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Work promotes confidence
Date Created/Published: [New York] : Federal Art Project, [between 1936 and 1941]
Medium: 1 print on board (poster) : silkscreen, color.
Summary: Poster for Works Progress Administration encouraging laborers to gain confidence from their work, showing stylized man holding hammer.
Reproduction Number: LC-USZC2-1018 (color film copy slide) LC-USZ62-59986 (b&w film copy neg.)
Rights Advisory: No known restrictions on publication.
Call Number: POS - WPA - NY .01 .W76, no. 1 (C size) [P&P]
Repository: Library of Congress Prints and Photographs Division Washington, D.C. 20540 USA
Notes:
Work Projects Administration Poster Collection (Library of Congress).
Posters of the WPA / Christopher DeNoon. Los Angeles : Wheatly Press, c1987, no. 1
wpa_work promoters confidence_M
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È finalmente in arrivo in Italia Marvel Universe Live!, il più entusiasmante spettacolo dal vivo per le famiglie mai visto finora., al Mediolanum Forum dal 2 al 4 dicembre 2016.
Super Eroi in Azione porta l’intrattenimento dal vivo verso nuovi orizzonti con una storia epica ed effetti di ultima generazione mai visti prima. Fate il tifo per i vostri Super Eroi Marvel preferiti, da Spider-Man ad Iron Man, ma anche Hulk, Thor, Vedova Nera e molti altri, nella loro eroica battaglia contro Loki e i personaggi Marvel più malvagi in una performance piena di azione per tutta la famiglia.
È stato definito lo spettacolo tecnicamente più avanzato mai portato in scena: un’atmosfera di pura energia con effetti speciali e pirotecnici d’avanguardia, acrobazie mozzafiato, combattimenti con le più sofisticate arti marziali, e molto altro ancora. Uno spettacolo grandioso per tutti i fan di Marvel. Non mancate: in questo show si deciderà il destino dell’universo!
Dopo aver visitato 85 città negli Usa in un anno e mezzo, per un totale di 2 milioni di spettatori, lo spettacolo live più ambizioso della storia della Feld Entertainent è da poco sbarcato in Europa e ha già letteralmente trionfato a Londra e Parigi.
Spider-Man, Iron Man, Capitan America, Hulk, Thor ma anche Wolverine, Goblin, Dottor Octopus, Teschio Rosso, Madame Hydra, Aldrich Killian ed Electro, sono solo alcuni dei 25 personaggi Marvel che saliranno sul palco, tutti insieme in una stessa produzione per un’unica eroica avventura.
For the European Parliament in Belgium! That's my pic on the cover!
:)
And it's something that I believe in, after my years of living in Romania and working with the Roma population.
An interactive ebook I illustrated, published by Random House Digital. Now available on the iTunes app store.
itunes.apple.com/us/app/the-jungle-book-adapted-for/id487...
You can see some illustrations from the book here:
The Postcard
A DP Series postcard that was printed and published by E.T.W. Dennis & Sons Ltd. of Scarborough. The card was an all-British production.
The card was posted in Weymouth, Dorset on Monday the 18th. August 1969 to:
Mrs. J. Bannister,
12, Lincoln Street,
Kingsthorpe,
Northampton.
The message on the divided back of the card was as follows:
"Dear Uncle John,
We are having a nice time.
We have been on the rocks.
We saw the army band and
soldiers marching to church
on the road this morning.
Love,
Andrew".
The Long Tan Cross
So what else happened on the day that Andrew posted the card?
Well, the 18th. August 1969 marked the dedication of the Long Tan Cross.
The Long Tan Cross is a memorial which was erected by the 6th Battalion, Royal Australian Regiment to mark the site of the Battle of Long Tan, which was fought three years earlier during the Vietnam War.
While the cross was removed following the Communist victory in 1975 and used to commemorate a priest, it was recovered by the Đồng Nai Province Museum in 1984 and placed on display.
A replica cross was also erected on the battlefield during the 1980's, and is frequently visited by Australian Vietnam War veterans. The original Long Tan Cross was gifted to Australia in 2017 and placed on permanent display at the Australian War Memorial in Canberra.
The History of the Long Tan Cross
During the afternoon and evening of the 18th. August 1966, D Company of the 6th Battalion, Royal Australian Regiment (6 RAR) fought an intense battle with a much larger force of Vietnamese communist troops near Long Tan in South Vietnam.
While the Australian force comprised only 108 men, it managed to defeat the approximately 2,000-strong Communist force with the assistance of supporting artillery and air strikes. 6 RAR and the other Australian units engaged suffered 18 killed and 24 wounded, making this the most costly Australian battle of the war.
Australian records state that 245 Communist troops were killed in the fighting, although the official Vietnamese record states that only 47 troops were killed. The true number of casualties remains unknown.
The Erection of the Cross
6 RAR erected the Long Tan Cross to mark the third anniversary of the battle. The cross was the brainchild of Lieutenant Colonel David Butler and Warrant Officer James Cruickshank, and was constructed from concrete by Sergeant Alan McLean.
The cross weighs over 100 kilograms (220 lb) and is just under 2 metres (6.6 ft) tall.
On the 17th. August 1969, A and D Companies of 6 RAR landed by helicopter near the former battle site and secured the area. The next morning, infantrymen and assault pioneers cleared the area around the location where 11 Platoon of D Company had conducted a last stand during the Battle of Long Tan.
A Royal Australian Air Force helicopter then delivered the cross to the site. The remainder of the battalion arrived during the morning, and 6 RAR's chaplain led a ceremony to dedicate the memorial. Ten men from the battalion who had fought in the battle stood at the side of the cross throughout the proceedings.
The ceremony concluded before noon, and 6 RAR returned to the nearby major Australian base at Nui Dat; D Company was the last element of the battalion to leave the site.
The inscription on the cross reads:
'In Memory of those members of D Coy 6 RAR
and 3 Tp 1 APC Sqn who gave their lives near
this spot during the Battle of Long Tan on 18th
August 1966.
Erected by 6 RAR/NZ (ANZAC) Bn 18 Aug 69'.
At some time after the Fall of Saigon and the end of the Vietnam War in 1975, the Long Tan Cross was removed from the battle site. It was subsequently used as a memorial for a Catholic priest until 1984, when it was located by the Đồng Nai Province Museum. The museum added it to its collection, and placed the cross on display alongside other items from the war.
In the late 1980's a replica of the Long Tan Cross was erected on the battle site by the Long Dat District People's Committee. This replica is often visited by Australian Vietnam War veterans and, as at 2012, was one of only two memorials to foreign military forces permitted in Vietnam (the other being a monument to the French forces who fought in the Battle of Dien Bien Phu during 1954).
The original Long Tan Cross was loaned to the Australian War Memorial in Canberra in mid-2012. It was placed on display at the Memorial on the 17th. August, and was returned to Vietnam in April 2013.
In 2016 the Australian War Memorial unsuccessfully sought for the Cross to be loaned to it to mark the 50th. anniversary of the battle.
In November 2017 the Vietnamese Government gifted the original Long Tan Cross to Australia. It was placed on permanent display at the Australian War Memorial on the 6th. December 2017.
