs) occur in some fishes at this junction and have a digestive or absorptive function or both.

 

The intestine itself is quite variable in length, depending upon the fish’s diet. It is short in predacious forms, sometimes no longer than the body cavity, but long in herbivorous forms, being coiled and several times longer than the entire length of the fish in some species of South American catfishes. The intestine is primarily an organ for absorbing nutrients into the bloodstream. The larger its internal surface, the greater its absorptive efficiency, and a spiral valve is one method of increasing its absorption surface.

 

Sharks, rays, chimaeras, lungfishes, surviving chondrosteans, holosteans, and even a few of the more primitive teleosts have a spiral valve or at least traces of it in the intestine. Most modern teleosts have increased the area of the intestinal walls by having numerous folds and villi (fingerlike projections) somewhat like those in humans. Undigested substances are passed to the exterior through the anus in most teleost fishes. In lungfishes, sharks, and rays, it is first passed through the cloaca, a common cavity receiving the intestinal opening and the ducts from the urogenital system.

 

Oxygen and carbon dioxide dissolve in water, and most fishes exchange dissolved oxygen and carbon dioxide in water by means of the gills. The gills lie behind and to the side of the mouth cavity and consist of fleshy filaments supported by the gill arches and filled with blood vessels, which give gills a bright red colour. Water taken in continuously through the mouth passes backward between the gill bars and over the gill filaments, where the exchange of gases takes place. The gills are protected by a gill cover in teleosts and many other fishes but by flaps of skin in sharks, rays, and some of the older fossil fish groups. The blood capillaries in the gill filaments are close to the gill surface to take up oxygen from the water and to give up excess carbon dioxide to the water.

 

Most modern fishes have a hydrostatic (ballast) organ, called the swim bladder, that lies in the body cavity just below the kidney and above the stomach and intestine. It originated as a diverticulum of the digestive canal. In advanced teleosts, especially the acanthopterygians, the bladder has lost its connection with the digestive tract, a condition called physoclistic. The connection has been retained (physostomous) by many relatively primitive teleosts. In several unrelated lines of fishes, the bladder has become specialized as a lung or, at least, as a highly vascularized accessory breathing organ. Some fishes with such accessory organs are obligate air breathers and will drown if denied access to the surface, even in well-oxygenated water. Fishes with a hydrostatic form of swim bladder can control their depth by regulating the amount of gas in the bladder. The gas, mostly oxygen, is secreted into the bladder by special glands, rendering the fish more buoyant; the gas is absorbed into the bloodstream by another special organ, reducing the overall buoyancy and allowing the fish to sink. Some deep-sea fishes may have oils, rather than gas, in the bladder. Other deep-sea and some bottom-living forms have much-reduced swim bladders or have lost the organ entirely.

 

The swim bladder of fishes follows the same developmental pattern as the lungs of land vertebrates. There is no doubt that the two structures have the same historical origin in primitive fishes. More or less intermediate forms still survive among the more primitive types of fishes, such as the lungfishes Lepidosiren and Protopterus.

 

The circulatory, or blood vascular, system consists of the heart, the arteries, the capillaries, and the veins. It is in the capillaries that the interchange of oxygen, carbon dioxide, nutrients, and other substances such as hormones and waste products takes place. The capillaries lead to the veins, which return the venous blood with its waste products to the heart, kidneys, and gills. There are two kinds of capillary beds: those in the gills and those in the rest of the body. The heart, a folded continuous muscular tube with three or four saclike enlargements, undergoes rhythmic contractions and receives venous blood in a sinus venosus. It passes the blood to an auricle and then into a thick muscular pump, the ventricle. From the ventricle the blood goes to a bulbous structure at the base of a ventral aorta just below the gills. The blood passes to the afferent (receiving) arteries of the gill arches and then to the gill capillaries. There waste gases are given off to the environment, and oxygen is absorbed. The oxygenated blood enters efferent (exuant) arteries of the gill arches and then flows into the dorsal aorta. From there blood is distributed to the tissues and organs of the body. One-way valves prevent backflow. The circulation of fishes thus differs from that of the reptiles, birds, and mammals in that oxygenated blood is not returned to the heart prior to distribution to the other parts of the body.

 

The primary excretory organ in fishes, as in other vertebrates, is the kidney. In fishes some excretion also takes place in the digestive tract, skin, and especially the gills (where ammonia is given off). Compared with land vertebrates, fishes have a special problem in maintaining their internal environment at a constant concentration of water and dissolved substances, such as salts. Proper balance of the internal environment (homeostasis) of a fish is in a great part maintained by the excretory system, especially the kidney.

 

The kidney, gills, and skin play an important role in maintaining a fish’s internal environment and checking the effects of osmosis. Marine fishes live in an environment in which the water around them has a greater concentration of salts than they can have inside their body and still maintain life. Freshwater fishes, on the other hand, live in water with a much lower concentration of salts than they require inside their bodies. Osmosis tends to promote the loss of water from the body of a marine fish and absorption of water by that of a freshwater fish. Mucus in the skin tends to slow the process but is not a sufficient barrier to prevent the movement of fluids through the permeable skin. When solutions on two sides of a permeable membrane have different concentrations of dissolved substances, water will pass through the membrane into the more concentrated solution, while the dissolved chemicals move into the area of lower concentration (diffusion).

 

The kidney of freshwater fishes is often larger in relation to body weight than that of marine fishes. In both groups the kidney excretes wastes from the body, but the kidney of freshwater fishes also excretes large amounts of water, counteracting the water absorbed through the skin. Freshwater fishes tend to lose salt to the environment and must replace it. They get some salt from their food, but the gills and skin inside the mouth actively absorb salt from water passed through the mouth. This absorption is performed by special cells capable of moving salts against the diffusion gradient. Freshwater fishes drink very little water and take in little water with their food.

 

Marine fishes must conserve water, and therefore their kidneys excrete little water. To maintain their water balance, marine fishes drink large quantities of seawater, retaining most of the water and excreting the salt. Most nitrogenous waste in marine fishes appears to be secreted by the gills as ammonia. Marine fishes can excrete salt by clusters of special cells (chloride cells) in the gills.

 

There are several teleosts—for example, the salmon—that travel between fresh water and seawater and must adjust to the reversal of osmotic gradients. They adjust their physiological processes by spending time (often surprisingly little time) in the intermediate brackish environment.

 

Marine hagfishes, sharks, and rays have osmotic concentrations in their blood about equal to that of seawater and so do not have to drink water nor perform much physiological work to maintain their osmotic balance. In sharks and rays the osmotic concentration is kept high by retention of urea in the blood. Freshwater sharks have a lowered concentration of urea in the blood.

 

Endocrine glands secrete their products into the bloodstream and body tissues and, along with the central nervous system, control and regulate many kinds of body functions. Cyclostomes have a well-developed endocrine system, and presumably it was well developed in the early Agnatha, ancestral to modern fishes. Although the endocrine system in fishes is similar to that of higher vertebrates, there are numerous differences in detail. The pituitary, the thyroid, the suprarenals, the adrenals, the pancreatic islets, the sex glands (ovaries and testes), the inner wall of the intestine, and the bodies of the ultimobranchial gland make up the endocrine system in fishes. There are some others whose function is not well understood. These organs regulate sexual activity and reproduction, growth, osmotic pressure, general metabolic activities such as the storage of fat and the utilization of foodstuffs, blood pressure, and certain aspects of skin colour. Many of these activities are also controlled in part by the central nervous system, which works with the endocrine system in maintaining the life of a fish. Some parts of the endocrine system are developmentally, and undoubtedly evolutionarily, derived from the nervous system.

 

As in all vertebrates, the nervous system of fishes is the primary mechanism coordinating body activities, as well as integrating these activities in the appropriate manner with stimuli from the environment. The central nervous system, consisting of the brain and spinal cord, is the primary integrating mechanism. The peripheral nervous system, consisting of nerves that connect the brain and spinal cord to various body organs, carries sensory information from special receptor organs such as the eyes, internal ears, nares (sense of smell), taste glands, and others to the integrating centres of the brain and spinal cord. The peripheral nervous system also carries information via different nerve cells from the integrating centres of the brain and spinal cord. This coded information is carried to the various organs and body systems, such as the skeletal muscular system, for appropriate action in response to the original external or internal stimulus. Another branch of the nervous system, the autonomic nervous system, helps to coordinate the activities of many glands and organs and is itself closely connected to the integrating centres of the brain.

 

The brain of the fish is divided into several anatomical and functional parts, all closely interconnected but each serving as the primary centre of integrating particular kinds of responses and activities. Several of these centres or parts are primarily associated with one type of sensory perception, such as sight, hearing, or smell (olfaction).

 

The sense of smell is important in almost all fishes. Certain eels with tiny eyes depend mostly on smell for location of food. The olfactory, or nasal, organ of fishes is located on the dorsal surface of the snout. The lining of the nasal organ has special sensory cells that perceive chemicals dissolved in the water, such as substances from food material, and send sensory information to the brain by way of the first cranial nerve. Odour also serves as an alarm system. Many fishes, especially various species of freshwater minnows, react with alarm to a chemical released from the skin of an injured member of their own species.

 

Many fishes have a well-developed sense of taste, and tiny pitlike taste buds or organs are located not only within their mouth cavities but also over their heads and parts of their body. Catfishes, which often have poor vision, have barbels (“whiskers”) that serve as supplementary taste organs, those around the mouth being actively used to search out food on the bottom. Some species of naturally blind cave fishes are especially well supplied with taste buds, which often cover most of their body surface.

 

Sight is extremely important in most fishes. The eye of a fish is basically like that of all other vertebrates, but the eyes of fishes are extremely varied in structure and adaptation. In general, fishes living in dark and dim water habitats have large eyes, unless they have specialized in some compensatory way so that another sense (such as smell) is dominant, in which case the eyes will often be reduced. Fishes living in brightly lighted shallow waters often will have relatively small but efficient eyes. Cyclostomes have somewhat less elaborate eyes than other fishes, with skin stretched over the eyeball perhaps making their vision somewhat less effective. Most fishes have a spherical lens and accommodate their vision to far or near subjects by moving the lens within the eyeball. A few sharks accommodate by changing the shape of the lens, as in land vertebrates. Those fishes that are heavily dependent upon the eyes have especially strong muscles for accommodation. Most fishes see well, despite the restrictions imposed by frequent turbidity of the water and by light refraction.

 

Fossil evidence suggests that colour vision evolved in fishes more than 300 million years ago, but not all living fishes have retained this ability. Experimental evidence indicates that many shallow-water fishes, if not all, have colour vision and see some colours especially well, but some bottom-dwelling shore fishes live in areas where the water is sufficiently deep to filter out most if not all colours, and these fishes apparently never see colours. When tested in shallow water, they apparently are unable to respond to colour differences.

 

Sound perception and balance are intimately associated senses in a fish. The organs of hearing are entirely internal, located within the skull, on each side of the brain and somewhat behind the eyes. Sound waves, especially those of low frequencies, travel readily through water and impinge directly upon the bones and fluids of the head and body, to be transmitted to the hearing organs. Fishes readily respond to sound; for example, a trout conditioned to escape by the approach of fishermen will take flight upon perceiving footsteps on a stream bank even if it cannot see a fisherman. Compared with humans, however, the range of sound frequencies heard by fishes is greatly restricted. Many fishes communicate with each other by producing sounds in their swim bladders, in their throats by rasping their teeth, and in other ways.

 

A fish or other vertebrate seldom has to rely on a single type of sensory information to determine the nature of the environment around it. A catfish uses taste and touch when examining a food object with its oral barbels. Like most other animals, fishes have many touch receptors over their body surface. Pain and temperature receptors also are present in fishes and presumably produce the same kind of information to a fish as to humans. Fishes react in a negative fashion to stimuli that would be painful to human beings, suggesting that they feel a sensation of pain.

 

An important sensory system in fishes that is absent in other vertebrates (except some amphibians) is the lateral line system. This consists of a series of heavily innervated small canals located in the skin and bone around the eyes, along the lower jaw, over the head, and down the mid-side of the body, where it is associated with the scales. Intermittently along these canals are located tiny sensory organs (pit organs) that apparently detect changes in pressure. The system allows a fish to sense changes in water currents and pressure, thereby helping the fish to orient itself to the various changes that occur in the physical environment.

  

The Church of Saint Matthew is a Church of England Grade II* listed church located in the High Elswick area of Newcastle upon Tyne, within the Georgian suburb of Summerhill.

 

History

Saint Matthew's was formed out of Saint John's parish in November, 1869, and the Parish is the home of four former parishes - Saint Philip (Elswick), Saint Augustine (Brighton Grove), Saint Matthew (Big Lamp), and Saint Mary the Virgin (Rye Hill).

 

Tradition

Saint Matthew's was founded after the foundations of the Catholic Revival had been set; with its first Vicar, Father Robert Daunt, being described by the time of his death as "a decided High Churchman, who held strong views on the question of the independence of the Church in spiritual matters.". As such, the church has, from its founding, followed the Anglo-Catholic High Church tradition — a rarity within the diocese.

 

Elswick is a district and electoral ward of the city and metropolitan borough of Newcastle upon Tyne, in the county of Tyne and Wear, England, 1.9 miles west of the city centre, bordering the River Tyne. Historically in Northumberland, Elswick became part of Newcastle upon Tyne in 1835. Elswick is home to the Newcastle Utilita Arena; and Newcastle College, with approximately 45,000 students.

 

History

In Roman times the Vallum, a defensive barrier behind Hadrian's Wall, reached its easternmost limit in Elswick. The Wall itself carried on as far as Wallsend.

 

The township of Elswick had originally formed part of the Barony of Bolam and was owned by Tynemouth Priory from 1120-1539, with a fishery present on the site. One of the earliest references to the coal mining industry of the north east occurs in 1330, when it was recorded that the Prior of Tynemouth let a colliery, called Heygrove, at "Elstewyke" for a rent of £5 per year. Elswick Colliery had 3 pits working from 1860 onwards. Elswick was owned by the Crown from 1539 to 1628, until it was sold by Charles I.

 

The Priors held a mansion in the middle of Elswick which was later occupied by Elswick Hall. Having been rebuilt a number of times, the last rebuild took place in 1810. The grounds of Elswick Hall became Elswick Park in 1881. Elswick changed significantly in the late 19th century with the extension of the railway from Carlisle to Newcastle in 1839 and the establishment of Armstrong's manufacturing works in 1847. Population increased rapidly during this period, from about 300 in 1801 to 59,165 in 1901. Tyneside flats were built in the area around Scotswood Road to accommodate the workforce.

