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Slowenien - Höhlen von Postojna
Postojna Cave (Slovene: Postojnska jama; German: Adelsberger Grotte; Italian: Grotte di Postumia) is a 24.34 km (15.12 mi) long karst cave system near Postojna, southwestern Slovenia. It is the second-longest cave system in the country (following the Migovec System) as well as one of its top tourism sites. The caves were created by the Pivka River.
History
The cave was first described in the 17th century by the pioneer of study of karst phenomena, Johann Weikhard von Valvasor, although graffiti inside dated to 1213 indicates a much longer history of use. In 1818, when the cave was being prepared for a visit by Francis I, the first Emperor of Austria-Hungary, a new area of the cave was discovered accidentally by Luka Čeč, a local man in charge of lighting lamps in the cave. In the 1850s, the Austrian-Czech geographer Adolf Schmidl published the first comprehensive scientific overview of the Postojna caves and the Pivka Basin, which became a standard reference point in the study of speleology.
First tourist guide and electric lighting
In 1819, Archduke Ferdinand visited the caves, this is when the caves became officially known as a tourist destination. Čeč became the first official tourist guide for the caves when the caves were opened to the public. Electric lighting was added in 1884, preceding even Ljubljana, the capital of Carniola, of which the cave was part at the time, and further enhancing the cave system's popularity.
In 1872, cave rails were laid along with first cave train for tourists. At first, these were pushed along by the guides themselves, later at the beginning of the 20th century a gas locomotive was introduced.
During World War I, Russian prisoners of war were forced to construct a bridge across a large chasm inside the cave.
Mid-century changes
During World War II, German occupying forces used the cave to store nearly 1,000 barrels of aircraft fuel, which were destroyed in April 1944 by Slovene Partisans. The fire burned for seven days, destroying a large section of the cave and blackening the entrance.
After 1945, the gas locomotive was replaced by an electric one. About 5.3 kilometres (3.3 mi) of the cave system are open to the public.
At the end of the 1990s it was one of world's most visited show caves, with nearly 1 million tourists per year.
21st-century tourism
In June 2015 and May 2017, the cave administration reported that cave divers managed to explore a further underwater section of the cave leading towards Planina Cave, thus lengthening the cave system from 20,570 m (67,490 ft) to 24,340 m (79,860 ft). The cave also houses the world’s first and only underground post office which initially opened in 1899.
Natural environment
Postojna Cave was carved by the Pivka River over millions of years. There are stalagmites, stalactites, and formations called curtains or draperies that look like folded curtains.
The cave system is 24.34 kilometers (15.12 mi) long and is made up of four caves interconnected through the same underground river. However, according to speleology rules, the passages and siphons connecting the caves must be walked or swum through by man for them to be considered one whole. Connecting two of the main cave systems will make this the longest cave system in Slovenia and one of the longest in all of Europe. There remain 400 meters (1,300 ft) between the two caves, which would make the cave system between 31,000 meters (102,000 ft) and 35,000 meters (115,000 ft) long.
The caves are also home to the endemic olm, the largest troglodytic amphibian in the world. The tour through the caves includes an aquarium with some olms in it. On January 30, 2016, a female olm at the cave began to lay over 50 eggs. This rare event led to global news about Postojna Cave and the olm. From the end of May to mid-July 2016, twenty-two baby olms successfully hatched.
Postojna Cave tour
While the cave system is 24 km long, only 5 km is open to the public. Of this, 3.5 km is traversed by a train that takes visitors through the cave; the remaining 1.5 km can be navigated on foot and with a guide. The whole tour takes about 1.5 hours.
The temperature inside the cave is around ten degrees Celsius (fifty degrees Fahrenheit).
Permanent exhibition
The exhibition "EXPO Postojna Cave Karst" was opened in April 2014. It is the largest permanent exhibition about the cave and karst phenomena around the world. The exhibition features interactive presentations about the history of the tourism-related development of the cave. Visitors learn about karst phenomena through projections of various material onto a three-dimensional model, discover the special features of the karst environment, and learn about historic events at Postojna Cave on the Wall of Fame. The exhibition is of interest to both the general public and experts. Children are interactively guided through the exhibition by an olm and a slenderneck beetle, and can ride a cave train by themselves.
(Wikipedia)
Die Höhlen von Postojna, slowenisch Postojnska jama (italienisch Grotte di Postumia, deutsch auch Adelsberger Grotte), eigentlich im ganzen Ausmaß Postojna-Höhlensystem (Postojnski jamski sistem), liegen in der Nähe der slowenischen Stadt Postojna (deutsch: Adelsberg, italienisch: Postumia). Im dortigen Karstgebiet befinden sich die zweitgrößten bekannten und für Touristen erschlossenen Tropfsteinhöhlen der Welt (nach der Jeita-Grotte im Libanon). Das gesamte Höhlensystem ist 24 Kilometer lang. Der erschlossene und ganzjährig für den Tourismus geöffnete Teil umfasst 5 km, wovon die Besucher 3,5 km mit einem Zug zurücklegen.
Beschreibung
Das Höhlensystem besteht aus drei Hauptebenen – auf der untersten fließt noch heute der Fluss Pivka. Mit der Höhle von Postojna durch den unterirdischen Lauf der Pivka zu einem Höhlensystem verbunden sind Pivka jama, Otoska jama, Magdalena jama, Črna jama und Planinska jama. In der Nähe des Höhlensystems von Postojna befinden sich noch zahlreiche andere Tropfsteinhöhlen, hier sind hervorzuheben die von der UNESCO als Weltnaturerbe geschützten Höhlen von Škocjan und in Italien die Grotta Gigante bei Triest.
In einem Becken im Eingangsbereich waren bis 2008 einige Exemplare des Grottenolms (Proteus anguinus) zu besichtigen; dieser blinde und besonders scheue Schwanzlurch kommt natürlicherweise nur in der Karstwelt des Dinarischen Gebirges vor, so auch in der Höhle von Postojna. Inzwischen wurden die in dem Becken gehaltenen Tiere in das „Vivarium Proteus“ überführt, welches sich 100 Meter vor dem Höhleneingang befindet. 2016 konnte in einem weiteren Vivarium in der Höhle erstmals beobachtet und gefilmt werden, wie insgesamt 21 Grottenolme aus ihren Eiern schlüpfen.
Insgesamt leben im Höhlensystem von Postojna 175 Tierarten. 115 davon sind troglobiont – sie kommen ausschließlich in Höhlen vor.
Entstehung
Das Höhlensystem von Postojna ist der obere Teil des stark durch den Karst geprägten Einzugsgebietes der Ljubljanica und mindestens seit dem frühen Pleistozän durch die Pivka, den Hauptabfluss des Pivka-Beckens und ihre unterirdischen Zuflüsse geschaffen worden. Datierungen der im Höhlensystem abgelagerten Sedimente ergaben ein Alter von bis zu 0,9 Millionen Jahren. Die Entstehung der Höhlen hängt damit zusammen, dass am Südwestrand des Pivka-Beckens der wenig wasserdurchlässige eozäne Flysch im Untergrund des Beckens gegen mächtige Kalksteineinheiten der Kreide grenzt, die einen oft sehr reinen Kalkstein aufweisen, der ungleich stärker durch Wasser erodiert wird als die Sandsteine und Tonsteine des Flyschs.
Das zunächst oberflächlich abfließende Wasser drang entlang von Klüften und Störungszonen in das Kalkgestein vor und führte durch Lösungsprozesse zur Entstehung von Höhlen, die eine schwerkraftbedingte Verlagerung des Gewässernetzes in den Untergrund bewirkten. Unterstützt wurde dieser Ablauf durch tektonische Vorgänge, die zum Absinken und Aufsteigen der geologischen Einheiten gegeneinander führten, so dass das Wasser sich ständig neue Wege suchen musste. Die jeweils aktiven Höhlenabschnitte wurden darüber hinaus durch die von der Pivka und ihren Vorgängerflüssen mitgeführten Sand-, Kies- und Geröllmassen korrasiv erweitert.
Der Verlauf der Höhlengänge des Postojna-Höhlensystems zeigt zwei Hauptrichtungen. Ein großer Teil der langgestreckten Hohlräume verläuft deutlich in Nordwest-Südost-Richtung und damit parallel zu tektonischen Störungen im Höhlengebiet. Ein zweiter Teil steht etwa senkrecht dazu und ist stärker verzweigt als der andere Teil.