'But You Didn't'
'But You Didn't' is a poem by Merrill Glass. Here it is:
'Remember the time you lent
me your car and I dented it?
I thought you'd kill me...
But you didn't.
Remember the time I forgot to
tell you the dance was formal,
and you came in jeans?
I thought you'd hate me...
But you didn't.
Remember the times I'd flirt with
other boys just to make you jealous,
and you were?
I thought you'd drop me...
But you didn't.
There were plenty of things you did
to put up with me, to keep me happy,
to love me, and there are so many
things I wanted to tell you when you
returned from Vietnam...
But you didn't'.
Published by World's Work in 1970.
One of my favourite books, although my copy is a tattered old ex-library one...
On Conservation Status and Trade Legality Issues:
The IUCN rates this as an endangered species since 2004. T. Haevermans, the person who evaluated this species for the IUCN, thought it should be rated as endangered due to its small extent of occurrence; he states it is recorded from only 15 localities and comprises of four to five sub-populations. Nonetheless, it is also published as being common throughout its range in a number of articles on the subject by the late Werner Rauh, possibly formerly the greatest expert on this species. Furthermore, I can find a few more localities than 15 on the GBIF, and I know for certain new localities were discovered since 2004. Lastly, looking at the synonymy and history of this species, one must conclude that it is now naturalized in Tanzania, and has thus actually increased its area of distribution due to man. The greatest threat to its continued existence on this planet is habitat degradation, according to Haevermans. Judging from the climate and geography, I think this must be due to cattle-ranching in this area, although possibly also goat-herding. Looking at the FAO's database on international trade in beef (or goat), one would conclude that this ranching is mostly for local consumption. Other threats listed are fire and charcoal production. Fire is probably caused mostly due to people clearing land for ranching and charcoal production is driven by local need for cooking fuel, and can cause habitat destruction for up to 60kms around a large metropolis. The last thing of concern is large specimens being harvested for the horticultural trade, most of which is local.
Okay, that was the IUCN, now CITES.
In 1975 this species along with all other Euphorbia (including E. pulcherrima) were placed under CITES II; excluding only pollen, seeds, tissue culture or flasked plants. The reason for this was the massive collecting of wild Euphorbia species belonging to the E. obesa group. It was feared that if only these species were declared illegal to harvest, then collectors' attentions would shift to other species. Although over the next few decades more exceptions were permitted to allow the international trade in horticultural plants; such as E. milii, E. lactea or since 2007 E. trigona; trade in succulent Euphorbia has remained illegal. The two most pertinent changes to CITES in interest of this post are in 2005 and 2007. In 2005 a report was prepared and submitted to the CITES council in which was recommended to delist a large number of species, including E. hedyotoides, based on the fact that the international trade in this species was not seen as a cause for concern regarding its conservation. Here it is (in French): www.cites.org/fra/com/PC/15/F-PC15-WG2.pdf.
This report was ignored. In 2007, the government of Madagascar sent a response to the CITES secretariat. I haven't been able to get my hands on a copy of that. I'd like to see it. Either way, the council again decided to keep this species classed under CITES II; but with the following exceptions:
a) seeds and pollen (including pollinia);
b) seedling or tissue cultures obtained in vitro, in solid or liquid media, transported in sterile containers.
That means it is now legal to export seedlings internationally; as long as they are grown sterile in a lab in a test-tube or petri-dish.
But...
EU policies regarding endangered species (Regulation (EC) No 338/97) are stricter, but also much much more confusing. This species is rated Annex B, so international trade is legal providing:
1.The E.U. does not implement an import restriction for this species.
2. Scientific Authority has advised the Management Authority of its finding (after considering possible opinion Scientific Review Group) that:
import would not have a harmful effect on the conservation status of the species or decrease the population concerned, although this does not apply to re-imports and specimens acquired before 1 June 1947.
3. Management Authority in consultation with the Scientific Authority are satisfied that there are no other conservation factors against import, although this does not apply to re-imports and specimens acquired before 1 June 1947.
4. Scientific Authority is satisfied that intended accommodation for live animals/plants at the place of destination is adequately equipped to conserve and care for them properly, although it does not apply to re-imports and specimens acquired before 1 June 1947.
5. Applicant to provide documentary evidence that specimens were obtained in accordance with legislation on the protection of the species: for CITES specimens an export permit or re-export certificate, or copy thereof. Where a copy of an export permit or re-export certificate was the basis for the issue of an import permit, the latter shall only be valid if at the time of introduction it is accompanied by the valid original (re-) export document.
What does this all mean?
1. To my knowledge, there is no import restriction set by the EU on this species, so it complies with this provision.
2. This hasn't happened, and in practice happens only very rarely. Notable examples are when it is in a member state's interest to allow trade. As international trade in this species most probably will be only potentially economically beneficial for Africa, it is unlikely the EU will ever adopt such a provision.
3. Same as above (2).
4. Jezus, what a bunch of tree-hugging crap. I suppose an applicant would have to have some publicized or photographic evidence he would have to send to the Scientific Authority to prove he knows how to not kill the plant too quickly? I question what the point is of this; as long as natural populations are unaffected then who cares how many European collectors kill their plants? It seems to me great; the more Europeans kill their plants, the more they need to import new ones, the greater the economical significance of the species the more economic incentive for local populations to conserve the species, but that is ethics and I'll get back to that some other time.
5. Yeah, this seems fair. I'd add a link to the obscure website where you can fill in a form for this later.
Loophole: Yes, I think I see a loophole on how to get around this. One imports seeds to Europe, germinates them here, re-exports the germinated embryos back to Africa, then re-imports the grown caudexes back to Europe.
More Conservation Data:
1. Wild populations are protected in a number of nature parks and reserves.
2. International trade in the EU in this species: From 1999 to 2007 only 76 specimens have been imported to the EU, and none exported from the EU. In 2005 75 plants were imported from Madagascar to Spain, the Czech Republic and Germany. In 2004 1 plant was imported to the Czech Republic from Madagascar for non-trade purposes.
3. Germplasm: This species is well-represented in collections at botanical gardens or university accessions around the globe. Living germplasm is kept in Madagascar, Japan, the USA, France, Germany, Switzerland, the Czech Republic, Spain, the Netherlands, Denmark and the Ukraine. However, may of these collections represent only one or two plants. Considering it is dioecious, it would be pertinent to obtain opposite sexed individuals or to work together to exchange pollen.
Discussion of the above:
IUCN: The rating as endangered is somewhat questionable. Without clear data supporting an actual decline in population, and numerous recent reports of it being common (including in the IUCN report), I would myself conclude that endangered is too much. The threats as given by Haevermans might be very real, however, and someone over there needs to do a study on the impact of these threats on the known localities. The issue of known localities is also a finicky one; it is much more likely that that the full distribution of this species has simply not been fully elucidated due to incomplete sampling, than that it is truly restricted to small local populations. Lastly, I would like to point out that the three main threats to the species are local in nature, and are not caused by international trade in this species.