 

The Elswick works was founded in 1847 by engineer William George Armstrong. It manufactured hydraulic machinery, cranes and bridges and, later, artillery. In 1882 the company merged with the shipbuilding firm of Charles Mitchell to form Armstrong, Mitchell & Company. Armstrong Mitchell merged again with the engineering firm of Joseph Whitworth in 1897, forming Armstrong, Whitworth & Co.

 

Elswick railway station was opened in 1889 to serve the area. It was located at the western end of the Elswick Works, whose workforce made up a significant proportion of travellers. The area suffered as a result of the inter-war and subsequent depressions, culminating in the demolition of the Elswick works. The station was closed and then demolished in 1967.

 

Elswick was hit hard by the decline of Tyneside's shipbuilding industry during the second half of the 20th century, and by the 1990s was widely regarded as one of the worst parts of Tyneside, if not the whole of Britain. According to a report by The Independent newspaper, unemployment stood at nearly 30% and the area had a widespread problem with drug abuse and arson attacks.

 

Elswick was formerly a township in the parish of Newcastle-St. John, in 1866 Elswick became a separate civil parish, on 1 April 1914 the parish was abolished to form Newcastle upon Tyne. In 1911 the parish had a population of 58,352. It is now in the unparished area of Newcastle upon Tyne.

 

Elswick today

Present day Elswick consists of a number of distinct neighbourhoods including the Adelaide Terrace area, Bentinck Estate, Condercum and Denhill Park, Cruddas Park (part renamed Riverside Dene), Elswick Triangle, Gill Street and the Courts, Grainger Park, Jubilee Estate, North Benwell, and both from the St John's and St Paul's areas. The local authority ward also incorporates Newcastle College, and the Utilita Arena Newcastle. As of the 2011 census, Elswick had one of the lowest White populations in Newcastle at around 55% with a large Asian population of 33.4% (including 15.9% Bangladeshi, 8.3% Pakistani), and 5.6% Black or Black British. Elswick has a large Muslim population of 31.9% and a Christian population of 43.4%. In 2018 it had an estimated population of 15,869.

 

The ward profile shows Elswick is the ward with the highest percentage of children under 14 years in Newcastle and has a lower than average number of senior citizens (10%) than Newcastle as a whole. Elswick has a lower than average number of houses in owner-occupation (26.3% compared with 49.9% for Newcastle city).

 

Elswick's Location

Located at a height of 53.1m, Elswick overlooks the River Tyne and is a suburban area in the West End of Newcastle upon Tyne.

 

Newcastle upon Tyne, or simply Newcastle is a cathedral city and metropolitan borough in Tyne and Wear, England. It is located on the River Tyne's northern bank, opposite Gateshead to the south. It is the most populous settlement in the Tyneside conurbation and North East England.

 

Newcastle developed around a Roman settlement called Pons Aelius, the settlement became known as Monkchester before taking on the name of a castle built in 1080 by William the Conqueror's eldest son, Robert Curthose. It was one of the world's largest ship building and repair centres during the industrial revolution. Newcastle was part of the county of Northumberland until 1400, when it separated and formed a county of itself. In 1974, Newcastle became part of Tyne and Wear. Since 2018, the city council has been part of the North of Tyne Combined Authority.

 

The history of Newcastle upon Tyne dates back almost 2,000 years, during which it has been controlled by the Romans, the Angles and the Norsemen amongst others. Newcastle upon Tyne was originally known by its Roman name Pons Aelius. The name "Newcastle" has been used since the Norman conquest of England. Due to its prime location on the River Tyne, the town developed greatly during the Middle Ages and it was to play a major role in the Industrial Revolution, being granted city status in 1882. Today, the city is a major retail, commercial and cultural centre.

 

Roman settlement

The history of Newcastle dates from AD 122, when the Romans built the first bridge to cross the River Tyne at that point. The bridge was called Pons Aelius or 'Bridge of Aelius', Aelius being the family name of Roman Emperor Hadrian, who was responsible for the Roman wall built across northern England along the Tyne–Solway gap. Hadrian's Wall ran through present-day Newcastle, with stretches of wall and turrets visible along the West Road, and at a temple in Benwell. Traces of a milecastle were found on Westgate Road, midway between Clayton Street and Grainger Street, and it is likely that the course of the wall corresponded to present-day Westgate Road. The course of the wall can be traced eastwards to the Segedunum Roman fort at Wallsend, with the fort of Arbeia down-river at the mouth of the Tyne, on the south bank in what is now South Shields. The Tyne was then a wider, shallower river at this point and it is thought that the bridge was probably about 700 feet (210 m) long, made of wood and supported on stone piers. It is probable that it was sited near the current Swing Bridge, due to the fact that Roman artefacts were found there during the building of the latter bridge. Hadrian himself probably visited the site in 122. A shrine was set up on the completed bridge in 123 by the 6th Legion, with two altars to Neptune and Oceanus respectively. The two altars were subsequently found in the river and are on display in the Great North Museum in Newcastle.

 

The Romans built a stone-walled fort in 150 to protect the river crossing which was at the foot of the Tyne Gorge, and this took the name of the bridge so that the whole settlement was known as Pons Aelius. The fort was situated on a rocky outcrop overlooking the new bridge, on the site of the present Castle Keep. Pons Aelius is last mentioned in 400, in a Roman document listing all of the Roman military outposts. It is likely that nestling in the shadow of the fort would have been a small vicus, or village. Unfortunately, no buildings have been detected; only a few pieces of flagging. It is clear that there was a Roman cemetery near Clavering Place, behind the Central station, as a number of Roman coffins and sarcophagi have been unearthed there.

 

Despite the presence of the bridge, the settlement of Pons Aelius was not particularly important among the northern Roman settlements. The most important stations were those on the highway of Dere Street running from Eboracum (York) through Corstopitum (Corbridge) and to the lands north of the Wall. Corstopitum, being a major arsenal and supply centre, was much larger and more populous than Pons Aelius.

 

Anglo-Saxon development

The Angles arrived in the North-East of England in about 500 and may have landed on the Tyne. There is no evidence of an Anglo-Saxon settlement on or near the site of Pons Aelius during the Anglo-Saxon age. The bridge probably survived and there may well have been a small village at the northern end, but no evidence survives. At that time the region was dominated by two kingdoms, Bernicia, north of the Tees and ruled from Bamburgh, and Deira, south of the Tees and ruled from York. Bernicia and Deira combined to form the kingdom of Northanhymbra (Northumbria) early in the 7th century. There were three local kings who held the title of Bretwalda – 'Lord of Britain', Edwin of Deira (627–632), Oswald of Bernicia (633–641) and Oswy of Northumbria (641–658). The 7th century became known as the 'Golden Age of Northumbria', when the area was a beacon of culture and learning in Europe. The greatness of this period was based on its generally Christian culture and resulted in the Lindisfarne Gospels amongst other treasures. The Tyne valley was dotted with monasteries, with those at Monkwearmouth, Hexham and Jarrow being the most famous. Bede, who was based at Jarrow, wrote of a royal estate, known as Ad Murum, 'at the Wall', 12 miles (19 km) from the sea. It is thought that this estate may have been in what is now Newcastle. At some unknown time, the site of Newcastle came to be known as Monkchester. The reason for this title is unknown, as we are unaware of any specific monasteries at the site, and Bede made no reference to it. In 875 Halfdan Ragnarsson, the Danish Viking conqueror of York, led an army that attacked and pillaged various monasteries in the area, and it is thought that Monkchester was also pillaged at this time. Little more was heard of it until the coming of the Normans.

 

Norman period

After the arrival of William the Conqueror in England in 1066, the whole of England was quickly subjected to Norman rule. However, in Northumbria there was great resistance to the Normans, and in 1069 the newly appointed Norman Earl of Northumbria, Robert de Comines and 700 of his men were killed by the local population at Durham. The Northumbrians then marched on York, but William was able to suppress the uprising. That same year, a second uprising occurred when a Danish fleet landed in the Humber. The Northumbrians again attacked York and destroyed the garrison there. William was again able to suppress the uprising, but this time he took revenge. He laid waste to the whole of the Midlands and the land from York to the Tees. In 1080, William Walcher, the Norman bishop of Durham and his followers were brutally murdered at Gateshead. This time Odo, bishop of Bayeux, William's half brother, devastated the land between the Tees and the Tweed. This was known as the 'Harrying of the North'. This devastation is reflected in the Domesday Book. The destruction had such an effect that the North remained poor and backward at least until Tudor times and perhaps until the Industrial Revolution. Newcastle suffered in this respect with the rest of the North.

 

In 1080 William sent his eldest son, Robert Curthose, north to defend the kingdom against the Scots. After his campaign, he moved to Monkchester and began the building of a 'New Castle'. This was of the "motte-and-bailey" type of construction, a wooden tower on top of an earthen mound (motte), surrounded by a moat and wooden stockade (bailey). It was this castle that gave Newcastle its name. In 1095 the Earl of Northumbria, Robert de Mowbray, rose up against the king, William Rufus, and Rufus sent an army north to recapture the castle. From then on the castle became crown property and was an important base from which the king could control the northern barons. The Northumbrian earldom was abolished and a Sheriff of Northumberland was appointed to administer the region. In 1091 the parish church of St Nicholas was consecrated on the site of the present Anglican cathedral, close by the bailey of the new castle. The church is believed to have been a wooden building on stone footings.

 

Not a trace of the tower or mound of the motte and bailey castle remains now. Henry II replaced it with a rectangular stone keep, which was built between 1172 and 1177 at a cost of £1,444. A stone bailey, in the form of a triangle, replaced the previous wooden one. The great outer gateway to the castle, called 'the Black Gate', was built later, between 1247 and 1250, in the reign of Henry III. There were at that time no town walls and when attacked by the Scots, the townspeople had to crowd into the bailey for safety. It is probable that the new castle acted as a magnet for local merchants because of the safety it provided. This in turn would help to expand trade in the town. At this time wool, skins and lead were being exported, whilst alum, pepper and ginger were being imported from France and Flanders.

 

Middle Ages

Throughout the Middle Ages, Newcastle was England's northern fortress, the centre for assembled armies. The Border war against Scotland lasted intermittently for several centuries – possibly the longest border war ever waged. During the civil war between Stephen and Matilda, David 1st of Scotland and his son were granted Cumbria and Northumberland respectively, so that for a period from 1139 to 1157, Newcastle was effectively in Scottish hands. It is believed that during this period, King David may have built the church of St Andrew and the Benedictine nunnery in Newcastle. However, King Stephen's successor, Henry II was strong enough to take back the Earldom of Northumbria from Malcolm IV.

 

The Scots king William the Lion was imprisoned in Newcastle, in 1174, after being captured at the Battle of Alnwick. Edward I brought the Stone of Scone and William Wallace south through the town and Newcastle was successfully defended against the Scots three times during the 14th century.

 

Around 1200, stone-faced, clay-filled jetties were starting to project into the river, an indication that trade was increasing in Newcastle. As the Roman roads continued to deteriorate, sea travel was gaining in importance. By 1275 Newcastle was the sixth largest wool exporting port in England. The principal exports at this time were wool, timber, coal, millstones, dairy produce, fish, salt and hides. Much of the developing trade was with the Baltic countries and Germany. Most of the Newcastle merchants were situated near the river, below the Castle. The earliest known charter was dated 1175 in the reign of Henry II, giving the townspeople some control over their town. In 1216 King John granted Newcastle a mayor[8] and also allowed the formation of guilds (known as Mysteries). These were cartels formed within different trades, which restricted trade to guild members. There were initially twelve guilds. Coal was being exported from Newcastle by 1250, and by 1350 the burgesses received a royal licence to export coal. This licence to export coal was jealously guarded by the Newcastle burgesses, and they tried to prevent any one else on the Tyne from exporting coal except through Newcastle. The burgesses similarly tried to prevent fish from being sold anywhere else on the Tyne except Newcastle. This led to conflicts with Gateshead and South Shields.

 

In 1265, the town was granted permission to impose a 'Wall Tax' or Murage, to pay for the construction of a fortified wall to enclose the town and protect it from Scottish invaders. The town walls were not completed until early in the 14th century. They were two miles (3 km) long, 9 feet (2.7 m) thick and 25 feet (7.6 m) high. They had six main gates, as well as some smaller gates, and had 17 towers. The land within the walls was divided almost equally by the Lort Burn, which flowed southwards and joined the Tyne to the east of the Castle. The town began to expand north of the Castle and west of the Lort Burn with various markets being set up within the walls.

 

In 1400 Henry IV granted a new charter, creating a County corporate which separated the town, but not the Castle, from the county of Northumberland and recognised it as a "county of itself" with a right to have a sheriff of its own. The burgesses were now allowed to choose six aldermen who, with the mayor would be justices of the peace. The mayor and sheriff were allowed to hold borough courts in the Guildhall.

 

Religious houses

During the Middle Ages a number of religious houses were established within the walls: the first of these was the Benedictine nunnery of St Bartholomew founded in 1086 near the present-day Nun Street. Both David I of Scotland and Henry I of England were benefactors of the religious house. Nothing of the nunnery remains now.

 

The friary of Blackfriars, Newcastle (Dominican) was established in 1239. These were also known as the Preaching Friars or Shod Friars, because they wore sandals, as opposed to other orders. The friary was situated in the present-day Friars Street. In 1280 the order was granted royal permission to make a postern in the town walls to communicate with their gardens outside the walls. On 19 June 1334, Edward Balliol, claimant to be King of Scotland, did homage to King Edward III, on behalf of the kingdom of Scotland, in the church of the friary. Much of the original buildings of the friary still exist, mainly because, after the Dissolution of the Monasteries the friary of Blackfriars was rented out by the corporation to nine of the local trade guilds.

 

The friary of Whitefriars (Carmelite) was established in 1262. The order was originally housed on the Wall Knoll in Pandon, but in 1307 it took over the buildings of another order, which went out of existence, the Friars of the Sac. The land, which had originally been given by Robert the Bruce, was situated in the present-day Hanover Square, behind the Central station. Nothing of the friary remains now.

 

The friary of Austinfriars (Augustinian) was established in 1290. The friary was on the site where the Holy Jesus Hospital was built in 1682. The friary was traditionally the lodging place of English kings whenever they visited or passed through Newcastle. In 1503 Princess Margaret, eldest daughter of Henry VII of England, stayed two days at the friary on her way to join her new husband James IV of Scotland.

 

The friary of Greyfriars (Franciscans) was established in 1274. The friary was in the present-day area between Pilgrim Street, Grey Street, Market Street and High Chare. Nothing of the original buildings remains.

 

The friary of the Order of the Holy Trinity, also known as the Trinitarians, was established in 1360. The order devoted a third of its income to buying back captives of the Saracens, during the Crusades. Their house was on the Wall Knoll, in Pandon, to the east of the city, but within the walls. Wall Knoll had previously been occupied by the White Friars until they moved to new premises in 1307.