Erschließung und Nutzung der Höhlen
Für das Jahr 1213 ist der erste Besuch in der Höhle belegt. Im 16. Jahrhundert erreichten die Besuche einen ersten Höhepunkt. Im Jahre 1689 beschrieb Johann Weichard von Valvasor die „Adelsberger Grotte“, die er selbst in Teilen erkundet hatte, in seinem Werk Die Ehre dess Hertzogthums Crain. 1818 wurde das erste Licht installiert, Wege wurden angelegt und neue Teile der Höhle entdeckt. Im Jahre 1819 erfolgte die offizielle Freigabe für den Besucherandrang, und der Habsburger Erzherzog Ferdinand stattete der Höhle einen Besuch ab. Es zeigte sich früh, dass für die Besichtigung eine Sicherung der Wege und eine bessere Übersicht erforderlich war. Dafür setzte sich der Ingenieur Alois Schaffenrath ein und legte 1821 einen Höhlenplan vor. Seine hervorragenden Kenntnisse vom Höhlensystem fanden 1834 in einer gedruckten Beschreibung beim Verlag Kleinmayr in Laibach ihren Niederschlag. Von ihm stammt auch eine Graphik, die den Eingang zur Höhle und die umgebende Landschaft zeigt.
Um die Erschließung in dieser Zeit war auch der Naturforscher Franz Graf von Hohenwart bemüht. Im Jahre 1824 fanden die ersten Tanzveranstaltungen in einem etwa 500 Meter vom Eingang entfernten Höhlenteil statt, der heute Kongresna Dvorana („Kongresshalle“) genannt wird. Nach Fertigstellung der Eisenbahn Wien–Laibach–Triest im Jahre 1857 erhöhte sich die Zahl der Besucher beträchtlich. Am 9. März dieses Jahres besuchten Kaiser Franz Joseph I. und Kaiserin Elisabeth die Höhle und wurden im damals so genannten Dom mit Musik und Gesang und einer großen Volksmenge in Nationaltracht begrüßt. Da dieser Teil der Grotte erst frisch entdeckt worden war, wurde er zu diesem Anlass als Franz-Joseph-und-Elisabeth-Grotte benannt. Die erste Höhlenbahn wurde im Jahre 1872 angelegt. Damals bestand die Bahn nur aus zwei Wagen, sogenannten „Faeton“. Die Höhlenführer schoben diese, besetzt mit jeweils vier Gästen, mit Muskelkraft durch die Höhle.
Im Jahre 1884 wurde elektrisches Licht installiert, das in den Jahren 1901 und 1928 modernisiert wurde. Im Jahre 1914 wurden Lokomotiven mit Verbrennungsmotor eingesetzt, die 1959 durch eine elektrische Bahn ersetzt wurden.
Ende des 19. Jahrhunderts wurde in der Grotte ein gut frequentiertes Postamt eingerichtet – allein beim Fest zum Saisonauftakt 1904 verkaufte man hier 13.800 Postkarten. Im März 1915 wurde dieses offizielle Postamt durch das k.u.k. Feldpostamt 81 ersetzt. Zur Erinnerung an dieses Postamt wurde im Jahr 2013 von der österreichischen und der slowenischen Post eine Gemeinschaftsbriefmarke herausgegeben.
Im Ersten Weltkrieg wurde die so genannte „Russische Brücke“ von russischen Kriegsgefangenen zur Erschließung weiterer Höhlenbereiche gebaut. Der Berliner Komponist Helmuth Sommer (1911–1993) schrieb während der Kriegsgefangenschaft im damaligen Jugoslawien das Werk Jugoslawische Skizzen. Im ersten Satz seiner 'Balkanskizzen' über die Grotten von Postojna gelingt es ihm eindrucksvoll, die Stimmung in der Grotte wiederzugeben.
In den 1960er-Jahren fanden in den Höhlen Dreharbeiten zu den Kinofilmen Winnetou 2. Teil und Die Nibelungen statt. Am 12. September 1965 wurde der IV. Internationale Speläologische Kongress in der Kongresna Dvorana abgehalten. 1968 wurden die heute noch bestehenden Wege angelegt.
Im Jahr 2008 lag die Besucherzahl bei 548.442.
2017 gaben die Betreiber bekannt, dass in den vergangenen 200 Jahren insgesamt 38 Millionen Menschen die Höhle besucht haben.
Im Jahr 2013 wurde zum 800. Jahrestag der Besuche in den Höhlen eine 2-Euro-Gedenkmünze herausgegeben.
(Wikipedia)
© Stephen B Whatley
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Dolores Fuller (1923-) is the now legendary former leading lady of the early 1950s B-pictures of Hollywood film director Edward D Wood Jr (1924-1978).
'Eddie' Wood never got a true break in Hollywood's mainstream film industry; but between 1953 & 1960, he directed 6 films - horror, sci-fi and thriller themes- that reveal an artistry and utterly unique vision, to those more perceptive viewers who can look beyond the restraints of budget.
Dolores Fuller fell in love with Wood and starred in 3 of his motion pictures: Glen or Glenda (US 1953); Jail Bait (US 1954) and Bride of The Monster (US 1955) - but by 1956, with Wood's devastating wartime scars and disappointments in Hollywood resulting in alcoholism, Dolores felt that she had to pull away. As a model and bit actress on television she had been supporting him financially - and trying to keep him off the bottle- since they had met.
While continuing to appear in small roles in films (including an effective emotional scene in Playgirl, US 1954; with Shelley Winters) and on television (including parts in Superman & Dragnet), Dolores Fuller followed her even more natural talent of song-writing - going on to write 18 hit songs for Elvis Presley; and in the 1960s and 1970s to managing future singing stars such as Johnny Rivers and Tanya Tucker.
By 1980, two years after Edward D Wood Jr had died tragically in abject poverty, ironically in Hollywood, the 'ignored' director received posthumous fame and cult status - as his films wre rediscovered by 'film critics' who wrote books deriding his efforts to bring his ideas to the screen.
So too at this time, the limelight fell on his surviving stars and players - including the beautiful Dolores Fuller. Tim Burton's affectionate biopic 14 years later only increased the interest in this multi-talented lady - who to this day exhudes the Hollywood glamour that eludes contemporary stars. She was in demand on screen; for interviews in documentaries about Ed Wood Jr: The Incredibly Strange Film Show (1988); Look Back In Angora (1994) & The Haunted World of Edward D Wood Jr (1996).
Ever since the mid -1980s artist (& B-movie afficianado) Stephen B Whatley had hoped to locate Ms Fuller, to express his admiration; and in 1996, his research led him to reach her in Las Vegas, NV, to where he sent a cartoon tribute he had created (top left; inspired by her appeareance in a 1994 interview).
Thrilled, Dolores Fuller kept in touch, so kindly sending photographs; and then after she had received another 'cartoon surprise' from the artist in 2003, she wrote asking permission to publish it in her recently published memoirs, A Fuller Life: Hollywood, Ed Wood & Me ( Bearmanor Media Books)
Lower right of the compilation picture above is the colour tribute, owned by Ms Fuller, which has been published in black & white on a full page; below which the star writes touchingly that "my friend...neatly captures my career with this cartoon" Shown here above the cartoon, is the 1995 photograph that inspired the central 'latterday' likeness.
Dolores Fuller's autobiography ( assisted by author Stone Wallace & her devoted husband Philip Chamberlin) is a powerful and fascinating read, punctuated with great humour - about a lady determined to follow her dreams, to succeed with her talent; charting the highs and lows in both her professional and personal life.
Lavishly illustrated with many great black & white photographs, the book reveals a passionate beauty, married several times; who charmed several famous men- including Johnny Carson and Frank Sinatra.
She writes of the tragic lives of her 'Eddie' Wood, her late dearest friend actress Mona McKinnon (who starred in Plan 9 From Outer Space (US 1956)) & the tragic loss of her younger son- with great tenderness (...that is so evident in her eyes, to anyone who has watched her latterday interviews on film & television); before ending on a high note - her dream of getting the musical she has been writing, 'Ed Wood...But I wouldn't' on to Broadway; hopefully with Johnny Depp as lead.