CITES: I think this is out-dated. On an ethical level, it really bugs me that legal trade in this species has been relegated to people with sterilized labs, or contacts with government CITES awarding agencies, making it impossible for the local people, whose environment we say we are protecting for them, to have any economic benefit from this. Furthermore, as pointed out in the IUCN and my analysis of the import figures for the EU, international trade in this species is not the biggest threat. There is a real possibility that CITES accreditation actually harms the conservation of this species, because it renders this species into a worthless, poisonous weed which ought to be cleared for cattle-ranching. Considering land-clearance and so is going on anyway in this region, wouldn't it be wise to allow ranchers with one of these on their land to sell it, rather than just burn it? And this CITES documentation application is earning the Malagasy government a lot of money. Insofar how much seems a question of great significance regarding trade issues in endangered species.
EU Regulation (EC) No 338/97: Come on guys! First off, how about someone rewrites this so it is understandable. The law is barely coherent, and regarding plants includes some quite nonsensical animal-rights activistesque nonsense. As far as I can tell, the extra restrictions are an intimidation method to discourage trade rather than stop it altogether, and have more to do with building non-tariff trade barriers in order to block 3rd world producers from accessing EU markets.
PS: Let me quickly note that Mr. Haevermans is a recognised authority on Malagasy Euphorbia, and maybe I should shut up.
Published by Golden Books from 1961 to 1965, this is one of four books in a slip-cover set designed to excite families about the joys that awaited them in the World of Walt Disney.
The books included: Fantasyland, Nature, America, and Stories from Other Lands. I found this copy of the Fantasyland book for $4 at my Friends of the Library Bookstore. Boxed sets on eBay run about $30 on the lower end.
I like the old-school feel of the illustrations--this is the Disney I grew up with.
With the holidays and starting a new semester at school, I forgot to share that my tag collages were featured in Anna Wray's book, "Handmade Graphics: Tools and Techniques Beyond the Mouse." I'm absolutely thrilled with the book...so many amazing artists and designers featured!
My Solitude photo was published in the November issue of DP - Arte Fotográfica.
DP is the Portuguese version of Digital Photographer Magazine.
Pure joy :)
A collaborative book for those in the frontlines of healthcare. www.amazon.com/Whats-Right-Health-Care-Worthwhile/dp/0974...
The Postcard
A postally unused carte postale published by L. B. of Dijon.
The Gardens of Versailles
The Gardens of Versailles are situated to the west of the palace. They cover some 800 hectares (1,977 acres) of land, much of which is landscaped in the classic French formal garden style perfected here by André Le Nôtre.
Beyond the surrounding belt of woodland, the gardens are bordered by the urban areas of Versailles to the east and Le Chesnay to the north-east, by the National Arboretum de Chèvreloup to the north, the Versailles plain (a protected wildlife preserve) to the west, and by the Satory Forest to the south.
In 1979, the gardens along with the château were inscribed on the UNESCO World Heritage List due to its cultural importance during the 17th. and 18th. centuries.
The gardens are now one of the most visited public sites in France, receiving more than six million visitors a year.
The gardens contain 200,000 trees, 210,000 flowers planted annually, and feature meticulously manicured lawns and parterres, as well as many sculptures.
50 fountains containing 620 water jets, fed by 35 km. of piping, are located throughout the gardens. Dating from the time of Louis XIV and still using much of the same network of hydraulics as was used during the Ancien Régime, the fountains contribute to making the gardens of Versailles unique.
On weekends from late spring to early autumn, there are the Grandes Eaux - spectacles during which all the fountains in the gardens are in full play. Designed by André Le Nôtre, the Grand Canal is the masterpiece of the Gardens of Versailles.
In the Gardens too, the Grand Trianon was built to provide the Sun King with the retreat that he wanted. The Petit Trianon is associated with Marie-Antoinette, who spent time there with her closest relatives and friends.
The Du Bus Plan for the Gardens of Versailles
With Louis XIII's purchase of lands from Jean-François de Gondi in 1632 and his assumption of the seigneurial role of Versailles in the 1630's, formal gardens were laid out west of the château.
Claude Mollet and Hilaire Masson designed the gardens, which remained relatively unchanged until the expansion ordered under Louis XIV in the 1660's. This early layout, which has survived in the so-called Du Bus plan of c.1662, shows an established topography along which lines of the gardens evolved. This is evidenced in the clear definition of the main east–west and north–south axis that anchors the gardens' layout.
Louis XIV
In 1661, after the disgrace of the finance minister Nicolas Fouquet, who was accused by rivals of embezzling crown funds in order to build his luxurious château at Vaux-le-Vicomte, Louis XIV turned his attention to Versailles.
With the aid of Fouquet's architect Louis Le Vau, painter Charles Le Brun, and landscape architect André Le Nôtre, Louis began an embellishment and expansion program at Versailles that would occupy his time and worries for the remainder of his reign.
From this point forward, the expansion of the gardens of Versailles followed the expansions of the château.
(a) The First Building Campaign
In 1662, minor modifications to the château were undertaken; however, greater attention was given to developing the gardens. Existing bosquets (clumps of trees) and parterres were expanded, and new ones created.
Most significant among the creations at this time were the Versailles Orangerie and the "Grotte de Thétys". The Orangery, which was designed by Louis Le Vau, was located south of the château, a situation that took advantage of the natural slope of the hill. It provided a protected area in which orange trees were kept during the winter months.
The "Grotte de Thétys", which was located to the north of the château, formed part of the iconography of the château and of the gardens that aligned Louis XIV with solar imagery. The grotto was completed during the second building campaign.
By 1664, the gardens had evolved to the point that Louis XIV inaugurated the gardens with the fête galante called Les Plaisirs de L'Île Enchantée. The event, was ostensibly to celebrate his mother, Anne d'Autriche, and his consort Marie-Thérèse but in reality celebrated Louise de La Vallière, Louis' mistress.
Guests were regaled with entertainments in the gardens over a period of one week. As a result of this fête - particularly the lack of housing for guests (most of them had to sleep in their carriages), Louis realised the shortcomings of Versailles, and began to expand the château and the gardens once again.
(b) The Second Building Campaign
Between 1664 and 1668, there was a flurry of activity in the gardens - especially with regard to fountains and new bosquets; it was during this time that the imagery of the gardens exploited Apollo and solar imagery as metaphors for Louis XIV.
Le Va's enveloppe of the Louis XIII's château provided a means by which, though the decoration of the garden façade, imagery in the decors of the grands appartements of the king and queen formed a symbiosis with the imagery of the gardens.
With this new phase of construction, the gardens assumed the design vocabulary that remained in force until the 18th. century. Solar and Apollonian themes predominated with projects constructed at this time.
Three additions formed the topological and symbolic nexus of the gardens during this phase of construction: the completion of the "Grotte de Thétys", the "Bassin de Latone", and the "Bassin d'Apollon".
The Grotte de Thétys
Started in 1664 and finished in 1670 with the installation of the statuary, the grotto formed an important symbolic and technical component to the gardens. Symbolically, the "Grotte de Thétys" related to the myth of Apollo - and by association to Louis XIV.