 

All of the above religious houses were closed in about 1540, when Henry VIII dissolved the monasteries.

 

An important street running through Newcastle at the time was Pilgrim Street, running northwards inside the walls and leading to the Pilgrim Gate on the north wall. The street still exists today as arguably Newcastle's main shopping street.

 

Tudor period

The Scottish border wars continued for much of the 16th century, so that during that time, Newcastle was often threatened with invasion by the Scots, but also remained important as a border stronghold against them.

 

During the Reformation begun by Henry VIII in 1536, the five Newcastle friaries and the single nunnery were dissolved and the land was sold to the Corporation and to rich merchants. At this time there were fewer than 60 inmates of the religious houses in Newcastle. The convent of Blackfriars was leased to nine craft guilds to be used as their headquarters. This probably explains why it is the only one of the religious houses whose building survives to the present day. The priories at Tynemouth and Durham were also dissolved, thus ending the long-running rivalry between Newcastle and the church for control of trade on the Tyne. A little later, the property of the nunnery of St Bartholomew and of Grey Friars were bought by Robert Anderson, who had the buildings demolished to build his grand Newe House (also known as Anderson Place).

 

With the gradual decline of the Scottish border wars the town walls were allowed to decline as well as the castle. By 1547, about 10,000 people were living in Newcastle. At the beginning of the 16th century exports of wool from Newcastle were more than twice the value of exports of coal, but during the century coal exports continued to increase.

 

Under Edward VI, John Dudley, Duke of Northumberland, sponsored an act allowing Newcastle to annexe Gateshead as its suburb. The main reason for this was to allow the Newcastle Hostmen, who controlled the export of Tyne coal, to get their hands on the Gateshead coal mines, previously controlled by the Bishop of Durham. However, when Mary I came to power, Dudley met his downfall and the decision was reversed. The Reformation allowed private access to coal mines previously owned by Tynemouth and Durham priories and as a result coal exports increase dramatically, from 15,000 tons in 1500 to 35,000 tons in 1565, and to 400,000 tons in 1625.

 

The plague visited Newcastle four times during the 16th century, in 1579 when 2,000 people died, in 1589 when 1700 died, in 1595 and finally in 1597.

 

In 1600 Elizabeth I granted Newcastle a charter for an exclusive body of electors, the right to elect the mayor and burgesses. The charter also gave the Hostmen exclusive rights to load coal at any point on the Tyne. The Hostmen developed as an exclusive group within the Merchant Adventurers who had been incorporated by a charter in 1547.

 

Stuart period

In 1636 there was a serious outbreak of bubonic plague in Newcastle. There had been several previous outbreaks of the disease over the years, but this was the most serious. It is thought to have arrived from the Netherlands via ships that were trading between the Tyne and that country. It first appeared in the lower part of the town near the docks but gradually spread to all parts of the town. As the disease gained hold the authorities took measures to control it by boarding up any properties that contained infected persons, meaning that whole families were locked up together with the infected family members. Other infected persons were put in huts outside the town walls and left to die. Plague pits were dug next to the town's four churches and outside the town walls to receive the bodies in mass burials. Over the course of the outbreak 5,631 deaths were recorded out of an estimated population of 12,000, a death rate of 47%.

 

In 1637 Charles I tried to raise money by doubling the 'voluntary' tax on coal in return for allowing the Newcastle Hostmen to regulate production and fix prices. This caused outrage amongst the London importers and the East Anglian shippers. Both groups decided to boycott Tyne coal and as a result forced Charles to reverse his decision in 1638.

 

In 1640 during the Second Bishops' War, the Scots successfully invaded Newcastle. The occupying army demanded £850 per day from the Corporation to billet the Scottish troops. Trade from the Tyne ground to a halt during the occupation. The Scots left in 1641 after receiving a Parliamentary pardon and a £4,000,000 loan from the town.

 

In 1642 the English Civil War began. King Charles realised the value of the Tyne coal trade and therefore garrisoned Newcastle. A Royalist was appointed as governor. At that time, Newcastle and King's Lynn were the only important seaports to support the crown. In 1644 Parliament blockaded the Tyne to prevent the king from receiving revenue from the Tyne coal trade. Coal exports fell from 450,000 to 3,000 tons and London suffered a hard winter without fuel. Parliament encouraged the coal trade from the Wear to try to replace that lost from Newcastle but that was not enough to make up for the lost Tyneside tonnage.

 

In 1644 the Scots crossed the border. Newcastle strengthened its defences in preparation. The Scottish army, with 40,000 troops, besieged Newcastle for three months until the garrison of 1,500 surrendered. During the siege, the Scots bombarded the walls with their artillery, situated in Gateshead and Castle Leazes. The Scottish commander threatened to destroy the steeple of St Nicholas's Church by gunfire if the mayor, Sir John Marley, did not surrender the town. The mayor responded by placing Scottish prisoners that they had captured in the steeple, so saving it from destruction. The town walls were finally breached by a combination of artillery and sapping. In gratitude for this defence, Charles gave Newcastle the motto 'Fortiter Defendit Triumphans' to be added to its coat of arms. The Scottish army occupied Northumberland and Durham for two years. The coal taxes had to pay for the Scottish occupation. In 1645 Charles surrendered to the Scots and was imprisoned in Newcastle for nine months. After the Civil War the coal trade on the Tyne soon picked up and exceeded its pre-war levels.

 

A new Guildhall was completed on the Sandhill next to the river in 1655, replacing an earlier facility damaged by fire in 1639, and became the meeting place of Newcastle Town Council. In 1681 the Hospital of the Holy Jesus was built partly on the site of the Austin Friars. The Guildhall and Holy Jesus Hospital still exist.

 

Charles II tried to impose a charter on Newcastle to give the king the right to appoint the mayor, sheriff, recorder and town clerk. Charles died before the charter came into effect. In 1685, James II tried to replace Corporation members with named Catholics. However, James' mandate was suspended in 1689 after the Glorious Revolution welcoming William of Orange. In 1689, after the fall of James II, the people of Newcastle tore down his bronze equestrian statue in Sandhill and tossed it into the Tyne. The bronze was later used to make bells for All Saints Church.

 

In 1689 the Lort Burn was covered over. At this time it was an open sewer. The channel followed by the Lort Burn became the present day Dean Street. At that time, the centre of Newcastle was still the Sandhill area, with many merchants living along the Close or on the Side. The path of the main road through Newcastle ran from the single Tyne bridge, through Sandhill to the Side, a narrow street which climbed steeply on the north-east side of the castle hill until it reached the higher ground alongside St Nicholas' Church. As Newcastle developed, the Side became lined with buildings with projecting upper stories, so that the main street through Newcastle was a narrow, congested, steep thoroughfare.

 

In 1701 the Keelmen's Hospital was built in the Sandgate area of the city, using funds provided by the keelmen. The building still stands today.

 

Eighteenth century

In the 18th century, Newcastle was the country's largest print centre after London, Oxford and Cambridge, and the Literary and Philosophical Society of 1793, with its erudite debates and large stock of books in several languages predated the London Library by half a century.

 

In 1715, during the Jacobite rising in favour of the Old Pretender, an army of Jacobite supporters marched on Newcastle. Many of the Northumbrian gentry joined the rebels. The citizens prepared for its arrival by arresting Jacobite supporters and accepting 700 extra recruits into the local militia. The gates of the city were closed against the rebels. This proved enough to delay an attack until reinforcements arrived forcing the rebel army to move across to the west coast. The rebels finally surrendered at Preston.

 

In 1745, during a second Jacobite rising in favour of the Young Pretender, a Scottish army crossed the border led by Bonnie Prince Charlie. Once again Newcastle prepared by arresting Jacobite supporters and inducting 800 volunteers into the local militia. The town walls were strengthened, most of the gates were blocked up and some 200 cannon were deployed. 20,000 regulars were billeted on the Town Moor. These preparations were enough to force the rebel army to travel south via the west coast. They were eventually defeated at Culloden in 1746.

 

Newcastle's actions during the 1715 rising in resisting the rebels and declaring for George I, in contrast to the rest of the region, is the most likely source of the nickname 'Geordie', applied to people from Tyneside, or more accurately Newcastle. Another theory, however, is that the name 'Geordie' came from the inventor of the Geordie lamp, George Stephenson. It was a type of safety lamp used in mining, but was not invented until 1815. Apparently the term 'German Geordie' was in common use during the 18th century.

 

The city's first hospital, Newcastle Infirmary opened in 1753; it was funded by public subscription. A lying-in hospital was established in Newcastle in 1760. The city's first public hospital for mentally ill patients, Wardens Close Lunatic Hospital was opened in October 1767.

 

In 1771 a flood swept away much of the bridge at Newcastle. The bridge had been built in 1250 and repaired after a flood in 1339. The bridge supported various houses and three towers and an old chapel. A blue stone was placed in the middle of the bridge to mark the boundary between Newcastle and the Palatinate of Durham. A temporary wooden bridge had to be built, and this remained in use until 1781, when a new stone bridge was completed. The new bridge consisted of nine arches. In 1801, because of the pressure of traffic, the bridge had to be widened.

 

A permanent military presence was established in the city with the completion of Fenham Barracks in 1806. The facilities at the Castle for holding assizes, which had been condemned for their inconvenience and unhealthiness, were replaced when the Moot Hall opened in August 1812.

 

Victorian period

Present-day Newcastle owes much of its architecture to the work of the builder Richard Grainger, aided by architects John Dobson, Thomas Oliver, John and Benjamin Green and others. In 1834 Grainger won a competition to produce a new plan for central Newcastle. He put this plan into effect using the above architects as well as architects employed in his own office. Grainger and Oliver had already built Leazes Terrace, Leazes Crescent and Leazes Place between 1829 and 1834. Grainger and Dobson had also built the Royal Arcade at the foot of Pilgrim Street between 1830 and 1832. The most ambitious project covered 12 acres 12 acres (49,000 m2) in central Newcastle, on the site of Newe House (also called Anderson Place). Grainger built three new thoroughfares, Grey Street, Grainger Street and Clayton Street with many connecting streets, as well as the Central Exchange and the Grainger Market. John Wardle and George Walker, working in Grainger's office, designed Clayton Street, Grainger Street and most of Grey Street. Dobson designed the Grainger Market and much of the east side of Grey Street. John and Benjamin Green designed the Theatre Royal at the top of Grey Street, where Grainger placed the column of Grey's Monument as a focus for the whole scheme. Grey Street is considered to be one of the finest streets in the country, with its elegant curve. Unfortunately most of old Eldon Square was demolished in the 1960s in the name of progress. The Royal Arcade met a similar fate.

 

In 1849 a new bridge was built across the river at Newcastle. This was the High Level Bridge, designed by Robert Stephenson, and slightly up river from the existing bridge. The bridge was designed to carry road and rail traffic across the Tyne Gorge on two decks with rail traffic on the upper deck and road traffic on the lower. The new bridge meant that traffic could pass through Newcastle without having to negotiate the steep, narrow Side, as had been necessary for centuries. The bridge was opened by Queen Victoria, who one year later opened the new Central Station, designed by John Dobson. Trains were now able to cross the river, directly into the centre of Newcastle and carry on up to Scotland. The Army Riding School was also completed in 1849.

 

In 1854 a large fire started on the Gateshead quayside and an explosion caused it to spread across the river to the Newcastle quayside. A huge conflagration amongst the narrow alleys, or 'chares', destroyed the homes of 800 families as well as many business premises. The narrow alleys that had been destroyed were replaced by streets containing blocks of modern offices.

 

In 1863 the Town Hall in St Nicholas Square replaced the Guildhall as the meeting place of Newcastle Town Council.

 

In 1876 the low level bridge was replaced by a new bridge known as the Swing Bridge, so called because the bridge was able to swing horizontally on a central axis and allow ships to pass on either side. This meant that for the first time sizeable ships could pass up-river beyond Newcastle. The bridge was built and paid for by William Armstrong, a local arms manufacturer, who needed to have warships access his Elswick arms factory to fit armaments to them. The Swing Bridge's rotating mechanism is adapted from the cannon mounts developed in Armstrong's arms works. In 1882 the Elswick works began to build ships as well as to arm them. The Barrack Road drill hall was completed in 1890.

 

Industrialisation

In the 19th century, shipbuilding and heavy engineering were central to the city's prosperity; and the city was a powerhouse of the Industrial Revolution. Newcastle's development as a major city owed most to its central role in the production and export of coal. The phrase "taking coals to Newcastle" was first recorded in 1538; it proverbially denotes bringing a particular commodity to a place that has more than enough of it already.

 

Innovation in Newcastle and surrounding areas included the following:

 

George Stephenson developed a miner's safety lamp at the same time that Humphry Davy developed a rival design. The lamp made possible the opening up of ever deeper mines to provide the coal that powered the industrial revolution.

George and his son Robert Stephenson were hugely influential figures in the development of the early railways. George developed Blücher, a locomotive working at Killingworth colliery in 1814, whilst Robert was instrumental in the design of Rocket, a revolutionary design that was the forerunner of modern locomotives. Both men were involved in planning and building railway lines, all over this country and abroad.

 

Joseph Swan demonstrated a working electric light bulb about a year before Thomas Edison did the same in the USA. This led to a dispute as to who had actually invented the light bulb. Eventually the two rivals agreed to form a mutual company between them, the Edison and Swan Electric Light Company, known as Ediswan.

 

Charles Algernon Parsons invented the steam turbine, for marine use and for power generation. He used Turbinia, a small, turbine-powered ship, to demonstrate the speed that a steam turbine could generate. Turbinia literally ran rings around the British Fleet at a review at Spithead in 1897.

 

William Armstrong invented a hydraulic crane that was installed in dockyards up and down the country. He then began to design light, accurate field guns for the British army. These were a vast improvement on the existing guns that were then in use.

 

The following major industries developed in Newcastle or its surrounding area:

 

Glassmaking

A small glass industry existed in Newcastle from the mid-15th century. In 1615 restrictions were put on the use of wood for manufacturing glass. It was found that glass could be manufactured using the local coal, and so a glassmaking industry grew up on Tyneside. Huguenot glassmakers came over from France as refugees from persecution and set up glasshouses in the Skinnerburn area of Newcastle. Eventually, glass production moved to the Ouseburn area of Newcastle. In 1684 the Dagnia family, Sephardic Jewish emigrants from Altare, arrived in Newcastle from Stourbridge and established glasshouses along the Close, to manufacture high quality flint glass. The glass manufacturers used sand ballast from the boats arriving in the river as the main raw material. The glassware was then exported in collier brigs. The period from 1730 to 1785 was the highpoint of Newcastle glass manufacture, when the local glassmakers produced the 'Newcastle Light Baluster'. The glassmaking industry still exists in the west end of the city with local Artist and Glassmaker Jane Charles carrying on over four hundred years of hot glass blowing in Newcastle upon Tyne.