Dolores Fullers most recent public appearance was at an awards ceremony in Los Angeles at which she humbly accepted a Lifetime Achievement Award. As glamorous as ever, she was dressed strikingly in black and swathed in white angora, with a new chic short hairstyle...once a star, always a star!
To get a closer look at the illustration published in this book, please click the link: www.flickr.com/photos/stephenbwhatley/2268366365/in/set-7...
The Exeter and Plymouth Gazette Daily Telegraph published a full report on the tragedy, and the inquest into the deaths in its edition of 6th September 1882.
We reported a few days ago a sad bathing occurrence at Croyde, North Devon, by which three young gentlemen lost their lives.
They were visitors to the place, and belonged to a school of lads in London.
On Sunday last, a week after the occurrence - two of the bodies were picked up, and yesterday J. H. Toiler, Esq., held an inquest on them at the King's Arms Inn, Georgeham.
Thomas Heddon, a lodging-house-keeper, of Croyde, in the parish of Georgeham, said he had that day seen a body and identified it as that of Havelock McGeorge, a lad thirteen years of age, who had been staying with him, in charge of Miss Hardie. Deceased resided at No.5, Lansdowne Road, Wimbledon.
On Sunday morning last, between seven and eight o'clock, he went out on the beach to see if he could find any bodies. He saw something on the shore at high water, and on going to the spot found it was the body of Havelock McGeorge. The body was in the water, and was quite naked. He took charge of the body and took it to the mortuary with the assistance of two other men. He should say the deceased came to his death by drowning.
On Monday, the 28th August, the morning when the lads bathed, there was a heavy ground sea on.
Thomas Staddon, a labourer, of Croyde, said he had that morning seen the body of a lad whom be recognised as that of Herbert Maconaghey. He was about thirteen years of age he had heard, but he looked fifteen.
On Sunday evening last, about half-past five o'clock, he went out to look for the bodies. He was in company with James Lovering, and they saw a body, in a deep gully on the shore, which he afterwards recognized as that of Herbert Maconaghey.
He had it removed to the mortuary.
Death, he should say, was caused by drowning.
Mary Ellen Hardie said she resided at 5, Lansdowne-road, Wimbledon, and was governess to Miss Palmer
The deceased were staying with her at Croyde, and she last saw them alive on Monday, 28th August, about quarter-past ten in the morning.
They were leaving the house to go upon the sands. Seven of them went out together, but only four came back again. She thought they were going out to play. Besides the two whose bodies were found, that of Charles Binney was missing.
They had bathed every morning during the six weeks they had been at Croyde.
Mr. Flinch, who represented the friends of the deceased, said that where the lads bathed was not dangerous, but the ground sea took them to Glover's Pool, and there they were drowned.
He hoped the jury would make a recommendation to have a board placed near Glover's Pool.
He further stated that he should have wished the eldest of the seven boys (Cornford) to have been present, but he was too unwell to attend.
He would have told them that Maconoghey was in no danger, and that he lost his life while trying to save one of the deceased. He called out to Cornford, "You save one boy, and I'll save another."
The Coroner advised the jury as to their verdict, which was that the deceased met with their death accidentally while bathing, and they recommended a board to be placed on the sands, warning visitors only to bathe at half-tide.
The three unfortunate lads were not brothers, as has been stated, nor were they related to each other in any way.
Messrs. Symons and Son, of Barnstaple, made two coffins for the deceased lads, whose bodies will he interred in Georgeham Cemetery,Devon. The three friends were buried together.
1900 was when Postman's Park became the location for George Frederic Watts's Memorial to Heroic Self-Sacrifice, a memorial to ordinary people who died while saving the lives of others and who might otherwise be forgotten.
This takes the form of a loggia and long wall housing ceramic memorial tablets.
The Heroic act by Herbert took place 138 years ago & is a good reminder of all the people who are making sacrifices at present.
Published: deutsch.radio.cz/tschechien-startet-zentralen-kauf-von-at...
www.psymag.de/14286/die-welt-hustet-psychosomatik-coronav...
www.thenewhumanitarian.org/photo/coronavirus-emergency-ai...
andrewliptak.substack.com/p/reading-list-plague-edition
Frankfurt Hanauer Landstr.
Hornbach construction market
Oor Wullie (English: Our Willie) is a Scottish comic strip published in the D.C. Thomson newspaper The Sunday Post.
It features a character called Wullie Russell .
Wullie is the familiar Scots nickname for boys named William.
His trademarks are spiky hair, dungarees and an upturned bucket, which he uses as a seat - most strips since early 1ii937 begin and end with a single panel of Wullie sitting on his bucket.
The earliest strips, with little dialogue, ended with Wullie complaining ("I nivver get ony fun roond here!").
The artistic style settled down by 1940 and has changed little since. A frequent tagline reads, "Oor Wullie! Your Wullie! A'body's Wullie!" (Our Willie! Your Willie! Everybody's Willie!).
Created by Thomson editor R. D. Low and drawn by cartoonist Dudley D. Watkins, the strip first appeared on 8 March 1936.
Watkins continued to draw Oor Wullie until his death in 1969, after which the Post recycled his work into the 1970s.
New strips were eventually commissioned from Tom Lavery, followed by Peter Davidson and Robert Nixon. Ken H. Harrison drew the strip from 1989 until 1997, when Davidson resumed duties.
Between January 2005 and 2006 storylines were written by broadcaster Tom Morton from his home in Shetland, and subsequently they were written by Dave Donaldson, managing director of Thomson's comics division.
The current writer is former Dandy editor Morris Heggie.
The Oor Wullie bucket Trail begins on the 17th June 2019 and is even bigger than the last one 3 years ago.
In 2016 Dundee held a bucket trail with over 50 sculptures all painted with different designs to celebrate 80 years of Oor Wullie.
This was a huge success with the sculptures raising over £800,000 at auction for the local childrens charity.
They have decided to bring it back this year but on a far bigger scale with 150 sculptures and this time you will be able to find them not only in Dundee, but Edinburgh, Glasgow, Aberdeen, Inverness and a few dotted in other towns and cities across the country.
At the end of the summer these will once again be auctioned off and the money will be split between 3 childrens charities.
Oor Wullie’s BIG Bucket Trail runs for 11 weeks from 17th June 2019 – 30th August 2019, culminating in a series of Farewell Events and nationwide auctions in each of the five host cities, Glasgow, Edinburgh, Dundee, Aberdeen and Inverness.
Scotland’s first ever national public art trail aims to unite the country as it raises awareness and vital funds for Scotland’s children’s hospital charities.
Funds raised through the trail will support Glasgow Children’s Hospital Charity,Edinburgh Children’s Hospital Charity,and the ARCHIE Foundation, helping children in hospital across the country.
Oor Wullie’s BIG Bucket Trail is a Wild in Art event, and would not be possible without the support of DC Thomson Media.
I have taken a keen interest in this event and intend to capture all of the sculptures across the city, posting some of my favourite shots here on Flickr.
Published by Hamlyn in 1972, 2nd impression (1st publishd 1969). Story by Marie d'Aulnoy, adapted by Jan Vladislav... Illustrated by Mirko Hanak.
Picked up in a local charity shop last week, sadly no dust wrapper, but some very nice vintage illustrations.
Publish Janu,18/01/ 2017 BD LIVE HITS is a YouTube Chanel that presents all Hit Model, , Videos, News, , Live Performance, Juicy jokes etc ! ** Sonam's going to Hollywood!** Priyanka Chopra and Deepika Padukone, Sonam Kapoor, after traveling to Hollywood. Huma kuresirao international film debut. Britain, however, the film is not Hollywood. Sonam's father Anil Kapoor has already recovered Hollywood debut. Mission impossible: Ghost Protocol, and he acted in Slumdog Millionaire. Now Hollywood is Sonam. Ease of coffee with Sonam has acknowledged. Huma Qureshi international film debut. He is working with the director, Gurinder cadda his name. Bend It Like Beckham director Gurinder's film. Huma Qureshi is going to release the film in the UK on March 3 this year. Subscribe our channel : goo.gl/FD2h1b Share the video youtu.be/5D2hCeYZPOI Facebook fun page : ift.tt/2gF3THr Twitter : twitter.com/anis01713734673 *****KEYWORD****** ** Sonam's going to Hollywood**
Hi all! I haven't uploaded any fashion photographs for awhile! Here's my latest editorial, Nightside, which was published in Like A Lion Magazine.