It represented the cave of the sea nymph Thetis, where Apollo rested after driving his chariot to light the sky. The grotto was a freestanding structure located just north of the château.
The interior, which was decorated with shell-work to represent a sea cave, contained the statue group by the Marsy brothers depicting the sun god attended by nereids.
Technically, the "'Grotte de Thétys" played a critical role in the hydraulic system that supplied water to the garden. The roof of the grotto supported a reservoir that stored water pumped from the Clagny pond and which fed the fountains lower in the garden via gravity.
The Bassin de Latone
Located on the east–west axis is the Bassin de Latone. Designed by André Le Nôtre, sculpted by Gaspard and Balthazar Marsy, and constructed between 1668 and 1670, the fountain depicts an episode from Ovid's Metamorphoses.
Altona and her children, Apollo and Diana, being tormented with mud slung by Lycian peasants, who refused to let her and her children drink from their pond, appealed to Jupiter who responded by turning the Lycians into frogs.
This episode from mythology has been seen as a reference to the revolts of the Fronde, which occurred during the minority of Louis XIV. The link between Ovid's story and this episode from French history is emphasised by the reference to "mud slinging" in a political context.
The revolts of the Fronde - the word fronde also means slingshot - have been regarded as the origin of the use of the term "mud slinging" in a political context.
The Bassin d'Apollon
Further along the east–west axis is the Bassin d'Apollon. The Apollo Fountain, which was constructed between 1668 and 1671, depicts the sun god driving his chariot to light the sky. The fountain forms a focal point in the garden, and serves as a transitional element between the gardens of the Petit Parc and the Grand Canal.
The Grand Canal
With a length of 1,500 metres and a width of 62 metres, the Grand Canal, which was built between 1668 and 1671, prolongs the east–west axis to the walls of the Grand Parc. During the Ancien Régime, the Grand Canal served as a venue for boating parties.
In 1674 the king ordered the construction of Petite Venise (Little Venice). Located at the junction of the Grand Canal and the northern transversal branch, Little Venice housed the caravels and yachts that were received from The Netherlands and the gondolas and gondoliers received as gifts from the Doge of Venice.
The Grand Canal also served a practical role. Situated at a low point in the gardens, it collected water that drained from the fountains in the garden above. Water from the Grand Canal was pumped back to the reservoir on the roof of the Grotte de Thétys via a network of windmill- and horse-powered pumps.
The Parterre d'Eau
Situated above the Latona Fountain is the terrace of the château, known as the Parterre d'Eau. Forming a transitional element from the château to the gardens below, the Parterre d'Eau provided a setting in which the symbolism of the grands appartements synthesized with the iconography of the gardens.
In 1664, Louis XIV commissioned a series of statues intended to decorate the water feature of the Parterre d'Eau. The Grande Command, as the commission is known, comprised twenty-four statues of the classic quaternities and four additional statues depicting abductions from the classic past.
Evolution of the Bosquets
One of the distinguishing features of the gardens during the second building campaign was the proliferation of bosquets. Expanding the layout established during the first building campaign, Le Nôtre added or expanded on no fewer that ten bosquets between 1670 and 1678:
-- The Bosquet du Marais
-- The Bosquet du Théâtre d'Eau, Île du Roi
-- The Miroir d'Eau
-- The Salle des Festins (Salle du Conseil)
-- The Bosquet des Trois Fontaines
-- The Labyrinthe
-- The Bosquet de l'Arc de Triomphe
-- The Bosquet de la Renommée (Bosquet des Dômes)
-- The Bosquet de l'Encélade
-- The Bosquet des Sources
In addition to the expansion of existing bosquets and the construction of new ones, there were two additional projects that defined this era, the Bassin des Sapins and the Pièce d'Eau des Suisses.
-- The Bassin des Sapins
In 1676, the Bassin des Sapins, which was located north of the château below the Allée des Marmoset's was designed to form a topological pendant along the north–south axis with the Pièce d'Eau des Suisses located at the base of the Satory hill south of the château.
Later modifications in the gardens transformed this fountain into the Bassin de Neptune.
-- Pièce d'Eau des Suisses
Excavated in 1678, the Pièce d'Eau des Suisses - named after the Swiss Guards who constructed the lake - occupied an area of marshes and ponds, some of which had been used to supply water for the fountains in the garden.
This water feature, with a surface area of more than 15 hectares (37 acres), is the second largest - after the Grand Canal - at Versailles.
(c) The Third Building Campaign
Modifications to the gardens during the third building campaign were distinguished by a stylistic change from the natural aesthetic of André Le Nôtre to the architectonic style of Jules Hardouin Mansart.
The first major modification to the gardens during this phase occurred in 1680 when the Tapis Vert - the expanse of lawn that stretches between the Latona Fountain and the Apollo Fountain - achieved its final size and definition under the direction of André Le Nôtre.
Beginning in 1684, the Parterre d'Eau was remodelled under the direction of Jules Hardouin-Mansart. Statues from the Grande Commande of 1674 were relocated to other parts of the garden; two twin octagonal basins were constructed and decorated with bronze statues representing the four main rivers of France.
In the same year, Le Vau's Orangerie, located to south of the Parterrre d'Eau was demolished to accommodate a larger structure designed by Jules Hardouin-Mansart.
In addition to the Orangerie, the Escaliers des Cent Marches, which facilitated access to the gardens from the south, to the Pièce d'Eau des Suisses, and to the Parterre du Midi were constructed at this time, giving the gardens just south of the château their present configuration and decoration.
Additionally, to accommodate the anticipated construction of the Aile des Nobles - the north wing of the château - the Grotte de Thétys was demolished.
With the construction of the Aile des Nobles (1685–1686), the Parterre du Nord was remodelled to respond to the new architecture of this part of the château.
To compensate for the loss of the reservoir on top of the Grotte de Thétys and to meet the increased demand for water, Jules Hardouin-Mansart designed new and larger reservoirs situated north of the Aile des Nobles.
Construction of the ruinously expensive Canal de l'Eure was inaugurated in 1685; designed by Vauban it was intended to bring waters of the Eure over 80 kilometres, including aqueducts of heroic scale, but the works were abandoned in 1690.
Between 1686 and 1687, the Bassin de Latone, under the direction of Jules Hardouin-Mansart, was rebuilt. It is this final version of the fountain that one sees today at Versailles.
During this phase of construction, three of the garden's major bosquets were modified or created. Beginning with the Galerie des Antiques, this bosquet was constructed in 1680 on the site of the earlier and short-lived Galerie d'Eau. This bosquet was conceived as an open-air gallery in which antique statues and copies acquired by the Académie de France in Rome were displayed.
The following year, construction began on the Salle de Bal. Located in a secluded section of the garden west of the Orangerie, this bosquet was designed as an amphitheater that featured a cascade – the only one surviving in the gardens of Versailles. The Salle de Bal was inaugurated in 1685 with a ball hosted by the Grand Dauphin.
Between 1684 and 1685, Jules Hardouin-Mansart built the Colonnade. Located on the site of Le Nôtre's Bosquet des Sources, this bosquet featured a circular peristyle formed from thirty-two arches with twenty-eight fountains, and was Hardouin-Mansart's most architectural of the bosquets built in the gardens of Versailles.