 

Locomotive manufacture

In 1823 George Stephenson and his son Robert established the world's first locomotive factory near Forth Street in Newcastle. Here they built locomotives for the Stockton and Darlington Railway and the Liverpool and Manchester Railway, as well as many others. It was here that the famous locomotive Rocket was designed and manufactured in preparation for the Rainhill Trials. Apart from building locomotives for the British market, the Newcastle works also produced locomotives for Europe and America. The Forth Street works continued to build locomotives until 1960.

 

Shipbuilding

In 1296 a wooden, 135 ft (41 m) long galley was constructed at the mouth of the Lort Burn in Newcastle, as part of a twenty-ship order from the king. The ship cost £205, and is the earliest record of shipbuilding in Newcastle. However the rise of the Tyne as a shipbuilding area was due to the need for collier brigs for the coal export trade. These wooden sailing ships were usually built locally, establishing local expertise in building ships. As ships changed from wood to steel, and from sail to steam, the local shipbuilding industry changed to build the new ships. Although shipbuilding was carried out up and down both sides of the river, the two main areas for building ships in Newcastle were Elswick, to the west, and Walker, to the east. By 1800 Tyneside was the third largest producer of ships in Britain. Unfortunately, after the Second World War, lack of modernisation and competition from abroad gradually caused the local industry to decline and die.

 

Armaments

In 1847 William Armstrong established a huge factory in Elswick, west of Newcastle. This was initially used to produce hydraulic cranes but subsequently began also to produce guns for both the army and the navy. After the Swing Bridge was built in 1876 allowing ships to pass up river, warships could have their armaments fitted alongside the Elswick works. Armstrong's company took over its industrial rival, Joseph Whitworth of Manchester in 1897.

 

Steam turbines

Charles Algernon Parsons invented the steam turbine and, in 1889, founded his own company C. A. Parsons and Company in Heaton, Newcastle to make steam turbines. Shortly after this, he realised that steam turbines could be used to propel ships and, in 1897, he founded a second company, Parsons Marine Steam Turbine Company in Wallsend. It is there that he designed and manufactured Turbinia. Parsons turbines were initially used in warships but soon came to be used in merchant and passenger vessels, including the liner Mauretania which held the blue riband for the Atlantic crossing until 1929. Parsons' company in Heaton began to make turbo-generators for power stations and supplied power stations all over the world. The Heaton works, reduced in size, remains as part of the Siemens AG industrial giant.

 

Pottery

In 1762 the Maling pottery was founded in Sunderland by French Huguenots, but transferred to Newcastle in 1817. A factory was built in the Ouseburn area of the city. The factory was rebuilt twice, finally occupying a 14-acre (57,000 m2) site that was claimed to be the biggest pottery in the world and which had its own railway station. The pottery pioneered use of machines in making potteries as opposed to hand production. In the 1890s the company went up-market and employed in-house designers. The period up to the Second World War was the most profitable with a constant stream of new designs being introduced. However, after the war, production gradually declined and the company closed in 1963.

 

Expansion of the city

Newcastle was one of the boroughs reformed by the Municipal Corporations Act 1835: the reformed municipal borough included the parishes of Byker, Elswick, Heaton, Jesmond, Newcastle All Saints, Newcastle St Andrew, Newcastle St John, Newcastle St Nicholas, and Westgate. The urban districts of Benwell and Fenham and Walker were added in 1904. In 1935, Newcastle gained Kenton and parts of the parishes of West Brunton, East Denton, Fawdon, Longbenton. The most recent expansion in Newcastle's boundaries took place under the Local Government Act 1972 on 1 April 1974, when Newcastle became a metropolitan borough, also including the urban districts of Gosforth and Newburn, and the parishes of Brunswick, Dinnington, Hazlerigg, North Gosforth and Woolsington from the Castle Ward Rural District, and the village of Westerhope.

 

Meanwhile Northumberland County Council was formed under the Local Government Act 1888 and benefited from a dedicated meeting place when County Hall was completed in the Castle Garth area of Newcastle in 1910. Following the Local Government Act 1972 County Hall relocated to Morpeth in April 1981.

 

Twentieth century

In 1925 work began on a new high-level road bridge to span the Tyne Gorge between Newcastle and Gateshead. The capacity of the existing High-Level Bridge and Swing Bridge were being strained to the limit, and an additional bridge had been discussed for a long time. The contract was awarded to the Dorman Long Company and the bridge was finally opened by King George V in 1928. The road deck was 84 feet (26 m) above the river and was supported by a 531 feet (162 m) steel arch. The new Tyne Bridge quickly became a symbol for Newcastle and Tyneside, and remains so today.

 

During the Second World War, Newcastle was largely spared the horrors inflicted upon other British cities bombed during the Blitz. Although the armaments factories and shipyards along the River Tyne were targeted by the Luftwaffe, they largely escaped unscathed. Manors goods yard and railway terminal, to the east of the city centre, and the suburbs of Jesmond and Heaton suffered bombing during 1941. There were 141 deaths and 587 injuries, a relatively small figure compared to the casualties in other industrial centres of Britain.

 

In 1963 the city gained its own university, the University of Newcastle upon Tyne, by act of parliament. A School of Medicine and Surgery had been established in Newcastle in 1834. This eventually developed into a college of medicine attached to Durham University. A college of physical science was also founded and became Armstrong College in 1904. In 1934 the two colleges merged to become King's College, Durham. This remained as part of Durham University until the new university was created in 1963. In 1992 the city gained its second university when Newcastle Polytechnic was granted university status as Northumbria University.

 

Newcastle City Council moved to the new Newcastle Civic Centre in 1968.

 

As heavy industries declined in the second half of the 20th century, large sections of the city centre were demolished along with many areas of slum housing. The leading political figure in the city during the 1960s was T. Dan Smith who oversaw a massive building programme of highrise housing estates and authorised the demolition of a quarter of the Georgian Grainger Town to make way for Eldon Square Shopping Centre. Smith's control in Newcastle collapsed when it was exposed that he had used public contracts to advantage himself and his business associates and for a time Newcastle became a byword for civic corruption as depicted in the films Get Carter and Stormy Monday and in the television series Our Friends in the North. However, much of the historic Grainger Town area survived and was, for the most part, fully restored in the late 1990s. Northumberland Street, initially the A1, was gradually closed to traffic from the 1970s and completely pedestrianised by 1998.

 

In 1978 a new rapid transport system, the Metro, was built, linking the Tyneside area. The system opened in August 1980. A new bridge was built to carry the Metro across the river between Gateshead and Newcastle. This was the Queen Elizabeth II Bridge, commonly known as the Metro Bridge. Eventually the Metro system was extended to reach Newcastle Airport in 1991, and in 2002 the Metro system was extended to the nearby city of Sunderland.

 

As the 20th century progressed, trade on the Newcastle and Gateshead quaysides gradually declined, until by the 1980s both sides of the river were looking rather derelict. Shipping company offices had closed along with offices of firms related to shipping. There were also derelict warehouses lining the riverbank. Local government produced a master plan to re-develop the Newcastle quayside and this was begun in the 1990s. New offices, restaurants, bars and residential accommodation were built and the area has changed in the space of a few years into a vibrant area, partially returning the focus of Newcastle to the riverside, where it was in medieval times.

 

The Gateshead Millennium Bridge, a foot and cycle bridge, 26 feet (7.9 m) wide and 413 feet (126 m) long, was completed in 2001. The road deck is in the form of a curve and is supported by a steel arch. To allow ships to pass, the whole structure, both arch and road-deck, rotates on huge bearings at either end so that the road deck is lifted. The bridge can be said to open and shut like a human eye. It is an important addition to the re-developed quayside area, providing a vital link between the Newcastle and Gateshead quaysides.

 

Recent developments

Today the city is a vibrant centre for office and retail employment, but just a short distance away there are impoverished inner-city housing estates, in areas originally built to provide affordable housing for employees of the shipyards and other heavy industries that lined the River Tyne. In the 2010s Newcastle City Council began implementing plans to regenerate these depressed areas, such as those along the Ouseburn Valley.

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I never study a church before I go, maybe that's a fault on my part because I might miss something important and so have to go back. But for me, it's the wonder as you walk through the porch or door into the church, not knowing what to expect.

 

St Mary's looks like a typical Suffolk church from the outside, nice proportioned tower, good quality flint knapping. And yet once you enter, your breath is taken away by the glorious restored ceiling.

 

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It is not easy to find Huntingfield; even the signposts do not bear its name until you are within the parish boundary. Yet this shallow valley, divided by the infant river Blyth, with church and parsonage on one bank and manor house on the other, has been owned by some notable families in England's history.

The church is a Grade 1 Listed Building, largely due to its amazing Victorian painted ceiling.

 

The existing church certainly dates from the 11th century but there are signs that there had been a chapel here long before.

Some fragments of carved stones are set into the wall of the tower. At the beginning of this century they were turned up by a ploughman in a field called 'Chapel Field', a little to the south of the present church. They are fragments from a Saxon stone coffin and standing cross of the 10th century, long since disappeared.

 

The oldest part of the church is the wall between the nave and the north aisle which was the solid outer wall of the original twelfth century church. That church would have been small and dark, the whole building probably standing within the area of the present nave. The light would have come from small high windows of which one still remains above the two round-headed arches.

This wall has been altered at least twice. It was first broken through when the north aisle was built, and again in the nineteenth century when the arches were given their present 'Norman' curves. That first church was built by the family who took their name from the village and lived in the manor for 250 years, the Lords de Huntingfield.

 

The chancel was added in the thirteenth century.

 

By the end of the fourteenth, the south side of the nave had been altered and both aisles had been built in the fashionable Gothic style with its pointed arches. The five small high, or clerestory, windows on the south side of the nave would have provided light into the nave, the advent of affordable glass having made such things possible.

 

The east window of the south aisle has all that remains of the medieval glass that would once have filled many of the windows. There is a record of what was still to be seen here in the sixteenth century which lists the memorial windows with the coats of arms borne by the families who once owned the Manor.

 

The windows of the south aisle are particularly pretty and date from the fifteenth century. Their Perpendicular style is indicated by their familiar flat-topped shape. The porch is also from the fifteenth century.

 

The font dates from the fourteenth century.

 

The ceiling painting is very special and is explained on a separate page. The work was carried out in the 19th century while William Holland was rector. At the same time the organ and vestry were added with the Vanneck family vault beneath.

 

The ceiling is a masterpiece of Victorian church decoration, painted from end to end in brilliant colours, with carved and coloured angels, with banners, crowns and shields, all in the medieval style and of a most intricate and detailed finish.

The scheme of decoration is important as it reflects the ecclestiastical devotion of the late Victorian period clergy and their patrons, combined with the heightened liturgical practices of the Oxford Movement.

 

It was painted by Mildred Holland, the wife of William Holland who was rector for 44 years from 1848 until his death in 1892. The church was closed for eight months from September 1859 to April 1860 while she painted the chancel roof. Tradesmen provided scaffolding and prepared the ceiling for painting but there is no record to show that she had any help with the work, and legend has it that she did much of it lying on her back. We may imagine Victorian ladies wearing tight laced corsets and many petticoats, and wonder how she managed the ladders, scaffolding and hard labour of painting. She had an adviser on her schemes, a Mr. E. L. Blackburne F.S.A., an authority on medieval decoration.

 

The twelve large panels of the chancel ceiling each show an angel holding either a scroll with the words of the canticle 'Blessed be the Lord God of Israel', or the emblems of the Passion: the cross, the hammer and nails, the scourge, the lance, the crown of thorns and the reed.

Two pelicans in their piety (pecking their breasts to feed their young) are in the last small panels.

 

Between the beam ends of the chancel roof there are Bible verses in Gothic lettering,

 

then two tiers of panels; the lower have pictures of the Lamb of God alternating with`the Keys of Heaven. Above, are crowned monograms.

 

Above the Chancel Arch, the Lamb of God is depicted with the words 'Glory, Honour, Praise and Power unto the Lamb for Ever and Ever', lines taken from the Book of Revelation.

 

Three years later Mildred Holland began to paint again in the nave. In 1866 her husband William makes a note 'scaffolding finally taken down, September Ist'. The whole cost of repairing the nave roof, preparing it for painting and for materials amounted to £247.10s.7d of which £16.7s.6d was for 225 books of gold leaf and £72 for colours. William Holland's notes show that between 1859 and 1882 a total of £2,034. 10s.0d was spent on the church restoration, of which, apparently, he gave all but £400.

 

Recent research has found the complete record of William Holland's work in restoring and furnishing the church. These are available for interested students.

The figures on the nave roof are of the twelve apostles and two female saints. Each is painted in the lower tier with their traditional symbols and again in the upper tier clothed in heavenly raiment holding scrolls bearing their names.

 

Note that Saints Margaret and Andrew are both included as there is a tradition that these two saints were specially venerated here. There are niches for statues in the south aisle which may have held statues of them. The cult of St Margaret of Antioch grew in the 10th century and her veneration was brought back to England by crusaders. Her inclusion here may hint at an early date for the church's foundation.

 

Mildred Holland died in 1878; William served on until 1892, a total of forty years. He gave the font cover in memory of his wife and also the brass lectern with its graceful angels and winged dragons. Their graves are in the churchyard to the west of the entrance gates. Side by side they lie, beneath a table tomb alongside a standing cross.

 

It is natural to speculate about the roof. It is of a single hammer-beam construction, arch-braced principals alternating with hammer-beams ending in carved angels. The angels in the nave carry a crown or a banner, those in the chancel have heraldic shields bearing arms. The question all ask is: are these angels genuinely medieval work which escaped the axes of the post-Reformation Puritans, (and remember that William Dowsing, the arch-destroyer, came from nearby Laxfield) or are they all the handiwork of Victorian craftsmen?

Traditional East Anglian hammer-beam roofs generally terminate in a carving of some sort, and the de la Poles made angel roofs in the churches of their manors, even taking Suffolk carpenters to Ewelme in Oxfordshire to make one there. But our angels are too perfect to be so old. Entries in a tradesman's account of 1865 would seem to settle the matter; or do they?

 

The fourteenth and fifteenth centuries were times of great development and two families, both wealthy and influential, used their means to beautify and rebuild the churches on their manors including St Mary's. Keeping up with the neighbours is not a new fashion. Both left their marks on the font which, standing on restored steps and with a splendid cover, shows two heraldic shields.

The shield facing south depicts the arms of de Ufford while that on the north side is of de la Pole.