You can view the full editorial over on my website:
www.aaronsehmarphotography.co.uk/nightside.html
Strobist info:
Left image: Shot with a canon 320ex speedlite,
left of the model.
Right image: shot with two canon 320ex speedlites, one to the left of the model and one to the right, facing towards each other.
25-sec, ISO 2500 | Nikon D700 | ALMA array, Llano de Chajnantor Observatory, Chile, 16 Jun 2010
© 2010 José Francisco Salgado, PhD
100 New Scientific Discoveries
ISBN-13: 978-1603201728
Cover artwork by my buddy Martin Kornmesser
The Postcard
A postally unused postcard published by E. A. Sweetman & Sons Ltd. of Tunbridge Wells. The image is a glossy real photograph, and the card has a divided back.
The area in the photograph is now a virtual racetrack, with very large numbers of vehicles jostling for position as they manoeuvre their way round the one-way system.
Purley
Purley is an area of the London Borough of Croydon. It was part of the county of Surrey until 1965. It is located south of the town of Croydon, and 11.7 miles (18.8 km) south of Charing Cross. It had a population of about 14,000 in 2011.
Aviation
Kenley Aerodrome, to the east of the town, was one of the key fighter stations - together with Croydon Airport and Biggin Hill - during the World War II support of Dunkirk, Battle of Britain and defence of London.
Suburban Growth
Purley grew rapidly in the 1920's and 1930's, providing spacious homes in a green environment. Northeast Purley stretches into the chalk hill spurs of the North Downs.
Promenade de Verdun
One road, Promenade de Verdun, created by William Webb, has a distinction all of its own. It is 600 yards (550 m) long, and has on one side Lombardy poplars planted in local soil mixed with French earth specially shipped over to the UK.
A plaque at one end of the road explains that the French Ministry of the Interior donated the soil from Armentières, as a memorial to the alliance of the Great War and the soldiers who died.
At the other end stands an obelisk carved from a single piece of stone with the inscription:
"Aux soldats de France morts
glorieusement pendant la Grande
Guerre".
Purley in WWII
The 32nd. Surrey Battalion of the Home Guard was known as the Factory Battalion, and had the specific task of guarding the Purley Way factories: its units were mainly based on staff from the individual firms.
The factories adjoining Croydon Airport took the worst of the air raid of the 15th. August 1940: the British NSF factory was almost entirely destroyed, and the Bourjois factory gutted, with a total of over sixty civilian deaths.
A comprehensive history of Purley and its growth around Caterham Junction (now Purley Station) with the coming of the railways some 150 years ago is found in the Bourne Society's 'Purley Village History' and in its Local History Records publications.
The Webb Estate
The Webb Estate made headlines in a 2002 survey, which found that it had over the years attracted the highest-earning residents in the UK. In the same year Purley topped Britain's rich list, becoming the most affluent suburb.
Purley consistently features among the most affluent suburbs in Britain owing to its exclusive gated estates, large houses and greenery, yet it is less than 30 minutes from central London by train, thus attracting wealthy city workers.
Fictional References to Purley
-- On television the town became known in the sitcom, Terry and June where Terry and June Medford (Terry Scott and June Whitfield), had moved after the characters' previous series, Happy Ever After.
The sitcom was set on the cusp of Purley and Wallington (on Church Road in a house within sight of St Mark's Church) and the opening credits featured them searching for each other around the (now unrecognisable) Whitgift Centre – a shopping precinct in Croydon.
-- One of the houses used in Footballer's Wives is 7 Rose Walk, Purley, owned by former Crystal Palace FC Chairman Ron Noades.
-- Purley is famous for a reference in both the "Marriage Guidance Counsellor", "Nudge Nudge", and "Kilimanjaro Expedition" (mentioned in the film And Now for Something Completely Different) sketches by the Monty Python team.
-- The CBBC children's sitcom Little Howard's Big Question is based in Purley, and also features continual references to Croydon.
-- Mr Angry, a character on Steve Wright's Radio 1 afternoon show in the 1980's, is from Purley.
Notable Residents of Purley
Notable residents include:
-- Michael Arthur, Vice-Chancellor of Leeds University, and Provost of University College London from September 2013, was born in Purley.
-- Jay Aston, singer with Bucks Fizz, was born in Purley.
-- Ronald Binge and his wife Vera lived at 18, Smitham Bottom Lane in the 1950's. He composed the Elizabethan Serenade there.
-- Derren Brown, magician and mentalist, was born and grew up in Purley.
-- Peter Cushing OBE, actor, grew up and went to school in Purley.
-- Brian Fahey, composer of "At the Sign of the Swingin' Cymbal" (the signature tune to BBC Radio's Pick of the Pops).
-- Andy Frampton, former professional footballer, grew up in Purley.
-- Shelagh Fraser, actress, was born in Purley.
-- Laura Hamilton, TV presenter and Dancing on Ice Contestant, lives in Purley.
-- Nigel Harman, actor, was born and grew up in Purley.
-- Sir Bernard Ingham, Margaret Thatcher's former press secretary, lives in Purley.
-- Sir David P. Lane, oncologist best known for identifying P53, went to school and grew up in Purley.
-- Martin Lee, singer with Brotherhood of Man, was born in Purley.
-- Archibald Low, pioneer of radio guidance systems, was born in Purley.
-- Ray Mears, TV survivalist, went to school in Purley.
-- Ron Noades, former chairman of Wimbledon FC, Crystal Palace FC and Brentford FC and owner of the Altonwood Golf Group, lived in Rose Walk, Purley, from 1993 until 2013.
-- Innes Hope Pearse, doctor and co-founder of the Peckham Experiment, grew up in Purley.
-- Francis Rossi, lead singer of Status Quo, lives in the Webb Estate in Purley.
-- John Horne Tooke, an English politician and philologist, lived in Purley at the end of the 18th. century where he began writing Epea Pteroenta, Or, The Diversions of Purley.
-- Wilfried Zaha, footballer, Crystal Palace FC, lives in the Webb Estate.
The Philae temple complex (/ˈfaɪliː/; Greek: Φιλαί or Φιλή and Πιλάχ, Arabic: فيلة Egyptian Arabic: [fiːlæ], Egyptian: p3-jw-rķ' or 'pA-jw-rq; Coptic: ⲡⲓⲗⲁⲕ, ⲡⲓⲗⲁⲕϩ, Coptic pronunciation: [ˈpilɑk, ˈpilɑkh]) is an island-based temple complex in the reservoir of the Aswan Low Dam, downstream of the Aswan Dam and Lake Nasser, Egypt.
Until the International Campaign to Save the Monuments of Nubia, the temple complex was located on Philae Island, near the expansive First Cataract of the Nile in Upper Egypt. These rapids and the surrounding area have been variously flooded since the initial construction of the Aswan Low Dam in 1902. The temple complex was dismantled and moved to nearby Agilkia Island as part of the UNESCO Nubia Campaign project, protecting this and other complexes before the 1970 completion of the Aswan High Dam. The hieroglyphic reliefs of the temple complex are being studied and published by the Philae Temple Text Project of the Austrian Academy of Sciences, Vienna (Institute OREA).
Geography
Philae is mentioned by numerous ancient writers, including Strabo, Diodorus Siculus, Ptolemy, Seneca, Pliny the Elder. It was, as the plural name indicates, the appellation of two small islands situated in latitude 24° north, just above the First Cataract near Aswan (Egyptian Swenet "Trade;" Ancient Greek: Συήνη). Groskurd computes the distance between these islands and Aswan at about 100 km (62 mi).
Despite being the smaller island, Philae proper was, from the numerous and picturesque ruins formerly there, the more interesting of the two. Before the inundation, it was not more than 380 metres (1,250 ft) long and about 120 metres (390 ft) broad. It is composed of syenite: its sides are steep and on their summits a lofty wall was built encompassing the island.