(d) The Fourth Building Campaign
Due to financial constraints arising from the War of the League of Augsburg and the War of the Spanish Succession, no significant work on the gardens was undertaken until 1704.
Between 1704 and 1709, bosquets were modified, some quite radically, with new names suggesting the new austerity that characterised the latter years of Louis XIV's reign.
Louis XV
With the departure of the king and court from Versailles in 1715 following the death of Louis XIV, the palace and gardens entered an era of uncertainty.
In 1722, Louis XV and the court returned to Versailles. Seeming to heed his great-grandfather's admonition not to engage in costly building campaigns, Louis XV did not undertake the costly rebuilding that Louis XIV had.
During the reign of Louis XV, the only significant addition to the gardens was the completion of the Bassin de Neptune (1738–1741).
Rather than expend resources on modifying the gardens at Versailles, Louis XV - an avid botanist - directed his efforts at Trianon. In the area now occupied by the Hameau de la Reine, Louis XV constructed and maintained les Jardins Botaniques.
In 1761, Louis XV commissioned Ange-Jacques Gabriel to build the Petit Trianon as a residence that would allow him to spend more time near the Jardins Botaniques. It was at the Petit Trianon that Louis XV fell fatally ill with smallpox; he died at Versailles on the 10th. May 1774.
Louis XVI
Upon Louis XVI's ascension to the throne, the gardens of Versailles underwent a transformation that recalled the fourth building campaign of Louis XIV. Engendered by a change in outlook as advocated by Jean-Jacques Rousseau and the Philosophes, the winter of 1774–1775 witnessed a complete replanting of the gardens.
Trees and shrubbery dating from the reign of Louis XIV were felled or uprooted with the intent of transforming the French formal garden of Le Nôtre and Hardouin-Mansart into a version of an English landscape garden.
The attempt to convert Le Nôtre's masterpiece into an English-style garden failed to achieve its desired goal. Owing largely to the topology of the land, the English aesthetic was abandoned and the gardens replanted in the French style.
However, with an eye on economy, Louis XVI ordered the Palisades - the labour-intensive clipped hedging that formed walls in the bosquets - to be replaced with rows of lime trees or chestnut trees. Additionally, a number of the bosquets dating from the time of the Sun King were extensively modified or destroyed.
The most significant contribution to the gardens during the reign of Louis XVI was the Grotte des Bains d'Apollon. The rockwork grotto set in an English style bosquet was the masterpiece of Hubert Robert in which the statues from the Grotte de Thétys were placed.
Revolution
In 1792, under order from the National Convention, some of the trees in the gardens were felled, while parts of the Grand Parc were parcelled and dispersed.
Sensing the potential threat to Versailles, Louis Claude Marie Richard (1754–1821) – director of the Jardins Botaniques and grandson of Claude Richard – lobbied the government to save Versailles. He succeeded in preventing further dispersing of the Grand Parc, and threats to destroy the Petit Parc were abolished by suggesting that the parterres could be used to plant vegetable gardens, and that orchards could occupy the open areas of the garden.
These plans were never put into action; however, the gardens were opened to the public - it was not uncommon to see people washing their laundry in the fountains and spreading it on the shrubbery to dry.
Napoléon I
The Napoleonic era largely ignored Versailles. In the château, a suite of rooms was arranged for the use of the empress Marie-Louise, but the gardens were left unchanged, save for the disastrous felling of trees in the Bosquet de l'Arc de Triomphe and the Bosquet des Trois Fontaines. Massive soil erosion necessitated planting of new trees.
Restoration
With the restoration of the Bourbons in 1814, the gardens of Versailles witnessed the first modifications since the Revolution. In 1817, Louis XVIII ordered the conversion of the Île du Roi and the Miroir d'Eau into an English-style garden - the Jardin du Roi.
The July Monarchy; The Second Empire
While much of the château's interior was irreparably altered to accommodate the Museum of the History of France (inaugurated by Louis-Philippe on the 10th. June 1837), the gardens, by contrast, remained untouched.
With the exception of the state visit of Queen Victoria and Prince Albert in 1855, at which time the gardens were a setting for a gala fête that recalled the fêtes of Louis XIV, Napoléon III ignored the château, preferring instead the château of Compiègne.
Pierre de Nolhac
With the arrival of Pierre de Nolhac as director of the museum in 1892, a new era of historical research began at Versailles. Nolhac, an ardent archivist and scholar, began to piece together the history of Versailles, and subsequently established the criteria for restoration of the château and preservation of the gardens, which are ongoing to this day.
Bosquets of the Gardens
Owing to the many modifications made to the gardens between the 17th. and the 19th. centuries, many of the bosquets have undergone multiple modifications, which were often accompanied by name changes.
Deux Bosquets - Bosquet de la Girondole - Bosquet du Dauphin - Quinconce du Nord - Quinconce du Midi
These two bosquets were first laid out in 1663. They were arranged as a series of paths around four salles de verdure and which converged on a central "room" that contained a fountain.
In 1682, the southern bosquet was remodeled as the Bosquet de la Girondole, thus named due to spoke-like arrangement of the central fountain. The northern bosquet was rebuilt in 1696 as the Bosquet du Dauphin with a fountain that featured a dolphin.
During the replantation of 1774–1775, both the bosquets were destroyed. The areas were replanted with lime trees and were rechristened the Quinconce du Nord and the Quinconce du Midi.
Labyrinthe - Bosquet de la Reine
In 1665, André Le Nôtre planned a hedge maze of unadorned paths in an area south of the Latona Fountain near the Orangerie. In 1669, Charles Perrault - author of the Mother Goose Tales - advised Louis XIV to remodel the Labyrinthe in such a way as to serve the Dauphin's education.
Between 1672 and 1677, Le Nôtre redesigned the Labyrinthe to feature thirty-nine fountains that depicted stories from Aesop's Fables. The sculptors Jean-Baptiste Tuby, Étienne Le Hongre, Pierre Le Gros, and the brothers Gaspard and Balthazard Marsy worked on these thirty-nine fountains, each of which was accompanied by a plaque on which the fable was printed, with verse written by Isaac de Benserade; from these plaques, Louis XIV's son learned to read.
Once completed in 1677, the Labyrinthe contained thirty-nine fountains with 333 painted metal animal sculptures. The water for the elaborate waterworks was conveyed from the Seine by the Machine de Marly.
The Labyrinthe contained fourteen water-wheels driving 253 pumps, some of which worked at a distance of three-quarters of a mile.
Citing repair and maintenance costs, Louis XVI ordered the Labyrinthe demolished in 1778. In its place, an arboretum of exotic trees was planted as an English-styled garden.
Rechristened Bosquet de la Reine, it would be in this part of the garden that an episode of the Affair of the Diamond Necklace, which compromised Marie-Antoinette, transpired in 1785.
Bosquet de la Montagne d'Eau - Bosquet de l'Étoile
Originally designed by André Le Nôtre in 1661 as a salle de verdure, this bosquet contained a path encircling a central pentagonal area. In 1671, the bosquet was enlarged with a more elaborate system of paths that served to enhance the new central water feature, a fountain that resembled a mountain, hence the bosquets new name: Bosquet de la Montagne d'Eau.