 

The de Ufford shield is that of Sir William de Ufford, Earl of Suffolk during the reign of Edward III. He held Framlingham Castle for the King and owned several manors in Suffolk. Among these were Parham, where he built the church, and Huntingfield.

The other shield is that of Michael de la Pole, Lord Chancellor and Earl of Suffolk, who married Catherine, daughter and heiress of Sir John Wingfield of Wingfield Castle. He succeeded to the manor of Huntingfield through his wife, and died in 1389. The shield shows both of their arms.

 

Michael de la Pole's has three polecat faces while Catherine Wingfield's has three open wings. Both are puns on their names. (For another heraldic pun look for the arms of Huntingfield being held by one of the angels in the roof: three hunting horns on a 'field'.)

In Ufford church you can see a medieval font cover which was a model for ours when it was made in the nineteenth century. In Wingfield church there is a font so like ours that it was probably made by the same craftsman.

 

www.stmaryshuntingfield.org.uk/history.htm

 

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There is nowhere else in Suffolk quite like St Mary. Huntingfield is one of the county's most obscure villages; there are hardly any signposts to it. It is the nearest village to the great pile of Heveningham Hall, and perhaps these two facts are not unconnected. But it is worth getting out the old Ordnance Survey map, because here at St Mary was a remarkable 19th century restoration.

In the second half of that century, many parish churches were drawn by the excitement of the age into major reconstructions and revisions. They often looked to London stars like Scott and Butterfield, or local plodders like Phipson, or else mavericks like Salvin. The demands of the new liturgical arrangements, coupled with a renewed sense of the need to glorify God, led them into what was often a rebuilding rather than a restoration. Internal decorations were, perhaps, the bespoke work of the architect; witness Phipson's meticulous attention to detail at St Mary le Tower, Ipswich.

 

Other restorers relied on the big picture, a vision that encompassed walls and floors, but left the fittings to others; as, for example, Salvin's Flixton St Mary. What was the driving force behind Victorian revisionism? Essentially, what happened in England between about 1830 and 1870 was a cultural revolution, a ferment of new ideas and the reaction to them. The changes proposed by the Oxford Movement were, at first, objectionable, and then merely controversial; but gradually, they seeped into the mainstream, until by about 1890 they had become as natural as the air we breathe.

 

By the centenary of the movement in the 1930s, one Anglican clergyman could observe "It is as if the Reformation had never happened". Well, not quite. And now, the pendulum has swung the other way, leaving the ritualists high and dry. But the evidence of the energy of those days survives, especially at Huntingfield, where it was the local vicar who drove the Oxford Movement through the heart of the parish, like a motorway through a Site of Special Scientific Interest.

 

What the vicar of Huntingfield had, and many other ministers didn't, was a visionary wife. Between 1859 and 1866, Mrs Mildred Holland planned, designed and executed the most elaborate redecoration of a church this county had seen since the Reformation. For seven years, she lay on her back at the top of scaffolding, first in the chancel (angels) and then in the nave (saints on the ceilure, fine angels on the beam ends), gilding, lettering and painting this most glorious of small church roofs. Her husband, the Reverend William Holland, kept a journal throughout this period, and there is no suggestion that she had any assistance, beyond that of workmen to raise the scaffolding, and a Mr E.L. Blackburne FSA, who was, apparently, an 'authority on medieval decoration'.

 

J.P. St Aubyn was responsible for the structural restoration of this largely 15th century building, and it is very restrained and merciful. He did, however, refit the little windows in the south clerestory. But you come here to see the painted roofs, which are perfectly splendid. Beware if you come with children, or it will cost you a fortune in pound coins to activate the illuminations.

 

The font cover is not part of Mildred Holland's work; rather, it is her memorial, as is the art nouveau lectern. It is as if her art was a catalyst, inspiring others to acts of beauty. She died in the 1870s, predeceasing her husband by twenty years. They are both now buried by the churchyard gate. How fitting, that they should lie in the graveyard of the church they loved so much, and to which they gave so much of their time, energy and money.

 

Curiously, Ann Owen, the wife of the vicar of nearby Heveningham, produced the stained glass there; a novel is waiting to be written about these two women.

 

For such an obscure village, St Mary has had its share of influential patrons. Four major families in particular have left their mark here. Before the Reformation, the de la Poles and Uffords, whose shields you'll find on the font, and in later years the Cokes and the Pastons, both more usually associated with Norfolk.

 

But, as I have said, you don't come to Huntingfield because of important dead people. Look up, look all around, and see the true memorial to Mrs Holland. It does not have the gravitas of Lound, or the piety of Kettlebaston. And I really love it for that. I think this is a place that should be better known, and not just because of the way it contrasts with the less successful 19th century restorations at neighbouring Cookley and Walpole.

What we have here is as fine a display of 19th century folk art as you'll find anywhere in the county.

 

Simon Knott, 2001 (updated 2007)

 

www.suffolkchurches.co.uk/huntingfield.htm

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I am working on several books on "epic photography," and I recently finished a related one titled: The Golden Number Ratio Principle: Why the Fibonacci Numbers Exalt Beauty and How to Create PHI Compositions in Art, Design, & Photography: An Artistic and Scientific Introduction to the Golden Mean . Message me on facebook for a free review copy!

 

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The Golden Ratio also informs the design of the golden revolver on all the swimsuits and lingerie, as well as the 45surf logo!

 

The Golden Number Ratio Principle: Dr. E’s Golden Ratio Principle: The golden ratio exalts beauty because the number is a characteristic of the mathematically and physically most efficient manners of growth and distribution, on both evolutionary and purely physical levels. The golden ratio ensures that the proportions and structure of that which came before provide the proportions and structure of that which comes after. Robust, ordered growth is naturally associated with health and beauty, and thus we evolved to perceive the golden ratio harmonies as inherently beautiful, as we saw and felt their presence in all vital growth and life—in the salient features and proportions of humans and nature alike, from the distribution of our facial features and bones to the arrangements of petals, leaves, and sunflowers seeds. As ratios between Fibonacci Numbers offer the closest whole-number approximations to the golden ratio, and as seeds, cells, leaves, bones, and other physical entities appear in whole numbers, the Fibonacci Numbers oft appear in nature’s elements as “growth’s numbers.” From the dawn of time, humanity sought to salute their gods in art and temples exalting the same proportion by which all their vital sustenance and they themselves had been created—the golden ratio.

 

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My physics equation dx4/dt=ic graces the swimsuits and bikinis, while the golden gun is designed in proportion with the golden ratio, and the photos are oft cropped in divine proportions!

 

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A sizeable proportion of the Linz tram fleet wear advertising liveries but this one sports the 'base' colours.

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My physics equation dx4/dt=ic graces the swimsuits and bikinis, while the golden gun is designed in proportion with the golden ratio, and the photos are oft cropped in divine proportions!

 

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My physics equation dx4/dt=ic graces the swimsuits and bikinis, while the golden gun is designed in proportion with the golden ratio, and the photos are oft cropped in divine proportions!

 

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his body is smaller, but the head makes him taller

by Thomas Phillips

oil on canvas, 1807

 

Painted when Blake was having one of his visions, apparently.

 

One can only wonder what his mind's eye was seeing.

 

------------------------------------------------------------------------------------------

 

William Blake (28 November 1757 – 12 August 1827) was an English poet, painter, and printmaker. Largely unrecognised during his lifetime, Blake is now considered a seminal figure in the history of the poetry and visual arts of the Romantic Age. What he called his prophetic works were said by 20th-century critic Northrop Frye to form "what is in proportion to its merits the least read body of poetry in the English language".[2] His visual artistry led 21st-century critic Jonathan Jones to proclaim him "far and away the greatest artist Britain has ever produced".[3] In 2002, Blake was placed at number 38 in the BBC's poll of the 100 Greatest Britons.[4] While he lived in London his entire life, except for three years spent in Felpham,[5] he produced a diverse and symbolically rich œuvre, which embraced the imagination as "the body of God"[6] or "human existence itself".[7]

 

Although Blake was considered mad by contemporaries for his idiosyncratic views, he is held in high regard by later critics for his expressiveness and creativity, and for the philosophical and mystical undercurrents within his work. His paintings and poetry have been characterised as part of the Romantic movement and as "Pre-Romantic".[8] A committed Christian who was hostile to the Church of England (indeed, to almost all forms of organised religion), Blake was influenced by the ideals and ambitions of the French and American Revolutions.[9] Though later he rejected many of these political beliefs, he maintained an amiable relationship with the political activist Thomas Paine; he was also influenced by thinkers such as Emanuel Swedenborg.[10] Despite these known influences, the singularity of Blake's work makes him difficult to classify. The 19th-century scholar William Michael Rossetti characterised him as a "glorious luminary",[11] and "a man not forestalled by predecessors, nor to be classed with contemporaries, nor to be replaced by known or readily surmisable successors"

 

Blake's first collection of poems, Poetical Sketches, was printed around 1783.[31] After his father's death, Blake and former fellow apprentice James Parker opened a print shop in 1784, and began working with radical publisher Joseph Johnson.[32] Johnson's house was a meeting-place for some leading English intellectual dissidents of the time: theologian and scientist Joseph Priestley, philosopher Richard Price, artist John Henry Fuseli,[33] early feminist Mary Wollstonecraft and English revolutionary Thomas Paine. Along with William Wordsworth and William Godwin, Blake had great hopes for the French and American revolutions and wore a Phrygian cap in solidarity with the French revolutionaries, but despaired with the rise of Robespierre and the Reign of Terror in France. In 1784 Blake composed his unfinished manuscript An Island in the Moon.

 

Blake illustrated Original Stories from Real Life (2nd edition, 1791) by Mary Wollstonecraft. They seem to have shared some views on sexual equality and the institution of marriage, but there is no evidence proving that they met. In 1793's Visions of the Daughters of Albion, Blake condemned the cruel absurdity of enforced chastity and marriage without love and defended the right of women to complete self-fulfilment.

 

From 1790 to 1800, William Blake lived in North Lambeth, London, at 13 Hercules Buildings, Hercules Road.[34] The property was demolished in 1918, but the site is now marked with a plaque.[35] There is a series of 70 mosaics commemorating Blake in the nearby railway tunnels of Waterloo Station.[36][37][38] The mosaics largely reproduce illustrations from Blake's illuminated books, The Songs of Innocence and Experience, The Marriage of Heaven and Hell, and the prophetic books.

 

In 1788, aged 31, Blake experimented with relief etching, a method he used to produce most of his books, paintings, pamphlets and poems. The process is also referred to as illuminated printing, and the finished products as illuminated books or prints. Illuminated printing involved writing the text of the poems on copper plates with pens and brushes, using an acid-resistant medium. Illustrations could appear alongside words in the manner of earlier illuminated manuscripts. He then etched the plates in acid to dissolve the untreated copper and leave the design standing in relief (hence the name).

 

This is a reversal of the usual method of etching, where the lines of the design are exposed to the acid, and the plate printed by the intaglio method. Relief etching (which Blake referred to as "stereotype" in The Ghost of Abel) was intended as a means for producing his illuminated books more quickly than via intaglio. Stereotype, a process invented in 1725, consisted of making a metal cast from a wood engraving, but Blake's innovation was, as described above, very different. The pages printed from these plates were hand-coloured in water colours and stitched together to form a volume. Blake used illuminated printing for most of his well-known works, including Songs of Innocence and of Experience, The Book of Thel, The Marriage of Heaven and Hell and Jerusalem.

 

Although Blake has become better known for his relief etching, his commercial work largely consisted of intaglio engraving, the standard process of engraving in the 18th century in which the artist incised an image into the copper plate, a complex and laborious process, with plates taking months or years to complete, but as Blake's contemporary, John Boydell, realised, such engraving offered a "missing link with commerce", enabling artists to connect with a mass audience and became an immensely important activity by the end of the 18th century.[40]

 

Europe Supported by Africa and America is an engraving by Blake dating to 1792 held in the collection of the University of Arizona Museum of Art. It depicts three attractive women embracing one another. Black Africa and White Europe hold hands in a gesture of equality as the barren earth blooms beneath their feet. Europe wears a string of pearls while her sisters Africa and America, wearing slave bracelets, are depicted as "contented slaves".[41] Some scholars have speculated that the bracelets represents the historical fact while the handclasp Stedman's "ardent wish": "we only differ in color, but are certainly all created by the same Hand."[41] Others have said it "expresses the climate of opinion in which the questions of color and slavery were at that time being considered, and which Blake's writings reflect".[42] The engraving was for a book written by Blake's friend John Gabriel Stedman called The Narrative of a Five Years Expedition against the Revolted Negroes of Surinam (1796).[43]

 

Blake employed intaglio engraving in his own work, such as for the illustrations of the Book of Job, completed just before his death. Most critical work has concentrated on Blake's relief etching as a technique because it is the most innovative aspect of his art, but a 2009 study drew attention to Blake's surviving plates, including those for the Book of Job: they demonstrate that he made frequent use of a technique known as "repoussage", a means of obliterating mistakes by hammering them out by hitting the back of the plate. Such techniques, typical of engraving work of the time, are very different to the much faster and fluid way of drawing on a plate that Blake employed for his relief etching, and indicates why the engravings took so long to complete.

 

The commission for Dante's Divine Comedy came to Blake in 1826 through Linnell, with the aim of producing a series of engravings. Blake's death in 1827 cut short the enterprise, and only a handful of watercolours were completed, with only seven of the engravings arriving at proof form. Even so, they have earned praise:

 

'[T]he Dante watercolours are among Blake's richest achievements, engaging fully with the problem of illustrating a poem of this complexity. The mastery of watercolour has reached an even higher level than before, and is used to extraordinary effect in differentiating the atmosphere of the three states of being in the poem.

 

Blake's illustrations of the poem are not merely accompanying works, but rather seem to critically revise, or furnish commentary on, certain spiritual or moral aspects of the text.

 

Because the project was never completed, Blake's intent may be obscured. Some indicators bolster the impression that Blake's illustrations in their totality would take issue with the text they accompany: In the margin of Homer Bearing the Sword and His Companions, Blake notes, "Every thing in Dantes Comedia shews That for Tyrannical Purposes he has made This World the Foundation of All & the Goddess Nature & not the Holy Ghost." Blake seems to dissent from Dante's admiration of the poetic works of ancient Greece, and from the apparent glee with which Dante allots punishments in Hell (as evidenced by the grim humour of the cantos).

 

At the same time, Blake shared Dante's distrust of materialism and the corruptive nature of power, and clearly relished the opportunity to represent the atmosphere and imagery of Dante's work pictorially. Even as he seemed to be near death, Blake's central preoccupation was his feverish work on the illustrations to Dante's Inferno; he is said to have spent one of the very last shillings he possessed on a pencil to continue sketching.