Since Philae was said to be one of the burying-places of Osiris, it was held in high reverence both by the Egyptians to the north and the Nubians (often referred to as "Ethiopians" in Greek) to the south. It was deemed profane for any but priests to dwell there and was accordingly sequestered and denominated "the Unapproachable" (Ancient Greek: ἄβατος). It was reported too that neither birds flew over it nor fish approached its shores. These indeed were the traditions of a remote period; since in the time of the Ptolemaic Kingdom, Philae was so much resorted to, partly by pilgrims to the tomb of Osiris, partly by persons on secular errands, that the priests petitioned Ptolemy VIII Physcon (170-117 BC) to prohibit public functionaries at least from coming there and living at their expense.
In the nineteenth century, William John Bankes took the Philae obelisk on which this petition was engraved to England. When its Egyptian hieroglyphs were compared with those of the Rosetta Stone, it threw great light upon the Egyptian consonantal alphabet.
The islands of Philae were not, however, merely sacerdotal abodes; they were the centres of commerce also between Meroë and Memphis. For the rapids of the cataracts were at most seasons impracticable, and the commodities exchanged between Egypt and Nubia were reciprocally landed and re-embarked at Syene and Philae.
The neighbouring granite quarries also attracted a numerous population of miners and stonemasons; and, for the convenience of this traffic, a gallery or road was formed in the rocks along the east bank of the Nile, portions of which are still extant.
Philae also was remarkable for the singular effects of light and shade resulting from its position near the Tropic of Cancer. As the sun approached its northern limit the shadows from the projecting cornices and moldings of the temples sink lower and lower down the plain surfaces of the walls, until, the sun having reached its highest altitude, the vertical walls are overspread with dark shadows, forming a striking contrast with the fierce light which illuminates all surrounding objects.
Construction
The most conspicuous feature of both islands was their architectural wealth. Monuments of various eras, extending from the Pharaohs to the Caesars, occupy nearly their whole area. The principal structures, however, lay at the south end of the smaller island.
The most ancient was a temple for Isis, built in the reign of Nectanebo I during 380-362 BC, which was approached from the river through a double colonnade. Nekhtnebef was his ancient Egyptian royal titulary and he became the founding pharaoh of the Thirtieth and last native dynasty when he deposed and killed Nepherites II.
For the most part, the other ruins date from the Ptolemaic Kingdom, more especially with the reigns of Ptolemy II Philadelphus, Ptolemy V Epiphanes, and Ptolemy VI Philometor (282-145 BC), with many traces of Roman work in Philae dedicated to Ammon-Osiris.
In front of the propyla were two colossal lions in granite, behind which stood a pair of obelisks, each 13 metres (43 ft) high. The propyla were pyramidal in form and colossal in dimensions. One stood between the dromos and pronaos, another between the pronaos and the portico, while a smaller one led into the sekos or adyton. At each corner of the adytum stood a monolithic shrine, the cage of a sacred hawk. Of these shrines one is now in the Louvre, the other in the Museum at Florence.
Beyond the entrance into the principal court are small temples, one of which, dedicated to Isis, Hathor, and a wide range of deities related to midwifery, is covered with sculptures representing the birth of Ptolemy Philometor, under the figure of the god Horus. The story of Osiris is everywhere represented on the walls of this temple, and two of its inner chambers are particularly rich in symbolic imagery. Upon the two great propyla are Greek inscriptions intersected and partially destroyed by Egyptian figures cut across them.
The monuments in both islands indeed attested, beyond any others in the Nile valley, the survival of pure Egyptian art centuries after the last of the Pharaohs had ceased to reign. Great pains have been taken to mutilate the sculptures of this temple. The work of demolition is attributable, in the first instance, to the zeal of the early Christians, and afterward, to the policy of the Iconoclasts, who curried favour for themselves with the Byzantine court by the destruction of heathen images as well as Christian ones.[citation needed] Images/icons of Horus are often less mutilated than the other carvings. In some wall scenes, every figure and hieroglyphic text except that of Horus and his winged solar-disk representation have been meticulously scratched out by early Christians. This is presumably because the early Christians had some degree of respect for Horus or the legend of Horus - it may be because they saw parallels between the stories of Jesus and Horus (see Jesus in comparative mythology#Iconography and #Dying-and-rising god archetype).
The soil of Philae had been prepared carefully for the reception of its buildings–being leveled where it was uneven, and supported by masonry where it was crumbling or insecure. For example, the western wall of the Great Temple, and the corresponding wall of the dromos, were supported by very strong foundations, built below the pre-inundation level of the water, and rested on the granite which in this region forms the bed of the Nile. Here and there steps were hewn out from the wall to facilitate the communication between the temple and the river.
At the southern extremity of the dromos of the Great Temple was a smaller temple, apparently dedicated to Hathor; at least the few columns that remained of it are surmounted with the head of that goddess. Its portico consisted of twelve columns, four in front and three deep. Their capitals represented various forms and combinations of the palm branch, the doum palm branch, and the lotus flower. These, as well as the sculptures on the columns, the ceilings, and the walls were painted with the most vivid colors, which, owing to the dryness of the climate, have lost little of their original brilliance.
History
The ancient Egyptian name of the smaller island meant "boundary". As their southern frontier, the pharaohs of Egypt kept there a strong garrison, and it was also a barracks for Greek and Roman soldiers in their turn.
The first religious building on Philae was likely a shrine built by Pharaoh Taharqa of the 25th Dynasty, which was probably dedicated to Amun. However this structure is only known from a few blocks reused in later buildings, which Gerhard Haeny suspects may have been brought over for reuse from structures elsewhere.
The oldest temple to have undoubtedly stood on the island, as well as the first evidence of Isis-worship there, was a small kiosk built by Psamtik II of the 26th Dynasty. This was followed by contributions from Amasis II (26th Dynasty) and Nectanebo I (30th Dynasty). Of these early buildings, only two elements built by Nectanebo I survive– a kiosk that was originally the vestibule of the old Isis temple, and a gateway which was later incorporated into the first pylon of the current temple.
Ptolemaic era
More than two thirds of Philae's surviving structures were built in the Ptolemaic era, during which the island became a prominent site of pilgrimage not only for Egyptians and Nubians but for pilgrims from as far as Anatolia, Crete, and the Greek mainland. Some of these pilgrims marked their presence with inscriptions on the temple walls, including votive inscriptions known as proskynemata, as well as other types. Among these are inscriptions left by four Romans in 116 BC, which represent the oldest known Latin inscriptions in Egypt.
Along with the various contributions of Ptolemaic rulers, Philae also received additions from the Nubian king Arqamani, who contributed to the Temple of Arensnuphis and the mammisi, and his successor Adikhalamani, whose name has been found on a stela on the island. Some experts have interpreted these additions as signs of collaboration between the Nubian and Ptolemaic governments, but others consider them to represent a period of Nubian occupation of the region, likely enabled by the revolt of Hugronaphor in Upper Egypt. The cartouches of Arqamani were later erased by Ptolemy V, while the stela of Adikhalamani was eventually reused as filling under the floor of the pronaos.
Roman era
The Roman era saw an overall decline in pilgrimage to Philae, especially from Mediterranean regions, as evidenced by the reduced number of inscriptions. Nevertheless, it remained an important sacred site, especially for Nubians, who continued to visit both as individual pilgrims and in official delegations from their government in Meroë.
Several Roman emperors made artistic and architectural contributions to Philae. While most of the architectural additions date to the Julio-Claudian dynasty, the island continued to receive contributions to its temples up to the time of Caracalla as well as a triple arch built by Diocletian. In AD 298, Diocletian ceded Roman territory south of the First Cataract as part of an agreement made with the neighboring Nobades, withdrawing the border to about the area of Philae itself. The Kushite king Yesebokheamani made a pilgrimage to Philae in this period and may have taken over the Roman hegemony.
During the Roman era, Philae was the site of the last known inscription in Egyptian hieroglyphs, written in AD 394, and the last known Demotic inscription, written in 452.
Christianization
Christianity seems to have been present at Philae by the fourth century, at which point it coexisted with traditional Egyptian religion. According to the Coptic hagiography Life of Aaron, the first bishop of Philae was Macedonius (attested in the early fourth century), who is said to have killed the sacred falcon kept on the island, though modern experts question the historicity of this account. By the mid fifth century, a petition from Bishop Appion of Syene to co-emperors Theodosius II and Valentinian III indicates the presence of multiple churches on the island functioning alongside the pagan temples.