The bosquet was completely remodeled in 1704 at which time it was rechristened Bosquet de l'Étoile.
Bosquet du Marais - Bosquet du Chêne Vert - Bosquet des Bains d'Apollon - Grotte des Bains d'Apollon
Created in 1670, this bosquet originally contained a central rectangular pool surrounded by a turf border. Edging the pool were metal reeds that concealed numerous jets for water; a swan that had water jetting from its beak occupied each corner.
The centre of the pool featured an iron tree with painted tin leaves that sprouted water from its branches. Because of this tree, the bosquet was also known as the Bosquet du Chêne Vert.
In 1705, this bosquet was destroyed in order to allow for the creation of the Bosquet des Bains d'Apollon, which was created to house the statues had once stood in the Grotte de Thétys.
During the reign of Louis XVI, Hubert Robert remodeled the bosquet, creating a cave-like setting for the Marsy statues. The bosquet was renamed the Grotte des Bains d'Apollon.
Île du Roi - Miroir d'Eau - Jardin du Roi
Originally designed in 1671 as two separate water features, the larger - Île du Roi - contained an island that formed the focal point of a system of elaborate fountains.
The Île du Roi was separated from the Miroir d'Eau by a causeway that featured twenty-four water jets. In 1684, the island was removed and the total number of water jets in the bosquet was significantly reduced.
The year 1704 witnessed a major renovation of the bosquet, at which time the causeway was remodelled and most of the water jets were removed.
A century later, in 1817, Louis XVIII ordered the Île du Roi and the Miroir d'Eau to be completely remodeled as an English-style garden. At this time, the bosquet was rechristened Jardin du Roi.
Salle des Festins - Salle du Conseil - Bosquet de l'Obélisque
In 1671, André Le Nôtre conceived a bosquet - originally christened Salle des Festins and later called Salle du Conseil - that featured a quatrefoil island surrounded by a channel containing fifty water jets. Access to the island was obtained by two swing bridges.
Beyond the channel and placed at the cardinal points within the bosquet were four additional fountains. Under the direction of Jules Hardouin-Mansart, the bosquet was completely remodeled in 1706. The central island was replaced by a large basin raised on five steps, which was surrounded by a canal. The central fountain contained 230 jets that, when in play, formed an obelisk – hence the new name Bosquet de l'Obélisque.
Bosquet du Théâtre d'Eau - Bosquet du Rond-Vert
The central feature of this bosquet, which was designed by Le Nôtre between 1671 and 1674, was an auditorium/theatre sided by three tiers of turf seating that faced a stage decorated with four fountains alternating with three radiating cascades.
Between 1680 and Louis XIV's death in 1715, there was near-constant rearranging of the statues that decorated the bosquet.
In 1709, the bosquet was rearranged with the addition of the Fontaine de l'Île aux Enfants. As part of the replantation of the gardens ordered by Louis XVI during the winter of 1774–1775, the Bosquet du Théâtre d'Eau was destroyed and replaced with the unadorned Bosquet du Rond-Vert. The Bosquet du Théâtre d'Eau was recreated in 2014, with South Korean businessman and photographer Yoo Byung-eun being the sole patron, donating €1.4 million.
Bosquet des Trois Fontaines - Berceau d'Eau
Situated to the west of the Allée des Marmousets and replacing the short-lived Berceau d'Eau (a long and narrow bosquet created in 1671 that featured a water bower made by numerous jets of water), the enlarged bosquet was transformed by Le Nôtre in 1677 into a series of three linked rooms.
Each room contained a number of fountains that played with special effects. The fountains survived the modifications that Louis XIV ordered for other fountains in the gardens in the early 18th. century and were subsequently spared during the 1774–1775 replantation of the gardens.
In 1830, the bosquet was replanted, at which time the fountains were suppressed. Due to storm damage in the park in 1990 and then again in 1999, the Bosquet des Trois Fontaines was restored and re-inaugurated on the 12th. June 2004.
Bosquet de l'Arc de Triomphe
This bosquet was originally planned in 1672 as a simple pavillon d'eau - a round open expanse with a square fountain in the centre. In 1676, this bosquet was enlarged and redecorated along political lines that alluded to French military victories over Spain and Austria, at which time the triumphal arch was added - hence the name.
As with the Bosquet des Trois Fontaines, this bosquet survived the modifications of the 18th. century, but was replanted in 1830, at which time the fountains were removed.
Bosquet de la Renommée - Bosquet des Dômes
Built in 1675, the Bosquet de la Renommée featured a fountain statue of Fame. With the relocation of the statues from the Grotte de Thétys in 1684, the bosquet was remodelled to accommodate the statues, and the Fame fountain was removed.
At this time the bosquet was rechristened Bosquet des Bains d'Apollon. As part of the reorganisation of the garden that was ordered by Louis XIV in the early part of the 18th. century, the Apollo grouping was moved once again to the site of the Bosquet du Marais - located near the Latona Fountain - which was destroyed and was replaced by the new Bosquet des Bains d'Apollon.
The statues were installed on marble plinths from which water issued; and each statue grouping was protected by an intricately carved and gilded baldachin.
The old Bosquet des Bains d'Apollon was renamed Bosquet des Dômes due to two domed pavilions built in the bosquet.
Bosquet de l'Encélade
Created in 1675 at the same time as the Bosquet de la Renommée, the fountain of this bosquet depicts Enceladus, a fallen Giant who was condemned to live below Mount Etna, being consumed by volcanic lava.
From its conception, this fountain was conceived as an allegory of Louis XIV's victory over the Fronde. In 1678, an octagonal ring of turf and eight rocaille fountains surrounding the central fountain were added. These additions were removed in 1708.
When in play, this fountain has the tallest jet of all the fountains in the gardens of Versailles - 25 metres.
Bosquet des Sources - La Colonnade
Designed as a simple unadorned salle de verdure by Le Nôtre in 1678, the landscape architect enhanced and incorporated an existing stream to create a bosquet that featured rivulets that twisted among nine islets.
In 1684, Jules Hardouin-Mansart completely redesigned the bosquet by constructing a circular arched double peristyle. The Colonnade, as it was renamed, originally featured thirty-two arches and thirty-one fountains – a single jet of water splashed into a basin center under the arch.
In 1704, three additional entrances to the Colonnade were added, which reduced the number of fountains from thirty-one to twenty-eight. The statue that currently occupies the centre of the Colonnade - the Abduction of Persephone - (from the Grande Commande of 1664) was set in place in 1696.
Galerie d'Eau - Galerie des Antiques - Salle des Marronniers
Occupying the site of the Galerie d'Eau (1678), the Galerie des Antiques was designed in 1680 to house the collection of antique statues and copies of antique statues acquired by the Académie de France in Rome.
Surrounding a central area paved with colored stone, a channel was decorated with twenty statues on plinths, each separated by three jets of water.
The Galerie was completely remodeled in 1704 when the statues were transferred to Marly and the bosquet was replanted with horse chestnut trees - hence the current name Salle des Marronniers.