 

en.wikipedia.org/wiki/William_Blake

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Modeling the new black & gold & "Gold 45 Revolver" Gold'N'Virtue swimsuits with the main equation to Dynamic Dimensions Theory on the swimsuits: dx4/dt=ic. Yes I have a Ph.D. in physics! :) You can read more about my research and Hero's Odyssey Physics here:

herosodysseyphysics.wordpress.com/ MDT PROOF#2: Einstein (1912 Man. on Rel.) and Minkowski wrote x4=ict. Ergo dx4/dt=ic--the foundational equation of all time and motion which is on all the shirts and swimsuits. Every photon that hits my Nikon D800e's sensor does it by surfing the fourth expanding dimension, which is moving at c relative to the three spatial dimensions, or dx4/dt=ic!

 

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Fine art swimsuit model, ballerina, and ballet photography!

 

Nikon D810 Photos Pretty Swimsuit Bikini Fitness Model Goddess Nikon 70-200mm f2.8 ED VR II AF-S Nikkor Zoom Lens for Nikon DSLR Cameras!

 

45SURF Fine Art!

 

After looking through my work,what do you think about Nikob vs. Sony? Do you prefer the Nikon D810 and Nikkor / Tamron / Sigma lenses /glass, or the Sony A7r and Sony Sonnar Carl Zeiss e-mount glass/lenses? I love them both! And I am so excited about the Sony A7rII !

 

From the golden spiral in the whirlpool galaxy and our very own milkway galaxy, to the golden mean of an athletic models' proportions, to the divine proportions found in a beautiful models' face, to the optimum curves and compositions of my fine art photography, I have found the Fibonacci sequence and golden number Phi to be omni-present. And so it makes sense that I found the golden spiral to naturally emerge in my physics theory--Dynamic Dimensions Theory--which postulates that the fourth dimension is expanding at the rate of c relative to the three spatial dimensions, giving rise to relativity, the quantum, and time and all its arrows and asymmetries. Yes! I have a pPh.D. in physics! Photons of ligth are but matter which surfs the fourth expanding dimension en route to creating a beautiful photograph.

 

And yes I am working on a book combining my philosophies on Phi, fine art photography, physics, the golden mean and number, the divine proportion, and the natgural emergence of the Fibonacci numbers in life and beauty. The book, filled with my photography aongside classic poetry, epic physics, and philosophy, will be called The Golden Hero's Odyssey. :)

My physics equation dx4/dt=ic graces the swimsuits and bikinis, while the golden gun is designed in proportion with the golden ratio, and the photos are oft cropped in divine proportions!

 

Beautiful Golden Ratio Composition Photography Surf Goddesses! dx4/dt=ic Athletic Action Portraits of Swimsuit Bikini Models! Athena, Artemis, Helen, and Aphrodite! Athletic Fitness Models!

 

My Epic Gear Guide for Landscapes & Portraits!

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Everyone is always asking me for this! Here ya go! :)

 

My Epic Book: Photographing Women Models!

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Portrait, Swimsuit, Lingerie, Boudoir, Fine Art, & Fashion Photography Exalting the Venus Goddess Archetype: How to Shoot Epic ...

 

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Beautiful Surf Goddesses! Athletic Action Portraits of Swimsuit Bikini Models! Athena, Artemis, Helen, and Aphrodite!

  

Working on a book titled THE GOLDEN HERO'S ODYSSEY!

 

Check out my epic album: Golden Rectangle, Golden Ratio, Golden Spiral, Phi Grid, and Fibonacci Spiral in Fine Art Photography Compositions!

www.flickr.com/photos/herosjourneymythology45surf/albums/...

 

Divine Proportion on a Divine Goddess! Golden Rectangle Goddess! Fibonacci Spiral Composition for Classical Goddess and Exalted Fine Art!

 

Pretty Greek Goddesses! Artemis, Athena, Hera, and Aphrodite! Venus, Minerva, and Ares, Demeter, and Nike!

 

Pretty Swimsuit Bikini Model Goddess Nikon D800 Super Sharp AF-S NIKKOR 70-200mm f/2.8G ED VR II

 

All of the new Gold 45 Revolver and 45SURF logos and designs are inspired by the golden number phi and divine proportion! Just as my landscapes oft employ the golden rectangle and fibonacci spiral in composition, all the bikinis, shirts, and lingerie designs are made with the golden section and gold number Phi (1.618) in mind! The golden grids, rectangles, pentagons, and spirals make a far better system for compositions than does the rule of thirds! And too, the golden mean and divine proportion are found in every model--in her pretty face and in the divine proportions of the 45surf goddess's heavenly body! I'm working on a book on all this beautitful craziness in fine art landscapes and models called The Golden Hero's Odyssey, which also ties it to my physics theory Dynamic Dimenions theory (dx4/dt=ic). :)

 

More of the epic Greek goddess bikini swimsuit models on instagram!

 

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I have been traveling around in Zion, Yosemite, the Grand Canyon, and Bryce Canyon! Will share soon! :)

 

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Working on a photography book too--Hero's Odyssey Photography! It focuses on my greatest hits while telling the tsory behind each one, thusly teaching how to shoot epic landscapes, ballerinas, and models!

 

All the best on your Epic Hero's Odyssey!

 

45SURF! Celebrating epic, heroic poetry, classic goddess beauty and the classical soul! Shakespeare, Homer's Iliad & Odyssey, and Moby Dick!

 

All the best on your epic hero's odyssey!

Dr. Elliot McGucken Fine Art Landscape & Nature Photography

 

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Epic Landscape Photography: The Mythological Principles of Fine Art Nature Photography

 

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Golden Number Ratio Divine Proportion Compositions Fine Art Photography Dr. Elliot McGucken : Using the Nature's Golden Cut to Exalt Nature Photography!

 

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Ansel Adams used the golden ratio in his photography too:

 

www.youtube.com/watch?v=WFlzAaBgsDI

 

www.youtube.com/watch?v=zrOUX3ZCl7I

 

The Fibonacci Numbers are closely related to the golden ratio, and thus they also play a prominent role in exalted natural and artistic compositions!

 

I'm working on a far deeper book titled The Golden Ratio Number for Photographers. :)

 

The famous mathematician Jacob Bernoulli wrote:

 

The (golden spiral) may be used as a symbol, either of fortitude and constancy in adversity, or of the human body, which after all its changes, even after death, will be restored to its exact and perfect self.

 

Engraved upon Jacob’s tombstone is a spiral alongside the words, "Eadem Mutata Resurgo," meaning "Though changed, I shall rise again." And so it is that within the Golden Ratio Principle, the golden harmonies rise yet again.

 

The golden ratio is oft known as the divine cut, the golden cut, the divine proportion, the golden number, and PHI for the name of the architect of the Parthenon Phidias. It has exalted classical art on down through the millennia and it can exalt your art too!

 

Ask me anything about the golden ratio! :) I will do my best to answer!!

 

Enjoy my Fine Art Ballet instagram too!

 

instagram.com/fineartballet

 

Dr. Elliot McGucken's Golden Ratio Principle: The Golden Number Ratio Principle: Dr. E’s Golden Ratio Principle: The golden ratio exalts beauty because the number is a characteristic of the mathematically and physically most efficient manners of growth and distribution, on both evolutionary and purely physical levels. The golden ratio ensures that the proportions and structure of that which came before provide the proportions and structure of that which comes after. Robust, ordered growth is naturally associated with health and beauty, and thus we evolved to perceive the golden ratio harmonies as inherently beautiful, as we saw and felt their presence in all vital growth and life—in the salient features and proportions of humans and nature alike, from the distribution of our facial features and bones to the arrangements of petals, leaves, and sunflowers seeds. As ratios between Fibonacci Numbers offer the closest whole-number approximations to the golden ratio, and as seeds, cells, leaves, bones, and other physical entities appear in whole numbers, the Fibonacci Numbers oft appear in nature’s elements as “growth’s numbers.” From the dawn of time, humanity sought to salute their gods in art and temples exalting the same proportion by which all their vital sustenance and they themselves had been created—the golden ratio. the golden number, rectangle, and spiral!

 

www.instagram.com/goldennumberratio/

  

Beautiful Redhead Ginger Goddess! Pretty Bikini Beach Model! Golden Ratio Composition Photography Surf Goddesses! Athletic Action Portraits of Swimsuit Bikini Models! Red Hair Athena, Artemis, Helen, Aphrodite! Athletic Fitness Models! 45SURF dx4/dt=ic

 

My physics equation dx4/dt=ic graces the swimsuits and bikinis, while the golden gun is designed in proportion with the golden ratio, and the photos are oft cropped in divine proportions!

 

Beautiful Golden Ratio Composition Photography Surf Goddesses! dx4/dt=ic Athletic Action Portraits of Swimsuit Bikini Models! Athena, Artemis, Helen, and Aphrodite! Athletic Fitness Models!

 

My Epic Gear Guide for Landscapes & Portraits!

geni.us/hcTs

Everyone is always asking me for this! Here ya go! :)

 

My Epic Book: Photographing Women Models!

geni.us/m90Ms

Portrait, Swimsuit, Lingerie, Boudoir, Fine Art, & Fashion Photography Exalting the Venus Goddess Archetype: How to Shoot Epic ...

 

Epic! Beautiful Surf Fine Art Portrait Swimsuit Bikini Models!

 

Bitcoin: 1FMBZJeeHVMu35uegrYUfEkHfPj5pe9WNz

 

Follow me friends!

facebook.com/mcgucken

instagram.com/elliotmcgucken

facebook.com/goldennumberratio

instagram.com/45surf

 

Epic books, prints, & more!

geni.us/aEG4

 

Exalt your photography with Golden Ratio Compositions!

geni.us/eeA1

Golden Ratio Compositions & Secret Sacred Geometry for Photography, Fine Art, & Landscape Photographers: How to Exalt Art with Leonardo da Vinci's, Michelangelo's!

 

Epic Landscape Photography:

geni.us/TV4oEAz

A Simple Guide to the Principles of Fine Art Nature Photography: Master Composition, Lenses, Camera Settings, Aperture, ISO, ... Hero's Odyssey Mythology Photography)

 

Epic Art & Gear for your Epic Hero's Odyssey:

geni.us/9fnvAMw

 

Enjoy my physics books graces with my fine art photography! Light Time Dimension Theory: The Foundational Physics Unifying Einstein's Relativity and Quantum Mechanics: A Simple, Illustrated Introduction to the Physical

amzn.to/2A4IMfM

 

Beautiful Surf Goddesses! Athletic Action Portraits of Swimsuit Bikini Models! Athena, Artemis, Helen, and Aphrodite!

 

via Instagram F O R G O T T EN There is something truly disheartening about the homelessness, the disparity in the street of #Jerusalem. In what is supposed to be the holiest of cities in the world, the great bastion of monotheism, the center of religious texts that have framed the discourse on constructing societies; here we have the cold, the hungry and the abandoned. Despite being #Jewish, only the spoils of #Israeli occupation of #Palestine go to the elite - #Israelis and #Palestinians alike. When I walk the streets, I can't help but wonder of those sleep on the cold, unforgiving stones that line the ancient streets, if this is a person is native to this land or did the come here chasing the great dream of plenty. I wonder how many people had stepped over their worn and tired body and didn't drop a shekel or two into the cup of the needy. I can't help but think of the billions of dollars that is wasted in perpetuating the #Israeli occupation and that the basic rights of human life a long forgotten in the chase for the impossible #Zionist dream. While almost half of the homeless population--48%--are olim from the former Soviet Union, about a third (32%) were Israel-born Jews, and 6% were Israeli Arabs, a figure relatively low relative to the proportion of Arabs in the general population. Some 3% were Ethiopian-born Israelis, somewhat higher than their prevalence in the population. (Jerusalem Post By NIV ELIS | 12/07/2015) #TAKE_ACTION Your tangible contribution is act of justice and hope. Be the change in the world. Make a difference, click here: bit.ly/Pics_For_Peace #Jerusalem #StreetPhotograpy #israelioccupation #freepalestine #peace #love #apartheid #israel #الخليل #المقاومة #فلسطين #الاحتلال #שלום #אהבה #צדק #ירושלים #חברון #פלסטין #الحرية

Young Clown fish and Yellow Tang

I can't believe I might have to explain what this is, it's sort of like explaining the pencil, but apparently in modern printing production the proportion wheel is nowhere to be found. We used this to figure out what percentage to reduce or enlarge images in the preparation of negatives, and to figure out cropping to a set amount of space.

 

Apparently C-Thru still sells these.

 

My wife is currently instructing 2d-year college design students on how to use a T-square. I mean, really.

One of the keys to shooting Epic Landscape Photography is exalting the photograph's soul via golden ratio compositions, thusly wedding the photographic art to the divine proportion by which life itself was designed and exalted.

 

Dr. Elliot McGucken's Golden Number Ratio Fine Art Landscape & Nature Photography Composition Studies!

 

instagram.com/goldennumberratio

 

www.facebook.com/goldennumberratio/

 

facebook.com/mcgucken

 

Greetings flickr friends! I am working on several books on "epic photography," and I recently finished a related one titled: The Golden Number Ratio Principle: Why the Fibonacci Numbers Exalt Beauty and How to Create PHI Compositions in Art, Design, & Photography: An Artistic and Scientific Introduction to the Golden Mean . Message me on facebook for a free review copy!

 

www.facebook.com/goldennumberratio/

 

The Golden Ratio also informs the design of the golden revolver on all the swimsuits and lingerie, as well as the 45surf logo!

 

The Golden Number Ratio Principle: Dr. E’s Golden Ratio Principle: The golden ratio exalts beauty because the number is a characteristic of the mathematically and physically most efficient manners of growth and distribution, on both evolutionary and purely physical levels. The golden ratio ensures that the proportions and structure of that which came before provide the proportions and structure of that which comes after. Robust, ordered growth is naturally associated with health and beauty, and thus we evolved to perceive the golden ratio harmonies as inherently beautiful, as we saw and felt their presence in all vital growth and life—in the salient features and proportions of humans and nature alike, from the distribution of our facial features and bones to the arrangements of petals, leaves, and sunflowers seeds. As ratios between Fibonacci Numbers offer the closest whole-number approximations to the golden ratio, and as seeds, cells, leaves, bones, and other physical entities appear in whole numbers, the Fibonacci Numbers oft appear in nature’s elements as “growth’s numbers.” From the dawn of time, humanity sought to salute their gods in art and temples exalting the same proportion by which all their vital sustenance and they themselves had been created—the golden ratio.