Traditional worship at Philae appears to have survived into at least the fifth century, despite the anti-pagan persecutions of that time. In fact, the fifth-century historian Priscus mentions a treaty between the Roman commander Maximinus and the Blemmyes and Nobades in 452, which among other things ensured access to the cult image of Isis.
According to the sixth-century historian Procopius, the temple was closed down officially in AD 537 by the local commander Narses the Persarmenian in accordance with an order of Byzantine emperor Justinian I. This event is conventionally considered to mark the end of ancient Egyptian religion. However, its importance has recently come into question, following a major study by Jitse Dijkstra who argues that organized paganism at Philae ended in the fifth century, based on the fact that the last inscriptional evidence of an active pagan priesthood there dates to the 450s. Nevertheless, some adherence to traditional religion seems to have survived into the sixth century, based on a petition from Dioscorus of Aphrodito to the governor of the Thebaid dated to 567. The letter warns of an unnamed man (the text calls him "eater of raw meat") who, in addition to plundering houses and stealing tax revenue, is alleged to have restored paganism at "the sanctuaries," possibly referring to the temples at Philae.
Philae retained significance as a Christian center even after its closure as a pagan site. Five of its temples were converted into churches (including the Temple of Isis, which was dedicated to Saint Stephen), and two purpose built churches were constructed on the north side of the island.
1800s
The island of Philae attracted much attention in the 19th century. In the 1820s, Joseph Bonomi the Younger, a British Egyptologist and museum curator visited the island. So did Amelia Edwards, a British novelist in 1873–1874.
The approach by water is quite the most beautiful. Seen from the level of a small boat, the island, with its palms, its colonnades, its pylons, seems to rise out of the river like a mirage. Piled rocks frame it on either side, and the purple mountains close up the distance. As the boat glides nearer between glistening boulders, those sculptured towers rise higher and even higher against the sky. They show no sign of ruin or age. All looks solid, stately, perfect. One forgets for the moment that anything is changed. If a sound of antique chanting were to be borne along the quiet air–if a procession of white-robed priests bearing aloft the veiled ark of the God, were to come sweeping round between the palms and pylons–we should not think it strange.
— Amelia B. Edwards, A thousand miles up the Nile / by Amelia B. Edwards, 1831-1892, p. 207.
These visits are only a small sample of the great interest that Victorian-era Britain had for Egypt. Soon, tourism to Philae became common.
1900s
In 1902, the Aswan Low Dam was completed on the Nile River by the British. This threatened to submerge many ancient landmarks, including the temple complex of Philae. However, the British prioritized the advancement of Modern Egypt at the expense of the complex. The height of the dam was raised twice, from 1907 to 1912 and from 1929 to 1934, and the island of Philae was nearly always flooded. In fact, the only times that the complex was not underwater was when the dam's sluices were open from July to October.
It was proposed that the temples be relocated, piece by piece, to nearby islands, such as Bigeh or Elephantine. However, the temples' foundations and other architectural supporting structures were strengthened instead. Although the buildings were physically secure, the island's attractive vegetation and the colors of the temples' reliefs were washed away. Also, the bricks of the Philae temples soon became encrusted with silt and other debris carried by the Nile.
Rescue project
The temples had been practically intact since the ancient days, but with each inundation the situation worsened and in the 1960s the island was submerged up to a third of the buildings all year round.
In 1960 UNESCO started a project to try to save the buildings on the island from the destructive effect of the ever-increasing waters of the Nile. First, building three dams and creating a separate lake with lower water levels was considered.
First of all, a large coffer dam was built, constructed of two rows of steel plates between which a 1 million cubic metres (35 million cubic feet) of sand was tipped. Any water that seeped through was pumped away.
External images
Next the monuments were cleaned and measured, by using photogrammetry, a method that enables the exact reconstruction of the original size of the building blocks that were used by the ancients. Then every building was dismantled into about 40,000 units from 2 to 25 tons, and then transported to the nearby Island of Agilkia, situated on higher ground some 500 metres (1,600 ft) away. The transfer itself took place between 1977 and 1980.
Nearby locations of interest
Prior to the inundation, a little west of Philae lay a larger island, anciently called Snem or Senmut, but now Bigeh. It is very steep, and from its most elevated peak affords a fine view of the Nile, from its smooth surface south of the islands to its plunge over the shelves of rock that form the First Cataract. Philae, Bigeh and another lesser island divided the river into four principal streams, and north of them it took a rapid turn to the west and then to the north, where the cataract begins.
Bigeh, like Philae, was a holy island; its ruins and rocks are inscribed with the names and titles of Amenhotep III, Ramesses II, Psamtik II, Apries, and Amasis II, together with memorials of the later Macedonian and Roman rulers of Egypt. Its principal ruins consisted of the propylon and two columns of a temple, which was apparently of small dimensions, but of elegant proportions. Near them were the fragments of two colossal granite statues and also an excellent piece of masonry of much later date, having the aspect of an arch belonging to a church or mosque.
This woman was crossing from the south side of 96th Street to the north side, on the west side of Broadway...
Note: this photo was published as an illustration in an undated (Jan 2010) Squidoo blog titled Fishing Boots." It was also published as an illustration in an undated (Jan 2010) Squidoo blogtitled "Funky Welly Boots." It was also published in a Feb 5, 2010 blog titled "Rain Boots to Brighten Your Cloudy Day." And it was published in a Jun 7, 2010 blog titled "Retirement income planning is tough when the economy is bad," as well as a Jun 9, 2010 Income Record blog, with the same title as the caption that I used on this Flickr page. It was also published in a Jul 13, 2010 blog titled "Retirement Planning Hints and Tips." And it was published in an Aug 24, 2010 blog titled "Late Retirement – Irish Pension Plans."
Moving into 2012, the photo was published in a Feb 1, 2012 blog titled "schraegsicht." It was also published in an Apr 3, 2012 blog title " Is there still hope to have a decent life without fighting?" And it was published in a Nov 24, 2012 blog titled "I want to make a list for someone of things to be thankful for what ya got?"
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Months from now, if people stumble onto this set of Flickr photos, they won't know or care when the photos were actually taken. After all, rain is a fairly universal phenomenon, and it can happen in any of the four seasons of the year.
Still, it's an odd experience to be writing these notes a week after the photographs were taken -- at an altitude of 35,000 feet, on a flight to Miami that lifted off from JFK airport just as the first snow flurries hit the runway at the beginning of what promises to be the first major snowfall of the 2009 season. Twelve inches of snow are expected by the time the storm stops, which makes this collection of water-soaked individuals seem like they got stuck in the wrong place and the wrong time.
But a week ago, the temperature was about ten degrees warmer -- and what could easily have been a foot or two of snow was instead just a couple of inches of cold rain. Rain, of course, brings out the umbrellas; and on a couple of earlier occasions this year (which you can see here and here on Flickr), I began to see that -- notwithstanding the typical stories about New York fashions -- people were not restricting themselves to black raincoats and black umbrellas. My winter coat (courtesy of North Face) is black, and just about every umbrella I've ever owned has been black; my suitcases are black, my backpacks and briefcases have always been black, and even my camera bag is black. Since it's promising to be a cold winter, I just bought a new pair of gloves and a new woolen cap ... in black.
But that's apparently not true for many other New Yorkers. While you'll see a few black outfits in the photos collected here, the range of vivid colors continues to surprise me. Somehow, it's something you would expect to see at the beginning of the spring season -- signifying the rejection of the dark gloom of clouds and rain, and celebrating the imminent arrival of flowers and blossoms, of emerald-colored trees and thick green grass and the chirping of birds. But this collection of photos was taken in mid-December, only a week before the official beginning of winter. You'd think that people would be carrying black umbrellas and somber raincoats that marked the season of death and darkness, but I guess that's just not the way things are here in New York City.
On the previous occasions when I've photographed umbrellas in the rain, I've deliberately used a "pocket camera," albeit a fairly sophisticated one such as the Canon G-10. I wanted something that would be compact enough that I could stick into my jacket pocket if the rain got heavy, and I didn't want to risk damaging the electronic components a really expensive, sophisticated camera by getting it wet. The results were usually fairly good, but I always wondered if I could do a better job with one of my high-end DSLR cameras...