Salle de Bal
This bosquet, which was designed by Le Nôtre and built between 1681 and 1683, features a semi-circular cascade that forms the backdrop for a salle de verdure.
Interspersed with gilt lead torchères, which supported candelabra for illumination, the Salle de Bal was inaugurated in 1683 by Louis XIV's son, the Grand Dauphin, with a dance party.
The Salle de Bal was remodeled in 1707 when the central island was removed and an additional entrance was added.
Replantations of the Gardens
Common to any long-lived garden is replantation, and Versailles is no exception. In their history, the gardens of Versailles have undergone no less than five major replantations, which have been executed for practical and aesthetic reasons.
During the winter of 1774–1775, Louis XVI ordered the replanting of the gardens on the grounds that many of the trees were diseased or overgrown, and needed to be replaced.
Also, as the formality of the 17th.-century garden had fallen out of fashion, this replantation sought to establish a new informality in the gardens - that would also be less expensive to maintain.
This, however, was not achieved, as the topology of the gardens favored the Jardin à la Française over an English-style garden.
Then, in 1860, much of the old growth from Louis XVI's replanting was removed and replaced. In 1870, a violent storm struck the area, damaging and uprooting scores of trees, which necessitated a massive replantation program.
However, owing to the Franco-Prussian War, which toppled Napoléon III, and the Commune de Paris, replantation of the garden did not get underway until 1883.
The most recent replantations of the gardens were precipitated by two storms that battered Versailles in 1990 and then again in 1999. The storm damage at Versailles and Trianon amounted to the loss of thousands of trees - the worst such damage in the history of Versailles.
The replantations have allowed museum and governmental authorities to restore and rebuild some of the bosquets that were abandoned during the reign of Louis XVI, such as the Bosquet des Trois Fontaines, which was restored in 2004.
Catherine Pégard, the head of the public establishment which administers Versailles, has stated that the intention is to return the gardens to their appearance under Louis XIV, specifically as he described them in his 1704 description, Manière de Montrer les Jardins de Versailles.
This involves restoring some of the parterres like the Parterre du Midi to their original formal layout, as they appeared under Le Nôtre. This was achieved in the Parterre de Latone in 2013, when the 19th. century lawns and flower beds were torn up and replaced with boxwood-enclosed turf and gravel paths to create a formal arabesque design.
Pruning is also done to keep trees at between 17 and 23 metres (56 to 75 feet), so as not to spoil the carefully designed perspectives of the gardens.
Owing to the natural cycle of replantations that has occurred at Versailles, it is safe to state that no trees dating from the time of Louis XIV are to be found in the gardens.
Problems With Water
The marvel of the gardens of Versailles - then as now - is the fountains. Yet, the very element that animates the gardens, water, has proven to be the affliction of the gardens since the time of Louis XIV.
The gardens of Louis XIII required water, and local ponds provided an adequate supply. However, once Louis XIV began expanding the gardens with more and more fountains, supplying the gardens with water became a critical challenge.
To meet the needs of the early expansions of the gardens under Louis XIV, water was pumped to the gardens from ponds near the château, with the Clagny pond serving as the principal source.
Water from the pond was pumped to the reservoir on top of the Grotte de Thétys, which fed the fountains in the garden by means of gravitational hydraulics. Other sources included a series of reservoirs located on the Satory Plateau south of the château.
The Grand Canal
By 1664, increased demand for water necessitated additional sources. In that year, Louis Le Vau designed the Pompe, a water tower built north of the château. The Pompe drew water from the Clagny pond using a system of windmills and horsepower to a cistern housed in the Pompe's building. The capacity of the Pompe 600 cubic metres per day - alleviated some of the water shortages in the garden.
With the completion of the Grand Canal in 1671, which served as drainage for the fountains of the garden, water, via a system of windmills, was pumped back to the reservoir on top of the Grotte de Thétys.
While this system solved some of the water supply problems, there was never enough water to keep all of the fountains running in the garden in full-play all of the time.
While it was possible to keep the fountains in view from the château running, those concealed in the bosquets and in the farther reaches of the garden were run on an as-needed basis.
In 1672, Jean-Baptiste Colbert devised a system by which the fountaineers in the gardens would signal each other with whistles upon the approach of the king, indicating that their fountain needed to be turned on. Once the king had passed a fountain in play, it would be turned off and the fountaineer would signal that the next fountain could be turned on.
In 1674, the Pompe was enlarged, and subsequently referred to as the Grande Pompe. Pumping capacity was increased via increased power and the number of pistons used for lifting the water. These improvements increased the water capacity to nearly 3,000 cubic metres of water per day; however, the increased capacity of the Grande Pompe often left the Clagny pond dry.
The increasing demand for water and the stress placed on existing systems of water supply necessitated newer measures to increase the water supplied to Versailles. Between 1668 and 1674, a project was undertaken to divert the water of the Bièvre river to Versailles. By damming the river and with a pumping system of five windmills, water was brought to the reservoirs located on the Satory Plateau. This system brought an additional 72,000 cubic metres water to the gardens on a daily basis.
Despite the water from the Bièvre, the gardens needed still more water, which necessitated more projects. In 1681, one of the most ambitious water projects conceived during the reign of Louis XIV was undertaken.
Owing to the proximity of the Seine to Versailles, a project was proposed to raise the water from the river to be delivered to Versailles. Seizing upon the success of a system devised in 1680 that raised water from the Seine to the gardens of Saint-Germain-en-Laye, construction of the Machine de Marly began the following year.
The Machine de Marly was designed to lift water from the Seine in three stages to the Aqueduc de Louveciennes some 100 metres above the level of the river. A series of huge waterwheels was constructed in the river, which raised the water via a system of 64 pumps to a reservoir 48 metres above the river. From this first reservoir, water was raised an additional 56 metres to a second reservoir by a system of 79 pumps. Finally, 78 additional pumps raised the water to the aqueduct, which carried the water to Versailles and Marly.
In 1685, the Machine de Marly came into full operation. However, owing to leakage in the conduits and breakdowns of the mechanism, the machine was only able to deliver 3,200 cubic metres of water per day - approximately one-half the expected output. The machine was nevertheless a must-see for visitors. Despite the fact that the gardens consumed more water per day than the entire city of Paris, the Machine de Marly remained in operation until 1817.
During Louis XIV's reign, water supply systems represented one-third of the building costs of Versailles. Even with the additional output from the Machine de Marly, fountains in the garden could only be run à l'ordinaire - which is to say at half-pressure.
With this measure of economy, the fountains still consumed 12,800 cubic metres of water per day, far above the capacity of the existing supplies. In the case of the Grandes Eaux - when all the fountains played to their maximum - more than 10,000 cubic metres of water was needed for one afternoon's display.
Accordingly, the Grandes Eaux were reserved for special occasions such as the Siamese Embassy visit of 1685–1686.
The Canal de l'Eure
One final attempt to solve water shortage problems was undertaken in 1685. In this year it was proposed to divert the water of the Eure river, located 160 km. south of Versailles and at a level 26 m above the garden reservoirs.