 

Ansel Adams is not only my favorite photographer, but he is one of the greatest photographers and artists of all time. And just like great artists including Michelangelo, Monet, Degas, Renoir, Leonardo da Vinci, Vermeer, Rembrandt, Botticelli, and Picasso, Ansel used the golden ratio and divine proportions in his epic art.

Not so long ago I discovered golden regions in many of his famous public domain his 8x10 aspect ratio photographs. I call these golden harmony regions "regions of golden action" or "ROGA"S, as seen here:

 

www.facebook.com/media/set/?set=a.1812448512351066.107374...

 

And too, I created some videos highlighting Ansel's use of the golden harmonies. Enjoy!

www.youtube.com/watch?v=AGnxOAhK3os

www.youtube.com/watch?v=WFlzAaBgsDI

www.youtube.com/watch?v=D3eJ86Ej1TY

 

More golden ratio and epic photography composition books soon! Best wishes for the Holiday Season! Dr. Elliot McGucken :)

One More quick one, messing with proportions

Vollkommen im Grün!

 

Holy Moly....... This is a nipple alert of epic proportion.

Not ona star, nope,,,,, not two stars,,, not even close,,,,,, But a five star...... Count them.... Five star nipple alert.

Got up this morning. And those girls were standing erect like rockets at that Elon Musk launch site. All gassed up and ready for lift off.......

And then I looked at the temperature, I did...... And it was 1' F. With a wind chill of -17 below... With a high of maybe +5 F forecasted for remainder of day........

Well............... Scratch laying outside in a bikini soaking in some sun rays today.....

And winter doesn't officially start for another 9 days.....

So....... Remember what I always say....... Yup...... Keep things simple.........

Think I'll crawl back in bed and get some shared Sandra heat... And maybe some of her massaging fingers to get a little blood circulation......

Can never have enough blood circulation fiddley dee !!!!!

Epic 45SURF t-shirts & hoodies for your EPIC HERO'S ODYSSEY!

 

shop.spreadshirt.com/45surf/45surf+hero's+odyssey+mytholo...

 

Epic Malibu Sea Caves 2018 Caledar!

www.zazzle.com/elliotmcgucken

 

My book on Epic Landscape Photography!

www.amazon.com/Epic-Landscape-Photography-Principles-Comp...

 

Photographing the Venus Archetype!

www.amazon.com/Photographing-Women-Models-Photography-Arc...

 

Greetings mate! As many of you know, I love marrying art, science, and math in my fine art portrait and landscape photography!

 

The 45surf and gold 45 revolver swimsuits, shirts, logos, designs, and lingerie are designed in accordance with the golden ratio! More about the design and my philosophy of "no retouching" on the beautiful goddesses in my new book:

 

www.facebook.com/Photographing-Women-Models-Portrait-Swim...

 

"Photographing Women Models: Portrait, Swimsuit, Lingerie, Boudoir, Fine Art, & Fashion Photography Exalting the Venus Goddess Archetype"

 

If you would like a free review copy, message me!

 

Epic Landscape Photography! New Book!

www.facebook.com/epiclandscapephotography

 

And here's more on the golden ratio which appears in many of my landscape and portrait photographs (while shaping the proportions of the golden gun)!

 

www.facebook.com/goldennumberratio/

'

The dx4/dt=ic above the gun on the lingerie derives from my new physics books devoted to Light, Time, Dimension Theory!

 

www.facebook.com/lightimedimensiontheory/

 

Thanks for being a fan! Would love to hears your thoughts on my philosophies and books! :)

 

facebook.com/mcgucken

http:/instagram.com/elliotmcgucken

instagram.com/goldennumberratio

 

Beautiful swimsuit bikini model goddess!

 

Golden Ratio Lingerie Model Goddess LTD Theory Lingerie dx4/dt=ic! The Birth of Venus, Athena, and Artemis! Girls and Guns!

 

Would you like to see the whole set? Comment below and let me know!

 

Follow me!

instagram.com/45surf

facebook.com/mcgucken

instagram.com/elliotmcgucken

 

I am working on several books on "epic photography," and I recently finished a related one titled: The Golden Number Ratio Principle: Why the Fibonacci Numbers Exalt Beauty and How to Create PHI Compositions in Art, Design, & Photography: An Artistic and Scientific Introduction to the Golden Mean . Message me on facebook for a free review copy!

 

www.facebook.com/goldennumberratio/

 

The Golden Ratio informs a lot of my art and photographic composition. The Golden Ratio also informs the design of the golden revolver on all the swimsuits and lingerie, as well as the 45surf logo! Not so long ago, I came up with the Golden Ratio Principle which describes why The Golden Ratio is so beautiful.

 

The Golden Number Ratio Principle: Dr. E’s Golden Ratio Principle: The golden ratio exalts beauty because the number is a characteristic of the mathematically and physically most efficient manners of growth and distribution, on both evolutionary and purely physical levels. The golden ratio ensures that the proportions and structure of that which came before provide the proportions and structure of that which comes after. Robust, ordered growth is naturally associated with health and beauty, and thus we evolved to perceive the golden ratio harmonies as inherently beautiful, as we saw and felt their presence in all vital growth and life—in the salient features and proportions of humans and nature alike, from the distribution of our facial features and bones to the arrangements of petals, leaves, and sunflowers seeds. As ratios between Fibonacci Numbers offer the closest whole-number approximations to the golden ratio, and as seeds, cells, leaves, bones, and other physical entities appear in whole numbers, the Fibonacci Numbers oft appear in nature’s elements as “growth’s numbers.” From the dawn of time, humanity sought to salute their gods in art and temples exalting the same proportion by which all their vital sustenance and they themselves had been created—the golden ratio.

 

The Birth of Venus! Beautiful Golden Ratio Swimsuit Bikini Model Goddess! Helen of Troy! She was tall, thin, fit, and quite pretty!

  

Read all about how classical art such as The Birth of Venus inspires all my photography!

www.facebook.com/Photographing-Women-Models-Portrait-Swim...

 

"Photographing Women Models: Portrait, Swimsuit, Lingerie, Boudoir, Fine Art, & Fashion Photography Exalting the Venus Goddess Archetype"

   

My Digits

Autumn in Niagara seems to hold almost endless opportunities, even walking to work I have to a bit of discipline to make sure I'm not late.

 

If you like my work click the "Follow" button on Flickr.

 

Check out my Blog rumimume.blogspot.ca/

 

I'm also on Google+ plus.google.com/106313488075670991016/posts

 

You can get my "Pic-of-The-day" in your twitter feed by following @rumimumesf on twitter

2005-106(002)

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About Us

Scotland's influence on the maritime history of the world from the eighteenth century to the modern day has been enormous and out of all proportion to the size of the country. Sites operated by the Scottish Maritime Museum contain exhibitions and collections that tell the story of that great maritime tradition. At both Irvine and Dumbarton the buildings themselves are important parts of that story. The sites are complemented by a collection of vessels that represent 150 years of the working boats of Scotland.

 

If your interests are in the detailed aspects of the building of ships or the way in which ordinary people interacted with the sea, then the Scottish Maritime Museum should be your first port of call. If you want to undertake detailed research or just an enjoyable and stimulating day out, the Scottish Maritime Museum can provide it.

Please see our website for further details : www.scottishmaritimemuseum.org/

----------------------------------------------------------------------------------

We hope that you enjoy looking at these photographs. We would really like your input to help us develop the collection even more. If you know anything about the people, places or events in these photographs then please leave a comment.

It is believed that images from the SMM 's collection shown here on Flickr have the permission of the author or owner. We do not assume that we can give unilateral permission for use elsewhere so all images are marked as "All Right Reserved". Please advise us of any images which might be of questionable ownership and appropriate action will be taken.

Should you wish to use an image for any reason, for a quick response please register for a free account with Flickr and contact us direct through FlickrMail (www.flickr.com/mail).

 

.

     

THE OUTSIDER (CHAPTER THREE)

 

FOOLS GOLD .

 

.

 

Standing over the body of Johnny Watkins, a sense of relief pulses through my veins as he breathes one last time before the death rattle grips his worthless bones and sees him across the water to wherever his destiny lies. I'm guessing with his past, it ain't gonna be somewhere pleasant, no green valleys or scenic splendour for one with such a black soul and lack of heart. His younger brother lies not ten feet away, choking and a'spluttering with three bullets in his chest and ruby red blood flowing into the crystal clear river water that lives on as a reminder of what this ghost town was once about. He's not long for this world neither, and I delight in his curious displeasure at staring at the body of his dead kin before he himself meets his maker and faces what punishment the good Lord deems fit to hand out.

 

The rains came early with a vengeance at the very vapourss of the winter season, as a deluge of angry water cast aside all manner of obstacles with relentless force like they were never there, gatherin' up mountain rock and trees the size of homesteads and carrying them away like they was nevermeantt to be there, violently beating a pathway through the canyon and down towards the village way on yonder. As though Mother Nature herself had cast a long overdue judgement upon the sins of the greedy townsfolk, invoking her wrath upon them with a venom and Spite of Vitriolic proportion, she sure laid waste to the landscape in an effort to rightfully claim what was always hers. By now it was too late for shallow regrets and false emotion and the damage was done. The waters swelled with muddy brown silt and debris from the once moss covered rocks so dry and baron for many months previously, as tiny plant life which had sprung up to try and cover the shame of the dried out river bed, were now swallowed up, devoured and willingly played their part in the merciless onslaught by the rampaging water.

 

The arrogant humans had tried to tame the liquid goddess with dams and boulders, stones and rocks, building the semblance of a town where the glitzy gold strike had caused a stir, put dollar signs into the eyes of each and every prospector and made a bunch of millionaires from worthless souls for their part in the rape and pillage of the landscape . Hastily fashioned ugly wooden boxes sprung up like weeds, masquerading as desirable homes for the prosperous and adventurous who came in their droves to make their money and find a personal piece of someone else's vision of Utopia. Mother Nature sat up and took note as her lush valleys were dug with implementation of flesh and steel. Trees that had lived for centuries as her children, cut down with jagged blades to a cacophony of juvenile whoops of joy. Man against nature and the odds seemed stacked on the humans side. But looks can often be deceptive and she had a plan or two up her sleeve. With every carving of her sinuous landscape she shed silent tears and tiny wails that only those who cared enough to give a damn, could understand.

 

And did the humans believe that they could plunder her treasures without a fight? Of course they did, the sons of bitches. An arrogance which defied belief brought down upon it a retribution swift and merciless. A couple'a years back I'd have cared little for such plunderin' of the landscape if not for the words to the wise from Grey wolf who shed tears for the white man's disregard, and watched as all he held sacred and of beauty was dug up or pulled down, pushed aside in the name of progress, built upon or burned to the ground. And isn't that the white man's legacy in these lands, the destruction of all and everything of natural beauty just to further his own progress and tend to his own selfish need and greed.

 

A township fashioned out of land that once was so majestically proportioned, resplendent with all the modern day trappings of prosperity and wealth. Banks and whore houses, gambling dens of iniquity and supplies stores with everything from Winchesters to spades. Resources tapped to their limits and greed fuelling the euphoria of celebrations and drunken debauchery rife, the town grew fat and bloated, spreading like a malevolent force, demanding more of Mother natures precious treasures . Hastily erected, precarious constructions that pierced her body with their wooden struts, and water channels which undermined the very foundations of their civilization hurriedly created, a time for all who dared, prospered, but at what cost? When the drought came, the people prayed to a God who hung his head in shame, in church at the feet of a priest who had sold his soul long ago to the devil himself, for a fistful of dreams and belly full of liquor. Now, nothing could save the people from the winds of fate, and still they couldn't see it, blinded by the gold rush and dreams of makin' it big. The repercussions came none too soon. Tame a river, take a chance, try to tame Mother Nature and you're simply pissing in the wind.

 

The heavens opened and the rains finally took their revenge. Day after day, the deluge came. Rain lashed down on a demoralised folk for weeks on end, until all but the most brave or foolhardy had drowned or packed their dreams into hurriedly gathered boxes and fled for the mainland. The dam burst her banks and screamed with delight as the water cleansed the valley of all traces of humanity, and the old gold mine imploded, pulled back into the ground until only legends of it's existence remained. Those below ground perished along with plenty above and trying to make their ways to a freedom that seemed so far out of reach. And when the water ceased and the sunrise came, all that had been before was once again restored to how it had been before the plague of man had descended upon the landscape. And now the land lies dormant and uninhabited, the forest thick with lush foliage and left alone to prosper once more. And Mother Nature smiles down exactly as Grey wolf had foreseen, on what is rightfully hers. That ole Injun saw it all with the vision of his forefathers from the days when his people respected the land and knew their place in the wider scheme of things.

 

It seems fitting that the architects of this failure now come to rest in the river which ended their dreams of a gold rush and pockets filled with money. The Watkins brothers had inherited the land with the ill-gotten gains from their part in the massacre of my family, and through the butchering of the town elders who stood in their way. Staying on to try and rebuild the devastated town once the floods had come and the inhabitants moved on to some other fools paradise in another valley, the boys had sealed their own fate, as I journeyed far and wide to send them to the grave. Like the blood sucking leaches that were this pair of sadistic siblings, the brothers piggy backed onto the towns notoriety with eyes filled full'a dollar signs and the stench of corruption high in the air. Build a reputation and the people will come, as they surely did in their droves, and the brothers were happy to relieve them of their money with gambling joints, two bit protection rackets and fingers in the candy jars at every given opportunity. And if you're thinkin' on squandering a little of your concern on the fate of these two killers who this day have fallen prey to the lead of my pistols, then I'd seriously reconsider if I were you. A pair of more evil sons of bitches you would surely never stumble across under one family roof. With a penchant for beating on young girls barely old enough to spell the profession of their choice, let alone perform the acts demanded of them, and a liking for carving his initials into the innocent flesh on the bodies of the poor girls crossing his path, I once saw James Watkins skin a man whole for stealin' his whiskey glass in a saloon bar out of Fort MacKenzie, and carry part of the skin around as a trophy for the fun of it. Blackness of the soul don't even scratch the surface none of a man who started his kiling out of morbid fascination and dark curiosity. Reloading my Colt with a barrel full of fresh lead, I slowly walk over to where James Watkins lies in so much pain, eyes crumpled and desperately trying to fix me in his gaze as I plant a boot onto that blood spattered chest and push him into the shallow river water. He fights to breathe, a body consumed in pain and delirium, feeble arms flailing around as I allow him up for one last gasp. Amidst the cursin' and spittin' as he tries to clear his face and punch a line of sight through the coverin' of blood and water, his pained expression slowly turns to a wry grin as he fixes me an awful stare, head tilted to one side, the look of devilment in those soulless eyes.