... so that's what I used for this collection of photos: my Nikon D700 camera, with a big, heavy 70-300mm zoom lens. I attached a lens hood to the lens, to minimize the chances of raindrops falling directly onto the lens itself; and I stood beneath the awning and overhang of various storefronts and buildings along Broadway as the rain poured down steadily all around me. Next time, I might be even more adventurous, since I've got a professional waterproof bag-thingy that should keep the camera dry even if I'm standing out in the middle of a torrential downpour. But for now, this was a good start.
Because of the rain, most of the people I photographed paid no attention to me at all; they were too busy concentrating on where they were walking, where the puddles were deepest, and whose umbrellas were about to poke them in the face. On the rare occasions when they did see a crazy guy standing under an awning, pointing a camera in their general direction, they frowned or gave me a quizzical look, and just kept going...
So that's the way it was, on this rainy Sunday afternoon. At this point, I'm going to assume that winter has officially arrived, and that the precipitation during the next few months will take the form of snow, not rain. I don't know how well it will turn out, but one of my future projects will be a series of photos during a blizzard. Stay tuned ... and in the meantime, stay dry.
We publish portraits, in which we are beautiful and fascinating, but the photo must also tell the truth, it's just you to see me, even so.
Published by O Globo, Brazil april, 1940
Cover art: Bill Everett Marvel Mystery Comics No. 3/1940 - Timely Publications from page #1.
The Dawn of Timely Comics in Brazil.
First appearance of characters in this issue: Atlantes, Red Mask, Namor: The Sub-Mariner Prince.
Story's Included in this edition are:
a.) Characters:
Namor, The Submarine Prince
Screenplay: Bill Everett
Drawing: Bill Everett
Original editor: Martin Goodman
Originally published in Marvel Mystery Comics (1939) n ° 2/1939 - Timely Publications
b.)Characters:
Red Mask
Screenplay: Will Harr
Design: Maurice Gutwirth
Originally published in Daring Mystery Comics (1940) n ° 2/1940 - Timely Publications
c.) Characters:
Gong (The Clock)
Screenplay: George Brenner
Design: George Brenner
Original editor: Ed Cronin
Originally published in Feature Funnies (1937) n ° 14/1938 - Quality Comics
Historically important the very first Timely Comic in Brazilian History.
Thought to be the first complete International Edition of Timely Comics Globally outside the US.
Cover art and Interior complete story by Bill Everett.
Cover art: Bill Everett Marvel Mystery Comics No. 3/1940 - Timely Publications from page #1.
The beginning Internationally of the of Marvel Comics in the Foreign Comic market.
O Globo the single most important publisher in Brazilian history, and when is all said and done I feel the historians will state the obvious.
They were the Pioneers that brought history to the International market, with complete stories and original art of the Grand Masters.
Bill Everett and Carl Burgos among others.
Find out more about the project and see pictures taken by other photographers at 100 Strangers Flickr Group page
This photo was initially published in my local photo blog about the citizens of my area in Montréal. quartiersnord.photos/les-gens-the-people/
I met Guy at the entrance of the Jardin Ahuntsic, a beautiful community garden sloping up to the south of Sackville Street. He started cultivating a plot of this garden 2 years ago. His plantations are quite varied and growing well this year. Insofar as his dwelling place would allow it, he always had a small piece of land to cultivate. It's a habit that comes from his mother. As is often the case in the area, the soil here is clayey; a plant that grows well in it is the tomato. Guy chose the Florida cultivar.
I thought the places were few and that there were long waiting lists to get one in a community garden. He said he got his pretty quickly and has already seen some turnover. People without gardening experience make a first try and then give up. These are often people who do not measure the daily involvement necessary to maintain a vegetable garden. They buy ready-made plants, put them in the ground, go on vacation three weeks without seeking a caretaker and then return to find that everything has withered. For him, the garden is a daily haven after work in a green oasis.
Guy knows his way around in Greater Montreal. Growing up in the Mile End in Montreal, he lived in different districts of the city, then on the South Shore and the North Shore.
Production Manager in a printing shop in St-Laurent, he came to live in the Sault-au-Récollet district two years to be closer to his work. The fact that his children are well on their way in life after successfully completing their studies also favored his return to the city.
The company where he works is active in two sectors, general commercial printing and music publishing. It makes everything that is connected with the packaging and promotion of recorded music.
I wish him a good harvest.
Cette photo fait partie de mon projet 100 Strangers (100 inconnus). Apprenez en plus sur ce type de projet et voyez les photos d’autres photographes à 100 Strangers Flickr Group page
Cette photo a initialement été publiée sur mon blogue local dédié aux citoyens de mon quartier de Montréal quartiersnord.photos/les-gens-the-people/
J’ai rencontré Guy à l’entrée du Jardin Ahuntsic, un beau jardin en pente au sud de la rue Sackville. Il cultive une parcelle de ce jardin communautaire depuis 2 ans. Ses plantations sont assez variées et bien parties pour cette année. Dans la mesure où son lieu d’habitation le permettait, il a toujours eu un petit bout de terrain à cultiver. C’est une habitude qu’il tient de sa mère. Comme c’est souvent le cas dans le secteur, le sol étant argileux, une des plantes qui pousse bien est la tomate. Guy a choisi le cultivar Florida.
Je croyais que les places étaient rares et les listes d’attentes longues pour obtenir une place dans un jardin communautaire. Il m’a dit avoir obtenu sa place assez rapidement et avoir déjà constaté un certain roulement. Certaines personnes sans expérience font un premier essai puis abandonnent. Il s’agit souvent de gens qui ne mesurent pas l’implication quotidienne nécessaire à l’entretien d’un potager. Ils achètent des plants tout faits, les mettent en terre, partent en vacances trois semaines sans s’assurer de relève et constatent à leur retour que tout a dépéri. Pour lui, le potager est plutôt un havre de paix quotidien après le travail dans une oasis de verdure.
Guy connaît bien tous les milieux de vie du Grand Montréal. Ayant grandi dans le Mile-End à Montréal, il a habité dans différents quartiers de la ville, puis sur la Rive-sud et la Rive-Nord.
Directeur de production dans une imprimerie de St-Laurent, c’est pour se rapprocher de son travail qu’il est revenu habiter dans le district du Sault-au-Récollet il y a deux ans. Le fait que ses enfants soient bien partis dans la vie après avoir réussi de bonnes études a aussi favorisé son retour à la ville.
L’entreprise où il travaille œuvre dans deux secteurs soit, l’imprimerie commerciale générale et l’édition musicale. Elle fait de tout ce qui a rapport avec l’emballage et la promotion de musique enregistrée.
Je lui souhaite bonne récolte.
The Postcard
An Attwell Series postcard that was published by Valentine & Sons Ltd. of Dundee and London. The card was posted in Newquay, Cornwall on Friday the 21st. July 1933 to:
Miss Paddy Guillern,
'Avonhurst',
Blaenavon,
Mon.
The message on the divided back of the card was as follows:
"How are you darling?
Still a good girlie?
We will soon be with
you now.
We have enjoyed
ourselves very very
much,
Lots of love to you
and Granny from
Mummy xxx"
Mabel Lucie Attwell
Mabel Lucie Attwell was a British illustrator and comics artist. She is known for her cute, nostalgic drawings of children, inspired by her daughter. Her drawings are featured on many postcards, advertisements, posters, books and figurines.
-- Mabel Lucie Attwell - The Early Years
Mabel was born on the 4th. June 1879 in Mile End, London, the sixth child of butcher Augustus Attwell and his wife Emily Ann.
She studied at Saint Martin's School of Art, but left to develop her own interest in imaginary subjects, disliking the emphasis on still-life drawing and classical subjects.
After Mabel sold work to the Tatler and Bystander, she was taken on by the agents Francis and Mills, leading to a long and consistently successful career.
In 1908, she married painter and illustrator Harold Cecil Earnshaw (d. 1937) with whom she had a daughter, Marjorie, and two sons.
Attwell's initial career was founded on magazine illustration, which she continued throughout her life, but around 1900 she began receiving commissions for book illustrations.
Mabel illustrated children's classics such as Mother Goose (1910) and Alice in Wonderland (1911).
During the 1910's Attwell produced a number of posters for London Transport featuring children to promote travel to Christmas pantomimes and other events.
-- Mabel Lucie Attwell - The Later Years
From 1914 onwards, Mabel developed her trademark style of sentimentalised rotund cuddly infants, which became ubiquitous across a wide range of markets. These included cards, calendars, nursery equipment and pictures, crockery and dolls.