The project called not only for digging a canal and for the construction of an aqueduct, it also necessitated the construction of shipping channels and locks to supply the workers on the main canal.
Between 9,000 to 10,000 troops were pressed into service in 1685; the next year, more than 20,000 soldiers were engaged in construction. Between 1686 and 1689, when the Nine Years' War began, one-tenth of France's military was at work on the Canal de l'Eure project.
However with the outbreak of the war, the project was abandoned, never to be completed. Had the aqueduct been completed, some 50,000 cubic metres of water would have been sent to Versailles - more than enough to solve the water problem of the gardens.
Today, the museum of Versailles is still faced with water problems. During the Grandes Eaux, water is circulated by means of modern pumps from the Grand Canal to the reservoirs. Replenishment of the water lost due to evaporation comes from rainwater, which is collected in cisterns that are located throughout the gardens and diverted to the reservoirs and the Grand Canal.
Assiduous husbanding of this resource by museum officials prevents the need to tap into the supply of potable water of the city of Versailles.
The Versailles Gardens In Popular Culture
The creation of the gardens of Versailles is the context for the film 'A Little Chaos', directed by Alan Rickman and released in 2015, in which Kate Winslet plays a fictional landscape gardener and Rickman plays King Louis XIV.
Published work: This is the latest release of the Wedding Directory featuring my portrait of Chuchay Maronilla on the cover.
I wanted to highlight the beautiful flow of the textile and the beautiful design of the wedding gown, while keeping the atmosphere classy and classic. I saw some antique colored bottles on location and decided to highlight these using a strobe back lit.
I have a conservative arsenal of 3 AC powered strobes and 3 Flash heads, but I always try to keep things simple, that is as a matter of taste. I used 3 strobes on this image.
Strobist Info: 250 Jinbei 3/4 power, 80x100 softbox, placed left side, another 150 Heinman Strobe at 1/4 power, bare, on the upper right rear. 430EX placed behind colored glass bottles. Triggered wireless Cactus type mixed in with remote optical triggers.
One of my photos was recently used for the cover of a shopping guide in Rio de Janeiro. They sent me a few copies today.
Published in the Denver Post's Reverb blog, here:
blogs.denverpost.com/reverb/2008/08/19/scott-h-biram-and-...
Left Lane Cruiser
www.myspace.com/leftlanecruiser
Scott H. Biram
Bob Log III
3 awesome bands on one awesome night. I feel like a boob scotch on the rocks.
This show was the second time I had seen Scott H. Biram, and the first time for Left Lane Cruiser and Bob Log III. They packed the Larimer Lounge on Wednesday, 081308.
I had searched for myspace pages of performers at this year's Deep Blues Festival, and discovered two more not-to-be-missed bands to add and catch if they came to town. Lo, and behold, a tour was soon set in motion and I was ready for this great night.
The night started with a raw set from the duo Left Lane Cruiser, with "Big Mama" and "Amy's In The Kitchen" as my personal favorites.
Scott H. Biram riled up the crowd with his energy, and just about destroyed my ear-plugged eardrums with his stack of amps, especially during a sweet Metallica cover. Too bad he had a drunk heckler a couple songs in who just didn't get it and wanted him to shut up and play some music. She apparently was not ready to laugh at his between-song banter, especially at her own expense. Good riddance.
I knew just a little of what to expect from Bob Log III from a couple YouTube videos, so I politely squeezed up front on the floor just in time to get crushed by a sweaty, eager crowd. He didn't disappoint, and surfed the crowd in an entirely novel way on a rubber boat, enjoyed two expertly prepared Boob Scotches, and tried his darndest to get the knees on his blue jumpsuit a little dirty. Search for explanatory videos on your own, and turn off your safe-search option if you view these shots on Flickr.
With work looming a few hours later for my girlfriend, and me exhausted from cramming up against the stage-front amps for several hours, we left a couple songs before the end of Bob Log's set. As far as I remember, it was well past time for last call. Totally worth the calf-soreness and a shower before I fell into bed.
If you're in the North East of England, keep an eye out for the June edition of Etc magazine to read all about my trip to Vietnam. Now don't all rush at once ...
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My artwork has been published in Anatomy Rocks - 30 Deluxe Postcards, along with the other talented artists' fantastic work! They are beautifully printed large postcards by 10 international artists (including Mark Ryden!), with a fancy hard cover box! You can get it on Amazon, or book stores worldwide!
More details: www.behance.net/gallery/52394263/Anatomy-Rocks-Postcard-Set
美しい解剖アートのポストカードセットに私の解剖乙女３作品も入れて頂きました！通常サイズの2倍の大きさで、箱もカードも贅沢な作りになっています。10人のアーティスト(マークライデンも！) x３枚づつで計３０枚セット。
Amazon JP他で絶賛発売中！
Published by Four Square, 1966. Includes tales by the usual suspects: Lovecraft, Bloch, Derleth, Bradbury and Poe.
[u]Information published in the 1980 Program for Chatham Navy Days[/u]
HMS RHYL is a modified Rothesay class frigate of 2900 tons. She is the second ship to be named after the Welsh seaside resort of Rhyl in Clywd, the first being a Bangor Class minesweeper which saw action in the Mediterranean during the Second World War. You can see those battle honours displayed by the present HMS RHYL on the side of her hangar.
HMS RHYL was built.in Portsmouth Dockyard and launched in 1959 by the Prime Minister's wife, Lady Dorothy Macmillan. Her Service since commissioning in 1960 has seen her operating in all oceans of the world and she has visited ports in every continent except Antartica.
In 1974 the ship was extensively modernised with the major alterations involving the removal of one of her two triple barrelled anti-submarine mortars, her torpedo tubes and the anti aircraft bofors gun. A full-sized hangar and flight deck were added to enable her to operate her own anti-submarine helicopter, a Westland Wasp. On her hangar roof you will see the quadruple Seacat missile launcher which has considerably enhanced her anti-aircraft capability.
HMS RHYL returned from the West Indies in the middle of last month. Acting as the Belize Guardship she visited Maderia, St Kitts, Barbados, Aruba, Belize, Florida, Nassau, Monserrat and Bermuda which may explain why her Ship's Company is so tanned! Although by modern Naval standards HMS RHYL is a middle-aged lady, during that 3 I/2 months in the West Indies she steamed for over 40,000 miles on an operational patrol and she can still show a clean pair of heels to her younger sisters and is a great tribute to the excellent refit that she received in her base port of Chatham last year.
[b]Photographed at Chatham on 25 May 1980, HMS Triumph in the background[/b]
This photograph was published in the Illustrated Chronicle on the 15th of October 1915.
During the Great War the Illustrated Chronicle published photographs of soldiers and sailors from Newcastle and the North East of England, which had been in the news. The photographs were sent in by relatives and give us a glimpse into the past.
The physical collection held by Newcastle Libraries comprises bound volumes of the newspaper from 1910 to 1925. We are keen to find out more about the people in the photographs. If you recognise anyone in the images please comment below.
Copies of this photograph may be ordered from us, for more information see: www.newcastle.gov.uk/tlt Please make a note of the image reference number above to help speed up your order.