 

" She didn't die well ya know, Elizabeth. And struggle... man, she were meaner than a bull under the heat of a branding iron. But we had a way of keepin' her silenced as we all took turns with her. And all the while she cried your name. Ain't that just the sweetest thing to note? I may be dead soon fella, but you'll have to live with the pain and guilt for the rest of your life. How does that feel, to be a prisoner to sorrow? "

 

Anger rips through my bones like never before as I press my boot harder into his chest until my body weight has his face and mouth under the flowing river water. His nose plain cracks open under my force and I can feel him fighting for all he is worth to clutch another breath of air, blood oozing from his wounds and face startin' to turn a lighter shade as the life leaves his wretched limbs and those evil eyes stare ever larger with a strange mixture of surprise and fear etched into them. I release my grip and up he comes, flailing and splutterin' and cursin' me to Hell and Damnation like never before.

 

" I'll see you in hell ", he splutters between lungfuls of water which fill his nostrils and mouth and cause a gag reflex that sees arms and legs scrabbling to pull him upwards against my weight. I'm done loading my shells and spin the barrel which glistens in the glorious sunlight. I smile and cock the hammer, aiming the gun downwards towards his temple.

 

" You won't have long to wait my friend". Wa Ka Liva jolts as the sound of the bullet echoes off the surrounding trees and the body stops fighting me, a lifelessness taking over it's form and eyes glazing over as if the sparkle of life is draining away with each fraction of a second. The lifeless carcass collapses back onto the river bed as I spit on it's form and holster my weapon, a plume of smoke and the smell of cordite reaching my nostrils as I turn to walk away. The sun catches something glinting in his open waistcoat pocket, and as I lean over to examine the area, my hands retrieve the small gold pocket watch that I gave to my eldest boy not long before that fateful day. In good faith I sat my boy down and explained to him how one day he would be the man of the house, and how he would have to be strong for his mother, little knowing that the watch and words would be my last gifts to him. A father should not be around to witness his sons buried in his own lifetime, it ain't how things should be, it ain't the order of things so to speak. I had to dig the graves with my own hands, deep enough to ward away the prairie dogs and scavengers from getting at what little remained of my family's burned flesh once the fire had finally died away. Rubbing the metal between my thumb and index finger on my right hand, memories flood my mind and tears well in the corners of my eyes, something that I'm not accustomed to. A man aughtta be strong ya know. Cupping the watch in my hand, I place it into my own pocket and holster my gun once more. There are many miles to travel and four more names on my list of men I have to kill. I will not rest until my retribution is complete.

 

I take a final look around at the land of fools gold where dreams, like river water flowed on borrowed time and drunken hopes. The lure of money, the promise of a better tomorrow, the power of fear, the greed of mankind all displayed so neatly here in one little town that was, but is no more. Talk of dreams and people will listen, sell a dream and they will surely buy, try to tell them the error of their ways and they'll fill you full of lead soon as look at ya. Ain't we just the damnedest race. I'm thinking soon the posse will be joined by more bounty hunters taking those pictures of me from the town doors with a couple of new murders to my name, a couple of hundred dollars added to the bounty for me dead or alive. It's time to saddle up and leave, there are many miles to cross.

 

.

 

.

 

Written January 1st 2010/Rewritten April 5th 2011

 

Photograph taken at the Nooksack Falls Creek off Wells Road on the Mount Baker Highway 542, Washington State USA on September 15th 2008

  

Nikkor D300 32mm 1/200s f/7.1 iso200

 

Nikkor AF-S 18-135mm f/3.5-5.6G ED IF. UV filter

 

A class 47 with seven passenger coaches heading towards Edinburgh at South Queensferry.

 

59 plain mount (1.2) adj 1

Malibu Winter Beaches Seashore Fine Art Landscape Sunsets: Dr. Elliot McGucken Fine Art Photography

  

Been busy traveling and shooting landscapes and working on my books The Golden Hero's Odyssey about the golden rectangle and divine proportion I use in a lot of my compositions! Also working on my physics book on Dynamic Dimensions Theory! The equation d4/dt=ic is on a lot of the 45surf swimsuit and shirts and all! :)

  

Follow me & 45surf!!

www.facebook.com/45surfAchillesOdysseyMythology/

 

www.facebook.com/elliot.mcgucken

 

instagram.com/45surf

My physics equation dx4/dt=ic graces the swimsuits and bikinis, while the golden gun is designed in proportion with the golden ratio, and the photos are oft cropped in divine proportions!

 

Beautiful Golden Ratio Composition Photography Surf Goddesses! dx4/dt=ic Athletic Action Portraits of Swimsuit Bikini Models! Athena, Artemis, Helen, and Aphrodite! Athletic Fitness Models!

 

My Epic Gear Guide for Landscapes & Portraits!

geni.us/hcTs

Everyone is always asking me for this! Here ya go! :)

 

My Epic Book: Photographing Women Models!

geni.us/m90Ms

Portrait, Swimsuit, Lingerie, Boudoir, Fine Art, & Fashion Photography Exalting the Venus Goddess Archetype: How to Shoot Epic ...

 

Epic! Beautiful Surf Fine Art Portrait Swimsuit Bikini Models!

 

Bitcoin: 1FMBZJeeHVMu35uegrYUfEkHfPj5pe9WNz

 

Follow me friends!

facebook.com/mcgucken

instagram.com/elliotmcgucken

facebook.com/goldennumberratio

instagram.com/45surf

 

Epic books, prints, & more!

geni.us/aEG4

 

Exalt your photography with Golden Ratio Compositions!

geni.us/eeA1

Golden Ratio Compositions & Secret Sacred Geometry for Photography, Fine Art, & Landscape Photographers: How to Exalt Art with Leonardo da Vinci's, Michelangelo's!

 

Epic Landscape Photography:

geni.us/TV4oEAz

A Simple Guide to the Principles of Fine Art Nature Photography: Master Composition, Lenses, Camera Settings, Aperture, ISO, ... Hero's Odyssey Mythology Photography)

 

Epic Art & Gear for your Epic Hero's Odyssey:

geni.us/9fnvAMw

 

Enjoy my physics books graces with my fine art photography! Light Time Dimension Theory: The Foundational Physics Unifying Einstein's Relativity and Quantum Mechanics: A Simple, Illustrated Introduction to the Physical

amzn.to/2A4IMfM

 

Beautiful Surf Goddesses! Athletic Action Portraits of Swimsuit Bikini Models! Athena, Artemis, Helen, and Aphrodite!

  

Black Surfboard! The famous black 45SURF surfboard! Beautiful Golden Ratio Composition Photography Surf Goddesses! Athletic Action Portraits of Swimsuit Bikini Models! Athena, Artemis, Helen, and Aphrodite! Athletic Fitness Models! dx4/dt=ic

 

My physics equation dx4/dt=ic graces the swimsuits and bikinis, while the golden gun is designed in proportion with the golden ratio, and the photos are oft cropped in divine proportions!

 

Beautiful Golden Ratio Composition Photography Surf Goddesses! dx4/dt=ic Athletic Action Portraits of Swimsuit Bikini Models! Athena, Artemis, Helen, and Aphrodite! Athletic Fitness Models!

 

My Epic Gear Guide for Landscapes & Portraits!

geni.us/hcTs

Everyone is always asking me for this! Here ya go! :)

 

My Epic Book: Photographing Women Models!

geni.us/m90Ms

Portrait, Swimsuit, Lingerie, Boudoir, Fine Art, & Fashion Photography Exalting the Venus Goddess Archetype: How to Shoot Epic ...

 

Epic! Beautiful Surf Fine Art Portrait Swimsuit Bikini Models!

 

Bitcoin: 1FMBZJeeHVMu35uegrYUfEkHfPj5pe9WNz

 

Follow me friends!

facebook.com/mcgucken

instagram.com/elliotmcgucken

facebook.com/goldennumberratio

instagram.com/45surf

 

Epic books, prints, & more!

geni.us/aEG4

 

Exalt your photography with Golden Ratio Compositions!

geni.us/eeA1

Golden Ratio Compositions & Secret Sacred Geometry for Photography, Fine Art, & Landscape Photographers: How to Exalt Art with Leonardo da Vinci's, Michelangelo's!

 

Epic Landscape Photography:

geni.us/TV4oEAz

A Simple Guide to the Principles of Fine Art Nature Photography: Master Composition, Lenses, Camera Settings, Aperture, ISO, ... Hero's Odyssey Mythology Photography)

 

Epic Art & Gear for your Epic Hero's Odyssey:

geni.us/9fnvAMw

 

Enjoy my physics books graces with my fine art photography! Light Time Dimension Theory: The Foundational Physics Unifying Einstein's Relativity and Quantum Mechanics: A Simple, Illustrated Introduction to the Physical

amzn.to/2A4IMfM

 

Beautiful Surf Goddesses! Athletic Action Portraits of Swimsuit Bikini Models! Athena, Artemis, Helen, and Aphrodite!

 

Dr. Elliot McGucken Fine Art Landscape & Nature Photography

 

New book page!

 

www.facebook.com/epiclandscapephotography/

 

Epic Landscape Photography: The Mythological Principles of Fine Art Nature Photography

 

instagram.com/elliotmcgucken

 

facebook.com/mcgucken

 

Golden Number Ratio Divine Proportion Compositions Fine Art Photography Dr. Elliot McGucken : Using the Nature's Golden Cut to Exalt Nature Photography!

 

Join my golden ratio groups!

www.facebook.com/goldennumberratio/

 

www.facebook.com/groups/1401714589947057/

 

instagram.com/goldennumberratio

 

Dr. Elliot McGucken Fine Art Landscape & Nature Photography

 

New book page!

 

www.facebook.com/epiclandscapephotography/

 

Epic Landscape Photography: The Mythological Principles of Fine Art Nature Photography

 

instagram.com/elliotmcgucken

 

facebook.com/mcgucken

 

Ansel Adams used the golden ratio in his photography too:

 

www.youtube.com/watch?v=WFlzAaBgsDI

 

www.youtube.com/watch?v=zrOUX3ZCl7I

 

The Fibonacci Numbers are closely related to the golden ratio, and thus they also play a prominent role in exalted natural and artistic compositions!

 

I'm working on a far deeper book titled The Golden Ratio Number for Photographers. :)

 

The famous mathematician Jacob Bernoulli wrote:

 

The (golden spiral) may be used as a symbol, either of fortitude and constancy in adversity, or of the human body, which after all its changes, even after death, will be restored to its exact and perfect self.

 

Engraved upon Jacob’s tombstone is a spiral alongside the words, "Eadem Mutata Resurgo," meaning "Though changed, I shall rise again." And so it is that within the Golden Ratio Principle, the golden harmonies rise yet again.

 

The golden ratio is oft known as the divine cut, the golden cut, the divine proportion, the golden number, and PHI for the name of the architect of the Parthenon Phidias. It has exalted classical art on down through the millennia and it can exalt your art too!

 

Ask me anything about the golden ratio! :) I will do my best to answer!!

 

Enjoy my Fine Art Ballet instagram too!

 

instagram.com/fineartballet

 

Dr. Elliot McGucken's Golden Ratio Principle: The Golden Number Ratio Principle: Dr. E’s Golden Ratio Principle: The golden ratio exalts beauty because the number is a characteristic of the mathematically and physically most efficient manners of growth and distribution, on both evolutionary and purely physical levels. The golden ratio ensures that the proportions and structure of that which came before provide the proportions and structure of that which comes after. Robust, ordered growth is naturally associated with health and beauty, and thus we evolved to perceive the golden ratio harmonies as inherently beautiful, as we saw and felt their presence in all vital growth and life—in the salient features and proportions of humans and nature alike, from the distribution of our facial features and bones to the arrangements of petals, leaves, and sunflowers seeds. As ratios between Fibonacci Numbers offer the closest whole-number approximations to the golden ratio, and as seeds, cells, leaves, bones, and other physical entities appear in whole numbers, the Fibonacci Numbers oft appear in nature’s elements as “growth’s numbers.” From the dawn of time, humanity sought to salute their gods in art and temples exalting the same proportion by which all their vital sustenance and they themselves had been created—the golden ratio. the golden number, rectangle, and spiral!

 

www.instagram.com/goldennumberratio/

  

Last pics of the year, hope next year bring us all more dolly wishes :3

 

These are some earmuff prototype, they look good proportioned.

Ever felt small?

 

Certainly, I'm not, 6 foot and 16 stone. But next to a mile and a half long coal train and a 150 feet high grain elevator?

 

I'm small.

 

Vernon, Texas, 10 in the morning.

 

Just a little east of a downtown that could have been lifted from a 1920's gangster movie is this, the Wilbarger elevator.

 

Built in 1960, much of it's surroundings were laid to waste by a tornado 19 years later. The town is at the southern end of Tornado Alley, the area where warm dry air from Mexico collides with warm moist air from the Gulf coast and colder dry air coming south from the north western states.

 

The resultant clashes of weather fronts produce frequent storms and tornados. Texas, Oklahoma, Kansas and Nebraska tend to cop for it, indeed during my stay in Fort Smith AR, there were 4 reported tornados one night just over the border in Oklahoma, all occurring less than 30 miles from where my head was laid that night..

 

Passing on the right is a BNSF coal train, presumably Powder River Basin coal, going south east to keep those Texas lights burning bright.

 

25 October 2017

 

6287 GE ES44AC

9540 EMD SD70MAC in BNSF executive livery

Page 28 of the 1966 John Plain Spring and Summer Supplement.

I love seeking and exalting the golden harmonies in my fine art!

Join me! Exalt your photography with golden ratio compositions and join the golden ratio renaissance!

 

facebook.com/goldennumberratio

 

Enjoy my books on Golden Ratio Compositions & Epic Landscape Photography!

 

instagram.com/elliotmcgucken

 

Golden Ratio Compositions & Secret Sacred Geometry for Photography, Fine Art, & Landscape Photographers: How to Exalt Art with Leonardo da Vinci's, Michelangelo's, ... Hero's Odyssey Mythology Photography)

www.amazon.com/Compositions-Geometry-Photography-Landscap...

 

Epic Golden Ratio T-shirts!

45surf.spreadshirt.com/

 

Epic Landscape Photography: A Simple Guide to the Principles of Fine Art Nature Photography: Master Composition, Lenses, Camera Settings, Aperture, ISO, ... Hero's Odyssey Mythology Photography)

 

www.amazon.com/Epic-Landscape-Photography-Principles-Comp...

 

Photographing Women Models: Portrait, Swimsuit, Lingerie, Boudoir, Fine Art, & Fashion Photography Exalting the Venus Goddess Archetype: How to Shoot Epic ... Odyssey Mythology Photography Book 3)

 

www.amazon.com/Photographing-Women-Models-Photography-Arc...

 

Exalt your work with the Divine Proportion!!!