Mabel illustrated Hans Andersen's Fairy Tales (1914), The Water Babies by Charles Kingsley (1915), and an edition of J. M. Barrie's Peter Pan and Wendy.
-- Shelley Potteries
In 1926 Shelley Potteries commissioned Attwell to produce designs for children's china ware. Attwell’s first six designs portrayed scenes involving children, animals and small green elves in green suits – these were called 'Boo Boos' and were featured on cups, mugs, bowls etc.
-- The Death of Mabel Lucie Attwell
Mabel died at her home in Fowey, Cornwall on the 5th. November 1964, after which her business was carried on by her daughter.
The Lucie Attwell Annual, which was first published in 1922, continued to be published for a further ten years ten years after Mabel's death. This was made possible by extensive re-use of earlier images.
Al Jolson
So what else happened on the day that the card was posted?
Well, on the 21st. July 1933, Al Jolson punched nationally syndicated gossip columnist Walter Winchell before a crowd of 4,000 people in Hollywood.
Jolson felt that Winchell's screenplay for Broadway Through a Keyhole, to be made into a film, had been based on Jolson's romance with Ruby Keeler.
A United Press writer acknowledged rumors that it was a publicity stunt, but added, "If it was, it was a painful one for Winchell," who was knocked down after being punched in the neck.
'The Stranger's Return'
Also on that day, the drama film The Stranger's Return starring Miriam Hopkins, Lionel Barrymore and Franchot Tone was released.
Father Charles Uncles
The 21st. July 1933 also marked the death at the age of 74 of Father Charles Uncles, the first African-American Catholic priest.
His death left only two black Catholic priests in the U.S., Norman Dukette and Charles Logan.
John Gardner
The day also marked the birth in Batavia, New York of the American novelist John Gardner. John was killed in accident in 1982.
John Champlin Gardner Jr. was an American novelist, essayist, literary critic and university professor. He is best known for his 1971 novel Grendel, a retelling of the Beowulf myth from the monster's point of view.
-- John Gardner - The Early Years
Gardner's father was a lay preacher and dairy farmer, and his mother taught third grade at a small school in a nearby village. Both parents were fond of poetry, and would often recite their favorite poetry and poetry they wrote about life on the farm at friends' homes.
Gardener was active in the Boy Scouts of America and achieved the Eagle Scout rank. As a child, Gardner attended public school and worked on his father's farm, where, in April 1945, his younger brother Gilbert was killed in an accident with a cultipacker.
Gardner, who was driving the tractor during the fatal accident, carried guilt for his brother's death throughout his life, suffering nightmares and flashbacks.
The incident informed much of Gardner's fiction and criticism - most directly in the 1977 short story "Redemption," which included a fictionalized recounting of the accident as an impetus for artistic inspiration.
Gardner began his university education at DePauw University, and received his undergraduate degree from Washington University in St. Louis in 1955. He received his M.A. (1956) and Ph.D. (1958) from the University of Iowa. He was Distinguished Visiting Professor at the University of Detroit in 1970.
-- John Gardner's Fiction
Gardner's best-known novels include:
-- The Sunlight Dialogues, about a disaffected policeman asked to engage a madman fluent in classical mythology.
-- Grendel, a retelling of the Beowulf legend from the monster's point of view, with an existential subtext.
-- October Light, about an embittered brother and sister living and feuding with each other in rural Vermont (the novel includes an invented "trashy novel" that the woman reads).
October Light won the National Book Critics Circle Award in 1976.
-- Teaching and Controversies
John Gardner was a lifelong teacher of fiction writing. He was associated with the Bread Loaf Writers' Conference. His two books on the craft of writing fiction -The Art of Fiction and On Becoming a Novelist - are considered classics.
John was famously obsessive with his work, and acquired a reputation for advanced craft, smooth rhythms, and careful attention to the continuity of the fictive dream. His books nearly always touched on the redemptive power of art.
In 1978, Gardner's book of literary criticism, On Moral Fiction, sparked a controversy that excited the mainstream media, vaulting Gardner into the spotlight with an interview on The Dick Cavett Show on the 16th. May 1978, and a cover story in The New York Times Magazine (July 1979).
John's judgments of contemporary authors - including John Updike, John Barth and other American writers - harmed his reputation among fellow writers and book reviewers.
Gardner claimed that lingering animosity from critics of his book Mickelsson's Ghosts led to unflattering reviews of what turned out to be his last finished novel, although literary critics later praised the book.
Gore Vidal found the book, as well as Gardner's novels, sanctimonious and pedantic, and called Gardner:
"The late apostle to the lowbrows,
a sort of Christian evangelical who
sees Heaven as a paradigmatic
American university."
John Gardner inspired and, according to Raymond Carver, sometimes intimidated his students. At Chico State College (where he taught from 1959 to 1962), when Carver mentioned to Gardner that he had not liked the assigned short story, Robert Penn Warren's "Blackberry Winter," Gardner said, "You'd better read it again." "And he wasn't joking", said Carver, who related this anecdote in his foreword to Gardner's book On Becoming a Novelist.
In that foreword, Raymond Carver makes it clear how much he respected Gardner, and also relates his kindness as a writing mentor.
-- Scholarship
In 1977, Gardner published The Life and Times of Chaucer. In a review in the October 1977 issue of Speculum, Sumner J. Ferris pointed to several passages that were allegedly lifted either in whole or in part from work by other authors without proper citation.
Ferris charitably suggested that Gardner had published the book too hastily, but on the 10th. April 1978, reviewer Peter Prescott, writing in Newsweek, cited the Speculum article and accused Gardner of plagiarism, a claim that Gardner met "with a sigh."
John Gardner is associated with a truism that holds that, in literature, only two plots exist: someone taking a journey, or a stranger arriving in town. However, Gardner's documented words on the subject, from The Art of Fiction, were simply exercise instructions to "Use either a trip or the arrival of a stranger (some disruption of order—the usual novel beginning)."
-- John Gardner's Family Life
John Gardner married Joan Louise Patterson on the 6th. June 1953; the marriage, which produced children, ended in divorce in 1980.
Gardner then married poet and novelist Liz Rosenberg in 1980; this marriage also ended in divorce, in 1982.
-- The Traumatic Death of John Gardner
Gardner was killed at the age of 49 in a motorcycle accident about two miles from his home in Susquehanna County, Pennsylvania on Tuesday, September 14, 1982.
State Police said that at about 2:30 pm Gardner completed a curve on Route 92, approximately 3 mi (4.8 km) north of Oakland.
Passing the home of photographer Jim Wood, he lost control of his 1979 Harley-Davidson, went into the dirt shoulder, struck the guard rail, and was thrown from the motorcycle, suffering blunt force trauma to his body from the handlebars.
John was pronounced dead at Barnes-Kasson Hospital in Susquehanna. Gardner's fiancée, Susan Thornton, said that Gardner had been drinking the night before the accident.
An autopsy revealed Gardner had a blood alcohol level of 0.075; the legal limit for driving at the time was 0.08. Thornton also mentioned exhaustion from overwork as a contributing factor, and that the curve on Route 92 had been freshly oil-graveled.
The crash occurred four days before John's planned marriage to Thornton.
John was laid to rest next to his brother Gilbert in the Grandview Cemetery in Batavia, Genesee County, New York.
Link to photograph of John Gardner below.
Published articles about the project:
petapixel.com/2022/08/24/photographer-spends-four-years-d...
This edition of the novel contains six color illustrations by Pamela Colman Smith. The book was first published in the US in 1966 under the title “The Garden of Evil” by Paperback Library. In 1988, it was adapted into a film by Ken Russell.
www.youtube.com/watch?v=Z4Q-PyZxZjw
“The Lair of the White Worm” was Bram Stoker’s twelfth and last novel, published a year before his death. The novel, along with “The Jewel of Seven Stars, is one of his most famous after “Dracula.” It is a horror story about a giant white worm that can transform itself into a woman. Partly based on the legend of the Lambton Worm from North East England, the White Worm in Stoker’s story is a large snake-like creature that dwells in a hole or pit and feeds on whatever is thrown to it. It is thought to reside in the house of Arabella March, a local lady and a suspect in numerous crimes that cannot be proven.